Bumbu Track


It’s out.

Though it’s not by Bumbu Sauce in full, just ‘Masterjee Bumbu’.

True to form: tongue-in-cheek, urban-lingo reference heavy, and punkish. Perhaps sonically not as rounded as the Bistee Proof EP but interesting.

I think we’ll look back in a few decades to these songs as records of what we used to talk about. In some ways these songs are our life’s phrases in a sonic time-capsule.

17th Haftanama Patari!



Wazzaaaa Pataristaniyo!

Moaziz khawateen-o-hazraat, Haftanama Patari kholnay ka shukria. Hamara ye Haftanama 1000+ alfaaz ki oonchai per perwaaz ke sath aap ke 3-4 min lay ga. Hamain umeed hay aap ka ye safar lutf-andooz guzray ga. (Jo Patari user hazraat kharay hain, unn say darkhawast hay ke wo baith jaen, Haftanama kafi lamba hay).

Naya Maal

This week, the makers and movers and shakers of Patari bring you the biggest update yet: Introducing ‘Songs of the Day‘! Hamaray tamaam platforms per (web, iOS and Android) ye nihari/ haleem type update jald nazar aye gi aap ko. Our homepage used to give you new stuff after every 7-8 days or so, but now you’ll get it every.single.day. Songs of the Day (SOTD from here on out) will feature 4 vehshi categories: Classic, Lost Gem, Guilty Pleasure and Folk. 

SOTD ke sath sath aik aur update: Patari was built by people from all over the country and is used by everyone and their khala (phuphiyon ka pata nahi). Team Patari believes Pakistani music is incredibly diverse, and so we are launching a new section this week: ‘Regionals‘. Kyun ke “Sindhi hum, Balochi hum, Punjabi hum, Pathan hum” to thay hi per ab hamari Patari bhi! Ab dasteyaab hain, inn tamam zubanoon ke puranay aur naye, traditional aur contemporary ganay, aap ki asaani ke liye playlists ki shakal mein. Playlists tayar hain, bus surkhi powder laga rahay hain aj kal.

New Pichwarras, Weight Loss & Bodybuilding

For the past few weeks, we’ve been shoving your feedback, shikayatain, bad duain in our dev team’s faces. Unn ki koshishain (aur aap ki bad duain) rang lay ai hain – Patari Kitty ka kharab pait theek kerwa dia hay! New ass – we mean, backend infrastructure is in place. Aik dam F-16 speed ke sath streaming scene on ho gaya hay. Streaming ab itni taiz hay ke ham soch rahay hain ke phones ke peechay “ye sab meri maa ki dua hay” ka poster lagwa lain.

Hamari Android app kafi arsay se diet plan, gym, cross fit, wazan kam kernay ke wazeefay, Amil Qadri baba ke taweez, etc try ker rahi thee aur finally Zubaida Apa ka totka chal gaya. Android app has lost half its size (and the double chin too). Added to that, our trusty dengue maar spray has killed off all bugs and mukhtalif keeray makoray. Update kerain aur phone ka wazan bhi kam kerain.

Ab ham aap ka mazeed waqt nahi layn gay. Aap Qandeel Baloch ki paused video resume ker saktay hain.


New Track!


Munshiyaat – Young Stunners.

New Track!


The Bonfire Song (7Up TVC)  – Aima Baig.

New Track!


Placental – Takatak.

Faiz Special!


Shaam-e-Firaaq – Ali Aftab Saeed.

New Track!


Ali Wali Ft. Gunga Sain & Mithu Sain – Asrar.

New Track!


Gul-e-Rana OST  – Waqar Ali.

New Track!


Bensavage – Block-2.

New EP!


Maharaaj – Ghauri.

New Track!


Surreal Ecstasy – Farhan Zameer.



Until the next haftanama –
Dhayr sara pyaar,

Team Patari.

Ahmer Naqvi writes about Red Blood Cat

Al-mashoor critic kitty making al-debut for al-National:

A week ago, in a home-built studio in the city’s suburbs, I had spoken to the some of these musicians about this very concert, which could land them a paid tour of the US – potentially a career-defining move for a small, unknown band from Pakistan.

Back then, they were distinctly uncomfortable with the idea that they would have to showcase not just their music but also somehow reflect Centrestage’s stated goal of helping music transcend cultural boundaries and differences.

“Yaar, I just feel that we should put a paratha and some daal in front of us before we begin and say, ‘Here – this is our culture!’” says Zain Ali (guitars/synths). Although he jokes, it also reflects the band’s major concern.

Fifi Haroon Interviews Zeb Bangash

Incredibly honest, sharp, and beautifully spoken conversation between Zeb Bangash and Fifi Haroon of BBC Urdu – from late September.

Zeb talks about her views on the industry, on performing in India, on the security situation, on Zeb & Haniya’s image in the media, among other things.

Zeb’s complaint of being portrayed in the media as ‘Pashto singers’ is quite damning. Aside of just plain laziness and inaccuracy in most news write-ups, it speaks to the increased understanding of Pakistani identity through the eyes of foreign viewers. Our realization of who we are has been driven more and more by how we are talked about in American and British newspapers. To Western eyes a couple of girls in a band is like an oasis of liberalism in the desert of Pakistan’s conservatism. But in truth it was just a couple of girls singing in Lahore Cantt. It was made a big deal for the wrong reasons, and it did so to the detriment of the music. There was some great musical menagerie in Chup, but it unfairly paid second-fiddle to the incorrectly-reported demographic of its performers.

This is why Coke Studio was important, because it wrenched control of national identity via an unparalleled introspection. In the PTV of yore we found depth of story that allowed us to see each other as human, that allowed us to see ourselves as capable of deep emotion and sincerity. The same emotion was what we saw in Nazia & Zoheb, and in the Vital Signs. Unfortunately in today’s TV we are only breaking news. You’d think Pakistan was the land of ominous jingles. It is time bring our eyes back home, to begin seeing ourselves by ourselves, not through the eyes of another.

Fifi Haroon deserves real credit for orchestrating such a great conversation. This is right up there with her interview of Rohail Hyatt a few months ago. That interview provided more insight into Rohail’s recent approach to life and work than almost anything in recent years.

16th Haftanama Patari!


Subha Bakher Pataristaniyo!

Pyaray bhaiyon aur bajiyon, umeed hai aap sab khush baash hon gey, aur aap ki bae bhi. Nahi? Bae senti hai? Naraz tun tun to nahi bani hoi? Ager yes, to checkout Zoe Viccaji’s ek dam latest song. *Meera Jee styleYou are the thank you us laters.Kya aap kisi aisay uncle ko jantay hain jo her waqt “hamaray zamanay achay thay, aisa hota tha… waisay hota tha” lagay rehtay hain? Hain na?

Pichlay haftay hamein bhi ek milay thay aur uss zamanay ka music yaad ker rahay thay, so hum ne unn ki (aur aap ki bhi) mushkil asaan ker di hai ek playlist say: Presenting our Disco Playlist! Patari is #BringingDiscoBack (sexy to hum pehlay hi bohat hain, wink wink*).

Patari anay se pehlay iss kainaat mein kafi terha ke phones hotay thay. Android, iPhone, Baji Bashira, Khirkiyoon walay, Chaiyya Chaiyya walay, etc. Ab sirf 2 terha ke hotay hain: Achay – Jin mein Patari ki apps hain aur ghatia (aap khud hi samajh jayen). Aaj aap bhi apnay phone ko acha bana saktay hain ager aap Patari hasil ker lein. Android Patari and iPhone Patari yahan dasteyaab. Unlike your service provider, ye offer ghair-mehdood muddat ke liye hai.

*Reference samajh mein aa jaye to humein @patarimusic per batanay se na ghabrayen. Zaroor ayen aur payen hamari disco billi ka pyaar.


Kuch Khaas Khabrein

There is so much new music happening, we don’t even know where to begin! That’s an obvious lie. Obvious. Of course we know.

– To celebrate Z. Viccaji’s latest track, our critic kitty presents a history of Pakistani disco. Check here: #BringingDiscoBack

– As for Natasha Humera’s new EP – which is almost, almost complete! Visit here: Khwab


All Time Top 10 Shared Tracks

Bae ke saath sab se zyada share kiye huay ganay. Yes, we know what you’re doing.

Bandook (Original Mix) – SomeWhatSuper
Aik Tha Badshah – Noori
Tamasha – Khumariyaan
Aja Re – Karachi Se Lahore OST
The Scientist (Cover) – Rutaba Yaqub
1947 – Noori
Bachpan – Oreo Maqbool
Maula Maula – Bin Roye OST
Ab Khel Ke Dikha (PSLT20) – Ali Zafar
Sohni Dharti (Promo) – Coke Studio 8


New Track!


Jaanay Do – Zoe Viccaji.

New Track!


Khel Sajna – Jal.

New Playlist!


Disco – #BringingDiscoBack

Featured Playlist!


Dusk – Albums & Podcasts.

New Track!


Kyon – Zurb.

Featured Album!


Showcase South Asia – Ustaad Ghulam Ali.

New EP!


Orison – Furqan Shah.

New Track!


Yaari – Desi Machines.

New Track!


Mera Dard Na Jane Koi (OST) – Bushra Bilal.



Until the next Haftanama – dhayr sara pyaar,

Team Patari.


In Pakistan, there are several categories of what we understand by disco. In the broadest sense, it can come to mean something like this image, which is one of the first that comes up when you search for “Pakistani Disco” on Google Images.


When Pakistanis use the word disco in this sense, they mean anything which is outside the norm, generally in a liberal or subversive sense. One example was leftist students calling ‘westernised’ members of the Jamiat as ‘disco maulvis‘.

(If you live in Gulshan-e-Iqbal in Karachi, then disco also means the place where you get chai ke paapay from, but lets keep that aside for now.)

In a musical sense, particularly in the early days (and even now), disco was also meant as the usage of western style of music by local singers. Over time, the term ‘pop’ became more popular instead, but as this album cover shows, it was a catch-all phrase for modern, western sounds.


But most specifically, when we think of disco and Pakistani music, we really think of one, eternally beautiful and beloved singer.


This week, Salt Arts and Patari are looking to develop this connection a little bit further. Our campaign, #bringingdiscoback, looks to recapture the excitement and glamour that disco brought both as a musical movement, but also as a moment in cultural and social history.


You can start getting into the mood by listening to our essential collection of Pakistani disco tracks. The songs here cover the early, proto-disco sounds emerging from film playback singers, through to the early PTV era pop-stars, the supernova of disco music that were Nazia and Zoheb, and finally the evolution of the sound in the 90s and the current era.

All the songs culminate with the online exclusive release of Zoe Viccaji‘s latest, disconuma track, Jaanay Do. A song that both captures a bygone era and electrifies it into a contemporary sound, this is the latest in a proud tradition of Pakistani disco. As one of the country’s most popular and delightful singers, Zoe is poised and ready to start #bringingdiscoback.


Natasha Humera Ejaz – Khwab

With the release of Khwab, Natasha’s three fourths of the way to the complete release of her EP Till the End of Time. 


Many of us were introduced to Natasha through her appearance on Uth Records:


Though on Uth Records we learnt as much from the song as we did from the behind the scenes footage. The Uth Records song wasn’t a performance as much as it was a construction. This is not to meant to be a slight, but an observation of the essence of the recording itself. Natasha’s singing, apt to the melody, is mellow. She fronts the song but is almost an accessory to the song.

You realize when you see this that this song is made by people who think music is bigger than the people in it, that individual performances must show deference to the idea of the song itself. That the art is bigger than the person. So you may come out of the song thinking of Natasha as an artist, but you don’t come out of the song thinking of Natasha as a performer.

But it was obvious to everyone close to her then that if there was one thing that Natasha was, it was a performer. She sings, she dances, she acts, it was almost as if she needed a reason to be on stage. And yet here she was in 2011, providing calming vocals while she studied audio engineering. It’s almost amusing.

If you need proof that Natasha’s friends are right, look at this:


I would imagine that people who know Natasha well are just waiting for everybody else to figure out what they know to be true. That they are in the midst of something special.

This EP takes us towards that realization.

The three songs released so far share a spiritual leaning with The Right Way to Fall (her song from Uth Records). But they are more open emotionally,  more real almost in what they are trying to say.

The lyrics are more vulnerable. The music more touching. The band quite stellar. But the video is an homage to Natasha the performer. It is time that we give Natasha’s friends some company in the ‘we-get-it’ section of the audience.

But despite it all, Natasha the performer never becomes bigger than the song. The song has a definite climax – everything moves towards it, yet even when you are there you don’t ever think of Natasha being in your face unless you really look for it. The vocal reaches an impressive crescendo, but everything about the production means that the vocal crescendo doesn’t take over the song.

The analogy here is to guitar players who solo all the time, because they can. The best guitar players only solo when the song demands it. Natasha can solo, you can tell from this song. But even when she gets the song to the point where she can take all the limelight, she doesn’t. The production doesn’t do that because there’s no need to (this is perhaps as much a testament to Natasha as to Omran Shafique the producer). That’s why Natasha the performer is special, because she only shows up when it’ll mean something. Nobody likes a guitarist that’s always shredding.

Zahra Salahuddin had a great chat with Natasha alongside the release of her new video:

Images: How is ‘Khwab’ different from your other music videos?

Natasha: I think I’ve grown a lot in the last three years, so everything that I did prior to this has been really cute and adorable, according to most people. This one is darker, has a little more spunk to it. There’s absolutely nothing other than dance being explored in it, so that’s really interesting.

Totally worth the full read. But that passage in particular, gives a glimpse as to what’s happening. It seems inevitable that there will be a watershed moment, a point where this music goes beyond circles in Karachi into other cities, into the diaspora, everywhere else music from Karachi is supposed to go. The question then, the really interesting one, is how it’ll happen. What is the one moment that changes it all, the moment where we finally all see it.

For Junoon it was Inquilaab, for Ali Zafar it was Channo, for Poor Rich Boy Fair Weather Friend. I don’t know that we’re at that watershed yet, but I know we’re getting there. Because of what Natasha describes: her own growth alongside increased awareness from the audience. At some point the two lines will cross, and that will be when all the hipsters will cry that they found her first. For the moment they can enjoy themselves.