The story of Sikandar Ka Mandar (SKM) is one of how persevering independent artists can be at a time when we’re questioning the influence corporate-backed platforms have on the mainstream press. It also has to do with the role cinematic music can play and how it takes precedence often and how we are all complicit.
The fact is that the term ‘independent’ has become a dirty word, as if the music coming under it and the artists will be so different (read: inexplicable) that one will simply not understand them.
And yet, its acts like Sikandar Ka Mandar (among many others) and their ability to grow as artists – as is palpable on their last album, 36 (Chhatees) – that is taking our dysfunctional music scene forward to a place where innovation matters.
Some context
When the band was first formed in 2010 and went on to release its self-titled debut album (in 2013), it had a different line-up and featured Nadir Shehzad Khan, Ali Suhail as well as Danial Hyatt and Faizan Riedinger. On the debut album, Khizra Jhumra was credited for composing bass. Released in 2013, it firmly fell in the category of indie-folk-rock music with Nadir Shehzad emerging as a strong songwriter and vocalist and Ali Suhail having produced most of the album, barring two bonus tracks.
Several members of the group, joined by other artists from the indie music scene, created Lussun TV, too, while SKM as a music group developed a cult following that has expanded ever since.
As Danial Hyatt and Faizan Riedinger, also members of the revered music group Mole, continued to work as interdisciplinary artists as well as solo music producers, the SKM line-up changed somewhat.
For their sophomore album, titled 36 (Chhatees), Ali Suhail and Nadir Shehzad Khan stayed together and added Zahra Paracha on rhythm guitar, mandolin, synth, backing vocals and Raheel Manzar Paul on drums.
36 (Chhatees) - the album
Following up your debut record, one that is critically acclaimed is never, ever easy but the present line-up has managed to outdo the preceding album. Let that sink in.
Part of the reason is that SKM, a socially conscious band from the beginning, has a songwriter who has grown more perceptive with time, aware of the surroundings that exist beyond self-imposed bubbles we all tend to create for ourselves.
Another is that, for this album the band has really come together as if it has equal parts of each of them going into it, particularly Ali Suhail, who has five solo EPs to his credit. The addition of Zahra has given the band an artist who can play a variety of instruments and hold back when need be. At one point, the band also featured Rahail Siddiqui (no longer a part of the equation).
The ultimate result is a streak of innovation and improvisation. Even as mainstream continues to question just how one must release a full-length record with Strings releasing each song as a single with a music video attached, SKM dropped the ten-track record at the end of 2017 together along with the unforgettable music video, ‘Gehri Neend’.
Of the ten tracks, there are several juicy collaborations here; ‘Baaghi’ features Natasha Humera Ejaz on backing vocals and Rahail Siddiqui; ‘Himmat’ features Faizan Riedinger on vocals in addition to Nadir. Faizan originally wrote the song (with Nadir having written the second verse).
On ‘Tu Fikr Na Kar’, Nasir Siddiqui is featured on synth parts while Daud Ramay makes an appearance on drums for ‘Uncle’; Natasha Noorani (backing vocals) and Rahail Siddiqui (bass) appear on ‘Bolo’.
Collectively, the ten tracks indicate that there is a lot more of Ali Suhail and Zahra Paracha in the album, both of whom have proven to be musical wizards, making this a more ambience-fueled experience. It reminds you of what it means to be surprised, enchanted and re-connected to a bleak world – by great music.
As for the themes, Nadir Shehzad Khan, a perceptive songwriter has tackled hard subjects. ‘Gehri Neend’ is about being in a deep sleep where animals, Djinn and space travel keep the sleeper occupied but it’s a nightmare because he can’t get out.
As Nadir explained, the song is an analogy about getting away from "the real world and making a world of your own where outlandish ideas exist."
‘Baaghi’ is about finding a broken person and healing them with love.
"Everyone has their own demons and ‘Baaghi’ talks about how one deals with demons in a relationship," he shared.
The title track, ‘36 (Chhatees)’, reveals Nadir, is based on religious folklore…"about 36 people who exist at all times and pray for the world to continue to exist, despite its many flaws and downfalls."
‘Shehri’ is about corruption, about being a minority in a scared city where everyone’s willing to judge you based on your status and religion.
‘Himmat,’ divulges Nadir "is about trusting the powers that be to follow through with your dreams despite the odds that life presents to us" while ‘Tu Fikr Na Kar’ is a "tribute to all the perished souls who protect us and wish us well."
‘Uncle’, says Nadir, "is about corporate suits who exploit music and musicians for their own brand’s agenda". Oh, snap.
‘Siyasatdaan’ is an anti-war number, dedicated to Syria.
‘Bolo’ is about a heartbroken friend. It’s about trying to heal that friend with love and synergy and good times and good conversation. We could all do with such friends.
‘Cassette Kahani’, evocative of Nadir’s imagination, "is based on a fire fly who falls in love with the moon. He’s in awe of the moon’s grandeur and bright light that guides one in the darkness. It’s an infatuation."
Each song has a story and that story is working through both the vocals and musical treatment that is neither too pristine nor raw but still finds a cohesive identity. This is an album with a personality and artists who have a visceral narrative to share on top of layers of guitars, riffs, synths and much more.
You can’t help but think this is a band that needs to be celebrated for not only putting out this record but creating a record that has imagination, soul, passion and a lasting love for humankind.