Deconstructing Shamoon Ismail’s most recent works from Cookie to Juice.
Shamoon Ismail, the Islamabad based singer-songwriter who plays around with Urdu, English and Punjabi in his music, created the Jutt Blues genre six years ago and is not exactly a new artist on the block. His debut single, ‘Tuntuna’ continues to be a fan favourite while his breakthrough single was ‘Jutt Blues’ that found fans across the border and at home. And, after that, a series of singles - some accompanied by music videos - came sporadically; ‘Jawab’, ‘Basanti’, ‘Taare’, ‘Jaan De’ and ‘Sapne’.
Shamoon Ismail found his way on the radar of critics, music curators and fans, across multiple cities one year ago with the EP Cookie followed by Magic, Brown Sugar and the on-going Juice. These are the EPs that have come to redefine Shamoon Ismail’s sound from Jutt Blues to something much more refined, even as the guitar solos make their way into the songs every now and then.
Our story begins with Cookie, released in December 2018 and made up of four curious songs: ‘Marijuana’, ‘Khayal’, ‘Karachi’ and ‘Na Toon’ that also feature Haider Mustehsan and Mooroo. It’s ‘Marijuana’ from Cookie that led to Shamoon Ismail bagging a Lux Style Awards nomination in 2019 for Singer of the Year, and though he lost, picking up a Singer of the Year nomination in itself is a huge deal. Cookie remains a strong combination of lyrical wizardry and the beginning of a musical evolution that is still on-going.
On Cookie, with ‘Karachi’, Shamoon sings about his relationship with the city of lights; ‘Marijuana’ is not Shamoon talking about his relationship with marijuana but that of the city as well. But it’s done in a beautiful, honest fashion like a conversation with someone rather than something. ‘Khayal’ is the unabashed love song where Shamoon asks to trust as he spends sleepless nights. Produced by Zoh, it is Shamoon going ambient, with subtle beats running in the background. Cookie is a good EP and a start to great things.
Cookie brings us to the 3-track EP, Magic, which was released by Shamoon in April 2019. Comprising three songs, Magic is a precursor to what was coming next.
Consisting of three songs (‘Magic’, ‘Raati Aya Si Khayal’ and ‘Pata’), the self-titled ‘Magic’ is Shamoon talking about a girl who looks fancy with all eyes on her and him having little chance with her, a feeling that many people go through as young love teaches you. But the music here, produced by Shamoon Ismail and Rovalio, couldn’t be more different than Cookie. This is an upbeat, textured track that is one of the most approachable Shamoon Ismail songs. ‘Raati Aya Si Khayal’, produced by Shamoon himself, is a night owl track. He wonders, ‘Raati Aya Si Khayal/ Hovain Gi Toon Kiday Naal/Par Hoi Nae Majaal Kivian Punchaan Tera Haal…’ Shamoon Ismail is lovelorn on Magic.
Meanwhile, the musical evolution continues to flourish as ‘Raati Aya Si Khayal’ is driven home by simple beats that complement the lyrical identity and feeling behind the song. It’s a lot slower than ‘Magic’ while having a certain flair that is the courtesy of synths. Shamoon shines as producer here and this is just the start for him. The third and final song on the album, ‘Pata’, is also produced by Shamoon Ismail and like its predecessor, this song is also about a complicated relationship between two people with one wondering about the other even as he is willing to walk side by side. The music here truly flourishes and the ambient textures make an entrance that elevates the song. Shamoon Ismail shows a vulnerable side of himself on Magic, the EP, and as producer goes beyond the Jutt Blues genre he has been pigeonholed in. Cookie was the first step musically. The flourish arrives with Magic.
With Brown Sugar, Shamoon Ismail’s second EP of 2019, released in August, the vulnerability is replaced by a different mood, palpable across the four-track EP.
In ‘Backup Plan’, produced by Shamoon, the singer-songwriter sings about the girl looking for established “munda” but he is the ultimate “flagship” and notes in the chorus, “See I can take you where you wanna go/Akhay that you with it par toon fakin, fakin fakin” and how he isn’t going to be her back up plan. Synths, ambient lush and yet there’s a simplicity to the entire mix. Shamoon doesn’t throw everything on the wall to see what sticks. He’s confidence as music producer is growing and it’s palpable very much on Brown Sugar.
‘Chal’, produced by frequent collaborator Rovalio, opens like you’re entering a club. But the lyrical verse(s) he spits reminds you that Shamoon is singing about more than just love. He’s also singing about the environment around him, including rappers who spit verses after smoking and admits he’s not flushed with cash, among other things. The music is almost built to follow the flow of Shamoon’s hard-hitting rap and is full of sick beats that to my mind bring lo-fi rather than club music. That simplicity in ambient sound is what makes Shamoon an artist who seems to be growing with every song and every EP.
‘Scheming’ – produced by Ghauri – stays true to Brown Sugar thematically and finds Shamoon Ismail speak of his growing power as an artist. It’s the power of self-belief that ‘Scheming’ highlights but in a way that is all Shamoon. The fourth and final song from the EP, a personal favourite, ‘Late Night’ is even more thrilling. It begins on an ominous note but quickly transitions into a beat-laced, lo-fi combination as Shamoon gives an insight into his moods at the time. The vulnerability is replaced by a fierce confidence and the lost lover is more confident as he gives you a sneak peek into his inner world.
Juice, the current EP from which Shamoon Ismail has released two songs: ‘Rung’ and ‘Bad Girl’ is a showcase in just how easily he can switch sounds and evolve with each EP. ‘Rung’ is the return of faith as the music has a happier vibe even with its part ambient, part textured layers and a complicated relationship that may or may not be going as expected by the singer. ‘Bad Girl’, the second single from Juice, co-produced by Shamoon Ismail and Rovalio, is the singer-songwriter’s narrative and if the lyrics tell us anything, it’s that vulnerability is not something Shamoon hides just as he doesn’t hide success. Though darker than ‘Rung’, it’s very much in line with the experimental ideas Shamoon Ismail is producing with each EP. Though not a new artist, as Shamoon Ismail finally breaks into the mainstream, his EPs are recommended to anyone interested in lovelorn ideas, experimental textures and a growing musician with each release expressing pieces of himself.
