The album opens with Talha Anjum, a fitting choice that sets the tone perfectly. The first track, “Competition and Currency,” is a standout piece, offering a blend of decent to great double entendres and wordplays. Anjum’s lyrics are notably deep, introducing new poetry that adds layers to the narrative. Coupled with motivational lines, the track serves as a strong introduction to Anjum’s artistry.
In the second track, “6AM in Islamabad,” Talha Yunus’s performance falls short of expectations. His delivery feels lackluster, and his attempt to convey a bass voice comes off as forced and unnatural. Additionally, the lyrics lack depth and complexity, appearing rather simplistic in their themes and content.
In the third track, “Obvious,” Hasan Raheem takes the spotlight on a Jersey club-type beat. As expected, Raheem delivers his regular style, offering up a catchy chorus that stays with you long after the song ends. Its definitely a mainstream approach.
In the fourth track, “Duniya Cold,” both Rehman Ansary and Hasan Raheem contribute to what ultimately feels like a typical trap song lacking any standout elements. Ansary’s line, “khuda kare marjaunga kabhi hue basic, this is a revolutionary sound,” seems contradictory given the track’s overall simplicity. While the sentiment is profound, labelling such a composition as revolutionary might come across as ironic to some listeners.
In the fifth track, “Intentions,” the incorporation of garage-type beat elements sets the stage for Natasha Noorani’s captivating vocals to shine. Her emotive delivery truly resonates, evoking a powerful response from listeners. JJ47’s contribution adds depth to the track, he delivered amazing verse and really good vocals as well. Despite the beautiful vocals of Natasha, some listeners may find the chemistry between her and JJ47 lacking. Introducing additional elements such as ad libs or aalap between the rap sections could have enhanced the dynamic interplay between the artists, resulting in a more cohesive and engaging composition.
In the sixth track, “Felony,” there’s a subtle touch of drill beat, with Talha Yunus delivering an acceptable performance. The smooth flow of the beat provides a canvas for rapper CALM to shine. However, the track follows a familiar pattern often associated with Seedhe Maut’s style. While it maintains the expected flow and lyrical content, some listeners may perceive it as lacking innovation or freshness. Nevertheless, its adherence to the tried-and-true formula ensures its appeal to mainstream Desi hip-hop listeners who appreciate consistency and familiarity in their music.
In the seventh song, “Dominos,” Encore ABJ’s performance in “Dominos” evokes a similar sentiment to what I expressed about Calm and Seedhe Maut in the sixth track, “Felony”. While his verse is solid and enjoyable, it seems to lack a certain level of creativity, failing to bring something fresh or innovative to the table. Talha Anjum, honestly, he’s done his part already in the album that delivering another solid verse seems like a walk in the park for him. Umair’s decision to incorporate Kanye West’s iconic snare from “Good Morning” in the song’s conclusion adds a unique touch. However, its sporadic use feels like a missed opportunity rather than a clever homage. By integrating this signature sound more consistently throughout the track, Umair could have heightened its impact and added a unique flair to his own style. Instead, the fleeting presence of the snare leaves listeners wanting more, ultimately detracting from the song’s potential.
The eighth track, “Broke Flex,” featuring Ahsan and AB17, doesn’t quite hit the mark, feeling more like a filler than a standout piece.
In the ninth track, “Day Dreamer,” Umair starts things off with a cool sample from Koencore’s “Underwater.” Then, Talah Anjum steps into the spotlight with a solo performance. Anjum’s lines explore his impactful role in the hip-hop scene, confidently labelling himself as the pioneer of Urdu rap. With appreciation, he recognises the divine guidance that has shaped his path, while also seeking protection through prayers for himself and his crew, ensuring they remain safe from any threats or challenges.
In track number 10, we have the interlude titled “14th December 2003,” which coincides with Umair’s date of birth. The interlude features sounds like ambulance sirens, hospital ambiance, and the cry of a newborn baby, capturing the moment of his birth. It’s pretty wild to think that this album marks Umair’s debut at just 20 years of age.
In track 11, “Thank God,” aleemrk acknowledges the value of wealth but stresses that it’s not as important as genuine relationships. Aleemrk shows compassion for those who prioritise money over everything else, and he boldly declares that he’d rather stay true to himself than succumb to materialism. His delivery is heartfelt and genuine, making his performance relatable and impactful for listeners.
In the 12th song, “Come Through,” Abdullah Maharvi handles the hook with finesse, showcasing his impressive vocals and captivating falsetto. Talah Anjum steps up to deliver the verses, maintaining the song’s momentum with his lyrical prowess and smooth delivery.
Next up is the 13th track, “LOVER BOY ROMANCE,” which adopts a dancehall vibe. Hasan Raheem kicks things off with the chorus in the intro, setting the tone for the song. Natasha takes the lead with the first verse, followed by Hasan with the second verse, both maintaining the chorus melody. The track carries an upbeat and commercial feel but lacks excitement in its execution.
In “Refunds,” Rap Demon’s catchy singing intro at the outset captivates the listener’s attention, but it’s puzzling why this element isn’t revisited later in the song, missing an opportunity for thematic consistency. While both Rap Demon and Krsna deliver back n forth rap verses throughout the track, there’s a noticeable discrepancy in their energy levels. Rap Demon’s verses exude a vibrant energy, overshadowing Krsna’s delivery, which feels comparatively restrained. This contrast detracts slightly from the overall cohesion of the collaboration, leaving room for improvement in their synchronisation and balance.
“In “Away From Here,” Shaer kicks things off with a strong verse, setting the stage for what could have been a stellar track. However, while Izzchughtai’s second verse adds to the momentum, it’s the closing chorus that really shines. It’s like the song’s hidden treasure, but just as you’re getting into it, the track abruptly ends. It’s a bit disappointing because if they had started with that chorus, it could have grabbed listeners’ attention right from the start and given the song a better flow.”
In “Heartbreak City,” Moroo’s delivery of the chorus in the first half of the track is undeniably strong. While Moroo’s delivery is strong, the mix of his vocals feels like the chorus is right in the face, which lose impact as a result. By toning down the chorus’s volume and adding some reverb, the song’s balance could have been improved. Talah Yunus’s verse lacks energy and feels somewhat tired, failing to sustain the track’s momentum. The transition from the chorus to Yunus’s verse feels abrupt and disrupts the flow of the song. However, JANI’s verse in the second half adds a refreshing change, blending rap and melody effectively. Despite its potential, the song could benefit from a more focused approach, perhaps featuring only Moroo and JANI and trimming its length to 3-4 mins, would be more engaging.
In the track 17th, “Ends,” the song maintains the same laid-back vibe as its predecessors, with Anaaz’s vocals expertly mixed into the track. The outro, featuring a short aalap sung by Anaaz, adds a nice touch to the overall composition. Aleemrk’s performance throughout the track effectively complements the relaxed atmosphere. However, there’s a missed opportunity in the song’s structure. Starting the track with Anaaz’s vocals, as heard in the outro, could have provided a captivating introduction, enhancing the song’s appeal from the outset.
In “Make You Mine,” Hasan Raheem delivers a solid chorus, showcasing his vocal talent compared to his other tracks. Additionally, featuring Natasha Noorani in this song instead of her appearance on “Lover Boy Romance” would have been a better fit, enhancing the overall quality of the track.
In the 19th song “All We Had,” Annural Khalid steals the spotlight with her captivating performance, outshining Asim Azhar. Khalid’s vocals exude a magnetic charm and energy that perfectly blend with the jersey club beat. While Azhar delivers a good performance, Khalid’s presence commands attention, drawing listeners deeper into the song. More supportive ad libs from Khalid during Azhar’s verse could have enhanced the overall dynamic of the track.
The album wraps up with “Big Dawg Thing,” a track previously released as a single. It brings a laid-back vibe, complemented by flex and gangsta-themed lyrics. The vocals and delivery blend seamlessly with the track’s atmosphere, radiating a coolness that hits the mark. Notably, JJ47 and Shamoon Ismail are effortlessly flowing with the beat. Also, Talha Anjum humorously compares himself to Ronaldo and fondly labels Talha Yunus as Messi, highlighting their dynamic partnership as Young Stunners.
In summary, this album feels lengthy and can become burdensome when listened to from start to finish. Additionally, there’s a lack of diversity in themes or standout moments throughout the album, making it less engaging as a whole. However, each song individually has a lot of replay value.
To enhance the flow of the album, a more thoughtful sequencing of tracks could have been employed, strategically balancing the dynamic energy of rap-heavy compositions with the soulful cadence of slower, melodic pieces.
What looks interesting is that rappers with similar flow, writing style and cadence are selected for the songs like pairing Talha Anjum with Seedhe Maut’s Encore and pairing Talha Yunus with Calm.
While this may be an interesting choice, many of the rappers sound similar in terms of vocal texture and mixing, making it challenging to differentiate between them and leading to a sense of monotony.
