Natasha Noorani’s “ Choro ” and the Indie Prize
Lahore Music Meet (LMM) singer, songwriter, ethnomusicologist and co-founder Natasha Noorani recently posted Choro, the first song from his next album, Ronaq. After collaborating with Ali Suhail, Sikandar Ka Mandar and Strings, Natasha channels new wave pop dynamism in her latest offering.
Arranged, composed, written and performed by Natasha herself, Choro was co-produced by none other than Abdullah Siddiqui. It’s far from his first EP, Munaasib but an audiovisual gift that never stops giving. The more vibrant and wordy it appears, the grayer and darker it turns out.
The four diverse spaces that the song visually encapsulates represent the paradox of Natasha’s obsession and simultaneous dissatisfaction with a toxic environment. It emphasizes – with a sort of installation – the condition of being entangled and involved. “I wanted to make sure the video didn’t look like a fashion ad or something generic,” Natasha said. The express stand.
“For me, visuals are very important. Even if you see the Biryani Brothers videos, you will find that the visuals for my songs often contradict the song, as does the music, ”Natasha pointed out. “It might sound pretty, but that’s never the point, I’m not your standard pretty singer anyway,” she laughs.
Natasha styled the same outfit in four different colors for her music video, which is art by Hashim Ali. The only thing she was adamant about, other than meaningful and symbolic decor and eccentricity, was the quality of the production – which she managed to achieve, thanks to Siddiqui and Bilal Khan.
But whatever hard work it took to Choro to life, Natasha admits that her song won’t get a million views in a day because it’s not a legal person. “Choro comes after my recent appearance on a corporate music show, yeah, so it’s definitely going to be a bit bigger. But I’m an independent musician and there isn’t a million dollar funding in what I do, so I don’t expect to see big numbers anytime soon, ”she admitted. .
But appearances on corporate-backed music shows indicate there is room for more independent performers in the mainstream? She doesn’t think so. “If you just look at the last decade, you’ll see the same 10-15 names being pushed by any major musical platform or entity that can facilitate and fund artists,” Natasha said. The singer claimed that these entities would not even be interested in perfecting independent artists, which leaves them to their own devices. “We have to create content, and everything we come up with has to be a complete audio and visual package. With the limited resources we have, we have to market ourselves properly, ”she explained.
the Baby baby crooner went on to re-establish that the mainstream artists of today are the ones who made it big in the days of music TV channels. “So for someone like me, expect to step into this mainstream with a song like Choro, is unrealistic. I do not believe that you can establish your career anyway by chance ”, assured the artist.
According to Natasha, the only difference between independent and traditional artists today is access to opportunities. “And all artists would like their art to become profitable for them. So if an artist made this happen, you can’t call it selling. Yahan tou paisay he nae miltay, sell out kesay banen?Natasha joked. “Like I don’t see myself getting into dramas, but I understand the economic value of merging my art with business. So I have separate skills in case I need a day job. If you need me to sing a jingle, I will sing a jingle. If you ask me to play on your song, like any session musician, I will. I’m happy to offer my skills as long as I do whatever I want on the side, ”she asserted.
Additionally, Natasha reiterated how Gen-Z may be fans of older acts who run mainstream platforms today, but can only get familiar with new independent acts in their approach and their capabilities. “There are so many independent artists who have entered a space for themselves over the past two years. It is therefore safe to say that the “mainstream” will be radically different tomorrow, “she said.
As for the deviation that comes with an independent artist’s creative control over their music, Natasha explained why this nonconformity is not a nonconformity, but the result of the influences that have sculpted the art form. “You can’t compare a Noori song with a Sikandar Ka Mandar or Takatak song. But even though Takatak isn’t the most marketable thing in Pakistan, it has its own supporters for a reason, ”Natasha said.
“When I did Munaasib I had a major neo soul progressive rock moment in my life. And that’s what it represented. I know what I’m doing is not a mass appeal, but it is not designed to be “no mass”. It’s just the result of something I’m exploring. It might be selfish of me to do an EP for myself, to have a job that I can support, but that’s my reason for being. If doing something means losing an audience, it is never a conscious decision, ”explained the Frontline singer.
But regardless of not having received this mass response, Natasha is grateful for the dense response that reaches her. “Even though it came from 50 people, this response is more than an emoticon or a share. These are long, encouraging messages about my progress, about how my song has helped someone get through something. So even if I manage to resonate with a smaller audience in a concentrated way, I will call it an achievement, ”the singer concluded.
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