Listen: Natasha Noorani's 'Ronaq' is danceable and defiant

“Cham, cham, cham, mera toot gaya button / Ammi maarengi”

It’s as if someone told Natasha Noorani, “You wouldn’t dare!” – and so she did, and out came Ronaq, her debut LP, representing everything she is, has been, and will unapologetically continue to be. The album, however, wasn’t made on a whim, and it certainly wasn’t made out of enmity. With six fresh songs to add to her earlier releases, Ronaq is a paradigm shift for the singer, songwriter, ethnomusicologist, and more.

Known for her avant-garde musings that traverse the spaces between R&B, pop and neo-soul, Natasha’s Ronaq puts the spotlight on her fun, flamboyant, and carefree side. From having a super complex sound with busy arrangements, it presents a stripped-down version of the musical ‘traces’ she left behind without abandoning the cornerstone of her vision. Ronaq is catchy and accessible, yet, from a distant past, reimagined for a distant future. It isn’t perfect, but there is much to learn from its emotive genius and Natasha’s collaborative efforts.

“I think I wanted to create a body of work that really reflected me. Because all of the work I was getting was kind of myopic in its approach to what I could create,” Natasha reflected in conversation with The Express Tribune. A showcase of her range, Ronaq does justice to the vocalist and musician – and vice versa. Her genre-bending abilities, coupled with her producers’ musical expertise, lend Ronaq a unique sound and aftertaste. Talal Qureshi boasts production credits on eight out of the 10 tracks on the album while Abdullah Siddiqui offers his soundscape to Choro and Baaz. “This version” of Ronaq, as per Natasha, took two years to make.

Turning point

“For my dissertation, I was exploring Pakistani music from the 1940s-1980s, including songs by Naheed Akhtar, Runa Leila, M. Ashraf and Sohail Rana. If you go out today and tell someone to listen to a Sohail Rana song, they’ll refuse to believe it’s Pakistani because it’s ‘too electronic’. That’s the kind of Pakistan-iyat I wanted in my music. I took my research to Talal and since we both have this Lollywood chaska, there was a natural exchange of references. When I had started with Choro, I was making a completely different album, but as soon as I did this, Talal made the beat for Nishana. That was a turning point,” shared the artist.

“Talal was also very helpful in getting me out of my shell because if you listen to Choro and then to Nishana, you’ll hear two very different women. Ronaq is also my first full-fledged studio effort. And to be in a studio and understand the technical end of things is a completely different ball-game. This whole album has a lot of analogue synthesizers. The hook of Raazi, for example, is something I did and I felt very empowered during the whole process,” she added.

If you go out today and tell someone to listen to a Sohail Rana song, they’ll refuse to believe it’s Pakistani because it’s ‘too electronic’. That’s the kind of Pakistan-iyat I wanted in my music. -- Natasha Noorani

Breaking down ‘Ronaq’

Ronaq touches upon the themes of friendship, loss and dreams of self-actualization while blending old-school, subcontinental pop with modern electronic music to create a sound (read, genre) that Natasha calls, ‘Lolly-pop’. The album features a variety of collaborators due to which, every song holds its own. This is interesting because neither track is connected to the next but sets the tone for it. Haan, I Know, for example, is the perfect prelude to Ronaq while also being a playful overture to Choro.

“Haan, I Know is interesting because it’s a sample of Zoe Viccaji’s interview with Ahsan Khan. It was so nice to hear Zoe say, ‘I really like Natasha Noorani,’ but right after that, Ahsan replied, ‘Natasha is… haan.’ Talal and I had a laughing fit because I thought that's the silliest thing anyone could’ve said. Meaning no ill will but we were like, what a phrase? ‘Natasha is… haan.’” The song also hears Natasha introduce the album like a journey that listeners are set to embark upon; “PK420 Ronaq rawangi keliye tayyar hai” a flight attendant is heard saying in the midst of the 2-minute track that features a groovy staccato baseline, crazy vocal effects and lyrical randomness that catch you off-guard.

A key feature in Ronaq is how Natasha’s voice is sampled across the album to be used as a filler. Meanwhile, her vocal potential shines through every time she uses her voice like an instrument. “Talal really changed my perspective about how my voice can exist in a song,” she tells me. Her range speaks volumes of the training that went into her pitch-perfect notes. And the unique texture of her voice – perfectly suited to sounds unbeknownst to man – has been effectively put to use.

Moving onto Choro – a track we’ve heard so many times – which carries the album forward with a polyrhythmic arpeggio, offers a modernized take on the nostalgic 80s Vital Signs vibe. This collaboration with Abdullah Siddiqui highlights his production genius, creating a track that beautifully sets the tone for what's to come. The nuances of Choro have been adequately discussed in a 2021 article. Next comes Thandi, which offers a cool bassline that anchors the song, providing a solid foundation for the mesmerizing flute drop. The simplicity of the melody shines through in this track and adds a touch of intrigue to Natasha’s collection. The singer’s commendable presence in a dance EDM track, also showcases her ability to deliver in diverse musical landscapes.

Raazi offers some of the best lyrical wordplay on the album by Natasha, also placing co-writers Bilal Baloch, Maanu and Zeerak Ahmed in the spotlight.

Nishana also stands out as a dense and edgy pop song with reggaeton influences. In a way, it is Faltu Pyaar made cooler with some top-notch vocal effects and similar nitty-gritties, highlighting the artists’ attention to detail. The track is once again testament to Natasha’s vocal diversity. It also furthers her as a pop artist with fine taste and finer musicality, acquainted with the knowledge to bring her vision to life. Raazi offers some of the best lyrical wordplay on the album by Natasha, also placing co-writers Bilal Baloch, Maanu and Zeerak Ahmed in the spotlight. The eloquent use of words adds a touch of seductiveness to the track. Meanwhile, its beat stands out because of the electronic elements fused with raw percussiveness, making Raazi enticing as well as exotic. This is definitely one of the stronger tracks on the album.

Call Me presents a distinct Punjabi rap-style delivery from both Natasha and Annural Khalid. Opening with a cool synth intro and followed by a sparse beat, their vocals take up space without even trying. The lyrically-heavy song adds depth to the overall album experience. You hear something different from Annural here as well. Matlabi, on the other hand, efficiently blends hip-hop with trap music elements. The details, including arpeggiated synths and vocal effects, contribute to the song's overall dynamic. It is reflective, confrontational, even empowering.

Ronaq is a cohesive and immersive musical experience that not only pays homage to Natasha's diverse influences but also establishes her as a force to be reckoned with in the contemporary music scene.

Baaz, on the other hand, features a club, trance, house-style beat with a build-up-and-drop structure. Abdullah places emphasis on Natasha’s voice, creating a powerful synergy. Followed by Laiyan, which offers some of the best moments on the album for Natasha. With vocal effects like, “Okay pause” breaking the fourth wall leading up to a bridge section that is melodic perfection, Laiyan, with its cool ad-libs and harmonies, hits the nail on the head. Closing with Friends, the album takes a fun and avant-garde turn, echoing Natasha’s roots. This one rings like a trib