Music
Talhah Yunus Drops ‘Shikwa (Side A)’

Talhah Yunus is back—and not just with any project. He returns with Shikwa (Side A), a solo album that sounds like a smoke-filled lament drenched in existential angst. As I nod along, I can feel the cinematic weight of every track.
With ten songs, Yunus crafts what feels like a gritty monologue delivered under a flickering Karachi streetlamp, cigarette smoldering, pistol resting on the table. This is noir rap. This is desi existentialism in a leather jacket. And this might be Yunus’ most powerful self-portrait yet.
He Opens with Fire, Then Dives into the Flame
Yunus opens the album not with an invitation but a warning. Wazir Patar slides in with slick Punjabi verses, and Rap Demon slices through with sharp delivery. Yunus doesn’t just rap—he stalks the beat, delivering lines like he’s chambering bullets. The mood feels dark and theatrical, setting you up for aggression—but Yunus flips the script. Instead of sticking to smoke and bravado, he exposes raw emotional depth.
Musically, Shikwa (Side A) balances drill-inspired swagger with introspective stillness. Producers Umair and Jokhay create a minimal but potent soundscape of icy synths and ambient flourishes. The bass hits hard but never overwhelms, giving Yunus’ steady, often wounded voice the space it needs to land.
He Peels Back the Persona, Layer by Layer
As the album unfolds—from Takeover to Fancy—Yunus begins to fracture his rap persona. He still flexes with confidence, but you can hear doubt creeping into the gold-plated world he builds. On Shopping, a catchy beat masks a cynical truth. “Karachi is my home and my warzone,” he spits—reframing consumerism as survival.
Guess Who’s Back hits like a villain’s re-entry, but Yunus isn’t chasing charts. He’s clawing back identity. Each verse nods to his past but avoids nostalgia. This isn’t Burger-e-Karachi Yunus; it’s a darker, more bruised version trying to find clarity in chaos.
He Collaborates with Purpose, Not Just for Hype
Yunus doesn’t use features as filler. Dawgs with Talha Anjum feels like two veterans speaking in code—intimate and restrained. On Happen, Faris Shafi brings confession-booth vulnerability, and Yunus meets him there. Together, they turn the beat into a space of emotional free fall.
With 100%, Shareh adds laid-back ease to a lo-fi-leaning beat. It’s a breath of fresh air. Majaal, featuring Shamoon Ismail’s smooth vocals, floats with a softness that balances the album’s grit. Yunus spaces out these lighter moments carefully, ensuring they soothe without diluting the album’s core.
He Ends with the Heartbreak Before It Happened
The album closes with Shikwa, its emotional anchor. Urdu poetry filters through as Yunus delivers, “Kya hi shikwa karein phir, teri ghalti nahi hai.” The production drops away just enough to let the heartbreak breathe. It doesn’t just end the album—it lingers.
Cleverly, Shikwa (Side A) retroactively reframes Shikwa (Side B), which he dropped last year. Side B mourned the fallout; Side A captures the denial, ego, and illusion before the crash. Together, they form a nonlinear heartbreak—a rap duology that says, “Here’s who I was, and here’s where it all broke.”
A Story Only Yunus Could Tell
Shikwa (Side A) succeeds where many solo debuts stumble. Yunus weaves narrative, mood, critique, and character into a personal yet universally resonant journey. The album isn’t flawless—but its imperfections feel intentional, even poetic.
Should we dare ask for a Side C? If it comes, bring tissues—and a body bag. Because if Shikwa (Side A) starts the story, we’re definitely not ready for the jawab.
Shikwa (Side A) is now streaming on YouTube and Spotify.
Also Read: Talhah Yunus’ ‘Shikwa’ Album Includes Talha Anjum Cameo
Music
Ali Sethi’s Album ‘Love Language’ Set for August 1 Release

Music fans, mark your calendars: after catapulting into 2025 with singles Maya and Tera Sitam, Pakistani-American singer Ali Sethi is on the brink of releasing his long-awaited upcoming album Love Language, slated for release on August 1.
“Love Language, my first full length studio album, is out on August 1,” penned the musician in a simple caption in an Instagram post on Thursday as he credited the artwork and photography underneath. “A ragamala rendezvous. I made it for me and you.”
Accompanying the message were three photos from the upcoming album’s cover art. While Ali didn’t lean into Sabrina Carpenter’s Man’s Best Friend shock tactics, there’s no denying that one colour in his carousel demands attention: red. Shiny red leather gloves, a red lace-like shirt, and a jewelled red headpiece draped across Ali’s face – all work in tandem to seize the spotlight.
The red leather gloves are worn by Ali himself – never one to shy away from experimentation – alongside yet another oversized piece of jewellery, too large to be a ring, stretched across the fingers of his left hand. Against a muted blue backdrop, this striking red motif becomes part of his signature: it’s the font colour for his name, the album title, and the names of the new tracks. In case you missed them, Ali’s red-gloved hand points directly at the swirling list of songs featured in the second photo of the carousel.
Fans will be delighted to learn that Love Language comprises sixteen songs, (including the already released Maya and Tera Sitam). When Ali delivers on August 1, here are the eclectically named Love Language tracks you can expect to add to his catalogue: O Balama (Censored Love Song), Hanera, Rocket Launcher [ft Maanu], Nursery Rhyme (Interlude), Lovely Bukhaar, Jhatka in Jaunpuri (Interlude), Hymn 4 Him (Ghoomray), Villain, Bridegroom, Jadugarni, Kaava, Horizon, Subho Shaam [ft Natania], and Escape From Jhaptaal.
The final photo shows Ali gazing pensively at something just out of frame, one red-gloved arm poised as if ready for action, the chains of red jewels still draped dramatically across his face. If there’s any man who knows how to make a statement, it’s him. And with the post already racking up over 2,000 likes from eager followers within just seven hours, it is clear that this crimson-splashed statement is one his fans have been waiting for.
Also Read: Ali Sethi’s Mother Reveals She’s Not a Fan of ‘Pasoori’
Music
Annie Khalid’s Hit ‘Mahiya’ Remixed by Indian Producer

Indian music producer Yashraj Mukhate went viral by remixing Annie Khalid’s iconic 2006 pop hit Mahiya, blending it with a humorous clip of a South Asian man expressing his dislike for relatives.
Known for turning viral dialogues into catchy tunes, Mukhate paired the man’s blunt response with playful lyrics like: “Meri bua ki bhabi ke beti ki shaadi mein kyun jaon, mahiya, ke hoon mein pareshaan, mahiya.” The video quickly gained over 12 million views on Instagram.
Pakistani celebrities including Mawra Hocane and Zoya Nasir praised the remix, and Annie Khalid herself responded with laughter and enthusiasm. Mukhate, calling her “The OG,” celebrated the interaction. Khalid’s Mahiya was a breakthrough hit that defined mid-2000s Pakistani pop and opened doors for women in the industry.
Who is Annie Khalid
Annie Khalid was born to a Kashmiri father and a Yemeni mother in Lahore on 27 March 1987. When she was just six months old, her family moved from Pakistan to the United Kingdom, first settling in East London and later relocating to Essex.
Annie Khalid launched her music career with the single “Mahiya,” which became a massive hit in Pakistan after its 2005 release. Indian filmmakers later featured the song in the film Awarapan.
On 25 November 2010, she released her UK debut single “Be My Baby,” accompanied by a remix from British DJ Judge Jules. After meeting the English–Norwegian boy band A1 at a charity event, Khalid collaborated with them on the single “Just 3 Words” and joined their tour, performing across Norway and the UK. In 2011, the Pakistan Media Awards nominated her for Best Female Singer.
In September 2013, Khalid teamed up with Beenie Man to release the single “Boom Boom Danze.”
Also Read: Annie Khalid – Tharki Saala (Music Video)
Music
Muhammad Ali Shehki Says Romance Is Key to Great Music

In an interview with Imran Ashraf, veteran musician Mohammed Ali Shehki revealed that romance—real or imagined—is central to his musical process, and urged other artists to embrace the same mindset.
He admitted to envisioning a muse while performing, saying, “An artist has to be in love all the time, whether it’s your wife, girlfriend, or someone from your imagination.”
Tapping into that romantic energy, Shehki performed his hit Pyar Kiya Mein Ne Dil Diya, then reflected on his rise to fame in the 1970s. “There was a lot of craze in that era. Now, with so many singers, no one knows who’s who. Back then, it was just a few of us—actually, just two,” he said, referencing himself and Alamgir.
Shehki recounted how makeup artist Lily Raza, who shared his Irani heritage, helped him break into the entertainment industry. Before his big break, he performed in hotels and eventually landed a spot on a show hosted by Tara Ghanshyam. When Ghanshyam fell ill, Shehki was asked to perform their duet solo.
“I thought I’d lost the opportunity,” he recalled. “But Ghazanfar Ali sahab told me, ‘You’ll sing this solo without any complaints.’ So I did, and the song became a superhit.”
Shehki, also known for acting in films like Dekh Tamasha and Choron Ka Badshah, credited that moment as the turning point in his career.
Also Read: Ajay Devgn Shares Musician’s Apology to Nusrat Fateh Ali Khan
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