Lyrics rooted in Urdu and Kashmiri poetry, Parvaaz, has made their mark in the independent music scene of India. With tracks that transcend boundaries and genres blending together folk, psychedelia, blues and rock to make music that sounds as unique as you could think a blend like this could be! We speak to vocalist Khalid Ahamed and Sachin Banandur, the dummer of the band to dive deep into their latest release, Na Gul Na Gulistan.
What does the album mean to the band and how did the emotional arc evolve throughout the project?
Khalid: It’s a collection of songs we’ve been working on since around 2023. Like our previous work, it’s based on themes we personally connect with and what’s happening around the world. Our personal feelings and global events naturally came into the writing, which is why the album became Na Gul Na Gulistan. The album has a very atmospheric and introspective vibe which has always been part of our sound, even in earlier works. This time, we added more layers by collaborating with different artistes, like a clarinet player from Turkey. These elements were necessary for the songs to feel complete.
This release comes after a significant gap since Kun. What made this the right moment to put out Na Gul Na Gulistan?
Sachin: After 2019, the pandemic shut everything down for about two years. Around the same time, our ex-guitarist left, and finding a new guitarist took time. Once Bharath joined, we needed time to adjust to the new sound. We also like to take our time to make sure we’re fully satisfied with the music before releasing it, without rushing due to timelines.
How did the internal line-up changes and external collaborators shape the record?
Khalid: While writing, certain transitions between songs needed specific instrumentation we had in mind, especially Middle Eastern influences. We tried different instruments, like cello, but it didn’t work. Collaborating with musicians like Umar and Sukru, who played clarinet and tumburu, shaped the album’s sound.
The lead single Kaua‘i‘ō‘ō samples the call of an extinct bird. What drew you to that idea, and how does it connect to the album’s themes?
Khalid: The song’s lyrics are about loss. After the track was recorded, we wanted to add something before it. While researching, we came across the story of the Kaua‘i‘ō‘ō and its extinction, which directly connected to the theme of loss. We got permission from the Macaulay Library at the Cornell Lab of Ornithology in New York to use the sample, and it fit perfectly.
How does your composition process usually begin? How was the process different from Kun?
Khalid: Sometimes we jam together, sometimes someone brings an idea and everyone builds on it. It often starts with a melody or musical idea. Lyrics usually come last. Music and structure always come first, and lyrics are added afterward. For Kun, we played most songs live before recording them, so they were already seasoned. This time, most songs were developed in the jam room, recorded in the studio, and are now being adapted for live performances. Only a few tracks were played live before recording
What do you hope listeners take away from Na Gul Na Gulistan? What does it mean to you personally?
Khalid: Hope — for a better world, both globally and personally. We encourage listeners to hear the album from start to finish. It’s meant to be a journey, the way we believe albums should be experienced. We’ve worked on this project for almost three years, and it’s coming out after six years. It’s also Bharath’s first record with us, which makes it very special.
Sachin: We hope to release more music in the future without such long gaps. Making a body of work, releasing it, and then moving forward to create more — that’s the goal.