Nayaab is the embodiment of our journey post-Bayaan. Having taken different paths in life since then, we've lived life on our own terms and been through a lot — both as individuals and as friends — only coming back together once we were confident we could top the bar we'd set for ourselves. Nayaab is us at our rawest, most vulnerable — it's a direct insight into our psyche. — Seedhe Maut, from the album booklet
Jayesh Joshi's fully animated cover for Nayaab is a masterwork of hidden meaning. At first glance, it's a grand, almost mythical scene — a massive banyan tree flooded by clouds, bathed in golden light. But look closer.
A person runs with an umbrella — but the umbrella has a hole shaped like the map of Delhi. You can't escape the city, even with shelter.
"Teen Dost" — three friends standing on top of the clouds, backs to the sun. Calm, Encore, and Sez. The trio at the heart of it all.
Roots that go deep, branches that spread wide. The tree of their career — fed by Delhi, reaching for the sky.
"Nayaab" spelled backwards is "Bayaan." The sequel that mirrors the original. The continuation that transcends.
If Bayaan was the statement — raw, urgent, "listen to me" — then Nayaab is the reflection. Four years of living, losing, growing. The same fire, but tempered by experience. The same hunger, but deepened by what it cost to stay hungry.
Both albums start with an intro and end with a message. Both feature the gossip aunty. Both are produced entirely by Sez on the Beat. But where Bayaan was about proving they belong, Nayaab is about understanding what belonging costs.