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Monthly Archives: June 2013

                      ” Lootera by Amit Trivedi is buoyant.”

There is an album that has just landed in Bollywood, that will, at the end of the day, test your senses with its wide repertoire of genres, right from folk to electronic music. Amit Trivedi might just take the honours for an album that has wonderful nuances in its music and not to forget, some wonderful singers as well.

Sawaar Loon goes to show that the composer is eclectic. Amit adapts well to a style, that needs quite an understanding to master. Not to forget the period at which the film takes place. The tune is simple and the coating that the song has got is complete with violins, flute, simple jadhis and wonderful vocals. Also, you have got to give it to the composer, who has done his homework in selecting the singers by keeping the plot in mind. Monali Thakur fits well here.

Remember this album has somebody, who apart from Amit, takes something back to his place. Amitabh Bhattacharya sings a song that is well orchestrated. Ankahee is well supported by the lyrics and you can find Amitabh Bhattacharya donning a dual role as a lyricist and  singer. The composer can do little when the technicians involved in the song exactly know what to do and the singer-cum-lyricist has done just that. The song is breezy and subtle at a brisk pace.

Strings make a mark in Shikayatein with violins beaming at the background. Amitabh Bhattacharya is there again, making sure he delivers in a song that has good vocal arrangements with Mohan Kanan’s singing as well. Swanand Kirkire’s spirited singing takes Monta re to a different level and the vocal arrangement is splendid again in a tune that goes to show how versatile a composer can be! Amit Trivedi comes back as a singer in Zinda. The song reflects the mood of the whole album with a similar arrangement and instruments that were used for the previous songs.

There is an out of the world stuff in Manmarziyan. The track opens up well with guitar and the moment you hear the vocals and violins playing well along with each other, emotions galore and rockets to an all-time high when you hear Shilpa Rao taking guard. There is no looking back from there and santoor complements the song well till it ends.

Lootera’s music is buoyant and versatile that fits well into what seems to be a period film and considering that, the soundtrack is a clear winner!

                                                 Raanjhanaa, Music by A.R. Rahman

2013 is special for Rahman fans all around the globe. This is because they are going to hear a lot more from their favourite composer who has decided to take up more projects in Tamil by striking the balance between Tamil, Hindi, Hollywood and a project for MTV Coke Studio as well (at least that’s what the sources have confirmed). While people were enjoying his latest release in Tamil, many were hyper excited about his next offing, Raanjhanaa. Thanks to the expectation a Rahman album carries along with the music So what does Raanjhanaa as an album have? Let’s take a look at the music of Raanjhanaa, Rahman’s latest release to date.

As soon as I opened the album, Aise na dekho was the first in the list of nine songs(some say eight. Thanks to an instrumental piece, but still it gets counted as a song as it also finds a place in the list, right?) The song opens as a thick Jazz-layered number with Rahman and chorus making sure Irshad Kamil’s colourful lyrics gets along nicely with the song.This song took me to the time of Iruvar which had “Vennila Vennila”, another number with Jazz pattern. While listening to this song, my mind told me that this album is going to have a breadth of genres integrated in one fold.

Ghatam finds a major place in Ay sakhi along with Madhushree, Chinmayi, Aanchal Sethi and Vaishali with Madhushree and Chinmayi dominating the song throughout. Ay Sakhi is playful, colourful with a lovely arrangement and the back-up voices are brilliant. The song has a classical base to it in an album that is largely semi-classical.

Banarasiya starts off on a high with strings, tabla and flute, elements that are needed for a classical track to be largely successful. Shreya Ghoshal seems to be in no mood to give up as the song takes a new high. The voice gives way for sitar in the interlude and takes over again once it finishes. Both Ay sakhi and Banarasiya makes us wobble between the tracks in want of classical music.

Rashid Ali and Neeti Mohan’s carefree singing delivers goods for Nazar laaye with both the singers getting enough space to show their mettle in singing a song that sounds neat throughout. Tu Mun Shudi is all techno, having its moments here and there. The track blends brilliantly with shehnai and gives a suave feel that it is classical. Thanks to Rabbi Shergill who deserves more enchanting tracks in the future. The Land of Shiva is an intrumental track to demonstrate the holiness of Banaras.

Tum Tak gives us joy in all ways. Javed Ali’s voice takes off from the word go and helps largely in making the song sound classical. The song’s pattern appears to be unconventional and Pooja Vaidyanath shares her joy by lending her voice in the middle. Keerthi Sagathia, the other name that features in the track packs a power punch.

Sukhwinder Singh and KMMC’s Sufi Ensemble deliver a treat to the listeners in the form of Piya Milenge. Rahman rarely goes wrong with anything that is sufi, does brilliantly well again. This could well go down as the song of the album with its religious coating, sufi verses and ornamented notes. Hear the song once and this could well go on a loop.

Jaswinder Singh sounds dynamic while Shiraz Uppal is free-flowing. Raanjhanaa’s title track is a good orchestral score with violins, sitar and dhol beaming throughout. Rahman can take pride in giving the lead singers, especially Shiraz Uppal an opportunity to sing this track.

Rahman’s experiment in blending the album with various genres which is largely semi-classical seems to have worked big time. Raanjhanaa is enchanting and colourful with freshness written all over it.