KAUFMAN - "Or cramming in sex, or car chases, or guns. Or characters learning profound life lessons. Or characters growing or characters changing or characters learning to like each other or characters overcoming obstacles to succeed in the end. Y'know ? Movie shit."
Kaufman is sweating like crazy now. Valerie is quiet for a moment - from "Adaptation".
We are all about CINEMA. That movie shit.
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Because we talk about films, dammit.
Not your sex life.
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If you follow this blog regularly, you must have read a post on the indie film Kshay. If you haven’t, do click here to check out its interesting trailer and synopsis.
We have now been offered a preview of the soundtrack of the film. We are embedding two tracks here. Do check it out. We would like to know your feedback, so scroll down and use the comment box.
Kshay OST – Home
Kshay OST – Everywhere
And if you like the tracks, here’s some more dope on the music from the film’s production notes…
Music for Kshay has been done by director Karan Gour and Siddharth Bhatia. For the music, both Siddharth and Karan knew that we couldn’t be using electronic samples, which would be the independent way to go. We needed a little more character than that to help support the film’s imagery. We narrowed down on a string quartet and a harp, but that would be far too expensive to record in a studio. Hence, we managed to get some more cash together and bought the Vienna String collection off their website which consisted of brilliantly recorded solo strings that could be manipulated in various ways to match a natural, textural string composition. Both of them did their own versions of the movie and we actually had 2 soundtracks for the movie. The final soundtrack was a mix of both the composition types, although it went through a lot more evolution than just that, taking about 3 months to complete.
Naah, we are not talking about Himesh Reshammiya. Delhi Belly and Shaitan – the two most exciting soundtracks of the season. New sounds, new singers, innovative arrangements and the not-so-mahi-way lyrics. The combo is deadly at places.
One more strange thing has happened with the album of Shaitan. Not sure whose idea was it, or if it was just an accident, but Shaitan has made it possible to catch the culprits who downloaded the songs (btw, who doesn’t?) instead of buying it. But the worst is that it seems even the music critics are doing so. How? Well, one track is missing from the album which is available online. But if you buy the album, there is one extra track – the Hawa Hawai remix. And since most people downloaded the songs, most of them have missed it. Check out Shaitan’s music reviews.
Got to know about it when i played the album on www.gaana.com and have been playing it non-stop since then. With a strange twang in her voice, Suman Sridhar gives it a complete makeover. Not sure who is the composer behind the remix as there are four music composers in the album. Here it is…
BTW, remember the new version of “tum jo mil gaye ho” in Coke’s tvc featuring Imran Khan? That’s also Suman Sridhar. Gimme more!
Delhi Belly also has a track which is a kind of experiment with the nasal twang. The immensely talented voice artist Chetan Shashital does a Saigal number and it’s called Saigal Blues. The music director is Ram Sampath. Do check it out.
And if it’s a remix, this is the way to go. No point in buying the rights of a popular classic number and kill it with an item number. Isn’t it all about the sound first? Even Bally Sagoo and Leslie Lewis will agree.
It is difficult to write a ‘review’ of the musical output of team VB-Gulzar. You generally listen with the heart and gut (and if you don’t then Lilaah!). The head is generally blissed-out by the perfection of lyricism and sounds so much so that even the imperfection melts in and doesn’t evoke question marks. So you understand my difficulties in writing a ‘review’. More so you wouldn’t be interested in reading if I just went by my gut and said, ‘Nahi boss, jama nahi.’ Or just gushed, ‘OMG, OMG, OMG, what genius!’ Jamta nahi na boss, so here is me trying my best to sound all knowledgeable and balanced, while blaspheming as I review VB-Gulzar. (Astagfirullah!)
Tere Liye – All of you, or at least most of you, have been going crazy about this one. So have I. It starts like ‘Ab mujhe koi’ but as it unfolds becomes totally something else. It is a soft, mellow ditty that matches Suresh Wadkar’s vocals perfectly. The light, pretty, romantic lines are matched with the equally light, pretty, romantic music. It makes u imagine chiffon sarees and Swiss hills, soft focus, diffused sunlight and well, Lata Mangeshkar 🙂 but it isn’t superficial. It is tender and soaked in love, the kind, gentle, warm type. It makes you want to hold your love by the hand and slow dance till forever ends.
Or just –
Jado ki narm dhoop aur aangan mein let kar,
Aankhon pe kheench kar tere daman ke saaye ko,
Aundhe pade rahe kahi karwat liye hue’.
Know what I mean? Gulzar’s lyrics do that to you. Savour this –
Halksi sardiya aur saans thodi gram ho,
Shamo ki shawl bhi thodi si narm ho,
Tere liye kishmish chune, piste chune,
Tere liye,
Humne toh parindo se baagon ke saude kiye,
Tere liye…
The piano is beautiful. And then its mixed with santoor-like strains. Suresh Wadkar’s redolent singing takes you back to ‘Tumse milke’ but with a lovely blend of western and Indian, the song is unique in itself.
Dil Dil Hai – Suraj Jagan ROCKS! Young and very unlike the regular VB. Reminds you a bit of Emotional Atyachaar rock version. Maybe the way the bass guitar has been used but then its rock after all. It doesn’t really impress me but I like the adolescent rebellion. It’s not intense or angsty, even a little rabble-rousing type. But since I can’t say anything bad about VB I shall simply say it’s the weakest of the lot and let it remain here.
Yeshu – Love the haunting tone. The way the church bells ring, suggesting an impending terrible doom. Like heralding the rise of the dark world. Builds tempo and becomes absorbing, enthralling and like a black hole hurtling towards you. It has a distinct dystopian note to it despite the fact that it’s a prayer. This contradiction is interesting and gives it the intensity. Rekha Bhardwaj’s sensuality adds an undefined aura, a mixed emotion of yearning, pain, searching, confusion, hidden desires. You start off wishing it wasn’t a ‘prayer’ because you don’t want her singing chaste songs really but it is amazing the darkness she brings to an already sinister song. The over-powering orchestration builds in a fine momentum throughout till it gradually reaches this sustained crescendo. And then it doesn’t end with a bang but on a gentle note. With Rekha crooning and church bells echoing alone somewhere in the background. The loneliness is ever-so-beautifully established. Ever-so lingeringly sad…
Darrling – I listened to the Russian folk song Kalinka (composed in 1860) after I heard this one and got a little more besotted by VB. Listen to the original, its all over the net! Darling wins the top-spot in my list hands down. Its verve, its energy and absolutely lip-smacking folksy gusto. And then there is Usha Uthup. I can like anything she sings even without listening to it. And my heart is torn to pieces here as I admit I like Uthup’s energetic dominance more than Rekha’s rumbling romp. The former has a command and the latter’s earthiness comes in the way, for once becoming her un-doing. To my ears the combination kind of doesn’t add up and Uthup clearly wins my vote. So when she sings with her fiery irreverence ‘public mein sansani ek baar karne do!’ I just wanna say, ‘Be my guest, can I join you?’ 😉
Doosri Darrling – Starts with a collective vigour that is difficult not to tap your feet to. Makes you wanna get into groups and dance away till your feet fall off. This other version is loveable because it beautifully uses RB’s mellowness. So much so that Uthup sounds a little lesser here in comparison. And love the Pushkin bit! (WHERE does Gulzar come up with stuff like this? :))
Bekaran – L’ilaah! The intoxication of love! That is this nazm. Doobne lage hain hum… saans lene dijye na… yes, there is a sinking kind of ecstasy in the song, a dreamy smile that cannot be rubbed off. There is a slight crackle in the beginning which makes me want to imagine rain. VB does a perfect O Saathi Re again. The echoes in the background and the slightly mis-matched mixing is ever-so delectable. Again contemporary rhythms are used so well even as there is a light retro feel very reminiscent of 70’s ghazals which were pure melody.
Awara – Very mood song! Has a typical banjara feel and Master Saleem’s fakir-like singing bathes the Sufi song with emotion. The music is desert-tribe Arabic with its gypsy instruments mixed palette of a rousing orchestra. Will have you swaying from the time it kicks in. Its cyclical, repetitive rhythm with Saleem’s wanderer-voice is trance-like…makes me want to step out of my skin and look at my body doing restive moves to it. There are strains resembling ‘Naina’ from Omkara, ‘Albela Sajan’ from Hum Dil De Chuke Sanam and vague resonations with ‘Satrangi Re’ from Dil Se. But the way my gut responds to it, these influences don’t take away from the originality or power of the song.
Na shaakh jude na jad pakde…Sounds scary but think about it, wouldn’t it be lovely if that were to happen in real-life? Free-floating all of us, with no roots, no need to be rooted…bliss-like, gypsy-like…The song ends on a fade-away…narrowing as much as it becomes expansive. Love the fade-away…
Tip – Play and listen to it while doing something else. It will grab you by the…collar 😉
Mama – Rock again! Again, adolescent. And this time the lyrics sound more so. Begins with a promise, somewhat light and innocuous. I prefer it to Dil Dil Hain but then to my ears, heart, gut and other music-responding organs it really is not that hot. Guess both the music and lyrics were done keeping John Abraham in mind 😉 Oh, btw Wiki bhaiyya tells me Mohanlal was to do JA’s role. Errr…wonder if this song would still be the same way then? It owes a sort of allegiance to the original baap of under-ground rock, ‘Khuda Hoon’ from Paanch, also by VB but doesn’t really hold a torch to the power or hotness quotient of that one. But then KK does a brilliant job and the rest of the song, well, flows. Remember I said I can’t say anything bad about VB? 😛
And just when I was gonna wind up, the acoustic version comes up and this slightly disappointing O Mama becomes a love ballad that drowns me. KK’s soulful singing and the tempered version transforms this one completely! I’d listen to this one over the rock version, given a choice.
Like most VB albums this one grows on you on repeat hearing. Like most VB albums this one also reveals its beauties on every hearing. As it is Gulzar’s lyrics never have you say enough, so all in all, ‘Hit hain boss!’
As the promotional campaign and the title of the film suggests, the official synopsis of the film says the same too. If you are still interested, here it is…
‘I hate luv storys’ is the maxim Jay lives by. But as an assistant director to Veer, the most famous romantic filmmaker of Indian Film Industry, Jay has little option but to live with larger than life, glossy, cinematic love on an everyday basis. Things only get worse when he is made to work under the new production designer on the film… Simran, with whom he shares the strangest first encounter!
Simran loves luv storys; So much so that even her life has begun to resemble one. With her ideal job and the perfect boyfriend, Raj, she lives a blissful, dreamy life; One that is rudely interrupted by Jay’s cynicism.
The turmoil’s of Jay and Simran’s life, is ironically interweaved with the Luv Story that they are working on…. But will Jay and Simran ever find their own Luv Story – go find it out in a theatre near you on 2nd July.
So, Raj & Simran have become Jai & Simran! Aur bolo! Though we still feel that “Hate” is the key word in our dictionary as far as this film is concerned, but have to admit that it got a supercool official website. Beats everything else that we have seen in recent times. Click here to check it out.
Music is by Vishal-Shekhar and Lyrics by Anvita Dutt, Kumaar & Vishal Dadlani. And here is the first song promo of the film…
And if you missed it earlier, the first trailer of the film….
Like many of us, Fatema Kagalwala is also tripping on LSD these days. But the big fuck up is that the music is still not available at many places! Yes, even after the film’s release. WTF is Sony Music upto ? I checked with Landmark (Andheri west) today. They have no clue. Thats quite a landmark, right ? Anyway, back to the dope.
LSD music is LSD. Not the film but its actual abbreviation namesake- the psychedelic hallucination-inducing, drug. And in its 8 song package it packs every kind of delirious phantasm the drug can induce.
I have no idea about music, you won’t get a review. I cannot write intelligently about instruments, rhythms, notes, genres and all that but there is this absolute compulsion I have, to write about the music of Love, Sex aur Dhoka. (Last I felt like this was for Gulaal and before that Dev D’s music. There is no comparison, these two and LSD music being in totally different spaces, the only similarity being how they got stuck to my playlist, fevicol-ka-mazboot-jod-types). Hence, this deluge of words which actually could begin at ‘rocks!’ and end at ‘awesome!’ But aren’t we all suckers for a little more than simplistic minus 20 IQ FYBA expression? I am going to have fun with it here while LSD songs play right now on my comp, yes, giving that extra kick.
Title track – Starts with a high-pitched shriek. Goes onto an equally mind-fucked ‘Dhishkiaaooon’. And the number of ways it is said in makes me imagine a character experimenting in different ways to say it, all mad but. Sets the perfect tone for this crazy song. And the mayhem then breaks loose. Obsession, destruction, wild fantasies all roll out without warning. What love! Destructive and protective in the same breath. I think it’s quite an interesting kind of love. But the killer are the lyrics. The schizophrenia in them is so much fun! Great perverse pleasure. In a twisted way embodies the point of the film. I don’t know if it was supposed to. If yes, then it’s genius. If no, even then I am thankful for the serendipity. And the way suddenly Kailash Kher softens down on the ‘Love, sex aur dhoka darling, love sex aur dhoka’ going into the frenzied pitch again is…Sneha Khanvalkar, take a bow. Actually, quite a few.
I can’t hold it longer – I think I LOVE this one because of it irreverence, its brazen-ness. And maybe also because being the ONLY female song in the bunch, I guess identify with it the mostest. But I also don’t think so, that’s too subconscious a reason because the song is a class-act in its own right. It’s more trippy than anything else in the album. Oh, the magic done with turntables, flutes, dholaks and what-nots (How I wish I could distinguish which instrument makes which music in the song!) The Rajasthani folk turned into a crazy, starved pop song! And does it work? The one that works the most in the album because of all the elements. Lyrics. Whoever thought of Rajasthani words and that too belted out in such a pop-ish style, in this case Mr Banerjee, is a genius. But for me the real genius is Sneha, the ensemble put together, with her bare-it-all, rendition, adding to the craziness. The fun she seems like having while singing it, makes me jealous. And the FO? It’s the juiciest cherry I have seen on any cake yet! My roomie put it on her cell after she listened to it once (by compulsion being in the same room with me) and now does not need permission to go upto my comp and put it on whenever she pleases which has become all the time in two days. More testimony for Sneha’s genius and our madness?
Tu Gandi – Controversy’s child. I first read about it on Anurag Kashyap’s status on facebook and me being the prude that I am, was more than a little taken aback. But of course, a curiosity for anything ‘atrangi’ (not for a want for a better word but there is no word that clearly translates the full meaning of this word in any language), call it attraction rather, drew me to it. Where the hell did the ideas of this song come in from? I want to go to that place… Explore it superficially or delve a little deeper, it explodes. A song that starts with something as crass as ‘Tu gandi achhci lagti hain’ goes onto something as spiritual as ‘Main kya jaanu kya sharam haya, tujhe jaanke main sab bhool gaya, woh kehte hain yeh kufr-khata, kaafir kya hain, kya mujhko pata.’ Then it goes into a starker yet deeper zone, ‘Sach, sach main bolnewaala hoon, main manka behad kaala hoon, tere rang mein man rang loonga, tu rangeen achchi lagti hain.’ There can be no song more honest about love and sex than this one. Personally, I think the music is a bit of a let-down in this one. Or maybe it is just that I am not a trance fan and this one falls in that pattern, the repetitive rhythm structure. Had the variations in the melody been more, it would have been a much much more interesting song. But guess, Dibakar thought we wouldn’t be able to handle the RDX then? 😉
Tainu TV pe wekhya – The craziness for me ends with the songs above. From here begins another trip, a bit closer to reality, dripping sarcasm, tongue-in-cheek, laughing at the knowledge that those being made fun of will not even get the point. This song reminds me of the news item years back saying how Abhijeet Sawant was inundated with marriage offers after he won whatever music contest he did. Wow. But the view of the dystopia we live in is delicious. Laughing at oneself and one’s surroundings is another kind of liberation.
Na Batati tu – The trip in this one is the music and KK’s rendition. Starting with classical beats going onto western beats and KK coming in with classical vocals going na dhin dhin-na over western rhythms gels for me! Again the self-deprecatory tone of the music and singing hide the meaningful lyrics. And the under-emphasis works so well, just adding that splash of meaning in an environment of lightly charged music! Sample this –
Nabh ke sitare (when was the last time we heard ‘nabh’ in any Hindi movie song?)
Aise saje hain dwarein
Jaage Jaage ujiyare
Mukh rang gaye saare
Palkon ke tale chhupa chand na
Tujhko padega pehchanna
Kuchh samajh ishaare…
My, my! Is this part of a movie about vouyeurism, materialistic changing values, love, sex and dhoka??? I am waiting for the film, if the songs alone pack in so much.
Tauba Tauba – Roomie tells me this is part of KK’s ‘Kailasa’. I imagine it as a spoof of some kind much like the ‘Love Bollywood Style’. The pace, very disco-ish and the rhythm very Arabic, makes it danc-ish. Ish! Why am I writing like this? Maybe cause its a song just to be heard and not to be spoken about at length???
Bollywood style – Makers of silly ‘nostalgia-inducing’, ‘tributes’, spoofs of 60, 70’s, 80’s, 90’s and hell even 2000’s songs must learn a thing or two from this Love Bollywood style song. Not that it’s the best in this category. “Woh ladki hain kahan hain’ from DCH and ‘Dhoom tana’ from OSO rock (I am out of words now) but this one’s got a tongue-in-cheek satiric attitude that the two above didn’t have. I like the sly tone of the song, making fun at prevalent popular film songs/situations/attitudes and the treatment is so genuinely serious it’s quite funny!
I’ve spoken too much about that just needs to be heard. And I can’t stop playing it repeatedly and can’t stop saying, ‘Fuck, awesome’ every other minute or so. Hope you like it too! And hope it catches on like Dev D. Not comparing but seeing how big a hit it was with the youth these songs sure do have the capacity to catch fire and heat up things more on the alternative film music scene. And by god we know how bad we need it.
But now I need to go watch the film. I caaaaannnnn’t hold it any LONGER! And shouldn’t either, na?
Are the Sony Music guys waiting for the album to hatch golden eggs ? They dont. And even if they ever do, they can do only when its out in the market.
Dibakar Banerjee’s new film Love Sex Aur Dhokha (LSD) is releasing on 19th March. Not even 10 days left and the music is still not out. Wake up Sony! Smell the coffee. Generally the music of a hindi film is released a month before its schedule release date and every week a new song is aired on tv channels to build up the hype.
In recent past, T-Series did a superb job with two film albums which had no big stars and not big budgets. Dev D and Ishqiya. And it helped both the film’s box office performance too. Dev D was sex + shock + songs, it jazzed up the curiousity factor immensely! Rest all depends on how good or bad the film is. Similarly, Ishqiya’s dil to bachcha hai ji & Kaminey’s Dhen Tedan hyped the film and gave it a strong recall value.
The problem is big labels need big stars. And better if the big stars lipsync the songs. Otherwise they dont have any clue how to market the album and the songs. And they are least bothered. So, the super giant Sony is sitting-thinking-shitting-pondering-ruminating-supershitting.
The music of LSD is by Sneha Khanwalkar who delivered a killer soundtrack with her last album Oye Lucky Lucky Oye. Rustic sound, lesser known singers, all packaged with a power punch. And interestingly, Dibakar has turned solo lyricist with LSD. He co-wrote few songs for Oye Luck Lucky Oye also. But this time, its all solo. Not one or two but he has written three songs including the now popular title track Love sex aur dhokha darling love sex aur dhokha. The second one is – I cant hold it any longer, an English-Rajasthani fusion!
The third song is Tu Nangi Acchi Lagti hai and there is another version of the same song- Tu Gandi Acchi Lagti Hai. Both versions have been written by Dibakar. No, there was no Censor locha as reported in the newspapers. One version is used in the film that goes with one of the characters (nangi) and the other version (gandi) is in the album.
Not sure when will Sony realise that there are people out there who are waiting for LSD music! If only management graduates knew everything about films and music, we would have an Auteur Club passing out of IIM’s every year!
Its a duet and guess who is the male singer! Hold your breath, its Himesh Reshammiya! Never expected to hear these two voices together (one i can listen in non-stop loop, the other is unbearable). But for a change, Himesh is sounding better. May be its the good company! The song is titled Piya jaise ladoo.
Director Sujoy Ghosh and music directors Vishal-Shekhar have been twittering for a long time that their new release Aladin has one of the best musical score they have ever done. The music of Aladin is finally out. There are eight tracks in the album, including one by Sanjay Dutt and (Giri giri) Amitabh Bachchan’s name features in the credit list of two songs.
Havent heard the album yet but you can listen to the promo songs of the film here and select “Audios” option at the top panel.
The film stars Amitabh Bachchan, Sanjay Dutt, Ritesh Deshmukh and Jacqueline Fernandes.
For all you Rahmaniacs, the wait is finally over. Post-Oscar, A R Rahman has now made his entry into mainstream hollywood with the film Couples Retreat.
Couples Retreat is a romantic comedy revolving around four couples who visit a tropical island resort for vacation, and to reinvigorate their marriages. Its directed by Peter Billingsley and written by Jon Favreau. The cast includes Vince Vaughn, Faizon Love, Jason Bateman, Kristin Davis, Kristen Bell, Malin Akerman and Kali Hawk.
And here is the complete track list of the music album…..
F.i.g.h.t C.l.u.b 
