Posts Tagged ‘Nikita gandhi’

Anurag Kashyap is back, this time with a love story, teaming up with Aanand L Rai as producer. Manmarziyaan is going to premiere at the TIFF 18. While we keep wondering about the actual release date (21, 14, or 7th September?), why don’t you read the review from Rohwit below, while listening to the official playlist?

Mast ali has a voice which sounds aptly familiar yet fresh, filmi punjabbbi songs wise. In Fyar he has been credited along with Vicky Kaushal and Sikandar Kahlon. I love the way song starts and credit to Amit Trivedi for smartly manipulating the pace of the song and even though the difference between ‘Pya’ and ‘Fya’ is not super easy to understand when you hear it, the song is just spot on. I didn’t care much about the rap part but it didn’t disturb my Foncentration.

Daryaa has ‘udaan types (Yes i am looking at you ‘hooo oo oo oo’) meeting Punjabi love’ sound which works like a charm. I have always been at pains to see Shahid Mallya not getting the kind of uptake that he deserves. He sounds madly in love and it sets the emotion of the song perfectly. Ammy Virk sounds powerful yet quite hurt and because of him, the song soars, pity his name doesn’t appear in the youtube song title credits till the time this was written. What a delight it is to hear Amit’s ‘hoo ooo oo’ template complimenting Virk’s passionate singing and spilling emotions like two glasses brimming with wine falling to the ground. There is also an unplugged version of this song sung by Deveshi Sahgal. It has a headstrong sound which I absolutely loved along with the super Guitar play of the always dependable Sanjoy Das. Deveshi’s singing is fearless and it would be silly to compare her version with the other version because, well the other version is not unplugged to begin with. In fact, with the ‘Udaan type hoo ooo oo’ missing from the song, this version sounds rather fresh! Super like!

Jazim Sharma and Harshdeep Kaur are heard in Grey wala shade, a song that revels in mischief. The tune is intimate and lyrics are delightfully naughty. Jazim‘s voice has a soothing effect and it is a pleasant change to hear Harshdeep in a simple song. Jazim and Harshdeep Kaur team up again in an Esraj rich Choch Ladhiyaan. I love what Amit has done with the tune of this song and to me, this could easily be the most layered composition of the album. The near classical arrangement is more essential than decorative. Being someone who understands ghazal gayaki closely, Jazim uses all the thehraav in his rendition and is a delight to the senses. Harshdeep Kaur is again in top form and sounds even more playful due to absolute crazy lyrics by the magician Shellee, Bande andar, paigambar…naache!

Dhayaanchand shines because of its lovely tune structure. Vijay Yamla, Nikhita Gandhi, Amit Trivedi & Suhas Sawant are pretty good in the song yet my favorite parts are those with Amit‘s voice. On a related dhinchak note – Tumbi, Tumba, Been, Dhadd & Bugdu by Vijay Yamla and Dhol by Kukki Jogi are composition’s heart and soul. A song that is definitely going in my dinchak 2018 playlist.

Omkar Dhumal has made several appearances in good and not so good songs this year so far. Here, his Shehnai is used brilliantly by Amit Trivedi. I was almost not looking forward to the song because of Jyoti Nooran’s name. Of late, her songs are one note, one character, unwelcoming and filled with unnecessary ‘See I can do so many alaaps’. I can confirm that she is super steady in this song. Along with Romy, she holds your attention in the serious Hallaa. Don’t miss the faint Shehnai and those lovely backup vocalists especially towards the end of the song…a brilliant touch by Amit Trivedi.

Shahid Mallya & Jonita Gandhi sing Sachchi Mohabbat very well, a song that bitterly regrets love that ‘could have been’, a love where they could have celebrated ‘Them being them?’. The wordplay in this song is deceptively simple and credit to Amit Trivedi for keeping the tune light in spite of two geniuses at play here. I am of course referring to Arshad Khan (On Israj) and Omkar Dhumal (On Shehnai).

Jaisi teri Marzee is a little ‘Tujhe yaad na meri aayi‘ in its character and it is not a bad thing. I liked the fact that rather than presenting a track as ‘title song’, they have used the said phrase to name it. Did I like the song? Yes. Would i listen to it again? No. Harshdip Kaur is pitch perfect and Bhanu Pratap Singh sounds fresh and promising. Still, I found this to be a ‘credit rolling’ song and not very ‘playlist durable’

Bijlee giregi has Devenderpal Singh, Babu Haabi, Sikander Kahlon & Vaishali Sardana in top form. At the risk of sounding repetitive, I absolutely love Shellee and what he has done here. There is not a comma (let alone a word) that feels force inserted. Bhasudi, durachari, cutie pie nahi kutti pie hai, Vayusena ka vimaan, missile waali…I can go on and on. The tune structure flirts with my other favorite song from the year – Teri pappi le lu from ‘Veere di wedding’. That said, I am already conflicted whether this song should go in the dinchak 2018 playlist from this album instead of Dhayanchand?* Anyway, I love the song and extra points for NOT using Badshaah for the rap portion in this (or any song for that matter). Fun fact – If you have a heart rate monitor, you will see your heartbeats take off like a rocket in this song. Trust me, I checked.

Meenal Jain, Yashita Sharma, Yashika Sikka, Rani Kaur, Anita Gandharva, Meghna Mishra & Vaishnavi Mishra are heard in Kundali. Predictably, the song is high tempo with a good thump. Yet again, Shellee’s lyrics shine (Sunnn pyari simran, jaa ji le apna jeevan!). I didn’t dislike the song but I would not go looking for this one in the playlist.

I don’t want to jinx it but this year has been relatively better than last couple of years in terms of film music. Still, I was yet to come across a devilishly delicious album. Last week I came across one that was truly 5 star stuff yet it didn’t ‘bite’ enough. May be because that is a pretty straight forward love story and because Mannmarziyaan is ‘complicated’ and handled by Anurag Kahsyap, the search ended with Manmarziyaan. I am confident that the album will outlast the film for years to come.

Of course it is Anurag Kashyap‘s collaboration with Amit Trivedi. Of course they have delivered, big time. Still, I think the most critical factor of this blockbuster album is Shellee. His lyrics truly walk in beauty. Not once do you feel the lyrics are dumbed down so that junta doesn’t dismiss the album as being ‘too punjabi’. I just hope the film is worthy of the lyrics and music it has got. Actually, I don’t care about the film at all. I am just happy Anurag and Amit have got back to their winning ways and given us an album that we can listen to in our little cocoons and forget the world.

How’s the album?

Filmi Hindustaan jaise…Chhaye Gurdass maan jaise

Rohwit

*Of course I will use Bijlee Giregi in the playlist. Hashtag Girl power.

So the film releases on 4th August and there is still no clarity on how many songs are there, and when will they release, just like what happened with Aye Dil Hai Mushkil music last year. My review went live on the day the film released if I am right. One of the things (call it old world ridiculousness) that I personally believe is that the music review shouldn’t go online on the day the film releases. That is the reason I pushed the editors of fightclub to make this review go live. I have also been off all social media platforms so I may have missed the tweets or systematic leaking of info about songs. After I posted the review, a kind soul pointed out that there are few more songs in the album for sure. But nobody knows when it will be out. As and when, and if at all they release, I will update the post accordingly.

One of the things you have to do when you review film music is to review almost every film album, and when you summarize the year, you get a real picture of the music scene – which is presently a device for caller tunes, among other things. Singers are called hot and auto-tune equipment is probably going to be credited as a valid artist sooner than all of us expect. It has become a routine to hear the ‘once-popular’ songs remixed and served usually to us in disgusting and shrill avatar. Not every routine is good. This particular routine reminds me of the uncle who used to punch me on my back really hard. It was as if he liked to hear me yelp – every time he used to come home. Every. Time.

Since last 3 years that I have been reviewing music for BBC, I have never witnessed such scarcity of fresh, not-a-remix-of-an-old-song, foot tapping madcap craziness in Hindi film albums. Radha arrives and breaks this unfortunate spell. Shahid Mallaya and Sunidhi Chauhan – a delicious combination on their good days make it impossible for us to not break into a dance (in metro, washrooms, during meetings, at dinner table, on dining table, during a corporate/personal dinner/lunch, to name few of real life situations where all this has already happened with the writer). Irshad Kamil, when not under pressure to invite bulla to come to his house and give him a hug kass ke, kicks ass with his pen (what a site to imagine, right?). Say what you will about the man, Pritam doesn’t try to turn the sound of a film album based on the compulsions of his ‘unused tunes’ folder. You hear radha and you couldn’t care less who has composed the music, because you are busy with the song and when that happens, music director has already won. There are way too many high points in one song here. Be it the moment you hear both singers together go ‘main bani teri/tu bani meri radha’, or that magnificent change of scale towards the end, this is way too much crazy tapped in one song. A monsoon shower of a song. Hello Pritam! Mwaaah! (This is a chumma).

There is a remix of Radha by DJ Shilpi Sharma and it even has variation in lyrics and structure (like almost all the remixes in the  album). Oh and by the way, do hear the Arabic, Telugu and Tamil versions of this as well to know exactly why Sunidhi Chauhan is a Goddess. No One can match her. Period.

Beech beech mein has a uniform disco mood that doesn’t bother me much and that’s my only problem with an otherwise decent song. I might not forward the song when it comes on screen but I won’t go looking for it. May be because it is a bit too decently arranged and composed. On the other hand, the remix of this by Lady Bee is the one that does it for me. Loved it!

Safar is a song that has a ‘Gulzar-Vishal-sque-evening-song-meets-raabta-night-in-motel vibe’. A disheveled character, walking, with no aim, no destination, and one who is not particularly remorseful for that. In my books, this would be one of the best songs by Arijit ever. Pay attention to a ghazal like repeat of ‘Jaana-maaine…’ in between, a first for me in a film song. It seems like Pritam saves his best songs for Arijit. Yet again, Irshad Kamil shines using simple words but what a context! Beautiful!

Butterfly is a regular Punjabi song and for some reason, Nooran sisters sound too hurried and excessive-soulful-per-square-feet. I missed Sonu Nigam in the song, I don’t know why. Aaman Trikha, Dev Negi and Sunidhi Chauhan are good. I LOVE the double flute in the song. Is it a good song? May be. Will I listen to this again? Nope!

There is a charm in Hawayein that we all like in a film song, be it Arijit Singh who suddenly becomes very present in the song or those blessed aching words by Irshad Kamil.  There is a drama loving, bollywood romantic in everyone. Karan Johar and his team brought that part out in the open with channa mereya, and with Hawayein, Team Imtiaz makes that part of us weep inconsolably. I doubt if visuals can match the beautiful sadness of this lovely composition. The tune is almost instructive in what to expect – Bring on the slow motions and quietly reach out for those tissues people, all while humming – hawaayein hawaayein…Yes, we are all mad. Also, Arijit singh, never stop please. There is a film version of hawayeiṅ and it sounds more spaced out and intimate – arrangement wise but it gets in Arijit’s way. He is more devastating in the first version and that’s why  my heart beats for the previous version more rhythmically. 

ParindaPradeep Sran is a star to put it mildly and Pritam-Irshad Kamil have given a perfect platform to Sran where he could soar, and soar he does. I am still confused who is a winner in the song. Jeene na ab degi, mahi di laparawahi. That fantastic drum set and guitar combo is breathtaking. A song for broken hearts with tonnes of Pizzaz. The search version of this song has Tochi Raina crooning in his familiar zone effortlessly and may be that’s why he ticks the ‘heard before’ box but I would pick Pradeep Sran’s earthy voice over Tochi’s voice for this song. That said, Nikhil D’Souza’s portion is plain superb! 

Gharkhali hai jo tere bina, main wo ghar hu tera ghoomey phire tu chaahe sab sheher, tu hai mera. Nikita gandhi gives this song so much pain, its infectious and will make you sad. It will mock the void in your soul and some of you would be amazed thinking how did the metaphor of your life get into a song? I love how Nikita is prominent yet always in background even when she is the only one singing. Imtiaz loves Mohit and we don’t dislike him either but here, the song belongs to Nikita. Hear her ‘intercept’ Mohit right before the song ends (at 3:12 mins), as if opening her hitherto unopened wounds, as if to make a point. It would take a long long time for to recover from this song. Art imitates life, did someone just say that?

Yaadoṅ meiṅJonita Gandhi is powerful and arrests your attention with her range barely seconds into the song. Mohammed  irfan attempts a pitch which is clearly new for him and even though I feel he is the most undervalued singer we have today, he seems more at ease on low notes which isn’t a crime. This is an intense song that gets ‘intensity’ right, perhaps that’s why I wont play it again. Mad props to Pritam for structuring the song the way he has. 

RaulaPagḍi ka rang bhi pink ho gaya. Diljit Dosanjh and Neeti mohan go through some interesting lyrics without much to take home to. The tune lacks sincerity and verve that you expect from an Imtiaz Ali brand punjabi song. It makes AṚ Rahman’s embarrassing Punjabi effort in highway sound like gold and that’s just awful. 

Jee ve SohaneyaNooran sisters scare me off late. You can almost imagine high notes and uncalled for aggression in simple songs. Thankfully, barring some mid antra alaaps, Nooran sisters don’t bother your senses much by clouding lyrics with excessive vocal circus. A song that aimed for Lambi Judai pathos, but doesn’t get close enough. Still, a good effort.

PhurrCringeworthy lyrics sung by a somewhat studio-sque Mohit Chauhan aside, the vibe of phurr is pretty dubstep-ey and breezy. The song is clearly a way to place the song in the minds of Amreekan/bidesi junta so that they can throng theatres. It ends too soon and to me, it sounds more like a strategic afterthought than anything else. There is a lot of forced pizaaaz with Bollywood tukbandi which doesn’t work whenever you hear Mohit’s part.  Being touted as the first song in hindi cinema to be put behind a paywall, I would buy the rest of the album twice than buying this once,  but then, we did buy the entire album all songs as ‘singles’ so that’s that! The film version sounds much better than the music video version because Tushar Joshi gets a larger play at things and honestly does a kickass job at it. 

In spite of having few ‘normal’ songs in Raula, jee ve sohneya, butterfly and beech beech mein, the album is a cracker because of the goodness of all the other songs including remixes! When 99% of film remixes these days are just ‘play-the-original-track-with-triple-jhankar-beats-and-add-few-scratches’, there is a clear effort in remixes of JHMS, and a big wolf whistle to Lady Bee and DJ Shilpi for that. Go ladies! I still cannot believe they took so MUCH time to release the songs and as I type this, album is still not available on iTunes. 

There is never a dull moment and the best part is it isn’t overwhelming either. You can stomp your feet and clap your hands in all the songs, with varied pace and trust me, it won’t feel awkward. Albums like JHMS are a ray of hope that all is not lost when a typical commercial film decides to include music for melody and not just for caller tunes and shitty tribute videos. Irshad Kamil, Pritam and the entire team is on fire, and this man Arijit Singh is raising the bar, one good song at a time. Dear Arijit, you are allowed a million ‘mohabbat barsa dena‘ for songs like Safar and Hawayeiṅ

In the world of mainstream Hindi films of 2017 so far, JHMS has a sound and rhythm that is like a distinctive click of a top class stiletto on a eerily quiet subway. Imtiaz Ali knows what he is doing with music, and there cannot be a more solid testimonial to this fact than this wonderful, wonderful album. If only this blogpost could scream how much I love this album! 

My picks – Hawayeiṅ, hawayeiṅ, safar, radha, ghar, parinda, all remixes and repeat!

– Rohwit