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Drishyam

The classic pairing of Gulzar and Vishal Bhardwaj is back with Drishyam, and when these two geniuses get together, expectations from the soundtrack soar. Over the years, the duo has succeeded in offering some chartbusters in 7 Khoon Maaf, Kaminey, Ishqiya, Omkara, Maqbool, Maachis and more. Now we were looking forward to the same magic in

The duo has kept the soundtrack of this thriller-drama simple, with just four tracks. The album opens with Arijit Singh, who croons Kya pataa, a situational song depicting the journey of the protagonist. It’s about the journey of a man who manages to overcome unforeseen circumstances and this is aptly described throughout the song by Gulzar. The well-written song is further complemented by the musical genius of Bhardwaj, who has given this track a jazz flavour. The bass section, which kicks in in the latter part of the number, is commendable. Singh too does justice to this soulful number.

When you read Carbon copy listed on the album, you assume this is going to be a party track. Not at all. It’s a soft, soothing number. The track is on the lines of Gulzar’s classic song, Aye zindagi gale laga le from Sadma, on a special request made by director Nishikant Kamat. The track, sung by Ash King, brings a similar breezy feeling.

KK is back with Kab kahan se, which lyrically sounds like another version of the opening track Kya pataa. Breaking away from his mould, the composer has given this number heavy-handed rock treatment. The singing comes across as forced and fails to complement the musical arrangement of the track. Also, it isn’t very different from the earlier song.

Dum ghut-ta hai is the most interesting composition of the album. The musical arrangement varies between Western and classical instruments such as the ghatam clubbed with guitar tunes. The musical complexity is well expressed through the singing of Rekha Bhardwaj and Rahat Fateh Ali Khan, and the involvement of these singers further enhances this track.

Verdict: A situational album with haunting numbers

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