Yash Raj Films latest offering Dum Lag Ke Haisha not only mark writer Sharat Katariya (Bheja Fry Fame) debut as a director, but also witnesses Anu Malik’s return to composition in Bollywood, after two years. Malik, whose last project was Shootout At Wadala in 2013, has engaged quite distinct singers namely Papon, Kailash Kher, Udit Narayan and more for the enlisted six tracks. The album reminisces to late ’90s and early ’20s, work of Malik, relatively replicating the timeline of the movie. Surprisingly, Dum Laga Ke Haisha starring Ayushmann Khuranna, will be the first movie, which won’t feature any songs rendered by Khuranna .
The moment the album kick-starts with Moh moh ke dhaage, listeners might have a déjà vu of listening to the soundtrack of Ashoka or Refugee. Though not the exact replica of Malik’s earlier work, the musical arrangement lies on the same scale. The soothing and silky smooth texture of Papon’s voice compliments the humble orchestration and impressive lyrics of Varun Grover. The musical arrangements are beautifully balanced on the simplistic tones of Indian instruments like flute and shennai.
The album also features the female version of the track, sung by Monali Thakur. The arrangements have been kept the same and Thakur succeeds in maintaining the charm of the track, created by Papon. Both versions are peaceful and rides along with the demand of the script.
The robust voice of Kailash Kher takes the lead for the title track that features an energetic fervour blending seamlessly with the vocals of Noraan sisters. It’s a typical Kher style track that offers a rustic feel of his earlier track Babam bam. The song that starts with the subtle strumming of the guitar gets entangled in the hodge-podge of instrumentalisation and becomes quite a mess.
Tu brings back ’90s with Kumar Sanu on the mic. It not only resembles the singing style, but also replicates the similar music composition with the similar keyboard sounds. With the presence of modern sounds and electronic tunes, the song feels quite outdated. But seems to go along with the plot of the movie and Sanu fans will definitely adore his latest offering.
Rahul Ram frontman of the Indian Ocean band is up next with Malini Awasthi for the duet Sundar susheel. Once again, a situational gimmicky track featuring notable quirky lyrics, is well rendered but misses on the musical front. The folk musical arrangements, lend a matrimonial feel and are brief and could have been well explored.
Falling on the same line of Tu is the next duet Dard karaara. It also notes the comeback of singer Sadhana Sargam who along with Sanu resonates the empathy of the situation. The song is a perfect shout out to earlier times and will make it to the playlist of listeners who crave for good old ’90s classic.
The album ends with semi-classical theme track Prem by Papon. The orchestration and musical arrangements seem to be derived from Moh moh ke dhaage.
Verdict: The album lacks novelty and drives on the composer’s past musical flair.