Guest composers Amjad-Nadeem produce possibly the best composition yet that I have listened to, in their sole offering for the soundtrack of 3 Storeys, titled ‘Raasleela’ . A pleasantly engaging melody set to a dandiya-esque folksy rhythm, finely rendered by Sumedha Karmahe. It’s a combination that is likely to remind you of Leslie Lewis and Suneeta Rao’s yesteryear indiepop hit ‘Pari Hoon Main’. The composers also lend a hand in writing the song, alongside Alaukik Rahi (who been active since 2010, though mostly for nondescript films). The rest of the soundtrack has been composed by Clinton Cerejo.
Mohit Chauhan’s characteristically drawling rendition is a perfect choice for the atrangi kahaani that Pushaan Mukherjee pens in ‘Zaroori Bewakoofi’ and the man receives fine backing from Vivienne Pocha, Crystal Sequeira and Bianca Gomes (all familiar names from Cerejo’s Coke Studio@ MTV set). Cerejo sets the song to a groovy arrangement (even cameoing in an interlude with vocal trumpeting) that features some excellent guitar work courtesy Shon Pinto.
The wistful lyrics of ‘Bas Tu Hai’ (by Puneet Krishna) wonderfully complement the composer’s immersive treatment with stellar guitars from Blackstratblues’ Warren Mendonsa. The song’s vocals, by Jonita Gandhi and Arijit Singh only heighten its effect. The last of the soundtrack, ‘Azaadiyaan’ , is slightly reminiscent of ‘Haq Hai’ from Te3n (2016). Even Shellee’s lyrics sound too similar. Incidentally, both songs feature Cerejo on vocals, but in this case, he’s joined by Ananthaal bandmate Bianca Gomes.
Now onto the other release of the week, Raid where remix man Tanishk Bagchi is apportioned two songs to recreate. Both have been made popular by Nusrat Fateh Ali Khan, and Bagchi chooses Rahat Fateh Ali Khan’s vocals for the two. Unfortunately, they’re mediocre. Musically, ‘Sanu Ek Pal Chain’ makes for a better listen — its contemporary arrangement helps but Manoj Muntashir’s lines (that replace everything in the song except for the title refrain) sound jarring. The lyricist also lends his services to ‘Nit Khair Manga’ which Bagchi completely rearranges to make a new sound around the legendary refrain. However, the track remains ordinary yet — that banal rhythmic pattern is a particular turn-off.
The second half of the album, is far more original courtesy Amit Trivedi. His pulsating arrangement works well with lyricist Indraneel’s tirade against corruption in ‘Black’. But the rant gets repetitive with the literal listing down of multiple definitions of black money. But Sukhwinder Singh’s vocal prowess remains top-notch. In ‘Jhuk Na Paaunga’ the melody and lyrics are at odds with each other. While the song is built like a soulful ballad, Indraneel's choice of words conveys a sense of forcefulness and aggression. It is only in the occasional soaring notes led by the trumpet (Kishore Sodha)/chorus (Rajiv Sundaresan, Suhas Sawant and Arun Kamath) and resounding percussions that the assertive tone comes forth. A good listen, despite the arrangement evoking memories of other Trivedi songs, thanks to the endearing melody. Papon handles the singing well in this one.
Two short soundtracks, both featuring multiple composers of which the one with original compositions trumps over that which relies too heavily on remixes.
Published - March 08, 2018 08:17 pm IST
