In the Melodic Lane

Roy has always enjoyed using sitar in his pieces. It floats somewhere in the middle and has occasional touches of brilliance. The song, with the words “I’m a sunshine girl” could sit well with “I’m a Barbie girl” — a bubblegum pop piece by Aqua, the Danish eurodance group. In this, he has combined an interlude on the instrument with an electric guitar. But Bhatnagar gives AR Rahman and Pritam a miss and chooses Roy instead, who established himself through the music of Piku. Also, this is the first time Anupam Roy has composed music for a non-Shoojit Sarkar film. Soon, Bhardwaj croons Maine bola zindagi, Aaja khelenge hum khwabo ka nigaaho se jua. The sitar exists in the background of this entire piece and in an interlude later, adds another dimension; from a calm, restive drone, the song lifts itself to a piece one can play on the loop. Towards the antaras, Gandhi lifts her voice and reaches a crescendo. It’s an experiment alright, but is a relatively muddled addition for a melody that boasts of clarity and clean notes otherwise. This is followed by Harshdeep Kaur singing Sune saaye. This bit in the piece can easily be equated with the return of lyricist Irshad Kamil we once knew. These were films that came with tunes that are still remembered. His version sounds better. A sitar is strummed alongside an acoustic guitar (this works wonderfully) just before Kaur enters the song. 2017-05-30T00:55:20+00:00″>
Published:May 30, 2017 12:55 am

A scene from Dear Maya that marks the return of Manisha Koirala
Dear Maya is an interesting project in many ways. A tabla keeps company with the same rhythm throughout. Roy’s pieces for Dear Maya are worth listening to. Drums appear only after the first half. Bharadwaj’s voice dominates this slow, meditative piece; her dexterous vocals are backed by simple instrumentals. At a time when English pop has become far more interesting, this doesn’t come across as a positive reminder of the ’90s — both in terms of lyrics and voice. And not the Baby ko bass pasand hai Kamil we have heard in the recent times. It marks the return of yesteryear actor Manisha Koirala, last seen in Rohit Kaushik’s 2015 release Chehre – A Modern Day Classic, which wasn’t a blip on the box office. Then comes Kehne ko, in which piano chords are put together with Jonita Gandhi’s husky whispers. For all the latest Entertainment News, download Indian Express App The film has been directed by Sunaina Bhatnagar, who assisted Imtiaz Ali on Jab We Met and Love Aaj Kal. However, the soundtrack isn’t as remarkable as what we heard in Piku. The acoustic version of the song has Roy take the microphone, raise the musical scale, and in turn the bar. This is one of those few times when Kaur’s voice sounds effortless on a high pitch. It’s one of the more intelligently orchestrated melancholic songs; it borders on haunting. It’s, however, a forgettable composition. Patil’s Buri buri follows in newcomer Rashi Mal’s voice, who has also penned the lyrics of the song. The album opens with a soft piano prelude that merges with Rekha Bharadwaj’s voice in Saat rangon se.