Music Review: Past Forward

Barfaani, a piece loosely based on Lalit, a soft morning raga — mostly used in poignant compositions — has been used as musical background for a few sensual scenes that drew the Censor Board’s displeasure sometime back. The piece opens with a short synth prelude and merges itself in it effortlessly. With very soft instrumentation and few deft strokes on the Spanish guitar as interludes, Malik’s voice dominates the beautifully layered composition. The piece also has a female version that introduces us to Orunima Bhattacharya. An interesting texture and classical training in place, Bhattacharya wades through it intelligently. However, it’s difficult to brush off the effect Malik’s version has on us.

Bhattacharya shines, however, in Aye saiyyaan — a song that attempts to be UP folk. The piece opens with gabgubi twangs and harmonium chords and is from the world of bawdy, without the over imposing lyrics of that world. Towards the end, Vivek Naik joins in, in his extremely rustic, nautanki-style voice. It’s a lovely attempt at folk and Bhattacharya’s laughter towards the end of the piece hangs in the air post the conclusion. This is followed by Ghunghta, which has Neha Kakkar at the helm of it. A version of RD Burman’s piece sung by Kishore Kumar and Asha Bhosle in Dhongee, Kakkar sticks to her nasal voice to deliver a glossier version of the original. The big brass sounds in the background are the best part of the catchy piece — a reminder of how age-old tracks are still able to give much freshness to the current soundtracks.

Chulbuli is fashioned like Kishore Kumar’s Ek ladki bheegi bhaagi si. We say fashioned because it’s a very different composition but touches the old one in a more structural way. It opens with an accordion merging into some horns and synth pieces. Papon’s baritone makes way soon and follows along basic jazz movements. It isn’t bad at all, but quite forgettable. Mohit Chauhan’s Khaali khaali follows soon. It’s is an interesting track and sung well by the singer. But it’s a composition that suffers from a problem spotted very often these days — when the orchestration and the song aren’t synchronised enough in terms of scales used and directions taken. It’s a whimsical but forgettable track.

Ghalib Asad Bhopali’s lyrics avoid any banality or touch of truism, reminding us of his father Asad Bhopali’s immortal work. Overall, the album is a fine mix and Dagaonkar a crucial element in the upcoming musical arc of Bollywood.