Tuesday, Sep 23, 2014

Music review Mary Kom: Most of the album is full of deadpan riffs

mary-main Music review Mary Kom: Most of the album is full of deadpan riffs
Written by Suanshu Khurana | Posted: August 29, 2014 6:05 am | Updated: August 29, 2014 9:55 am

 

Music review Mary Kom: Most of the album is full of deadpan riffs

Composers: Shashi Suman and Shivam
Lyricists: Prashant Ingole and  Sandeep Singh
Rating: *1/2

As we get ready to see Priyanka Chopra portray the Manipuri boxing Olympian Mary Kom on screen, one wonders about the kind of music a biopic like this should have. One also tries to imagine if the album will feature any north-eastern folk, which ideally it should. Well, it doesn’t. Traces of chorus and a few instrumental pieces feature in small measure amid a mishmash of very regular, sometimes boring tunes. Every track, except a lullaby towards the end, is built around the spine of drum beats and an effort to highlight the playback singer’s voice — an idea that should have worked. But such drab compositions, most with an unhurried mid-tempo groove, do not offer anything spectacular. Most of the album is full of deadpan riffs.

The album opens with Ziddi hai in Vishal Dadlani’s husky voice. The opening guitar riff paired with some drums for accompaniment convey the magic. But almost 30 seconds later, the song begins to lose its sheen despite Dadlani’s brilliant vocals. The main problem is the composition itself that does not have much to offer. Then comes Sukoon mila. As good and as delicate as Arijit Singh sounds along with the mouth organ and piano bars on the song, it can’t replace the fact that he is singing a tedious composition. The song, however, does have a fine arrangement — the saxophone interlude finding the most attention from us. Sunidhi Chauhan brings Adhure our way. She is singing in her “other” soft voice for this one. We are all for structure-less tracks but this one is all over the place without being interesting. The north-eastern chorus just does not work in this either.

The album does not offer many memorable moments. The best it offers is Salaam India, a brilliantly arranged track paired with the sarangi; flute and tabla with drums; and has been sung beautifully by Salim Merchant and Vishal Dadlani. The only other interesting bit is Chaore, a north-eastern lullaby sung by Priyanka Chopra. Pitch-corrected, yes, but by far the number we enjoyed most. It’s delicate, infuses Manipuri folk and is presentable.

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