Composers: AR Rahman
Lyrics: Amitabh Bhattacharya
In an attempt to deliver a youthful album, composer AR Rahman has come up with Lekar Hum Deewana Dil, which can go down in history as one of his most underwhelming and undercooked albums. The six-track record is bland, even hard to listen to. We even tried it all on repeat mode — in case it grew on us like his other music pieces. But no, that wasn’t the case.
The album opens with Khalifa, which sounds like one of the numerous tracks floating around. It opens with a rap paired with an electric guitar and many digital additions. Soon Rahman begins to croon Khalifa with a chorus of voices. Not even a modest triumph and no justice to his own singing abilities. The rap returns soon and so does our sadness. This is followed by Maaloom.
We like the opening riff on an acoustic guitar, which merges with bass music. It begins to take us back to Jaane tu ya jaane na days and we find some hope here. There is a chord change and Jonita Gandhi joins in. Her voice sounds lovely and changes texture — from a whisper to falsetto — with much ease. This is also the only song on the album that can qualify as listenable. Ala hada’s haunting beginning on strings is followed by light touches of ghatam and an acoustic guitar. Shiraz Uppal comes across as a tuneful singer.
But again, there isn’t much in tune. Mawali qawwali begins with a soprano singing a hymn, as if in a church. Drums come in, followed by a female chorus. The song takes so many twists and turns that it’s hard to understand the idea behind such a weary composition.
Bequsoor has some piano chords to begin with and is soon paired with Shweta Pandit’s voice. She’s good but the voice has been played around with by passing it through audio machines in an effort to make it sound dreamy. But the tune itself, which has decent arrangements, does not work. Tu shining’s bass sound is paired with Hriday Ghattani’s vocals. It’s just another song.
We squinted a little, waiting, for that one stroke of genius. But all we got was bland music. One Rahman’s most scattered
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