Updated: January 8, 2016 9:35:00 am
Composer: Shantanu Moitra, Advaita, Ankit Tiwari, Prashant Pillai, Gaurav Godkhindi
Lyrics: Manoj Muntashir, Swanand Kirkire, Turaz
Almost three years ago, a haunting melody in a 2012 album The Silent Sea by Delhi-based band Advaita, sounded like an interlude life could have. Called Mo Funk, the piece moved from absolute fury to tranquility through tabla bols and a melody in Maalkauns, a raga which according to ancient legend was created by goddess Parvati to calm Lord Shiva. Three years later most of Mo Funk has been transferred to a song titled Khel khel mein in Bejoy Nambiar’s Wazir to become the album’s finest piece. It is quite interesting to see the result of independent music moving into the mainstream and hitting it out of the ballpark. The striking freshness and darkness hits an ace here. The piece opens with Amitabh Bachchan’s recitation of Abhijeet Deshpande’s lines followed by Ujwal Nagar saying the tabla.
The piece opens with Amitabh Bachchan’s recitation of Abhijeet Deshpande’s lines followed by Ujwal Nagar saying the tabla bols with much gusto. The song then elegantly swerves into atmospherics, edgy guitar riffs and slides on the sarangi. The ambient electronics create trance-like five minutes. Full points to this one.
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Also read: Five reasons why Wazir can be worth watching
Tere liye mera kareem is another brilliant piece from the dark alleys created by Prashant Pillai. It opens with haunting synths and Gagan Baderia’s voice. The song builds like a thunderstorm as repetitions of Yahi hai mera yakeen/banu tera mujahideen surface. With Pillai backing up the vocals paired with hard strummed improvisations, the piece turns into a unique mishmash. Wazir’s theme, which is likely to be the background score for the film is created with drums, synth and strong bass riffs and electronic sounds. The haunting melody, without any lyrics, stands on its own. It’s the urgency and rousing quality of it that makes it sound apt as the background score. Tere bin is a clear Shantanu Moitra number and the first bell-like sound paired with a flute prelude is enough to tell us that. The song has singers Shreya Ghoshal and Sonu Nigam.
The song has singers Shreya Ghoshal and Sonu Nigam attempt this gentle ballad. There are very few singers who translate the mood of the song to its lyrics, and Ghoshal and Nigam use their seasoned voices to deliver a melodious piece. Parts of this song may remind one of Piu bole from Parineeta. It, however, is an intelligently crafted composition full of straight notes, brilliantly played tabla and is delivered with much flair and perfection. Maula by Javed Bashir is a composition which is enriched more because of the singer’s attempt of it. The orchestration is just about alright. The qawwali has a catchy hook and sticks.
Tu mere paas by Ankit Tiwari reminds one of a piece from the Bhatt camp and doesn’t really fit in with the otherwise intelligently crafted album. This is not the romantic song one expects from an edgy project. It’s too soppy and doesn’t have any impact.
Vidhu Vinod Chopra’s Wazir is a winner in terms of variety and voices. Too many cooks mostly end up spoiling the broth but Nambiar needs to be credited for a brilliant selection of composers who’ve delivered an eclectic mix. Except Tiwari’s piece, every song stays back.
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