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Tuesday, October 19, 2021

Ungli music review: The album just below average

Ungli music review: The album lacks some genuine wit. It only pretends to be quirky and manages to be the real deal in parts.

Rating: 2 out of 5
Written by Suanshu Khurana |
Updated: November 14, 2014 10:20:47 am
ungliL Ungli music review: The album lacks some genuine wit. It only pretends to be quirky and manages to be the real deal in parts.

Composers: Salim Sulaiman, Sachin-Jigar, Gulraj Singh, Aslam Keyi
Lyrics: Amitabh Bhattacharya

When an album attempts quirky, one wonders whether it’s a worthy artistic statement. But the realisation that quirky does not always translate into a great personality, dawns on you soon after Ungli’s tracks have done their first round on your iPod. The album that has roped in four composers for a five-track album comes with a mediocre sense of the craft. But mediocrity in most of them unravels only towards the middle of the song, which places the album just below average. As one can expect from a not-so-bad-a-roll call, the album’s sonics are clean, which is one of the two good things on the album. The second, is the host of singers who’ve done a brilliant job with average compositions.

The album opens with Dance basanti, the Shraddha Kapoor item number, which is finding much airtime these days. The beats are irresistible in this Punjabi-meets-rock number. It begins with a twirling flute paired with a trademark tumbi for Punjabi effect. Sachin-Jigar are in rare form these days and with Dance basanti, they have delivered a night-club friendly hook. The lyrics are average: Gori tera thumka bada kinky kinky type da, does nothing to stimulate the imagination. What stands out though is Vishal Dadlani’s voice, which does wonders to the song.

There is a sincere charm to Pakeezah, which works its way up with an acoustic guitar in the background with spurts of western flute. Gulraj Singh’s unconventional, soft voice and composition work well for this. But the structure of the track is a little scattered and the song is easily forgotten. Aadarniya sees Dadlani picking up the microphone yet again, as Bhattacharya attempts to pay respects to the middle finger with lyrics that talk of corruption. The melody borrows loosely from Amit Trivedi’s Dev D masterpieces, in terms of the arrangement. The electric guitar interludes, protruding bass and prancing beats are just about alright. The song is a stilted attempt and needs a Ram Sampath touch to
rise above a below average melody.

Salim-Sulaiman have composed the soft number Auliya, which is one of the more intelligent tracks from the album. Sung by Arman Malik, the track’s colour comes from the piano and some staccato guitar interludes. The chord and scale changes work well. The only problem is that the song does not stick despite a decent melody. Ungli pe nachale is another catchy track in the album. It’s completely formula-driven, with a bit of dhol, Punjabi lyrics and an average tune.

The album lacks some genuine wit. It only pretends to be quirky and manages to be the real deal in parts.

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