‘Khamoshiyan’ music album: Most of the songs are redundant and insipid

It is the standard Sufi-rock fare that we have come to associate with Bhatt productions.

Rating: 2 out of 5
Written by Sankhayan Ghosh | Updated: January 10, 2015 6:19:57 pm

khamoshiyan It is the standard Sufi-rock fare that we have come to associate with Bhatt productions.

Music composers: Jeet Ganguly, Ankit Tiwari, Naved Zafar
Lyrics: Sayeed Quadri, Rashmi Singh

By the end of a round of listening to Khamoshiyan, we realise that the standards are so mediocre that the title song, turns out to be one of the better songs. Whereas it is, at best, strictly okay. It is the standard Sufi-rock fare that we have come to associate with Bhatt productions. It’s the same guitars, similar lyrics and the same Arijit Singh. Arijit is a gifted singer who has brought a new-age vitality to the waning art of playback singing but in the Khamoshiyan title track and Tu har lamha he sounds as though he’s on autopilot. Ditto with the number Baatein ye kabhi na. But there is little Arijit can do, when the tunes themselves are so worn out.

They all sound so similar including their arrangement and melody that one can actually stitch all of them seamlessly into one song. Kya khoya starts off well, with soft electronic beats and Naved Jafar’s unconventional vocals. The imperfection in his nasal delivery works well for the song’s philosophical ambitions, however pseudo it may be, as does its half-decent hookline. Bheegh loon is probably the ‘truest’ song of the lot. It sticks to its genre, the seductive song of the sirens that inhabit the campy thriller universe of the Bhatts. Although she sounds a lot like Sunidhi Chauhan, singer Prakriti Kakkar’s voice lends it a kind of teasing quality.

The song list of Khamoshiyan shows 11 tracks and it’s a relief to find out that only five of them are originals and the rest are reprises and remixes. Most of them are redundant and insipid.

Subhan Allah, for example, works better simply because it betters the original, Tu Har Lamha and not because of its own merit.

The occasional tabla and a more acoustic arrangement, along with Anupam Amod’s relatively fresher voice helps.

Another reprise, such as Bheeg Loon sung by its composer Ankit Tiwari, seems unnecessary. There is something fundamentally wrong with the male version of a song that, in its lyrics, melody and spirit, feels suited for a female point of view. In many places, Khamoshiyan, comes off like a desperate attempt to recreate another Aashiqui 2, which barring two songs was awfully overrated anyway.

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