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Modern Love Mumbai album evaluate: No emotional heft

Modern Love Mumbai
Composers: Shankar-Ehsaan-Loy, Vishal Bhardwaj, Ram Sampath, Jeet Ganguly, Gaurav Raina, Nikhil D’Souza, Neel Adhikari
Rating: Two and a half stars

The Mumbai model of Modern Love – John Carney’s American sequence primarily based on New York Times columns – is a six-part sequence that has its characters navigating their worlds within the most metropolis as an alternative of New York. To assist the six tales within the anthology – the makers acquired six composers into totally different studios and the result’s a seven-track album that might have hit it out of the park. After all, there are names like Vishal Bhardwaj, Shankar-Ehsaan-Loy and Ram Sampath on the record. But barring a few tracks, such an enormous crew – six composers, all of them giants of their particular genres – is unable to drag off brilliance. It does present some aptitude and expertise however would not appear to stem from the recesses of the guts. It doesn’t attain the opposite facet both.

The solely songs within the sequence that make some influence aren’t part of the album. Baai, Hansal Mehta’s story that merges an excessive amount of – communal riots, a homosexual love story and era hole right into a small capsule – involves life just for a couple of moments. Pakistani musician Ali Sethi took Majrooh Sultanpuri and Kamal Amrohi’s one line – Chandni raat badi der ke baad aayi hai – from Amrohi’s seminal movie, Pakeezah, and wrote one other ghazal that merged splendidly with the unique. But this and the fabulous C Ramachandra dadra, Lakho ke bol sahe, made extraordinarily common by Patiala gharana vocalist Nirmala Devi (additionally actor Govinda’s mom), aren’t part of the unique album.

In the latter, there’s a uncommon outing by Sonu Nigam, who sings a Jeet Ganguly composition right here. Kaisi baatein begins fairly properly with a mild piano piece and swelling strings discovering one another amid Nigam’s begin within the low notes. Kyun zamane ke gham uthaate ho, Ishq ko apne kyun gavaate ho, lyrics by Sameer Rahat, make an influence. But as for Ganguly’s melody, it looks as if a pretend try at being delicate. The tenderness of the connection it’s attempting to painting, of loss and longing, comes by solely sporadically and largely by the lyrics. Nigam throws his voice gently however with intermittent impact.

One track that did permit itself to be observed a bit extra is Raat bhar, which has been written and composed by Bhardwaj. Interestingly, the Arabic phrase Hijr (which means separation), cherished most in ghazal, makes an look with extra up to date ideas equivalent to inbox, tweet and textual content. Startlingly, it’s not cringe-worthy in any respect. The nylon string guitars by Debarpito Saha, together with a young melody from the everyday Bhardwaj arsenal, are each noteworthy. Meiyang Chang sings it in his primary, endearing fashion. Another piece that works is the title track – Mausam hai pyar, composed and sung by Nikhil D’souza, who sounds completely in command.

A shock comes from London-based tabla participant Karsh Kale, who sings for a change, in a shiny Neel Adhikari composition titled The Same. Kale is sweet sufficient, alright, however the one voice that makes itself heard right here is that of22-year0old singer-songwriter Karshni Nair, an outstanding singer from Pune, who we must always look out for within the days to come back.

Raat rani, sung by Nikhita Gandhi, comes with energetic preparations from Sampath. It’s sung properly however the composition doesn’t transfer above being primary (we’re largely used to extraordinarily clever music from Sampath) till it reaches a stunning hook. Shankar-Ehsaan-Loy’s Shuru se shuru falls considerably in the same class. The tune simply would not handle to carry up. It’s even lacking the vibrancy of Raat rani.

Yaadein by Gaurav Raina (one half of the people electronica outfit Midival Punditz) and singer Kamakshi Khanna, is a reminder of the disco of the ’80s. It’s positively fascinating and contemporary in a nostalgic type of approach however would not handle to do a lot for the soul. And that’s the place many of the album’s situation rests. Listenable tracks that don’t stick. My coronary heart goes again to Chandni raat and Lakho ke bol and needs to remain there, outdoors of this unique album.

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With inputs from TheIndianEXPRESS

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