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Kailash Kher: 'Allah Ka Banda' in bandagi with DASVIDANIYA

Enkayaar, Bollywood Trade News Network
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view DASVIDANIYA MUSIC LAUNCH picture gallery

It indeed is fortuitous that Kailash Kher, the singer who gave a new definition to the rendition of Sufi songs, so much so that even A R Rehman, one of the pioneer exponents of Sufi songs was impressed with his rendition of "Allah ke bande" and heralded him as a new voice towards the cause of Sufi music, makes his debut as a music director and lyricist rolled into one with DASVIDANIYA. It is a film that talks about relationships, their ephemeral nature, the sensitive manner in which they ought to be approached and who better than a Kailash Kher to hold the baton for his own lyrics.

Kailash Kher as a singer and as a music director has been in his own manner experimenting with all kinds of acoustics sounds to invoke the spirit associated with Sufism, that is the whole scale devotion and surrender to the oeuvre of the music, and the same effect seems to resonate in his effort in DASVIDANIYA, and Vinay Pathak should not have any regret in assigning him the job.

To be able to weave emotive sounds, without bringing in an element of melancholy, the experience that one draws from association with the Sufi music is the perfect foil. No wonder, Kailash Kher has chosen Sonu Nigam to bring a new life into the song "Muskura", and Sonu Nigam seems to have continued from the soulful rendition that he made in the bhajan in DHARMA.

The nuance of the song creates an ambience of immersion in the magic of submission, and this magic is facilitated by the choice of instruments in giving the music. One of the hallmarks of Kailash Kher has been his ability to set down the pace of the song, and this is achieved more when you use the traditional acoustics instruments of any kind and any variety. So in the Sonu Nigam song in DASVIDANIYA the accordion makes a comeback, invoking the spirit of an era gone bye when technical music still was in the realm of conjecture, and the musical instruments ruled the roost.

Kailash Kher needs to be complimented to pick up Sonu Nigam for his compositions, as he is a singer who is at such a stage, where his songs have the ability to bring out emotions in as wide dimensions as can be possible.

May be, after Kailash Kher has used Sonu Nigam for DASVIDANIYA, this combination could create a new era in the Indian music, that does not rely on technology to set the mood, but induces setting the mood riding on the bandwagon of vocal chords, supported by the acoustics instruments of all hues.

When the title of the film is DASVIDANIYA or good-bye, it provides ample scope for the music director to play around with the instruments in different moods, and the magic of DASVIDANIYA would indeed set a new benchmark for music in the Hindi films.

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