Last year, new kids-on-blocks Siddarth-Suhas made impressive presence with DIL DOSTI ETC and now they stream out with this year first promising (if not chartbusting) attribute in genre of low profile and budgeted entertainers. The composer duo tries to match the quality and standards of Pritam but ends up with couple of above average hip-shaking and trendy tracks. Pritam makes striking presence with much “inspired” “Jaane Kyun” and makes it “icing on the top” for this above average musical affair.
Young and reverberating voice of Shaan gets into Indi-pop musical binge in emoting out typical “campus” love in the youthful “rock cum jazz” feel track “Jaane Kaise Hai Tu”. The song has flimsy Indonesian rock buzz in its guitar strumming along with zany choral works (“Ho-ho-ooh-oh”) but the enthralling punch experienced in “Kya Mujhe Pyar Hai” (WOH LAMHE) is missing. This Shaan’s finely gesticulated act comes out to be cropper as per his present high standards and a mediocre sounding “yuppie” loving situational track for the album.
Pritam had fabulous history of delivering “spoilt-brat” musical amusement (“Bad Boy” (PYAR KE SIDE EFFECTS)) and “I am bad boy” from new kids Siddarth-Suhas joins this bandwagon with its trendy and outrageous feel and impulse. The track has snazzy rave party binge where one can expects sluggish paced music streaming out with the booty-shaking acts of party animals. Suraj Jagan along with Earl D’Souza vocals jitters up, charges up and finally zooms in with racy and hip-shaking disco beat thumps to create a commotion on dancing floors.
Richa Sharma’s folksy baritones contort to the pain, suffering and resentment-singing mode in her solo singing act in emotionally penned “Meri Akhiyan”. The melancholically penchant folklore singing track may be finding few takers as it correlates back to age-old Bollywood’s style of sentimental thrust (“Lambi Judai” (HERO)) delivered well in gripping moments of the film. Richa’s voice sounds too loud while the arrangements prove to be clichéd and routine for its lackluster display.
Siddarth Suhas had impressive “Lamha Yeh Jayega Kahan” (DIL DOSTI ETC) to their credits and now there is added element of party-enthralling maneuvers and elements in appeasing “Teri Aankhon Ki Narmi”. The song has similar idealistic backdrop where the lovers’ sentiments gets emoted in a flashy and racy disco beat delights. It also brings out the impressive vocal chords of both Siddarth and Suhas on trial with thriving disco stylized orchestrations.
KK comes out as the “chose one” for similar “rock cum jazz” disco mode stylized number “Lagdaa Na Lagdaa” with his patent “rock-mode” singing flair. After “Jaane Kaisa Hai Tu”, this solo number too has Indonesian rock musical buzz with some delightful flute and piano rendition and peculiar sounding chorals in the backdrop. “Band Metro” rises from the ashes! Pritam brings back the eclectic mix of “Baul” (Bengal’s folk music) and rock style music (earlier experienced in “Bheege Bheege” (GANGSTER)) in the album’s most impressive and heart-piercing poignant track “Jaane Kyun Tanha Ho Gaye”. Ironically this remarkable number wrote this low profile flick into “plagiarism” controversy but now credits has been given to Late Gautam Chatterjee's Bengali song, 'Ghare Pheraar Gaan’ in its music release. This 70’s rock band “inspired” track has resonating and remarkable Sonu Nigam at the helm of affairs with some mesmerizing wording and gripping orchestrations as amiable supports. The sluggishly paced traditional “Baul” cum “rock” style of orchestrations is the innovatively striking feature of the song that brings memories of Pritam’s finest tracks like “Rishtey” and “Alvida” (LIFE IN A METRO) to mind. It’s likely to be adding many sentimental hues in the love story entrenched in this dark “noir” stylized thriller and will be the biggest striking feature of this low profile album.
BHRAM impresses to large extent but cannot be termed as “mind-blowing” for its routine thriving and upbeat musical zest created in tracks like “I am a bad boy”, “Teri Aankhon Ki Narmi” and “Lagdaa Na Lagdaa”. Pritam’s “Jane Kyun Tanha Ho Gaye” lifts the spirits of the album for its noteworthy display but still it fails to be as striking as his last few chartbusting tracks. Siddarth Suhas still falls short of one “ground-breaking” success that can prove their worth and merit as reliable and bankable composer in the marquee.