BLACK FRIDAY, RETURN OF HANUMAN, NO SMOKING and now DEV D! Anurag Kashyap has shown a niche for trying out experimental mode of filmmaking in Bollywood with mixed results. DEV D (modern version of immortal 'Devdas') brings out different flavors of romanticism with an out and out peculiar musical feel. Amit Trivedi (AAMIR) gets a second major project where he packs all existing and accepted style of genres in as much as 18 original soundtracks. Can DEV D be triumphant enough to swim against the tide? Will the experimental and uncharacteristic musical substance of DEV D be enough to make Amit Trivedi, a promising commodity in marquee? Do find this out...
Elvis Presley meets 'desi band-baja'! Peculiar dark feel of desolated lover gets embroiled in 'black-comedy' humor where loud marriage band music makes interesting moves in 'Emosnal Atyachar (Brass Band Version'). Experimental to core, it brings Band Master Rangeela and Raseela with typical 'bhojpuri' lingo, emoting out tearful sentiments of modern 'Devdas' (DEV D). Amit Trivedi music is thematically apt while Amitabh Bhattacharya tries to add a tinge of hilarity with raw-finishing lyrical moves. Bonny Chakravarty comes behind the mike in its 'rock version' with similar haunting feel but this time its hard-rock maneuvers that rules the sentiments. It has typical 'death-rock' feel of 'Zahreeley' (ROCK ON) and like its first version; it is experimental as well as innovative than entertaining in its contents.
Amit Trivedi showed his flair for folksy flair in tracks like 'Chakkar Ghumyo' (AAMIR) with an earthen touch and now he delivers out 'Duniya' with similar rustic feel. It comes like a quivering cum appalling showcase of intriguing world in simplistically penned wording and modest arrangements. 'Duniya' is presumed to be an engrossing situational background score where Amit Trivedi voice works well for simpleton sentiments.
'Nayan Tarse', a romantic smokescreen of varied emotions brings brighter side of Amit Trivedi singing with an upbeat electronic musical exhibit. After an engrossing bizarre prelude, it races with rock-guitar jam with flow of Indian classical singing. Trivedi innovates for 'fusion' feel that has daunting impact and works best with the shady feel of the flick.
Folksy tunes and rhythms dominate again and this time its Rajasthani folk music that transcends amicably with rigorous flows of westernized arrangements and impressive 'Sitar' works in 'Pardesi'. Tochi's gets the proper vocal modulations at right places that collage well to make it another worthy 'fusion' track.
Lighthearted and venomous sluggish melodic appalling thrive that made things look darker in tracks like 'Jab Bhi Cigarette' (NO SMOKING) makes another resounding impact in 'Saali Khushi'. Amit Trivedi tries to mix and match jazz elements with his vocals that builds an intimidating appeal for it's on-screen presence. Like all previous haunting tracks, it works well as evocative background score and rests heavily on its cinematic presence.
Soft romantic melodic hues make their mushy presence felt through extremely talented Shruti Pathak multi-tasking endeavors in melodious sounding 'Payaliya'. Shruti Pathak pens as well as sings it with dexterity in low octaves with amicable support of impressive Indian classical musical deliverance. After mind-blowing 'Maar Jaava' (FASHION), this soft sentimental number elates out as another promising vow by this upcoming singer.
After hectic Indian classical, pop, rock and jazz, mood swivels to Punjabi folksy flair where traditionally folksy vocals of Labh Janjua sparkles off senses in 'Mahi Mennu'. Unlike couple of Janjua-Pritam rollicking blasting 'bhangra' tracks, it sticks to contemporary Punjabi tunes and rhythms. Janjua emotes well in varying pitches but composition sounds too regular and repetitive. Its 'sad version' is brief vocal piece that serenades out tear-jerking emotions in an 'unplugged' mode.
'Hikknal' comes out as second solo performance by Labh Janjua and this has typical Indi-Pop feel. It strikes chord with likes of Jazzy B and Mika style of singing and can be catered well for festive occasions. Once again, it's no 'great feel' but the boisterous 'bhangra' feel is well emancipated in its vibrant arrangements.
After an immensely intimidating 'Phas Gaya' (AAMIR), Amit Trivedi composes another striking thematically profound soundtrack that sparks out the vicissitudes of life in 'Aankh Micholi'. It bears the typical Anurag Kashyap's stylized dark-noir feel with sturdy progressions of meticulous composition that primarily encompasses out hounding chorals, thriving percussions and bizarre sounds in its packaging.
If Shruti Pathak was revelation then Aditi Singh Sharma is surprise as she joins the show for supple and lovable sentiments in delivering out a 'feel-good' soundtrack 'Yahi Meri Zindagi'. It comes out with innocent 'kiddies' singing gestures that get wings of appropriate wordings. Again, a cool maneuver in delivering out spectrum of substance by composer Amit Trivedi that impresses to hilt with its intrinsic westernized musical substance.
Shilpa Rao makes her first folksy singing endeavors in emoting out innocent expressions of falling in love for the first time in impressively composed 'Dhol Yaara Dhol'. Shelle's lyrics make the maximum soulful binge as one can feel the tangible expressions getting flared in those Rajasthani flagrantly echoing rhythms. Kshitij's cheerful back-up vocal are big asset and intermingles well with the sentiments and together they pile up a great work. 'Ranjhana', another beautiful rendition by Shilpa Rao and Kshitij comes in 'unplugged' sad version emoting out the isolation of beloved with great vocal strength. It's a great hear in its brief rendition and catalyzes well in appreciating out emotional quotient of the flick.
Joi Barua racy and electrified vocals in 'Ek Hulchul Si' come as the only urbanized melodic gesture that has 'cool' rip-roaring rock musical appeal. It's electrifying rock-guitar jam triggers off a throbbing youthful feel and it gets accentuated appreciably to highest levels with Joi's enthused 'rock-concert' rendition.
Like 'Yahi Meri Zindagi' and 'Payalia', Amit Trivedi makes use of heavy-duty westernized orchestrations in soft and serene sounding 'Dil Mein Jaagi'. It charters bygone era of classical western music with beautiful piano drilling in its prelude to make it impeccable in its arrangements as well as in its composition. Like Shruti Pathak, Shilpa Rao, Anusha Mani marks her strong presence and the quality and performance are the two hallmarks that make this a pleasant sounding affair.
'Dev Chanda (Theme-1)', a serene sounding theme number works on soothing impact that it delivers through in its feather-touch westernized orchestrations. Neuman Pinto along with Bianca Gomes emotes out in peppy crooning that gels nimbly in its tranquil melodic textures. Amit Trivedi comes behind the mike with ample back-drop of light-hearted whistling with mushy surroundings of enchanting chorals to deliver out a melodramatic feel in 'Dev Chanda (Theme-2)'.
DEV D is an album that dares to be experimental to largest possible extreme with mix and match of genres, styles and tastes. It dares to swim against the tide as it delivers out quality musical entertainment in both Indian as well in westernized works. Amit Trivedi shows his tenacity of taking up the challenge and delivering out the needful with a bunch of promising talents. It's too early to predict its commercial fate but surely it will be higher in rating on quality music listeners and critic's choice.