In techno-savvy world, 'voyeurism' has emerged as the biggest menace that has invaded the privacy and has also ushered shady entertainment to few in many ways. After two path-breaking cinematic successes (KHOSLA KA GHOSLA and OYE LUCKY! LUCKY OYE!), director Dibakar Banerjee takes creatively bold step in essaying this aspect with experimental mode of cinematic techniques. For its innovative and unexplored concept, one expects a set of engrossing original soundtracks that should pave way to effective background score and sound design for the flick. Sneha Khanwalkar, a female composer in the present set of male-dominated music industry makes her third valiant attempt in synergizing this peculiarly depicted subject.
Sneha made notable attempt in delivering out frothy numbers in OYE LUCKY! LUCKY OYE! that made news and now she is again at the helm of musical affairs. Kailash Kher is the chosen voice to deliver out with Banerjee penning down some really bold and atrocious wording. Despite suffering from late musical release and bleak face value, the music of LSD has been newsmaker for delivering out controversially lewd wordings! Does the music of this unconventional realistic cinema have sufficient musical thrust to add spice to flick's narrative proceedings? Will Dibakar Banerjee be third time lucky in getting infectiously catchy music for his socially relevant unconventional film? Let's get straight into its musical facts...
Hot-headed and racy to core, Kailash Kher's gush of vocals sings out wishy-washy lyrics encapsulating the gist of the concept of 'voyeurism' in loud pitched 'LSD (Title Track)'. This Dibakar Banerjee's song starts with girl screams, gun-shots and then narrates out the offensive act of invading privacy ('Tasveer utaarunga, Mele mein dikhaunga, Jo dekhega uski akhiyan nachwaunga...') and making it public for material gains. Sneha Khanwalkar's dark composition recreates RGV's edgy feel and comes out in music video format where one expects series of happening getting into action with hi-impact disco beat music.
This 'Love-Sex- Dhokha' conceptualized track makes its bouncy impact again in 'LSD (remix)' with upcoming Nagarjuna singing out with similar zeal. Its complete team-effort is well suited for rolling title or promotional features and should be raising 'curious-quotient' for the D-Day.
What comes next is the hypocritical attitude of 'reality TV shows'? The buzz word of 'sensationalism' for raising TRP's gets melodically dramatized from phony reality 'swayamvar' shows to daunting late-night horror shows in foot-tapping 'bhangra' number 'Tainu TV per Wekhiya'. It has rustic Punjabi flavors of 'Chak De Phatte' (KHOSLA KA GHOSLA) and the title track of OYE LUCKY! LUCKY OYE! with satirical wordings. Kanu Behl joins Banerjee as lyricist in scripting out this mocking-shocking track that is filled with dark-humor. Kher's resounding voice making this humorous background score and together with amusing feel, it add spunk to the show.
Raunchy feminine shades gleam with tuneful experimentation in wobbly-paced lyrics and fusion punched arrangements to deliver out a corny Hinglish track in the form of 'I can't hold it'. Sneha Khanwalkar's girlie 'n' naughty overtones sing out this quizzically romantic track that is fuelled with chirpy one-liners with squeaky sounds, making it an engaging Rajasthani folksy puppet show for listening ears. Banerjee's wordings are more amusing than appealing with feel to titillate audiences in captivating moments of the flick. Sneha's voice is delightful and so do the innovation on sound techniques that delivers out the desired feminine feel.
If you are addicted with candy floss entertainment of Yash Raj Films, then this sarcastically composed 'Mohabbat Bollywood Style' will surely be stressfully indigestible to you. It takes hilarious dig into the age-old conceptual success formula of YRF, screen name of SRK ('Rahul') and even Aditya Chopra in showing 'double-faced' concept of Bollywood's romance. It starts off with satirical binge with boy introducing himself as 'Rahul' to 'Adi Chopra' and later describing all the 'goody-goody' visual as well as musical elements that have allured many and fetched billions to the esteemed banner. Amey Dale and Nihira Joshi sing out this musical 'spoof' that makes mockery of the phony concept of 'filmy romance' with added words by Anshuman Jha. It maintains the dark emotional decorum and makes you come out from the cliched romantic world with words that are satirically rational but realistically straightforward to understand.
Finally, here walks the newsmaker that made headlines for being controversial but later got away with improvised wordings. Lustful and lecherous in emotions, the curtain falls out with 'Tu Gandi Achhi Lagti Hain' with screaming Kailash Kher delivering out in rigorous flows of enthralling music. This situational musical score is fuelled up with absurd and bawdy wordings ('Tu gandi achhi lagti hai, tu bandi achhi lagti hai, Tu kali si kachhi, tu tali si machhi lagti hai...') and makes 'bold' statement of present day deceitful romantic happenings. It will have its advocates and adversaries but it all ends up as another affable situational soundtrack that should be added catalyst to the flick's engrossing narration.
To add more spice to the show, there are two added bonus tracks ('Tauba Tauba -remix' and 'Na Batati Tu') in the voice of Kailash Kher to appreciate album's commercial prospects.
LOVE SEX AUR DHOKHA makes bold musical statement with music that varies from shades from earthy folksy textures to groovy funky beats. Sneha Khanwalkar shows promise of delivering out engaging moments in tracks like 'LSD (Title track)', 'I Can Hold It' and 'Tu Gandi Achi Lagti Hai' but the feel is purely situational. As compared to Dibakar Banerjee's earlier two films, the music of this films lack catchiness, funky punches and delivers the dark edgy feel of the flick. LSD is not for light-hearted Bollywood musical buff and so its acceptance may be restricted to selected few.