The advents of realistic crime thrillers have opened new horizons for success in Hindi filmdom. Ekta Kapoor's ONCE UPON A TIME IN MUMBAAI was one big example of it. To follow this successful trend, the producers are back with another action potboiler in the form of SHOR IN THE CITY, a flick about three interconnected stories set in the underbelly of overcrowded Mumbai.
Pritam's prolifically composed ONCE UPON A TIME IN MUMBAAI was one of the biggest musical success story of last year, and now all eyes are glued to this highly acclaimed flick that has so far garnered major critical acclaim worldwide. After the tremendous musical success of F.A.L.T.U, Sachin-Jigar have propped out to be this year most prodigal musical talents. They are back in business again with SHOR IN THE CITY and expectations are bound to be high from this talented duo. Does the music of SHOR IN THE CITY have that enough zeal and thrust to make "shor" (meaning "noise") in the marquee? Will this be another F.A.L.T.U for Sachin-Jigar? Let's find out...
Sweetly toned and mesmerized with mellifluous flows of Shreya Ghoshal singing, the first outing "Saibo" is a smoothening surprise that extols the feel of romanticism to perfection. Sachin-Jigar's dexterity of being competent arrangers in the past plays big role in giving it a genteel "fusion" appeal with beautiful mix of electronic fillers, soft-rock antics played well in contours of enchanting "sitar-vaadan". Tochi Raina's peculiar oozing vocal thrust is appealing as it instigates the passionate feel of a blooming love-chemistry and makes brilliant communion with Shreya's harmoniously emoted voice. Sachin-Jigar pull up a big winner this time in this low-profile album, as expected from the producers, this song is publicized aggressively in all media circuits to create buzz for the flick. After feeling the chilly breeze of this tender-sounding love-track, its "club-remix" may sound bit forced one but it comes with welcoming predictable groovy disco beat thrives. "Saibo (remix)" is impressive, energetic and hip-shaking. It entertains with a lounge disco beat decorum and enthralls with pulsating beat-juggles that connects well with singer's voices and DJ spins, overall a gratifying discotheque experience for party animals. Chartbuster!!!
Whimsically weird! How would you react to find a song having credits as "Karma is a Bitch"? Boldness or crudity, the next track "Karma is a Bitch" shifts the genre aggressively to the violent hot-headed theme of the flick. It has sporadically wild "death-rock" appeal to it with belligerently played distorted guitar riffs playing loud with energizing percussive displays, oozing out the spine-chilling moments and correspondingly varying "karma" (fortunes) of the lead protagonists. For its loud-mouthed rendition and outrageous hard-rock feel, the song reminds of "Zahreeley" (ROCK ON) and recently heard "Aali Re" (NO ONE KILLED JESSICA), and promising to be a convincing background score in the flick. Suraj Jagan's full throttle rendition is remarkable and makes maximum impact but the soundtrack has intrinsically situational appeal and will be restricted to gripping moments of the flick. Priya Panchal and Swati Mukund's garrulously chatter works amiably as back-up vocals, to support the gory impulse of the track and connect well in giving it a wholesome dark thriller appeal.
Indi-Pop rock-bands advents in the filmdom have been rare and for a surprise "cool" change, it makes it another generous move in the title track "Shor". Mohan, the lead vocalist of rock group AGNEE, comes behind the mike for this situational background score with his vociferously loud moves in generating out the gist of the flick ("shor mein hain sukoon") with energetic flair. For all rock music lovers, it's an impressive rock-concert maneuver with tinge of Indian classical instrumentals inputs, quivering chorals that mixes well with racy guitar riffs, epitomizing out the mindset of distressful protagonist. Mohan's invigorating voice in varying tones makes remarkable concoction with hard-metal base orchestrations, and plays to the dark and shady feel of this hard-hitting action saga.
Hustle-bustle of busy overcrowded Mumbai gets a snazzy emceeing type of rendition with upbeat electronically tuneful settings as its prime arrangements in "Deem Deem Taana". Shriram Iyer's screams out his lungs in rendering out gibberish penned Hindi one-liners in racy flows of intrinsically peppy hard-rock jamming, exuding out congested panoramic view of the city. This eccentrically wild worded soundtrack has the chirpiness of "Man Ko Ati Bhayee" (LONDON DREAMS) but altogether it belongs to genre of RGV's branded dark thriller flicks songs, once again it's a good effort by guest composer Harpreet in catalyzing out narrative flows of the flick.
To make it commercially viable musical package, there are three added bonus tracks in the form of Roop Kumar Rathod's "Teri Justajoo", Agnee's "Ujale Baaz'"and Kailash Kher's "Bam Lahiri" to entertain. Enjoy!!!
SHOR IN THE CITY may not have the pompous thrust to create "shor" in the marquee but has adequate melodic contents that should be fuelling up the proceedings on big screen. Sachin-Jigar deliver a decent toil in this album with "Saibo" being the finest of the lot; do expect this number to one among favorites in all leading popular FM channels in the weeks to come. The rest of the soundtracks are reasonably good and play optimally to create youthful feel, thanks to quality hard-rock concert feel that lifts the spirits to great extent. No matter what hard-nose critics or box-office results dictates, it's another sincere effort by talented duo Sachin-Jigar that should work positively for the success and narration of the flick.