Experimentation had given nativity to many genres of filmmaking and 'supernatural thrillers' are one among them. Barring the exception of Ramsay Brothers, there are directors like Vikram Bhatt (RAAZ and 1920) who had made their ground in this genre. SHAAPIT (meaning 'being cursed') comes out as his third musketeer in this league. Aditya Narayan, son of noted singer Udit Narayan makes his multifaceted debut as leading man, singer as well as composer for this 'edge-of-seat' paranormal scary love saga. Promising Chirantan Bhatt (MISSION ISTANBUL (2008)) leads this musical show with couple of engrossing tracks with Paki rock sensation Nazam Sheraz adding to the credits as guest composer. As a child artist and also as compere for singing reality show, Aditya has shown his flair but big screen business means something spectacular as well as enterprising. It will also be a big task for Chirantan Bhatt and all together it's a bandwagon of 'wannabe' musical genius striving hard to be 'blessed'. Can they do it or not, just check this out...
The melodramatic-cum-haunting overtones of 'lost love' pricks the first beat of the album with guest composer Nazam Sheraz's Sufi rock making voluble moves in 'Tere Bina'. It has that 90's Bhatt's melancholic excruciation and melodic intense with an upbeat Paki rock beat stylized notions. Nazam's likable vocals and composition works with the intimidating pace and capsizes all the dark and frightening moments. Like original background scores of many terrifying supernatural thriller, it delivers out a decent 'worth-a-hear' feel for the big screens but nothing that make it special for charts.
Some conventions are easy to follow and difficult to break! Lata Mangeshkar's evergreen hit track 'Gumnaam hai Koi' (GUMNAAM (1965)) is still iconic with tragic love anecdotes having backdrop of fear-provoking scary happenings. Shreya Ghoshal's intense singing in 'Ajnabi Haawayein' charters the same itinerary of melodic happenings with modernized instrumentations, improvised sounds, delivering out similar haunting shades of 'lost-love'. It lacks innovation and penetrative impulse that can make you hear the entire duration with interest. Chirantan Bhatt's composition is tailor made to the situation with Shreya's impressive but outstretched rendition failing to make any strong intense impact.
Aditya Narayan, the hottest commodity of the fare makes doorway of musical happenings with flair of trance cum hip-hop gyrated moves in sluggish tempo-beat soundtrack titled 'Chaahata Dil Tumko'. This time Chirantan Bhatt's pitches Indi-Pop stylized composition with Aditya's voice getting digitally mastered in varied tones and tempos. Despite some 'sincere n honest' singing efforts, the whiz kid fails to be as empowering as his father but still matches to the tuneful settings. It's the middle interludes that impress the most with remarkable Spanish guitar strumming and hip-hop emceeing. The collage of instrumentals coupled with electronic arrangements is well arranged and gives youthful peppy buzz.
Chirantan Bhatt makes his finest of toil in mushy soft-rock ballad that accentuates Aditya Narayan's singing abilities to extra flights in remarkable sounding 'Kabhi Na Kabhi'. Sameer's modest wordings may be routine but propagates effectively with rhythmical tuneful setting of soft-rock stylized arrangements. Once again, there is typical Bhatt camp stamping carrying all over with strong impact of Pritam's style of composing. Aditya's supreme well in his somber tonality with ease and subjugates every emotion with extra thrust. Suzanne D'Mello's anglicized rendition in varying tones sublimes well and so the brilliance of Spanish guitar strumming that adds to the graceful poise. 'Kabhi Na Kabhi (rock)' can easily be adjudged the finest of the album and also the most commercial viable offering of the entire packaging. The thrive of kick-drumming, enthused percussive buzz and electrifying guitar thrills adds to the soloist outrage. It deserves an aggressive promotion and is expected to be catching fast in media circuits. Just feel the ire as the commotion progresses with ballistic thump and energized well with equanimity of emotions till the end. Rocking!!!
The genre, mood and styling changes take a cultural makeover as Persian music taking over the buzz in celebratory textures in the situational soundtrack 'Hayaati'. Hamza Farouqui who showed his versatile touches in Chirantan's hit track 'Mission Mission' (MISSION ISTANBUL (2008)) sings out this 'item song' that promises to be carrying raunchy flavors of belly-dancing in it. Hamza's singing impresses but its all visual depiction that will be carrying its prospects further to desired heights.
Surprise! If credits are to be believed then we have Aditya Narayan dictating all diktats of musical semblance as composer in the title track 'Shaapit Hua'. It can easily go as 'easy-on-hear' Hindi version of Michael Jackson's 'Thriller' with petrifying feel varying out well with striking vocals. Sunidhi Chauhan's echoing volcanic thrust join Aditya's voice and together they sings out this intimidating background score. The haunting feel of 'Death Rock' is punched hard to evoke out the dark sentiments and works aggressively through racy electric strumming colliding with thriving drumming. It goes as amiable musical piece for the promos as well as for the titles rolling and adds to the domineering scary feel of the flick.
SHAAPIT makes things scary but not happening and ends up as another above average album with couple of interesting soundtracks. It can't be termed as credible launching vehicle for star-kid (both as singer and composer) but makes his presence audible in musical circuits. The likable listening treats are 'Kabhi Na Kabhi (rock)', 'Chahata Hoon' and 'Shaapit Hua' but overall it falls short of one deserving chartbusting catchy track. We expect more of Aditya Narayan in future as he has the skill of making it and deserves all appreciation for his versatile genius.