Optimism meets Cynicism! Despite truckloads of success and appreciation, filmmaker Karan Johar has been often accused of being hyperactive on portraying candy-floss entertainment in all these years. His latest entrant I HATE LUV STORYS, a chirpy "feel-good" romantic entertainer brings out this confrontation through the mindsets of two leading characters, played by Sonam Kapoor and Imran Khan. Experimental and urbane to core, this reality-check on love-relationships promises frothy cum peppy music in its kitty, from hot "n" happening Vishal-Shekhar (V-S). After serenading out vivaciously vibrant trendy-beat soundtracks in DOSTANA (2008), this musical duo is likely to be casting another magical spell for the producers. In the past, KJo's immaculate record and choice of soundtracks has been making right moves and so expectations are reasonably high. Can this "love-hate" chemistry of love-birds have that extra pep-fizz to lure urbane listeners? Can we expect another chartbuster from ever-dependable Vishal-Shekhar in this much accepted genre of "feel-good" cinema? Fingers crossed and hope high as we plugged into its first soundtrack with sheer optimism...
Cool, friendly and yet tangy! Vishal Dadlani's coarsely blended rock-cum-reggae singing attire sets the pace and space for lively love-chemistry in series of event in peppy sounding "Jab Mila Tu". Anvita Dutt Guptan punches script-oriented wordings that delivers amiable graph between odd couples that are poles apart but still communicates. Its grungy rock-appeal had stringy electric guitar blues that are paced eclectically with spirited percussive moves in groovy reggae textured beats. Like "Jane Kyun" (DOSTANA -2008), it communicates in actions rather than delivering out emotions in melody and make mood frenzy. It targets campus-capers and so does it succeed with its refreshingly tangy melodic flavors that are surely going to have many takers. The initial thump of the album is eclectic as well as affirmative to be lapped at once. Do expect it to be next cool-ish sporty number (somewhat like "Hai Junoon" from NEW YORK) among teenyboppers when its racy signature tuneful makes it loud impact on media circuits. Youthful!!!
Remember "Mitwa" (KABHI ALVIDA NA KEHNA -2006)! It had sparingly soaring vocals of impressive Shafaqat Amanat Ali that made splashing presence in charts and made history. It returns with similar rollicking racy appeal in mushy cum hilly groovy tones in over-sappy romantic duet titled "Bin Tere". In terms of melody, composition and arrangements, this soundtrack scores the highest with mix and match of varied pitched westernized orchestrations that articulates every emotions of grooming love-affair. The initial buzz has impressive rhythmical rhythm "n" blue guitar strumming matched with English lyrical phase to set ambience for likable urbane-friendly duet. Shafaqat's vocals zooms in modulating baritones to jester out insatiable dreamy emotions in midst of eclecticism of electric guitar blues with punch of bass guitar riffs and thumping drumming beat impacts. Sunidhi Chauhan's slender pitched rendition in latter half is respite and adds to the minty romantic impulse of the track.
The hilly groovy touches in "lounge" pitched relaxing modes should be giving enough picturesque moments for the lead pair to emote out on big screen. What follows next is its much-anticipated unplugged version? V-S tries to maximize the impact of mushy lyrics (Vishal Dadlani) and catchy rhythmical tuneful impact of this track by giving it a sober makeover in "Bin Tere (Reprise)". Shekhar's sonorously pitched vocals in midst of subtly played guitar strums is at helm of affairs to exude out momentous lighter moments. Shaan or KK would be an ideal choice to emote out but still Shekhar lives his part with optimal vocal exhibits. "Bin Tere (Remix)" by DJ Kiran sizzles out with "club-house" remixing with ample beat juggles and echoing binge colliding with Shafaqat's booming and Sunidhi's sultry vocals. It's a real rocker for the floors that sets the pulses racing high with its effervescently eclectic displays, feel the heat and enjoy. Chartbuster!!!
Groovy and funky as the title suggests, the title track "I hate Luv Storys", comes out as fiery dancing track in boisterously voiced and trendy beat rhythmical moves. Vishal Dadlani's deep-throated grumbling tones (desired in hard-metal music) in infectiously fast-beat dancing grooves makes positive moves for rocking dancing feast. Like "Jab Mila Tu", this frivolously loud track has script-oriented connotations and epitomizes the peculiar communions of two love birds. V-S gets their act together with funky delights that is likely to be getting popular among dancing freaks. Kumaar's cheeky wordings adds to the spice "n" flavor of this "club" beat track and makes it another hot-shot entertainer for this summer. Rocking!!!
KJo's "feel-good" entertainers has also been flourished with traditional vows in budding love-chemistries and this customary traditions continues in sweet "n" saccharine sounding "Bahara". This time its Rajasthani's folklore inspired traditional feminine touches that gels well with Bollywood-ish flavored lovable hues in subtle tones. Shreya Ghoshal's charming slender tones in mellifluously sinusoidal flows is the highlight that connects amiably with deep-throated Sona Mohapatra's rustic singing flair. Kumaar's light-hearted wordings ("Woh kabhi dikhe zameen pe, Kabhi woh chaand pe, Yeh nazar kahe usse yahan main rakh loon baandh ke ik saans mein...) have poetic subterfuge of exuding enthused innocent "first-love" emotions in fusion beat musical flows. V-S maintain fine equilibrium of traditional and western orchestral flows and makes it lovable female soundtrack. On repeat hearing, it makes you transform into naturally enriched hilly ambience with tinge of traditional melodic flair.
Rahat Fateh Ali Khan makes purist attempt at its second version and gets into supremely classical singing flair in impressive sounding "Bahara (Chill Version)". The effective Sufism flavors can be felt in "sarangi-tabla" loop that gets mixed with romantic saxophone notes and zingy electronically tuned synthesizer moves. Presumed to be compelling background score, it works well for the soothing moments and adds shades to this love story. Melodious!!!
After an impressive line-up of soundtracks, the expectations gets soaring high as we plug into the last original soundtrack "Sadka" by spirited Suraj Jagan and talented Mahalaxmi Iyer. This situational track belongs to the soft-rock genre with setting of self-realization of "real-love" in the climax moments of the flick. It's racy but sentimental grooves (similar to "Kurban Hua" from KURBAAN -2009) works in tandem with Suraj's effectively modulated vocals. The shimmering rock-flavored stringed instrumental works shows the changing phases and gives varied shades to the situation. Mahalaxmi's tender "n" subtle voice has evocative feminine touches and gives it a meaningful essence. Even Anvita's narrative lyrical tinge ("Kuch khwab dekhe hai, Kuch rang soche hain, Ab maine kal apne tere sang soche hain...) is beautifully concealed in this soft-rock track and makes maximum impact as song undergoes different variations in rhythmical modes. V-S delivers needful again and deserves appreciation for inundating the tear-jerking emotions in most significant ways. Impressive!!!
I HATE LUV STORYS add "chill' factor of romanticism and breeze of fresh air of musical entertainment in this scorching summer. As predicted for this KJo's flick, the music is enriched with quality displays and every song brings out relevant statement with right musical moves. There is no shred of doubt that this is one of the most commercial happening of this year that is likely to grow on ears in coming days. If soundtracks like "Jab Mila Tu", "I Hate Luv Storys" and "Sadka" has trendy rock-cultured groovy textured beats to entertain youth then delightful tracks like "Bin Tere" and "Bahara" has that cherubic feel to entice. It works as complete package with no space for mediocrity at any place. One hopes that this rightfully tuned numbers gets the positive choreographic moves to justify positive word-of-mouth from media and listeners.