Ram Gopal Varma (RGV) and melody, sounds incompatible! Unlike RGV’s peculiar dark and gloomy harmonic styling and composure, DARLING brings the euphoric feel of today’s hot “n” happening music that clubs the likes of Himesh Reshammiya and Pritam for the first time in one film album. Prasanna Shekhar, an RGV protégé who made stint presence in his previous flicks D and JAMES creates a furor of a typical dark-thriller through a resounding dark soundtrack. In terms of subjective treatment, the melodic presentation of DARLING sounds somewhat similar to PYAR TUNE KYA KIYA but the sounds and impulse is trendy and fervent.
Himesh Reshammiya’s loud-pitched nasal twang along with his typical Sufi rock sparkles to perfection as the equilibrium between vociferous whim strikes uniformity with the stylized paced arrangements in impressive “Tadap”. It creates an obsession of insanity of emotions as the rip-roaring “sarangi-tabla” loop along with inquisitively paced orchestration creates a furor of impetuous emotions in the track. Himesh is in top form again and strikes rich with the shrill “n” shaky Tulsi Kumar in lifting the tempo of a fanatical and infatuated love track. Its subjective narrative elements are somewhat similar to “Pyar Tune Kya Kai” but this time it’s hot-headed Sufi rock at the helm of affairs and Reshammiya delivering all the needful with great flair as guest composer. “Tadap” (remix) comes straight as dancing floor soundtrack that invigorates the feverish feel with bountiful of DJ claps, spins and scratches infused in its rhythmic pace.
The voguish charm that tantalized in the form of “Aa Khushi Se Khud Khushi Kar Le” in Priyadarshan’s BHAGAM BHAG resurfaces again and this time it’s revamped in trendy hip-hop styled presentation with added vocals and enthused arrangements. Shaan’s racy and perky vocals joins the fun club of this “girly” track that already has Sunidhi Chauhan making all noises with rumbustiously packed musical madness. Pritam makes it more upbeat as he infuses technocratic beat structures with enthused hip-hop rendition to create a “yuppie” feel. This hi-pitched track that got subsided in BHAGAM BHAG materializes exuberantly as pugnaciously penned English lyrics forms zany choral flow and audible vocals striking it big with DJ’s stylized delivered musical funk in “Aa Khushi Se Khud Khushi Kar Le” (remix).
Adnan Sami’s resonating pitched vocals gets into serene melodic base while the mellow paced arrangements gets into mushy sentiments as the mood turns eclectically romantic in well composed “Saathiya”. It reminisces back to Adnan’s own composed “Sun Zara” (LUCKY), though Pritam’s music is conventionally Bollywood with a poised somber appeal. Tulsi Kumar makes a brief stint with her soft “n” subtle vocal rendition and strikes a formidable gripping with Sameer’s poetically brilliant lyrical flow in creating an ambience of eternal love. After “Baatein Kuch Ankahee” (LIFE IN A…METRO), this comes out as another singing treat for Adnan Sami and possibly a fine addition to his melodic works in recent times. “Saathiya” (remix) is an unwelcome guest as such soft “n” romantic track needs to rechristened in “lounge” remix attire but this “club” remix work kills all the nostalgia and dismantles the mushy feel with its non-happening disco thump. If it was rechristened in “lounge” remix then it could have been listening treat as beautiful melodies like “Toh Phir Aao” (AWARAPAN) and “Beete Lamhein” (THE TRAIN) got materialized to golden success in their “lounge” version.
“Akele Tanha”, a painfully sentimental offering by Tulsi Kumar comes out as situational emotional number that talks about separation and thereby pains of isolation in morose vocal tonality. Pritam’s music is enriched with “lounge” music impact this time as the recurring and reverberating “lounge” effect gives it a euphoric feel of “lost paradise”, similar to Bally Sagoo’s style of DJ mixing impact used in vintage sentimental tracks. Tulsi Kumar’s improvises and lives up to the situation well but Sameer’s extra strenuous and heavily burdened lyrics prove too weighty and cumbersome for average listeners. It has more inclination to Bhatt’s camp of musical styling but overall it culminates as above average situational track that should be making its presence felt in the film.
Prasanna Shekhar, an RGV’s specialist and protégé composes a typical RGV flick style track in the number “Awaaz Koi”, where the scary and daunting musical thumps along with forbidding and shaky vocals creates a feel of intimidating impulse. The bloodcurdling and frightening feel invigorates furiously with horrifying and spine-chilling musical backdrop with Priyadarshini’s vocals usurping and blending well with the arrangements. It has the peculiar feel of obsessive love felt in “Roundhe Hai Mujhe” (PYAR TUNE KYA KIYA) by Sowmya Raoh and terrifying effect of “Aake Darr” (DARNA ZAROORI HAI) as its atypical orchestration makes it a RGV’s special track.
Melody hits to its supreme end as acme of melodic presentation brightens up senses in mellowed paced sentimental track “Hasaye Bhi Rulaye Bhi”. Shaan’s velvety touch vocals disclose the various shades of life with Sameer’s ever-vibrant lyrics give it a soulful motivation. Tulsi Kumar, a T-series favorite adds substantial voicing in this teenybopper’s delight track with her meek “n” mellow styled singing. It’s a welcome relief from RGV on musical front as he switches gears to more viable musical format rather than enforcing his decayed musical style of work. Pritam’s musical prowess proves a binding force that will positively evoke a better response for this track and probably a soothing relief for ears in the film. “Hasaye Bhi Rulaye Bhi” (remix) comes with a relaxing feel in a contemporary “club” remix style of mixing where DJ claps and beat-juggling effect makes mood subtle with soft mushrooming instrumental flow. Enjoy it!
DARLING brings melodic and vibrant shades and aspects of RGV style of working and by far the most audibly and commercially viable presentation on musical front in recent times. Himesh Reshammiya excels as guest composer in “Tadap” while Pritam regains his top slot with back-to-back hits like “Saathiya”, “Aa khushi se khud khushi kar le” and “Hasaye Bhi Rulaye Bhi”. DARLING will positively outsmart RGV’s earlier offering in big way and will add one more feather to the composer’s crown.