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Director :
Music :
Lyrics :
Starring :
 Anant Mahadevan
 Sayeed Qadri
 Tusshar Kapoor, Shreyas Talpade, Vikas Kalantri, Udita Goswami.

By Satyajit, Bollywood Trade News Network Send to Friend

View Aggar Movie Stills

View Aggar Movie Stills

Mithoon’s bon voyage from guest composer to solo composer has been a prosperous fare in invigorating musical passion for Gen X listeners with almost half a dozen super hit soundtracks to his credit. AGGAR, a Narendra Bajaj’s second outing with him proves a low key affair as it lacks variation and innovation in the compositions and arrangements. AGGAR brings a collage of his finest tuneful works that worked magic in ANWAR, BAS EK PAL and THE TRAIN but still the album falls short of one deserving super hit chartbusting track. Mithoon excels as vocalist in tracks like “Paas Aaya Kyon” and “Ke Bin Tere” while Roop Kumar Rathod refreshes with a breather in “Sehra”. Canadian based singer Rup and Quram delivers a disco feast track but with no mind boggling zing and the album turns out to be too contemporary than chartbusting in its packaging and presentation.

The disco styled musical mania that tantalize senses in zany “Woh Ajnabee” (THE TRAIN) strikes sluggishly with “not-so-happening” Arabic and “bhangra” styled arrangements where new bunch of singers (Rup and Qurram) croons out deliriously with funky beats in “Nachle”. Its sub-standard treat as compared to Mithoon’s previous works and even plaintively contemporary lyrics by Sayed Quadri proves too fragile to shoulder its prospects. Bhangra beat styled singers Rup and Quram vocals sounds vociferous with the eclectically paced mood but the insipid and bland Arabic rhythmic structure prove too lethargic to create any zing and even irreverent “dhol” works fails to create any chaos on the floors. “Nachle (remix)” comes with passionate “club” remix feel that’s filled with accelerated “beat per second” momentum coupled with animated keyboard fillers that delivers a thriving feel on the floors.

Mithoon’s singing flair proved a delightful surprise in “Mausam” (THE TRAIN) and the serenity of palpable squashy romance sparkles again with excruciating emotional tinge in impressive “Ke Bin Tere”. It’s a promising sentimental work that is brilliantly synchronized with fine collage of sauntering guitar strumming, mildly punched synthesizers coupled with tranquil paced violin and piano works that mellows effectively with Mithoon’s vocals. Sayed Quadri’s remorsefully romantic lyrical phrases “Aankhon ki Taalash jo hai, Woh hai tera chehra, Dhadkan dil ke pass to hai, Lekin hai bewajah…” works intrinsically in delivering morose sentimental touches to the track. Hamza Faruqi and Kshitij backup vocals to Mithoon’s reverberating voice works effectively in creating a romantic decorum that stays on with the last beat. The rip-roaring fast paced disco beat fillers coupled with stimulated DJ claps in typical “club” remix makes a hullabaloo of emotions on the floors in “Ke Bin Tere (remix)”. It’s an impressive remix work but a sluggish paced “lounge” remix version would have been surprise welcome and deserving treat for listeners as it did in Mithoon earlier composed “Beete Lamhein (lounge version)” (THE TRAIN).

The title track “Aggar” comes with an innovative harmonic feel as the “lounge” styled of relaxed feel forms the impressive backdrop while fine textures of soft pitched Arabic musical flair is delivered in its vocal and tuneful flow. The vibrancy and resiliency of traditional Arabic musical flair is conceptualized appreciably in the resonating vocals of Hamza Farouqi with impressive Tulsi Kumar adding delight to it. It has sensuousness in its ambience and can well be materialized in seductive acts or in erotic situations of the film with dim lights and candles adding finesse to the flair of its mystifying romanticism. Its innovativeness is the plus point but overall it sounds more like a conventional seductive track that evokes the feel of lust, deceit and desire in its feverishly paced mood and style.

Mithoon forms another vocal concoction with soulful emotions of eternal love as his husky voice strikes back with svelte and silken vocals of Sharmistha in mellifluously delightful track “Paas Aaya Kyon”. Like “Beete Lamhein” and “Tere Bin” (BAS EK PAL), it’s slow paced arrangements coupled with European stylized “lounge” effects creates an serene and tranquil feel of “lost paradise” that is emanated effectively in soothing vocals. It’s a major highlight of the album and by far the most impressive in terms of vocals and arrangements where Sharmista’s modulating silken vocals are biggest surprise and sheer delight to melodic ears. Hear it again and again to feel the tenderness of painful love!

Mithoon communion with Roop Kumar Rathod delivered a soul-stirring experience in “Maula Mere Maula” and now the combination delights again in “ghazal” attire musical orchestration in the soundtrack “Sehra”. It’s no match with “Maula Mere Maula” in terms of musical grandiosity but an impressive harmonic delight that enchants with pleasantly paced “ghazal” musical flow. The finesse of Roop Kumar “ghazal” singing with dash of Shilpa Rao in the backdrop is ebulliently exhibited with sauntering and shimmering arrangements. Despite its heartwarming harmonic feel in its soft-pitched modulating orchestration and mellowed voices, one can easily miss the “soulful” appeal that transcended expressively to the mind and senses with “Maula Mere Maula”.

View  Aggar Movie Stills

View Aggar Movie Stills

AGGAR proves the weakest offering from Mithoon in recent times as compared to his previous melodious works that created a niche for him in the marquee. The advent of Candaian based singers Rup and Qurram in Bollywood proved “cold” preposition while Mithoon’s vocally delivered numbers justified his might as vocalist with no major surprises. Even Roop Kumar’s delivered “Sehra” fits into the situation well with no major emotional hiccups. Mithoon fails short of a single chartbusting soundtrack but definitely lives up to the expectations of a competent composer in the musical packaging of AGGAR.

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