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Director :
Music :
Lyrics :
Starring : |
Navdeep Singh
Jayesh Gandhi
Surendra Mishra
Abhay Deol, Raima Sen, Gul Panag, Sarika.
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By Satyajit, Bollywood Trade News Network
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Jayesh Gandhi, a consistent musical icon in Himesh Reshammiya’s film albums graduates into big chair along with new talent Raiomond Mirza in spy thriller espionage MANORAMA SIX FEET UNDER. The soundtracks are raucously voluble about the deceitful and conspicuous situational proceedings with tracks like “Woh Bheege Pal”, “Tere Saawalon ke” and “Dhundla Jo Sama Bandha” offering affable grounding for its uncharacteristic theme and characters. Both composers excel as per offered desired situations and have their share of successes in urbane-friendly soft-pitched rock compositions.
“Dhokha”, an iconical harmonic presentation of all deceit and intrigue pertaining to structural plot of MANORAMA SIX FEET UNDER comes in the gruffly paced vocals of folksy Richa Sharma. Fresh composer Raiomond Mirza delivers a penchant background soundtrack, akin to RGV’s styled horrifying tales, with light hearted percussive elements and infused brief evocative monologue (Abhay Deol) in its interludes.
Raiomond Mirza has Sufi surprise in melancholically arranged and delectably emoted soundtrack “Dhundla Jo Sama Bandha”, by briskly voluble Kailash Kher in his sentimental tones and overtones. Irfan Siddiqui’s penetrative lyrical work depicts the vicissitudes of life where Kailash Kher’s modulating “linguistics” abilities works magical surprises. It’s classy treat for Sufi lovers and probably an affable commodity for niche listeners.
The emotional commotion of enchanting and perplexed romantic hues and cries is embarked remarkably with soppy “n” squashy lyrical deliverance, refined vocals and inspiring music in idealistic “Tere Saawalon Ke”. Unlike two previous subjective tracks, it’s more inclined towards the beleaguered romanticism well governed by Manoj Tapadia’s momentous lyrical flow. Roop Kumar Rathod’s authoritatively classical vocals are well suited for its melancholic flow with impressive Mahalaxmi Iyer’s adding graceful feminine dash in her silken display. Jayesh Gandhi’s musical intellect brainchild’s it supremely in binding all the ingredients into presentable decorum.
Jayesh Gandhi’s receptiveness into the ethnicity of Sufi rock culture invigorates confidant impromptu version of “Woh Lamhein Woh Baatein” (ZEHER) into soft-pitched Sufi rock ballad “Woh Bheege Pal” with great success. This Surendra Mishra’s penned track proves to be signature track for its resounding colloquial love bondage emoted in pensive tonality in three major versions. Both Zubeen Garg and composer Jayesh Gandhi’s modulating and high-scaled pitched vocals gists out the penitence and repentance in love relationship with acrimonious vigor. It’s likely to be hot favorite among Gen X listeners and if promoted well, it can be scaling high on charts. DJ Akbar Sami’s racy and pulsating “club DJ” rushes push this sonorously paced track into flashy disco thrills in “Woh Bheege Pal (remix)”. It catalyzes well into promotional material and strikingly can be fetching better returns for film’s success for its urbane friendly jiving and thumping impacts.
MANORAMA SIX FEET UNDER may be concise in its packaging but surely it impresses with its candid and heartfelt musical exhibit. Jayesh Gandhi’s consistency in Bollywood maintains its top slot and this time he excels as composer in tracks like “Woh Bheege Pal” and “Tere Saawalon Ke”. On flip side, new find Raiomond Mirza shows his sharp edges with tracks like “Dhundla Jo Sama” and “Dhokha” but still he has miles to go. The album may be counted low for its average face value, promotion but still it manages to be on brighter side for its sincere and modest display.
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