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Director :
Music :
Lyrics :
Starring :
 Vikram Bhatt
 Himesh Reshammiya
 Sameer
 Celina Jaitley, Aftab Shivdasani, Amrita Arora, Sushant Singh

By Satyajit, Bollywood Trade News Network Send to Friend

Himesh Reshammiya’s euphoric nasal twang packed with rhetorically paced Sufi Rock makes its first dent this year at the marquee with RED. The bearded music composer took a big leap last year with his archetypal Sufi plunge but faced confrontation of being “nasal”. The “larger than life” success of 26 back-to-back hits made him “rock star” but it was short-lived with the mediocre run of albums like AAP KI KHATIR, DIL DIYA HAI and ROCKY. Vikram Bhatt’s RED brings his flair of music to the marquee after a sabbatical of six months. Unfortunately this dark thriller featuring love triangle (Aftab Shivdasani, Celina Jaitley and Amrita Arora) runs on single emotional track – intimidating obsession of lonely lover. Reshammiya’s funky paced music with its repetitive musical feel sounds monotonous with couple of expressive lyrical work. Experienced campaigner Sameer tries to be poetically nostalgic in rehashing Urdu phraseology of Sufi music with passionate words like “Aafren” and “Aaamin”. Barring the exception of “Aafren Tera Chehra, none of the soundtracks live up to standards and the conventionally plugged remixes makes things even worse.

The soft guitar strumming, moaning feminine cries and frolicking techno generated music forms smoldering prelude to intimidating obsession in Reshammiya’s voiced “Aafren Tera Chehra”. It’s listening pleasure for Reshammiya fan club where nasal twang coagulates well with keyboard harmonica and “Sarangi-Tabla” loops. The soundtrack shows the lyrical panache of ever experienced Sameer with firm gripping over Urdu terminology mixed with emotional verses. Reshammiya impresses to hilt in medium octave and this brings finest of his singing intellect that work positively for film and album prospects.

“Aafren Tera Chehra (remix)” builds up tempo with infectious musical thump that get carried away with Reshammiya’s finely matched vocals. The disco beat fillers are filled with enthused DJ claps to give party animals reasons to shake a leg on floors.

The fervor and vehemence of love maniac makes serpentine musical flow with modulating nasal twangs of Reshammiya in highly spirited soundtrack “Aamin”. The effective electric guitar coupled with “Sarangi” strums creates conventional Sufi tempo for the soundtrack. The word “Aamin” repeats itself after every “antaras” in Sameer’s routine lyrical presentation. Ironically both these soundtracks epitomize the aggressively vitriolic fanaticism of obsessed lover in Reshammiya’s contemporary Sufi funk. In terms of lyrical and musical contents, it sounds bleak to the opening track “Aafren Tera Chehra” but will find itself in the collections of enthused Reshammiya fans.

Disco beats fillers pumped with keyboard harmonica and “Sarangi” loop creates contemporary “club” mix in energetic “Aamin (remix)”. Impressive with scurry of foot-thumping burst but sounds repetitive and over heard in present context.

 



Vociferously invective Jayesh Gandhi showers abhorrence of aggrieved lover in loud n jarring soundtrack “Ek Tum Hi”. This highly argumentative and belligerent number is crooned in high octave where Jayesh plagiarizes Reshammiya high pitched rendition. It sounds average with contemporary Sufi musical thump making all the moves.

It gets loud n jarring in yet another club remix where rumbustious disco beat fillers moves with sweltering pace in contemporary “Ek Tum Hi (remix)”. Hear it with large volumes if you find Reshammiya music entertaining otherwise skip it to next offering.

Unimpressive Harshdeep feminine vocals prove too frail to shoulder the burden of the only sentimental female musical work in mediocre “Dil Ne Yeh Jaana”. Reshammiya gets big slice by singing major portion of the track in soft n subtle vocal mode. The sluggishly contemporary music arrangements retard the desired emotional gripping for situational dramatic moments.

Reshammiya’s ends the musical proceedings with his typical “Sarangi-tabla” loop filled with soft pitched keyboard harmonica in situational number “Loneliness is killing”. Poor Akriti Kakkar is reduced to background crooner with repetitive crooning of “loneliness is killing” in between the “antaras”. Reshammiya’s nasal twang rules it again and this it comes in moderately pitched vocals. The soundtrack has been primarily designed as “situational” soundtrack” and least can be benefited through its presence in the audio album.

“Loneliness is killing (remix)” is another “run of mill” club mix stuff that has featured in Reshammiya’s dozens of film albums. Enjoy it if you have been entertained with his earlier remix works otherwise wait for his next music release.

Himesh Reshammiya music disappoints completely as he prefer to imbibe his conventional Sufi rock adopted last year in more than half music albums. It’s high time for the “man-in-form” for musical make over to remain in contention for top slot. It may be listening pleasure for his hardcore fans but the fun is limited to tracks like “Aafren Tera Chehre” and “Aamin” while rest of them simply irritate.

Strictly for Reshammiya’s fans!

 

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