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Music

 
 Red Swastik
Director :
Music :

Lyrics :

Starring :
 Vinod Pandey
 Shamir Tandon, John Hunt, Ashutosh Pathak
 Vinod Pandey, Ashutosh Pathak
 Sherlyn Chopra, Harsh Chhaya, Deepshikha, Yusuf Hussain, Raj Khan, Preeti Kopikar, Usha Bachani

By Satyajit, Bollywood Trade News Network Send to Friend


Red Swastik Movie PosterRED SWASTIK, an unconventional title with eccentrically plotted theme strikes marquee in the avant-garde genre of “bold” psycho thriller. Like its atypical title, the music flushes out in loud and explosive expressions of a psychotically bemused protagonist torn between the feel of seclusion, abhorrence and vengeance. Shamir Tandon, a hot favorite in Madhur Bhanderkar’s socially relevant melodramas (PAGE 3, CORPORATE, TRAFFIC SIGNAL) delves into intricacies of this dark thriller through mellow and fiery paced numbers. Guest composers Ashutosh Pathak and John Hunt sputter relentlessly with undesired “hard rock” attire and simply add themselves in credits than delivering anything consequential. This uncharacteristic titled film fails to delivers anything spectacular, enthralling or innovative in its musical offering and proves to be weakest aspect in Shamir Tandon’s brief listed noted works.

Rekha Bharadwaj, folksy singer whose gruffly crooned raunchy track “Namak” (OMKARA) stole limelight comes up with sluggishly paced biographical track about desolate executioner who gist out herself in a lackluster semi-classical cum westernized jazz number “Saadiyon Ki Pyaas”. Tandon’s bleakly composed saxophone notes proves unworthy and exasperate the expressiveness of beleaguered loner in the semi-classical vocal rendition as it droops to lowest with incompatible arrangements and insipid lyrical flow. It tries to strike chord with melodious “Kitne Ajeeb” (PAGE 3) but neither Rekha’s bland vocals nor Vinod Pandey’s wishy-washy lyrics create any magic. Unheard talent Prabhati Mukherjee gets behind the mike and tries to revamp it with pub-styled disco beat thumps in mediocre “Saadiyon Ki Pyaas (remix)”. Shabab Sabri’s impressive “alaaps” and Clinton Cerejo’s upbeat hip-hop rendition are the bonus factors but the lethargic tempo and undistinguished vocals fail to live up to the occasion.




Vinod Pandey, brainchild of this erotic psycho thriller pens down his untamed philosophic sermonizing about multifarious notions, aspects and concepts of “Rakht” (blood) in the aggressively punched soundtrack “Rakht Rakht”. Shafaqat Amanat Ali Khan excruciates out the “tandav” form of musical work where his ferociously paced classical vocals emotes out the intimidating appeal with ear-deafening arrangements. The soundtrack anecdotes the gory, passionate, aggravating and pacifying facades of “Rakht” (blood) but the Red Swastiksuperfluous classical “alaaps” spoil the show. Besides Shafaqat’s impressive vocal show, the frantically delivered “hard rock” proves to be sore thumb. It props out as the most thematically conceived number and probably the most accountable background score in the spine chilling situations. “Rakht Rakht (remix)” has the feel of flashy promotional track and sounds shades superior to earlier remix track but nothing enthralling about it.

Vishal Dadlani, James and now composer cum vocalist Ashutosh Pathak endeavors out to plagiarize “Headbanger’s Balls” mode of “hard rock” musical zeal in the sentimentally vociferous “Thee Zindagi Bas Wohi” with minimal results. The music sounds too jarring, vocals are inaudible and lyrics prove too monotonous to create any zest. Guest composers Ashutosh Pathak and John Hunt striving attempt proves futile but it’s lingering haunting musical backdrop strikes homogeny with the “killer” instinct of abhorrent loner protagonist.

Soft-pitched saxophone notes, titillating piano beats and impressive vocals epitomizes the author backed topographical overview of materialistic city through the visions of desolate protagonist in the sentimental “Yeh Jo Tera Shehar”. Bhupinder Singh, the veteran vocalist who resurrected himself and later excelled in Tandon’s earlier composition “Na Jis Din Teri Meri Baat Hoti Hai” (TRAFFIC SIGNAL) delivers another noteworthy performance through his synchronized vocal interpretation of serene expressiveness encapsulating the disgruntled emotions. Vinod Pandey’s uninspiring and indolently but still exhaustively conceived lyrics prove too incompetent to match its melancholic tonality. Against all odds, the song redeems some pride for Shamir Tandon but even this fall stumpy on novelty quotient as it sounds as sequel or extended version to his last conceived “Na Jis Din Teri Meri”.

RED SWASTIK, a minnow with zilch publicity proves to be scrawny offering in Shamir Tandon’s brief but impressive filmography and a major disappointment for his selected sect of fan following. Despite the fact it has promising names likes Shafaqat Amanat Ali Khan, Rekha Bharadwaj and Bhupinder Singh on its credits, it still proves meek contender and non-starter. Tandon’s experimentation with genres and upbeat orchestration made him special in filmdom paving way to celebrity friendly album ASHA & FRIENDS. His dream run of success seems to facing major blow after this non-happening and forgettable musical work and will probably be losing preposition all the way.


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