O sona tere liye plays like a sedate—and soporific—lullaby, with Shashaa’s vocals clearly bettering Rahman’s trademark high pitch surges that seem labored. Kooke kawn‘s burst of faux-Punjabi energy seems rather generic in Sukhwinder’s over familiar vocals, while Raakh baaki, barring that psychedelic ending, remains uniformly bizarre. Freaking Life starts off tentatively, but steadily builds into a throbbing tune on teenage angst, led well by Rianjali, Rajkumari and Suzanne D’Mello. Shashaa Tirupati completely owns Chal kahin door‘s effortlessly flowing—literally, given the sound of flowing water it starts with—melody even as Rahman adorns it beautifully with strings and flute. Muafi mushkil is the soundtrack’s most experimental, with a trippy, extended prelude that takes off stunningly mid-way, all the while exceptionally handled by Darshana KT. The best song of the soundtrack isn’t even credited to Rahman! With the music and lyrics credited to ‘traditional’, Be nazaara is a veritable showcase of Hindustani classical singer Sudeep Jaipurwala’s splendid vocals. In what seems like Desh Durga raag, Sudeep is incredibly dextrous with the free flowing classical melody, and the music gets increasingly and progressively mind-bending! From the familiar and the bizarre… to eventually the highly unconventional – Rahman covers an interestingly varied range in Mom’s soundtrack!
Keywords: Mom, A R Rahman, #200, 200
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