Some of Yuvan’s Pudhupettai orchestral brilliance trickles down to Innum oru iravu which sets a fabulously eerie and ambient tone to the soundtrack. Yuvan’s intentionally coarse diction and singing only...
Continue reading...Zindagi (Zubeen Garg)
Zubeen’s pop debut is largely bland due to the indifferent music turned out by composers ‘Alaap’! There’s a lackluster feel to every track and Zubeen’s over-exploited vocal range adds to...
Continue reading...Dil dosti etc (Hindi – Siddhartth Suhas & Agnee)
Dum laga is a thoroughly enjoyable rant with the essential DU feel and appropriately conjured-up lyrics. Vedic Chants band mates Siddhartth and Suhas serve an ace here, as also in...
Continue reading...Johnny Gaddar (Hindi – Shankar Ehsaan Loy)
Dhoka and the title track definitely carry a distinct appeal, taking off from the trio’s sound in Don. Johnny breakbeat rocks big time, as a funky, retro mix, but the...
Continue reading...Laaga chunari mein daag (Hindi – Shantanu Moitra)
Hum to aise hain glimmers with the vocals of Sunidhi and Shreya while the naively joyous tune works appropriately too. Zara gungunalein chalo and Ik teekhi teekhi have fairly unusual...
Continue reading...Bhool Bhulaiyya (Hindi – Pritam)
Allah hafiz and Sajda have standard Pritam-styled facets which have recently started to tire us, while Lets rock soniye is good fun and that Irish interludes played in Indian folk-style...
Continue reading...Manorama – Six Feet Under (Hindi – Jayesh Gandhi & Raiomond Mirza)
Who bheege pal is the definitive track – both versions, by Zubeen Garg and Jayesh Gandhi, but more due to our fascination for the Pakistani-pop sound, since Jayesh seems to...
Continue reading...Sunny (Telugu – Ilayaraja)
Sayankala and Adharam have stock tunes while the backgrounds do not help in anyway at all. Ninu kori reeks of many Tamil songs of the composer (including Vaa vaa anbe,...
Continue reading...Top recent picks!
Dhoondein – Junoon, Abhijeet Sawant (Amit Trivedi, Indipop) I prefer this over the other fave, Junoon’s title track. For me, this symbolizes Sawant’s coming of age – the vocals are...
Continue reading...Waqt par bolna (Hariharan)
Kaash (2000), and to some extent, Halka Nasha (2002, music by Utpal Biswas) were a new direction for the prolific singer, who’s ghazals I’ve come to completely adore, more specifically...
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