The Score Magazine - Archive April 2015 issue! | Page 43

Shreya Bose
Ranjha (Queen)
A song like this is reminder of how mainstream
music is beginning to edge away from the
profundity of vocals and depend on computer-
generated antics to construct hitmakers. Rupesh
Kumar Ramwields nothing but a single swath of
half-stasis sound and begins to slather his voice to
envision an incredible musical vision. The song
represent human sentiment on its most shorn,
emancipatory facet.
Glamorous Ankhiyan
(Ek Paheli Leela)
What starts off on a promising falters, if only
slightly with the overuse of overdone beats and
sound samples. Meet Bros Anjjan and Krishna
Beura demonstrate admirable vocal quality, but
the song meanders a little hesitantly. Topically,
its more a filler than actually committed to
a theme. It comes off attractively as a festive
option, at best.
Dance Basanti
(Ungli)
as
Vishal Dadlani's voice will ensure this song's elevated
ratings. Sachin-Jigar'scomposition doesn't miss a beat (
literally! ), though it certainly repeats them. Its a pity that
Anushka Manchanda'svoice is filtered into non-recognition,
but I suppose it makes sense in the context. The track lives up to
its name, and provides plenty to dance to. Though replaceable, its still
addictive as a good dance number needs to be.
Moh Moh Ke Dhaage
(Dum Laga Ke Haisha)
This film gains it unique cinema value on the basis of presenting a love that is utterly
without fabrication. It is not the love of beautiful people whose lives work out on account
of glaring plotholes and whose attachment is taken as matter of fact. In this context,
the romantic inclinations of this song gains a significance that is more than the mere
rhythm. Monali Thakur and Papon's voices seem irreplaceable, and every word they
sing swella with universality. Its about the turbulent construction of an emotional
discourse, rather than a mere stating of its existence. This song carries the rare quality of
penetrativeidentifiability that is often forgotten in the pursuit of a good beat.
Calcutta Kiss
(Detective Byomkesh Bakshi)
The much needed injection of indie talent into mainstream music is achieved when
Madboy/Mink rework their original “Taste the Kiss” for the film's neo-noir setting with
a post-funk slash new age disco trope, baked right in with hushed synth joints. You could
dance to this in an 80's New Orleans club where they serve out of old crystal decanters
and wait for Mardi Gras. This is the kind of track that makes you curious about the film it
could fit into.
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