Music Review: Tamasha (Hindi)
Composer(s): A. R. Rahman
Listen to the songs online here: Saavn
Matargashti, in Mohit Chauhan's playful rendition, is retro'ish and breezy, setting aside its similarity to Masakali (Delhi-6, again sung by Mohit himself) and Aye Mr. Minor!. Parade De La Bastille, partly the former's instrumental variant, makes up for it, taking the listener on an exuberant musical parade with its thoroughly absorbing Celtic touches (a mix of accordions, bagpipes, mandolins, strings, tin whistles and a teeny bit of sufi!). Agar Tum Saath Ho is trademark Rahman in all aspects, mellow, soulful and fabulously sung by Alka Yagnik and Arijit Singh, who gets to show a fresh side in Wat Wat Wat, a wacky Punjabi composition that switches gears every time you settle on the rhythm. Its dubstep Vengeance Mix version is interesting sound-wise, but the result is more of a mixed bag.
Heer Toh Badi Sad Hai, like Katiya Karoon, goes full-on Punjabi folk and despite a not so fresh tune, works very well in Mika Singh's vocals. Chali Kahani is dramatic and largely thematic, but frenetic all the same (Haricharan Seshadri making his Hindi debut, by the way), and Safarnama, staying true to its name, is a melodious guitary journey to bliss. The trance'y Tu Koi Aur Hai rides on a captivating orchestration, almost bordering on other-worldly, and an anthemic choral outro that makes it exceedingly, resoundingly, monumentally fine. Tamasha is difficult to sum up, it's a little inspired no doubt from Rahman's own previous works in Rockstar and Highway (or is that Imtiaz Ali's influence?), yet the ones that count — Parade..., Safarnama and Tu Koi — make all the difference.
Listen to the songs online here: Saavn
Matargashti, in Mohit Chauhan's playful rendition, is retro'ish and breezy, setting aside its similarity to Masakali (Delhi-6, again sung by Mohit himself) and Aye Mr. Minor!. Parade De La Bastille, partly the former's instrumental variant, makes up for it, taking the listener on an exuberant musical parade with its thoroughly absorbing Celtic touches (a mix of accordions, bagpipes, mandolins, strings, tin whistles and a teeny bit of sufi!). Agar Tum Saath Ho is trademark Rahman in all aspects, mellow, soulful and fabulously sung by Alka Yagnik and Arijit Singh, who gets to show a fresh side in Wat Wat Wat, a wacky Punjabi composition that switches gears every time you settle on the rhythm. Its dubstep Vengeance Mix version is interesting sound-wise, but the result is more of a mixed bag.
Heer Toh Badi Sad Hai, like Katiya Karoon, goes full-on Punjabi folk and despite a not so fresh tune, works very well in Mika Singh's vocals. Chali Kahani is dramatic and largely thematic, but frenetic all the same (Haricharan Seshadri making his Hindi debut, by the way), and Safarnama, staying true to its name, is a melodious guitary journey to bliss. The trance'y Tu Koi Aur Hai rides on a captivating orchestration, almost bordering on other-worldly, and an anthemic choral outro that makes it exceedingly, resoundingly, monumentally fine. Tamasha is difficult to sum up, it's a little inspired no doubt from Rahman's own previous works in Rockstar and Highway (or is that Imtiaz Ali's influence?), yet the ones that count — Parade..., Safarnama and Tu Koi — make all the difference.
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