Music Review: Mohenjo Daro (Hindi)
Composer(s): A. R. Rahman
Listen to the songs online here: Saavn
Mohenjo Mohenjo, an enlivening primeval musical exotica (those ravanahatha flourishes are giving me life!), is more a string of assorted short pieces, extolling the virtues of a city where one of the earliest human civilisations thrived, suitably oozing grandeur in its arresting percussion-driven arrangements and propped up very well on the vocals by Arijit Singh, Bela Shende and Sanah Moidutty. So is the devoted ode to the city's lifeline, the Indus River, flowing through majestically in the form of Sindhu Ma, the almost-hymnal, tranquil composition juxtaposing that very devotion between two lovers (or is it?) in Tu Hai. Equally enchanting is its instrumental variant The Shimmer of Sindhu, incorporating a mesmerising mix of guitars (Keba Jeremiah), harp (?) and flutes (Kareem Kamalakar).
Singing her third song for Rahman this year and sounding as ethereal as ever is Shashaa Tirupati, who, alongside Shashwat Singh, once again demonstrates her enormous talent in the playful and wonderfully heavenly tribal-fusion Sarsariya, which gets an even more captivating instrumental makeover in Lakh Lakh Thora, courtesy Tapas Roy (mandolin/ethnic strings) and Naveen Kumar (on the flute). Capping off the soundtrack on a meditative but portentous note are the two intriguingly arranged instrumentals Whispers of the Mind and Whispers of the Heart, resonating almost like distant, alien-sounding ominous rumblings of what lies ahead. After what I felt were somewhat disjointed and slapdash efforts, A. R. Rahman strikes back with vengeance in Mohenjo Daro. It's music that's as rich as it can get.
Listen to the songs online here: Saavn
Mohenjo Mohenjo, an enlivening primeval musical exotica (those ravanahatha flourishes are giving me life!), is more a string of assorted short pieces, extolling the virtues of a city where one of the earliest human civilisations thrived, suitably oozing grandeur in its arresting percussion-driven arrangements and propped up very well on the vocals by Arijit Singh, Bela Shende and Sanah Moidutty. So is the devoted ode to the city's lifeline, the Indus River, flowing through majestically in the form of Sindhu Ma, the almost-hymnal, tranquil composition juxtaposing that very devotion between two lovers (or is it?) in Tu Hai. Equally enchanting is its instrumental variant The Shimmer of Sindhu, incorporating a mesmerising mix of guitars (Keba Jeremiah), harp (?) and flutes (Kareem Kamalakar).
Singing her third song for Rahman this year and sounding as ethereal as ever is Shashaa Tirupati, who, alongside Shashwat Singh, once again demonstrates her enormous talent in the playful and wonderfully heavenly tribal-fusion Sarsariya, which gets an even more captivating instrumental makeover in Lakh Lakh Thora, courtesy Tapas Roy (mandolin/ethnic strings) and Naveen Kumar (on the flute). Capping off the soundtrack on a meditative but portentous note are the two intriguingly arranged instrumentals Whispers of the Mind and Whispers of the Heart, resonating almost like distant, alien-sounding ominous rumblings of what lies ahead. After what I felt were somewhat disjointed and slapdash efforts, A. R. Rahman strikes back with vengeance in Mohenjo Daro. It's music that's as rich as it can get.
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