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Music Review : Khoya Khoya Chand |
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Director :
Music :
Lyrics :
Starring : |
Sudhir Mishra
Shantanu Moitra
Swanand Kirkire
Shiny Ahuja, Soha Ali Khan, Soniya Jehan, Rajat Kapoor, Vinay Pathak.
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By Satyajit, Bollywood Trade News Network
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The classy Bollywood “retro” feel is back again in KHOYA KHOYA CHAND but this time it’s not ostentatiously flashy as it was in OM SHANTI OM. It’s subtle, submissive and treadmills romantic voyages of 50’s and 60, where “time-honored” conceptual melodramatic ethics are preserved by characteristically classical Indian and western musical decorum. Shantanu Moitra, the ideal choice for this vintage era melodrama rejuvenate 50’s era that is conceptually reminiscent to ever popular on-screen romance of late Gurudutt and beautiful Waheeda Rehman.
Shantanu Moitra fabricates traditional flair of “qawalli” politesse in setting up ambience for love chemistry in the title track “Khoya Khoya Chand” where poetic references to “Chand” (moon) in old-fashioned tonality delivers a feel of nostalgia. Fresh talent Ajay Jhingran’s intensely voiced baritones are sharp contrast to the likes of legends like Hemant Kumar. Swanand Kirkire raps out his “shayaari” in preludes and interludes with able incorporation of old-fashioned rhythmical flows getting along with traditional instrumentals getting refined with supple electronic sounds. It’s an above average title track that’s more subjective to the concept rather than enlightening or entertaining senses.
Moitra had a “blast from past” when Sunidhi crooned “Kaisi Yeh Paheli” (PARINEETA) for svelte Rekha and “Yeh Nigaheen” turns out to be extension to this oeuvre. It’s an ode to traditional 50’s music where wood basses, trumpet echoes, twittering drumming along with dash of piano shrills and guitar riffs sets decorum for ball-room dancing for love birds. Antara Choudhary tries to impersonate Geeta Bali’s yore in modulating textures while Sonu Nigam shows his flair of Rafi style singing. Moitra has potentially conceptualized bygone era through his instrumental expertise but it’s moreover a visual delight for its embodied flamboyance than listening pleasure.
Recently there was unheard “Ehi Thaiyaa Motiya” (LAAGA CHUNARI MEIN DAAG), a classical “thumri” and now it’s been followed by another similar track “Chale Aao Saaiyaan” by versatile Shreya Ghoshal. It’s an eclectically paced situational “mujra” track that can be epitomized better through Shreya’s refined singing with essentials of conceptually profound Indian classical music ethics.
“Khushboo Sa”, an ode to Geeta Bali’s 50’s fling brings in another fresh talent Hamsika Iyer, the vocalist who debuted with impressive “Chanda Re” (EKLAVYA-THE ROYAL GUARD). After “Yeh Nigaheen”, it’s another big take on “Kaisi Yeh Paheli” and the striking feature of this seductively crooned track are its shimmering vocal flows followed by the preceding interludes where rigorous arrangements takes you by big surprise.
Sonu Nigam relives the emotionally excruciating romanticism of “Soona Man Ka Aangan” (PARINEETA) into another slow and subtle solo track “O Re Paakhi”. Swanand’s simplistically penned wordings are mesmerized into Ravi, Shanker-Jaikishen, S.D. Burman style of orchestration that revives “golden era” to large extent.
Mellifluously pristine Shreya Ghoshal has written herself all over once again after “Saawar Gayi” (SAAWARIYA) for personifying herself into mellow contours of the timeless romantic experiences in “Sakhi Piya”. Besides Shreya’s matchless dexterity, this mellow toned classical treat has classically refined vocals of Pranav Biswas where Moitra’s harmonically synchronized arrangements coordinates appreciably with the “sargam” and “tarrannum” of its tranquil feel. Soul-Enchanting!!!
Shantanu Moitra tries to cast spell of vintage era contemporary lavish dance sequences where elongated percussive prelude followed by modestly expressed vocals sets the tempo for situational “Thirak Thirak”. This track has emblematic feel of KHOYA KHOYA CHAND with contemporary dancing feel experienced in Ravi, S.D Burman’s 50 and 60’s works. Watch out for its on-screen shimmering opulence where the instrumentally supreme prelude befits the stage for perfectly caricatured romance.
Shantanu-Swanand gets into their traditional colors with their patent finesse in KHOYA KHOYA CHAND after delivering bunch of disappointments in LAAGA CHUNARI MEIN DAAG but still the feel is strictly restricted to class listeners. It has momentous touches of bygone era in shades and contours of romance, bliss, sorrow, severance and elation in the expressively displayed works. Do get into 50’s golden era with KHOYA KHOYA CHAND but don’t expect anything nostalgic like PARINEETA or entertaining like LAGE RAHO MUNNABHAI.
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