Raman Raghav 2.0's music is every indie musician's angsty reply to everything wrong with Bollywood 'Movi ' music. The choice of singers like Nayantara Bhatkal and Siddharth Basrur are kind of a giveaway about how Ram Sampath is trying to break away from the establishment. It is such a relief to listen to an album without a song by Arijit Singh or the Meet brothers, who seem to be the bankable ones for a 'hit song' these days.
What aids Sampath's uncompromised take on film music is writer/stand-up comedian Varun Grover's sharp, atypical lyrics which cut into its listeners, making them sit up and take notice. The album is sparsely populated with 4 songs (5 if you count an 'unplugged version') indicating that the music is mostly situational.
Qatl-e-aam
The album begins with the supposed 'bankable song' called Qatl-e-aam which uses elements of ghazal and heavy trance. The unplugged version remind us of singer Sona Mohapatra's earlier indie hit Tere Ishq Nachaya with a heavy folk influence. What stands out in the original is Yash Divecha's additional vocals that take the song into the club/trance genre effortlessly.
Behooda
Behooda, literally translating to 'indecent' or 'uncouth', sees Nayantara Bhatkal crooning to a bass heavy arrangement. Possibly used to describe the title character, lyricist Varun Grover is wicked with his descriptions including lines like "Tera khoon hain sau mein nabbe kaala" Brother and "Tune naakhuno se phoda chhaala". Bhatkal's smooth voice texture lends the song a very gangster-like feel with the continuous violin, keyboard riffs accompanying the chorus.
Paani Ka Raasta
Frontman of Indie metal outfit Goddess Gagged, Siddharth Basrur, is at the helm of the next song Paani ka Raasta. Basrur is in familiar territory with the song as the arrangement is basically progressive rock and benefits from catering to the singer's comfort zone. Special mention for Shon Pinto's beautiful guitar riffs in the background, which remind us of all the great Rock songs (Stairway to Heaven anyone ? and why we all fell in love with the genre. Ram Sampath's backing vocals in the chorus are effective.
Qatl-e-aam
The album begins with the supposed 'bankable song' called Qatl-e-aam which uses elements of ghazal and heavy trance. The unplugged version remind us of singer Sona Mohapatra's earlier indie hit Tere Ishq Nachaya with a heavy folk influence. What stands out in the original is Yash Divecha's additional vocals that take the song into the club/trance genre effortlessly.
Behooda
Behooda, literally translating to 'indecent' or 'uncouth', sees Nayantara Bhatkal crooning to a bass heavy arrangement. Possibly used to describe the title character, lyricist Varun Grover is wicked with his descriptions including lines like "Tera khoon hain sau mein nabbe kaala" Brother and "Tune naakhuno se phoda chhaala". Bhatkal's smooth voice texture lends the song a very gangster-like feel with the continuous violin, keyboard riffs accompanying the chorus.
Paani Ka Raasta
Frontman of Indie metal outfit Goddess Gagged, Siddharth Basrur, is at the helm of the next song Paani ka Raasta. Basrur is in familiar territory with the song as the arrangement is basically progressive rock and benefits from catering to the singer's comfort zone. Special mention for Shon Pinto's beautiful guitar riffs in the background, which remind us of all the great Rock songs (Stairway to Heaven anyone ? and why we all fell in love with the genre. Ram Sampath's backing vocals in the chorus are effective.
Raghav Theme
Raghav Theme, which we assume will be central to the cat-and-mouse game between the characters of Nawazuddin Siddique and Vicky Kaushal, as the trailer tells us, has heavy electronic/trance influences with a nice tension to it. The raw treatment of the track also somehow brings out the darkness of the two main characters of the film.
Downlode here DOWNLODE
0 Comments