One Day, When a Glory Comes

Alia Bhatt and Vicky Kaushal in a still from a film Raazi.

Three stars (***)
Composer: Shankar-Ehsaan-Loy
Lyrics: Gulzar

It has been a while given we listened compositions from a gifted trio, Shankar-Ehsaan-Loy (Mirzya and Rock On!! 2 happened in 2016). The 3 artistes — who have privileged many a litmus exam in terms of delivering shining scores — brew army with lyricist Gulzar (they have worked together in 5 films before) for a soundtrack of a arriving film, Raazi — an espionage thriller formed on Harinder Sikka’s novel Calling Sehmat. Starring Alia Bhatt and Vicky Kaushal, a film is about a Kashmiri lady who is lerned as an clandestine representative and married to a male in a Pakistani army forward of a 1971 Indo-Pak war.

It’s always formidable to emanate nationalistic songs, as they can sound too soppy, or too lofty, or too stoic. For a soundtrack of a film, a contingent strikes a smashing change between something rousing, adhering to a section of thematic tribute, and juxtaposes it with soft, relocating records and Gulzar’s thought-provoking lyrics, so formulating a brew that hits a brief to a tee for a film such as this. Musically, it’s intelligent during many points though exclusive one song, it doesn’t have as most remember value as we are used to with a trio’s compositions.

The four-track manuscript opens with Aye watan, that has been sung by Arijit Singh. Just when we are about to consternation if Sukhwinder Singh would have been a improved choice for this, Singh surprises us by attack a high records with most clarity and aplomb. The appetite is refreshing. While a credentials is rousing with drum drums and a stirring chorus, a square itself sticks to peaceful and ethereal movements. A smashing attempt.

Kedar epitomises love. The composers use a raga to open a womanlike chronicle of Aye watan. This one is sung by Sunidhi Chauhan along a soothing and flourishing backdrop of a propagandize choir character chorus. It’s a sign of a qawwali Na toh karvaan ki talaash hai. It has a esraj being used extensively. With children singing along, it sounds as if it is being sung in a propagandize assembly. As is a common emanate with Chauhan, she sounds stretched when singing high notes. Towards a end, a child’s voice concludes a strain wonderfully. In times when credit is apropos important, we feel a name of a thespian should have been mentioned.

This is followed by a Kashmiri marriage strain that opens with Vibha Saraf’s soothing vocals. The initial few lines of a composition, sung in Kashmiri, are taken from a famed marriage strain Khanmaej Koor. The wistfulness comes through. It is shortly related with Harshdeep Kaur singing in Hindi. Composition and adaptation correct — sarangi and esraj interludes, simple synth backdrop, carol and lively percussion, pale form — it is in a right section though Kaur can’t lift off a outcome indispensable in a Kashmiri number, like she did in a Punjabi marriage chronicle of Kabira.

In a pretension song, a composers use Singh really interestingly and cleverly — primarily like a faqir singing folk in his high-pitched voice on a streets of Punjab though crisscrossing with a Kashmiri shade (through his voice and a subsidy of a sarangi), and after as a standard Bollywood singer, with a bouzouki. He merges these dual styles in a third partial of a song, regulating clever percussion with dhol, guitar and a Kashmiri orchestration. The best square in a album, Lagan ki baazi hai, Chot bhi taazi hai, Lagaa de daav standard dil, Agar dil razi hai, represents how smashing is a pairing of Gulzar and Shankar-Ehsaan-Loy.

Overall, it’s a shining effort. But one wishes it had some-more songs silt some-more Kashmiri influences. Buy it for Raazi, and a pleasing contours.

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