I could not stop noticing your email address. You are the same Aakash? On Fri, Jan 16, 2009 at 7:01 AM, aakash_gandhi2002 < [email protected]> wrote:
> > > Delhi 6 > Music Review > > Source: avstv.com > By Aakash Gandhi > Reviewer's Rating: 9.5/10 > > It's raining Rahman all over the world…and I absolutely love it! If > you thought that 2008 was a groundbreaking year for the Madras Mozart > (5 Hindi OSTs, 1 Tamil OST, 1 International OST), then you'll be > completely stupefied by how Rahman has lit the blaze of 2009. Last > week, Rahman brought glory to the homeland by roping in Hollywood's > prestigious Golden Globe Award for Best Original Score for Slumdog > Millionaire. Now, just half a month into the new year, and Rahman > picks up right where he left off with another spectacular score in > Rakeysh Omprakash Mehra's much anticipated DELHI 6. > > Many believe, myself included, that Rahman will undoubtedly raise the > greatest trophy of them all – the Oscar – come February for his > unprecedented mastery in Slumdog Millionaire. But even I was skeptical > towards Rahman's ability to continually work at such an incredibly > high level. He's quick to put any and all doubts to rest. DELHI 6 is > just as rich, just as powerful, and just as awe-inspiring as his work > in Slumdog Millionaire. As we take the timeless stroll down the > streets of Delhi 6, let us rejoice in the phenomenon that is RAHMANIA. > > Bhor Bhaye is classical bliss in the purest of forms. Rahman is in > rare form, as he dazzles with his mastery over the mesmerizingly > poetic textures of authentic Indian Classical music – a genre that > once used to fuel his critics. The piece is poured through a classical > lense, laced formidably by the tabla and harmonium. While Ustad Barle > Ghulam Ali Khan and Gujri Todi put forth tremendous support, it is > Shreya Ghoshal who never fails to amaze. Her classical rendition is > flawless in its control, range, and sweetness. Furthermore, her syrupy > sweet texture serves as a wholesome foil to the other two more > classically-rooted vocal tones. Verdict: The Rahman-Shreya > collaboration attains musical nirvana yet again! > > Masakali is a musical wonder in respect to its melodic and rhythmic > treatment. Rahman is a truly globalized musician. He proves it yet > again with the whirlwind of sounds that grace our senses in this > composition. Let's first delve deeper into Rahman's diversely arranged > rhythm. When we deconstruct it, you'll find that Rahman utilizes much > Arabic percussion – an element that is highly characteristic of > Rahman's music. Yet, he toys with the tempo, tweaks the structure, > uniquely layers the percussion elements, and miraculously we are in > the midst of an Arabic sound with a Latin flavor in the rhythm. It is > this seamless liquefying of sound that gives Rahman an edge that few, > if any, are able to compete with. Staying with the arrangements, > Rahman restricts himself from altering them too much as the song > unfolds. It makes sense considering how richly animated the melody is > above it all. However, the arrangements are beautifully sprinkled by a > few highlights of acoustic riffs and the playful strums of the > accordion (or slight variation thereof), both of which casually appear > throughout this breath-taking number. > > Moving up into the melody, Rahman completely reinvents himself yet > again! Although extremely fresh and breezy from afar, the melody is > addictively wild and free from structure. Of course, this genius is > not shy when it comes to breaking traditional musical norms. The more > Rahman challenges standards, the more challenging it is for his > singers to keep up at the same ridiculously high level of quality. > Yet, that's exactly what vocalist Mohit Chauhan does! Working last > with Rahman in "Khoon Chala" (Rang De Basanti), Mohit Chauhan proves > himself worthy of yet another Rahmantic piece. Lacking a sturdy > structure to conform to, Chauhan releases all inhibitions with his > free-style rendition. Lyrically, Prasoon Joshi uses his mastery over > imagery to convey romance as if it were being discovered for the very > first time. Verdict: An absolutely splendid composition from the very > depths of its rhythmic makeup to the breezy heights of its colorfully > vibrant melody. > > Noor is a beautifully written spiritual poem by Prasoon Joshi, > rendered powerfully by Amitabh Bachchan. With no musical elements > involved, the poem speaks on the all-pervading Supreme Being. One must > look within to find comfort in his light. If one loves the Almighty, > then he should love every soul. Verdict: This poem only reaffirms > Prasoon Joshi's status as one of the nation's most talented > poets/lyricists. > > Aarti (Tumre Bhavan Mein) was a song that I was especially looking > forward to because of Rekha Bharadwaj's vocal presence in it. However, > I was disappointed to find that she was merely a part of a four woman > chorus, including Kishori Gowarikar, Shraddha Pandit, and Sujata > Majumdar. Nevertheless, my expectations aside, Rahman's Aarti is > extremely simple in its treatment. Built upon the slow flicker of the > sitar, the chorus renders a melodically sweet and lyrically poignant > bhajan intended to serve a situational purpose in the film. Verdict: > An extremely soulful bhajan. > > Genda Phool is a stylish track that features some WICKED beats in the > arrangements! I said in the previous track that "I was disappointed" > by the fact that Rekha Bharadwaj's vocals weren't highlighted by > Rahman. Now honestly speaking, how often does Rahman disappoint? > Exactly. Rekha Bharadwaj DOES feature in Genda Phool, a number that is > unlike anything you've ever heard in your life! Despite an > intriguingly catchy melody, it is the heavy and deep techno beats in > the arrangements that get your soul thumping and body bouncing. > Bharadwaj's lead vocals provide a rustic feel that adds to the song's > unconventional sound. Interestingly enough, I should also note that > Rajat Dholakia is co-credited with the music of this song. Verdict: > GROUNDBREAKING! > > Dil Gira Dafatan is a soul-stirring musical masterpiece! I'm at a > complete loss for words to describe the ravishing nature of this > spectacular work of art. First off, let's look at the sensational > surprise – vocalist Ash King, who makes a stunning film debut with Dil > Gira Dafatan. This UK born singer has been breaking new ground for the > Indian Music Community and has collaborated with such esteemed > International artists as R. Kelly (USA), rapper Flawless (UK), and > singer Ramzi Sleiman (Lebanon). However, his vocal brilliance has > never glistened more than it has in Dil Gira Dafatan (a phenomenon > most Rahman singers undergo). Although similar in texture to Javed > Ali, King's style is miles apart – which he impressively proves in the > opening minute alone. > > Now moving over to the Genius…Rahman's treatment is awe-inspiring. Be > it the timidly crafted romantic melody, the tender vocal interludes by > Chinmayee, or the riveting acoustic riffs, Dil Gira Dafatan is a > musical miracle. Soon enough, the composition explodes with the > synergistic blend of bagpipes, violins, strings, and percussion. > Prasoon Joshi's lyrical ingenuity matches Rahman's invincibility > surprisingly well. Verdict: It's as if I'm hearing music for the very > first time… > > Hey Kaala Bandar picks up where much of Ghajini's OST left off. Heavy > on the techno beats and strong bass lines, this song leans heavily on > attitude and style. Rendered by Karthik, Naresh, Srinivas, and Bonny > Chakravarthy, the music is fairly one-dimensional in the arrangements. > Flooded with rap interludes, it provides little satisfaction for > lovers of highly melodic music. Verdict: It's a great song that fits > its genre, but will be highly over-shadowed by all the other more > poetic and distinctive compositions that decorate the soundtrack of > Delhi 6. > > Rehna Tu is a euphoric lounge track that triumphs for a number of > diverse reasons. Melodically, Rehna Tu is vintage Rahman! The melody > tenderly crawls over you, while the ambiance of the song captures > every nuance of your attention. It truly is a peacefully blissful > composition from every angle. Rahman joins hands with Benny Dayal to > croon this stunning portrait. The song is flooded with such a vast > array of sounds, most of which are heavily programmed, that you really > don't know what you're listening to - it all assimilates into one > over-powering vibration. Prasoon Joshi is once again at his lyrical > best. Verdict: As hard as I may try, words cannot capture the essence > of what you'll experience in Rehna Tu. It's amazing. > > The title song, Delhi 6, is another song filled with attitude, flair, > and style. Structured along the lines of a techno/synth hip-hop > composition, Delhi 6 is highly enjoyable. Flooded with heart-pounding > synths, vintage guitar, and other innovative sounds, the situational > number should really blossom on screen. Blaaze and Benny Dayal infuse > the song with high-octane vocals, while Vivienne Pocha, Tanvi, and > Claire add a variety of vocal flavors to this intense piece. Verdict: > A heavy track that will keep you on the edge of your seat… > > Arziyan is a humbling close to an extraordinary soundtrack by India's > greatest composer of all-time. Rahman blesses us with yet another > personal take on the qawwali. The composition is appropriately very > simple in the arrangements – tabla, harmonium, and light guitar laces. > It is the emotionally liberating melody and the stunning chemistry > between vocalists Javed Ali and Kailash Kher that make this song a > true masterpiece. Rahman's melody is easily the greatest asset of this > song - filling your heart with such calmness and euphoria. Prasoon > Joshi's ode to God is a spiritual awakening of sorts. Verdict: The > touching beauty of this qawwali will bring tears to your eyes… > > The aural splendor of DELHI 6's score is one that escapes > superlatives. Rahman's varied approach and stylized compositions > provide rare insight into the deepest corners of musical nirvana. Yet > at the same time, they all carry that special Rahmantic touch that > cannot be seen, nor heard…it must be felt. From the classically > enlightened ambiance of Bhor Bhaye to the globalized rhythms of > Masakali, from the sultry smooth treatment of Dil Gira Dafatan to the > beautifully reinvigorated qawwali of Arziyan – Rahman's Delhi 6 is a > potpourri of shimmering brilliance that emerges amidst a milieu of > vibrating sensations. > > One can only marvel at this gifted man's musical wizardry. But the > scary part is…after two decades, it is still just the beginning. > > Aakash Gandhi is Managing Editor and Senior Writer for > PlanetBollywood.com. He also freelances for AVS TV Network at avstv.com > > >
