FearMusic Director: Himesh Reshammiya; Lyrics: Sameer; Rating: **

Himesh Reshammiya, the multifarious musical prodigy who recently stole headlines for his maiden acting project is back with FEAR, a low profile crime thriller. Year 2007 has been mixed bag for him as his two albums NAMASTEY LONDON and AAP KAA SUROOR proved pure gold while rest of his works were ranked between above average to mediocre by masses and media. Earlier this year, the combination of Vikram Bhatt and Himesh Reshammiya delivered an above average album RED and now their second outing FEAR comes more like its predictable sequel. In FEAR, Reshammiya infuses his old-fashioned flair of musical work that worked magic in films like TERE NAAM, KYUN KI and HUMRAAZ along with his patent high-pitched Sufi rock that made him rock-star. The ever reliable sturdy combination of Sameer and Himesh Reshammiya sounds feeble and monotonous this time as their musical work suffers heavily from mediocrity and repetitiveness. Ironically speaking, Vikram Bhatt directed flicks like INTEHA and AITBAAR were inspirational lifts from Hollywood’s thriller FEAR and now he pitches film in the marquee with similar title with new bunch of talents.

“Tanha Tanha”, a song about isolation and seclusion about fanatical “love” strikes rich with intimidating blows that haunts senses with its spine-chilling musical impact. In terms of harmonic textures and lyrical affluence, it’s facsimile to Reshamiya earlier sung and composed tracks like “Aamin” and “Aafreen Tera Chehra” (RED) but the overcast of shadowy gripping of mystifying happenings is bleak and unresponsive. It may have landed too late as neither its peculiar “sarangi-tabla” loop styled Sufi rock arrangements nor Sameer’s lyrical expertise creates any major impact. It’s an above average daunting passionate track that should possible be a striking feature in grim romantic and avidly sketched erotic situations of the film. “Tanha Tanha (club mix)” comes out as welcome relief as it supplies with the desired dosages of hip-shaking dancing feel with disco beat fillers hitting high and low with Reshammiya’s flickering voice.

Kunal Ganjawala’s husky and excruciating voice blends into “Hitchkokian” style of racy musical pace that spelled magic in HUMRAAZ as the audacity of frightening and terrifying emotions grips senses and surmounts the “scary” feel with typical Sufi rock mode in impressive “Dil Dhadkata Hai (male version)”. In terms of arrangements and rhythm balancing, it strikes rich similarity with “Saathiya” (SHAKALAKA BOOM BOOM) but its mood and ambience is well synchronized for racy crime thriller saga. The gloominess of deceitful and deceiving vendetta gets into the mold of femme fatale crooned tones as Gayatri Iyer sings out this thematically conceived soundtrack in “Dil Dhadakta Hai (female version)”. Both the versions are well suited for situational needs as one can feel the invigorating intimidating appeal in its extenuating rhythmical patterns in backdrop with quivering vocals that supports it well.

Himesh Reshammiya re-traces back his old style of music as he pitches reliable contemporaries Udit Narayan and Alka Yagnik in soft and melodious soundtrack “Dil Ki Deewaron Pe”. It’s the most impressive work of the album as it bring back memories of Reshammiya’s finest works in his super-hit albums TERE NAAM and KYUN KI. Its soft and supple textures of violin and piano notes are delightful while saxophone works and soft percussive elements add to its finesse. Its receptive and congenial flow brings back memories of “Tumse Milna” (TERE NAAM) and “Dil Ke Badle Sanam” (KYUN KI) for its similar tonality and voice quality. “Dil Ki Daro Deewaron Par” would have positively made huge impact if it would have arrived couple of years back but still it will be making waves among quality listeners.

“Tu Ishq Hai Mera”, an old-fashioned 90’s track is an attribute of Reshammiya’s old styled musical work as again he pitches old contemporaries like Sonu Nigam, Udit Narayan and Alka Yagnik with his old blend of orchestration for the job. The vintage feel of Nadeem Shravan’s style of music is evident as it abstained itself from technocratic musical impulse and relies heavily on classical instrumental flow. Its signature musical feel is quite reminiscent to the track “Kyun Ki” (KYUN KI) but this time the tempo is bit outstretched and accelerated and is mixed and matched with new blend of orchestration and arrangements. Despite impressive vocals and mellifluous flow, it lacks novelty factor and sounds more like a rehashed version than an original soundtrack.

The title track “Fear”, a spine chilling and scary title track comes more like a “nerve-racking” background score than a regular soundtrack where the resonating devilish tones makes a sturdy impact with simmering vocals. Sunidhi’s vociferous and modulating vocals encapsulate the grueling and nefarious motives of protagonists through its ear-deafening haunting impact. It’s more like a signature track for a horror movie but carries the shady impact of deceitful happenings in its strident flow. Feel its terrifying impulse in its descriptively shady cinematic description as its tailor made situational title soundtrack for the film.

FEAR comes more like an assortment of Himesh Reshammiya’s previous impressive works as the singer cum composer hardly delivers anything that can be termed as strikingly innovative or enthralling in its presentation. Its high point lies in soft and melodious “Dil Ki Daro Deewaron Par” and succeeds to large extent in poignantly haunting “Tanha Tanha” but none of them can be clubbed as chartbuster as it lacks novelty factor in its musical contents. The album won’t be any surprise for its listeners but can be refreshing experience for all Reshammiya’s fans who have relished his previous works. 

Source: Glamsham

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