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Verses: Kausar Munir
One of the more particular characteristics of author Amit Trivedi is his capacity to get the musical brief of a movie producer by its nose, and in that locate his own particular transformative bend. For Gauri Shinde’s Dear Zindagi — the Alia Bhatt and Shah Rukh Khan starrer — he’s found an impeccable teammate in lyricist Kausar Munir, whose invigorating and informal verses are insightful and basic redrafts of life heard in Hindustani. The outcome is a new and energetic set, with life’s stories told in a blustery manner. It’s insidious and now and again excessively basic, yet has enough, making it impossible to guarantee it doesn’t fall into dreary or paltry boxes.
The collection opens with the title tune in Jasleen Royal’s voice with Amit Trivedi and the melody giving her voice solid support. The prelude has woodwinds and light touch of xylophones. Regal’s blameless voice singing Munir’s verses, which can interface with everyone, is matched with a calmly reverberating acoustic guitar and drums nearby. Jo dil se lage utilize keh do hey, Jo dil na lage utilize keh do bye, she sings and gives your heart a little bump. A guitar prelude, bits of which proceed all through the melody, opens Tu hey hai. Arijit Singh takes a U-turn from his typical earnest schedules to endeavor this fun, agile number. It’s an astonishing execution that has been shrewdly made by Trivedi.
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One of the best pieces in the collection is Taareefon se. Another Arijit number, it utilizes a trumpet as a part of a delicate guitar piece. The horn offers some long extends that make the tune sparkle. Trivedi’s fixation on metal instruments that was showcased wonderfully in Bombay Velvet proceeds here, yet in a non-jazz design. How about we separate in Vishal Dadlani’s voice originates from the times of glowing guitar performances in the ’70s and ’80s. The coordination, lifted by electric guitars, is superior to the melody itself. A violin opens the miserable tune of the film — Just go to hellfire dil — and proceeds with the majority of the piece. Sunidhi Chauhan starts in a low voice, then boldly submits to the pity of the tune to convey a fine piece.
Trivedi takes the great Aye zindagi from Sadma and has Arijit sing it. What’s engaging is the coordination, which is an entire turnaround from the first. The melody utilizes piano, electric guitars and drums but keeps up the spirit of the first. Bhatt sings an intensely electronic variant of the same. She adheres to lower scales and the greatly auto-tuned piece, which relinquishes the tune’s extravagance, makes them go totally off key in parts.
The collection needs change, yet, with mind boggling experimentation, it figures out how to have many shining minutes. Maintain a strategic distance from Bhatt’s piece.