Limelite (female version) – Lime ‘N’ Light
A run-of-the-mill theme of migrating from small town to big city in search of fame and fortune is what this song speaks of. Anweshaa’s voice is sweet and she captures the emotions perfectly. The music serves its purpose of pushing the vocals into the limelight just like most movie songs. However, the song suddenly comes alive in the middle. It becomes fast-paced and intense and the narration also changes to showcase both the nice and ugly sides of fame.
Parindey – P Se Pyaar F Se Farraar
Inspirational films and songs about the underdog beating the odds to emerge a winner is equally old and eternal. And the tried-and-tested formula always works. But the magic here lies in the music riding on a bouncy folk rhythm. Buddha Mukherjee’s voice urges to break out the cage and live life like a free bird and the pompous music adds to that. The arrangement of ‘Parindey’ is fresh, if not innovative. Traditional woodwind instrument blends effortlessly with the distorted guitar to provide a sound that will leave an impression.
Sahana Bajpaie- Keyaphuler Alo
Majestic sounds riding on a long blown note on the clarinet opens Sahana Bajpaie’s ‘Keyaphuler Alo’. Samantak Sinha did an amazing job with the arrangement to create a soundscape which is illusionary and fantastical. When that mixes with Bajpaie’s earthly vocals, it cuts the listener deep down. The soothing nature of the song might lull you to sleep, while powerfully tugging at threads of nostalgia and lively memories amidst the sepia haze. The video has been shot at Bajpaie’s old house in Shantiniketan, West Bengal and adds an aesthetic touch.
Bishorjon – Sanjhbati
A conch shell call opens this celebratory song from the upcoming movie ‘Sanjhbati’. This is followed by ‘ulus’ (a tongue-flicking whistle at which Bengali women are experts). Shaan’s pleasant voice calls all people in the house and neighbourhood to come down and dance as they will bid farewell to ‘thakur’ or Maa Durga as its time for her ‘visarjan’. Anupam Roy’s composition and lyrics are effortless as always. Typical dhaak beats blend with soft rock leanings with occasional teasing phrases on a brass instrument. At the end, the tempo picks up a frenzied pace to end in a familiar climax.
Maayer Payer Jaba Hoye – Koushik O Nagar Sankirtan
In this tribute to Shyama Sangeet (a musical genre prevalent in Bengal) pioneer Pannalal Bhattacharya, Koushik Chakraborty and his band perform a rock interpretation of Bhattacharya’s folksy song. Distortion, double stops and power chords are all present, but they are never overpowering. Right when it seems it is going over the edge, the music is reigned in. The use of the harmonium and montaar, a cross breed of the mandolin and dotara (which Chakraborty innovated) is classy and intelligent. It lends the right about of folk feels to balance out the largely rock song.
Dana Vanga Pakhi’r Gaan – Joler Gaan
It is common for Indian flute to mix with harmonium’s chords. But add electric violin, cello and double bass to it, and it takes a completely different turn. Such an orchestral soundscape with minimal percussion and guitar work form the basis of Joler Gaan’s pathos invoking ‘Dana Vanga Pakhi’r Gaan’. One can feel the pain in the broken voice of lyricist and composer Rahul Ananda as he wishes to be a bird and fly across the sky, but he cannot as one wing is broken. Consequently, his dreams remain unfulfilled too.
Shaswata Kundu Chaudhuri