Om Kara music review

Omkara - A Rare Masterpiece

Vishal Bharadwaj is one of the most underrated music composers of Hindi Film Industry. Maachis, Satyaand Maqbool are priceless gems emerging from his musical stable. It was conjectured that after turning Director, he may lose interest in his prowess as a music composer of eminence. But as I listened to his latest directorial offering Omkara, my belief in him as a master creator of amazing melodies was reaffirmed. In todays time when one reads a Shankar-Ehsan-Loy interview, they are referring to their work in terms of Himesh Reshamiyas volumes of hits. Vishal Bharadwaj is not into that rat-race. And he is not desperate to impress anyone. It shows in his music. For a discerning listener, Omkara CD is a collectors item. Gulzars lyrics is an added bonus as the manner in which he weaves the sheer rusticity with human plight is nothing short of brilliant.

Title track Omkara is already creating waves. In days to come, you shall be hearing a lot of it on every street corner with little children imitating Sukhwinder Singhs out-of-the-box singing style. Its not your usual song, for its interwoven in a narrative story telling manner. Maybe, reminiscent of the title track of Mangal Pandey at the level of the idea. But Omkara has its own idiom and unique style. Gulzars writing carries vignettes of the language of the cow belt. Rhythm arrangements by Nitin Shankar are a mix of Dhapli, Bass and Snares. The music section in the middle is an eclectic mixture of male backing vocals, Ektara, acoustic guitar and Opera Strings. The rhythm pattern changes gears in the middle and raises the tempo signifying the extreme nature of the protagonist Omkara. After listening to hundreds of ordinary songs, this one surprises with its unpredictability. A Brilliant Song!

O Saathi Re Din Doobe Na, Aachal Din Ko Roke, Dhoop Ke Peeche Dode Chaanv Chue Na In O Saathi Re, the soft murmur of a guitar, like the wet-with-dew-morning makes you take a deep breath of calmness. Shreya Ghoshals silken warm voice tremulously gels with the bass-ignited-soft-rhythm pattern. The real surprise follows when you hear Vishal singing the male lead with the tenderness of a potter weighing his clay while making a vessel of a lifetime. Even his breath sound adds a dash of romance to this song between the cosy confines of a couple rejoicing in their world of isolation after the hurricane of troubles. Chennai String Orchestra efficaciously traverses the skies of abstract luminosity while Chintoo Singhs acoustic guitar hits all the right chords. If soothing music with illuminating lyrics defines your music, then youd love to play this song again and again.

Na Ghilaaf Na Lihaaf Thandi Hava Bhi Khilaaf Sasuri, Ho Itni Sardi Hai Kisi Ka Lihaaf Layi Le Ja Padosi Ke Choole Se Aag Layi Le.. Beedi Jalayi Le. Its UP Bihar time guys. Remember the raucous Shilpa Shetty item number in Shool. Well, the flavor is the same and is bound to be a big hit with the front benchers. The choice of singers in Sunidhi Chauhan and Sukhvinder Singh is perfect. For their uninhibited, unpretentious and irreverent singing depicts the uncouth elements this song is visually meant for. Rambunctious tabla-dholak rhythm pattern winks at the inebriated-with-celebration backing vocals. Electric guitar rhythm pattern is immediately followed by a Harmonium piece. Vishals music takes the unpredictability route yet gain. And one is thrilled at the end result. This Beedi is smouldering with stimulation.

Suresh Wadkars Jag Ja is a treat for all those who treasure goose-pimple-evoking-poetry and salubrious vocals. Its as if one is taking a solitary walk through the river of green fields having a sumptuous feel of the millions of flowers reveling in their pristine glory. A waterfall of Piano notes amalgamates with the golden butterflies of a nascent flute. The impish guitar squirrel mischievously scampers and then hides behind the tree of silence-n-bells. A song full of stunning imagery! Thank God, Suresh Wadkar is still around. Hope other music directors have the good sense to use his gold voice more often.

Main Chaand Nigal Gayi Ho Bheetar Bheetar Aag JaleRekha Bharadwaj sings in a typical pastoral style. Namak is a song that reeks of the salty countryside earthiness. Its the kind of song that one hears in village festival evenings in the open ground under the lamp of the moon as the cool breeze blows unattended. So, what kind of instruments one can expect in such a song: Harmonium inflections, lots of tabla, dholak, dhapli, live clapping, backing vocals and of course Rekhas vocals create an image of a local village singer-performer with hundreds of cheap bangles in her hands. And while she belts out the song, her face lights up with thousands of expressions, quivering of eyes and a naughty smile to add seasoning to this spicy fare. No, its not vulgar by any chance. Its sheer magic for those who enjoy countryside music.

Naina Thag Lenge.Dont trust your eyes. For they can rob you with their treachery! A drone resembling bass is heard throughout this song to add effect while electric guitar riffs as fillers add tension to the rhythm pattern. Rahat Fateh Ali Khan evocatively voices the mind of a man with doubts in mind especially when he touches the highest echelons of pitch. The vocals identify with the Rajasthani style of speaking Hindi. Niladri Kumars sitar playing is a highlight of this number. A study of mind, Naina may not find favours with everybody as it tends to get too abstract at times. For them who treasure their Jim Morrison and Bob Dylan, Naina will sound great on your I-Pod.

Laakad is a good song if you listen to it in isolation. But after listening to several songs following the same idiom, it is a song too many in this otherwise fabulous album. Rekha Bharadwaj sings soulfully as a boat tears the heart of a water bed to reach somewhere. Guitars by Hitesh and Clinton are adequately minimalistic, complimenting the snares-n-bass combination. Emptiness in life is exemplified by silences as the Chennai String Orchestra builds up a crescendo of emotions. As a song it touches your heart but it isnt drastically different from the basic sound of the album.

The last track of Omkara is called The Tragedie of Omkara. Its a short instrumental track wherein the sinister pitfalls of human mind are delineated upon. To be honest, theres nothing outstanding about it. In fact, I must say that Vishal seems to be impressed with Hollywood style of background score. After having kept the basic score earthy and rustic, it may have been fitting if he would have chosen a more Indianised theme music with a few Indian instruments here and there.

After completing writing about the eight tracks comprising the Omkara album, I must say, theres a sense of deja vu. For one doesnt get to listen to such fine music in the idiom of Hindi Film Music. It is different. It is original. Yes, it may not be totally mass oriented. Nor does it have any customary remixes. But as I had said in the beginning, Omkara is a collectors item for the discerning music lover. And it is definitely entertaining!

Plus Points: Superb songs