EXPECTATIONS
One
doesn't
quite
know
what
to
look
forward
to
in
Soch
Lo.
Looking
at
an
unconventional
poster
design
though
(a
bare
chest
man
staring
at
a
distance
in
a
desert);
you
do
get
an
idea
that
there
would
be
something
surreal
in
the
offing.
However,
to
what
extent
is
something
that
you
get
to
know
only
after
playing
on
the
album
which
has
compositions
by
Nitish
Pires,
Charu
Moohan
and
Mehboob.
MUSIC
It's
a
soft
beginning
with
a
Western
sound
that
takes
forward
'Mera
Yahaan
Hai
Kaun'.
Prashant
Ingole
writes
this
theme
track
about
the
protagonist
who
is
lost
in
the
big
world
with
no
memories
of
his
past
life.
A
soft
rock
number,
it
actually
turns
out
to
be
a
decent
outing.
Composed
and
sung
by
Nitish
Pires
who
changes
pitch
at
different
junctures
as
per
the
song's
mood,
'Mera
Yahaan...'
should
do
well
with
accompanying
visuals
in
the
film.
The
female
version
(by
Bianca
Gomes)
is
good
too
with
Sibtain
Shahidi
contributing
with
added
lyrics.
The
singing
here
comes
with
good
attitude
and
has
a
classy
touch
to
it.
Charu
Moohan
plays
the
triple
role
of
composer,
lyricist
and
singer
as
he
brings
on
'Dedh
Inch
Oopar'.
Though
the
lyrics
do
make
you
wonder
what
it
is
all
about,
you
still
pay
attention
to
this
yet
another
slow
moving
number
that
has
Western
influences
written
all
over
it.
A
number
which
by
no
means
is
a
typical
Bollywood
outing,
it
does
remind
one
of
'Sabse
Peeche
Hum
Khade'
which
was
last
heard
in
Aftab
Shivdasani
starrer
Aao
Wish
Karein.
A
number
for
a
niche
audience
that
likes
their
music
to
be
non-Bollywoodish,
it
is
repeated
in
a
much
shorter
'Honeymoon
version'
(now
whatever
that
signifies
in
the
context
of
the
film)!
The
longest
song
comes
immediately
after
with
'Faani
Dayar'
lasting
six
minutes.
Composed
by
Charu
Moohan,
this
Sibtain
Shahidi
written
track
comes
with
some
truly
unconventional
lyrics.
Sung
by
Master
Salim
and
Charu
Moohan,
'Faani
Dayar'
has
a
folk
flavour
to
it
and
is
presented
in
a
Western
fusion
avtar.
Yet
another
track
that
doesn't
fit
into
Bollywood
scheme
of
things,
'Faani
Dayar'
is
indeed
different
but
again
caters
to
a
very
restricted
audience
base.
It
is
quite
difficult
to
digest
'Save
Me
Destiny'
though
which
seems
to
have
been
affected
by
a
good
degree
of
indulgence
that
would
have
gone
into
it.
Mehboob
sings,
writes
and
composes
the
song
and
comes
up
with
a
track
that
succeeds
in
only
one
thing
-
put
you
off
out-rightly.
Not
just
one
struggles
to
follow
the
lyrics,
the
composition
is
bizarre
as
well.
Worse,
the
singing
only
makes
it
sound
worse.
If
you
have
to
turn
someone
away
from
music
for
long,
play
this
one
on
for
five
times
in
a
row.
Nitish
Pires
comes
back
with
Kasera
and
this
time
in
addition
to
composing
and
singing,
he
also
writes
a
song.
Titled
'Kasera',
the
song
belongs
to
the
Indi-pop
world
and
it
seems
strange
to
find
it
fit
into
a
Bollywood
film.
In
fact
by
this
time
you
also
start
wondering
whether
Soch
Lo
would
indeed
have
a
linear
narrative
even
as
a
film
or
it
would
actually
follow
a
bizarre
route.
Last
to
come
is
'Soch
Lo
Theme'
which
is
composed
by
Nitish
Pires.
A
fast
moving
track
that
should
fill
in
during
the
dramatic/thrilling
moments
in
the
film,
it
also
has
a
70's
touch
to
it
at
places.
In
fact,
ironically,
even
as
the
entire
album
follows
a
different
route,
it
is
this
theme
background
piece
which
does
come
close
to
being
Bollywood
at
least.
OVERALL
There
are
some
film
soundtracks
that
come
with
a
conventional
sound.
Not
all
of
them
work.
There
are
some
film
soundtracks
that
try
to
experiment.
Again,
not
all
experiments
work.
And
then
there
are
some
soundtracks
which
are
not
just
unconventional
but
also
strange
enough
to
compliment
a
film.
Soch
Lo
is
one
such
album.