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.
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.
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.
Mera Yahaan Hai Kaun