EXPECTATIONS
You
definitely
don't
expect
anything
conventional
from
the
music
of
Udaan.
First
and
foremost,
the
genre
by
itself
signifies
that
there
won't
be
place
for
any
quintessential
Bollywood
naachgaana
here.
Secondly,
the
film
doesn't
have
the
concept
of
hero-heroine.
Thirdly,
the
film
comes
from
the
house
of
Anurag
Kashyap.
If
music
of
his
films
like
Dev
D
(which
still
had
a
love
story
at
the
core
of
it
and
yet
was
different),
Black
Friday
and
Gulaal
are
any
indication,
Udaan
too
should
have
something
unique
to
offer.
Now
have
composer
Amit
Trivedi
and
lyricist
Amitabh
Bhattacharya
managed
to
come
up
with
something
which
is
not
just
different
but
also
carries
the
potential
to
be
popular?
Well,
let's
explore.
MUSIC
One
has
to
be
attentive
right
from
the
beginning
of
'Kahaani-Aankhon
Ke
Pardon
Pe'
due
to
an
extended
guitar
piece
that
plays
on
for
full
80
seconds
before
Joi
Barua
and
Neuman
Pinto
come
together
behind
the
mike.
A
slow
track
that
does
make
you
listen
to
Amitabh
Bhattacharya's
words
carefully,
'Kahaani-Aankhon
Ke
Pardon
Pe'
gets
into
a
soft
rock
a
minute
later,
hence
bringing
on
the
theme
and
mood,
as
evidenced
in
campus
scores.
A
track
that
brings
to
fore
the
conflict
in
the
mind
of
protagonists
who
are
unsure
about
their
tomorrow,
'Kahaani-Aankhon
Ke
Pardon
Pe'
is
a
good
theme
number
that
marks
the
kick
start
of
the
album.
The
moment
'Geet
Mein
Dhalte
Lafzon
Mein'
begins,
you
know
that
it
is
an
Amit
Trivedi
creation.
Remember
the
constant
rhythm
of
'Ek
Hulchul
Si'
[Dev
D]?
It's
the
same
sound
all
over
again
which
forms
the
base
of
this
track
where
both
Amit
Trivedi
and
Amitabh
Bhattacharya
take
over
the
role
of
singers
as
well.
This
time
around
the
mood
is
that
of
hope
and
a
better
life
ahead,
hence
bringing
in
a
positive
sense
to
the
proceedings.
Easy
on
airs,
'Geet
Mein
Dhalte
Lafzon
Mein'
could
have
been
one
heavy
number
if
not
tuned
so
simply.
There
is
a
50s
sound
in
the
way
'Udaan-Nadi
Mein
Talab
Hai'
begins.
By
this
time
around,
you
know
that
Udaan
is
truly
turning
out
to
be
a
theme
album
in
itself
since
there
is
a
certain
all
around
consistency
in
the
sound
that
flows
from
one
song
to
another.
There
is
a
gradual
build
up
that
the
tune
undertakes
as
the
song
turns
out
to
be
yet
another
instance
where
one
can
reference
back
to
the
mood
that
was
set
in
Dev
D.
Amit
Trivedi,
Joi
Barua
and
Neuman
Pinto
come
together
for
this
'we
are
free'
track
which
should
go
well
during
the
film's
narrative.
You
get
the
sense
of
'maajhi
re'
kind
of
number
in
the
way
'Naav-Chadhti
Lehrein
Laang
Na
Paye'
begins.
Lyrics
only
add
on
to
the
overall
impact.
Compared
to
earlier
songs,
this
one
doesn't
quite
make
one
hear
in
admiration
mainly
due
to
the
jingle
feel
that
it
carries.
Singer
Mohan
gets
into
the
space
which
could
have
been
created
for
Kailash
Kher
and
though
he
does
fine
as
required
by
the
genre,
he
is
not
aided
by
the
kind
of
tune
which
could
have
made
'Naav-Chadhti
Lehrein
Laang
Na
Paye'
stand
out
when
compared
to
the
rest.
'Motumaster-Iski
Maa
Agar
Isse'
which
comes
soon
after
doesn't
make
you
jump
with
joy
actually,
mainly
because
of
the
loud
manner
in
which
it
begins.
Ok,
so
intent
here
was
to
come
up
with
something
funny,
quirky
and
truly
unconventional.
In
fact
Anurag
Kashyap's
lyrics
do
help
the
cause
as
well
but
the
way
it
is
sung
(in
a
rustic
manner)
and
the
tune
which
is
not
quite
exciting
results
in
'Motumaster-Iski
Maa
Agar
Isse'
not
quite
becoming
another
'Ranaji'
[Gulaal].
With
a
huge
bunch
of
singers
coming
together
in
the
form
of
Raman
Mahadevan,
Amitabh
Bhattacharya,
Bonnie
Chakravarthy,
Kshitij
Wagh,
Shriram
Iyer,
Tochi
Raina,
Amit
Trivedi
and
Anurag
Kashyap,
this
song
doesn't
click.
Thankfully,
Udaan
returns
to
normalcy
with
'Aazaadiyan-Pairon
Ki
Bediyan'
which
goes
back
into
the
same
mode
as
the
earlier
tracks
in
the
album.
Amit
Trivedi,
Neuman
Pinto,
Nikhil
D'Souza
and
Amitabh
Bhattacharya
come
together
for
this
soft
track
that
again
reminds
of
many
a
song
that
find
an
acceptance
amongst
the
hostel
crowds.
Yet
another
track
about
breaking
the
rules,
'Aazaadiyan-Pairon
Ki
Bediyan'
is
practically
composed
in
the
same
mode
as
'Kahaani-Aankhon
Ke
Pardon
Pe'.
A
near
3
minutes
piano
piece
by
Felix
Hug
forms
the
'theme'
of
Udaan.
Soft
and
subtle,
haunting
and
beautiful,
this
track
(with
additional
voices
by
Joi
Barua
and
Neuman
Pinto)
marks
a
good
ending
to
the
album
which
has
the
kind
of
tracks
that
actually
go
on
to
break
quite
a
few
rules
when
compared
to
core
Bollywood
outings.
OVERALL
Udaan
is
a
good
experimental
album
which
means
that
it
would
require
a
very
strong
word
of
mouth
to
actually
reach
out
to
the
audience.
Absence
of
any
star
cast
means
that
there
is
an
additional
effort
required
for
the
music
to
find
a
wider
visibility.
Moreover,
the
album
is
releasing
only
a
fortnight
before
the
film's
arrival
which
means
lesser
time
for
promotion.
Udaan
is
one
of
those
albums
that
don't
necessarily
take
a
huge
start
at
the
music
stands.
However,
the
theme
flavour
of
the
album
means
that
it
should
make
an
impact
in
the
long
run,
especially
if
the
film
goes
on
to
find
patronage
from
audience.
OUR
PICK(S)
Kahaani-Aankhon
Ke
Pardon
Pe,
Geet
Mein
Dhalte
Lafzon
Mein,
Udaan-Nadi
Mein
Talab
Hai
Story first published: Wednesday, June 30, 2010, 14:57 [IST]