The Importance of Being Switty

Suanshu Khurana,Suanshu Khurana

Posted: Jun 26, 2011 at 0049 hrs IST

The young breed of music composers in B-town is ready to experiment with all things quirky and edgy

When director Raj Nidimoru wanted a fusion feel for his action flick, Shor – In the City, he heard the musical duo Sachin-Jigar and got them into the studio. The result is the extremely mushy yet soft rock number, Saibo, sung by Shreya Ghoshal and Tochi Raina. “We knew what Raj wanted and delivered accordingly after numerous sessions,” says Sachin Sanghvi, the 30-year-old who started composing for TV shows before turning to filmy music. Sachin-Jigar are also not your usual musicians. If Saibo, made it to various playlists on radio, oungsters pocketed it on social networking sites. The other two tracks, one of which is Karma is a Bitch, with a death metal feel to it, thanks to cantankerously played guitar riffs, announces the duo’s arrival. Shor .. is the duo’s second project after FALTU and the rebellious number, Party Abhi Baaki Hai, is still making waves.

Sachin-Jigar may have pulled a winner with this otherwise low profile album. But we are happy to find there are other musicians, who have made it to this marquee. Try listening to the extremely groovy and quirky tracks of Bejoy Nambiar’s critically acclaimed thriller, Shaitan, and you will know how composer Prashant Pillai has added new shades to his music by including Indian classical, rock, folk, hip-hop and everything under the sun. And then there is the Dhinka Chika track, for Salman Khan fans, who are still dancing to the part-gibberish track full of pedestrian language. If Rajiv Bhalla’s Bojhil Sa from Onir’s I Am struck a chord, then Delhi Belly is being referred to as Ram Sampath’s most credible score.

For most of these musicians, it is not having to work under a blueprint that works. “The directors are not looking at a very commercial sound these days. In the case of Shaitan, I had to break away from the clutter,” says Prashant Pillai, whose six tracks from Shaitan are being appreciated for their grungy feel along with a blend of hip-hop and classical riffs. A self-taught musician, Pillai assisted AR Rahman and posted his music online before Nambiar stumbled upon it. Add the new lot of experimental directors and their cinema to this and you get an eclectic blend.

Having proved that it pays to break a few rules along the way, the musicians are busy doing their own thing. “This is an Amit Trivedi inspired generation and definitely ready to do their own thing,” says Jigar Saraiya, 27, of the Sachin-Jigar duo. Trivedi is known for his music in Dev.D and No One Killed Jessica.

A lot of mixes seem to be working suddenly, thanks to some risque lyrics adding to the edginess of the tracks, the recent one being Bhaag DK Bose from Delhi Belly, that mixes Eastern music with punk-rock. “The album is a mix of heartbreak and hip-shake. The music has to do with the times we live in. For instance, Bhaag DK Bose is all about our hurried lives,” says Sampath. So, Switty Tera Pyaar spoofs the psychotic stalkers of Hindi

cinema, whereas Penchar Disco, a folk-meets-rock number, shows the

protagonist tripping on

a heartbreak.

There are still some who are cashing in on the success of commercial sounding tracks. “That is what a Salman Khan track does. It has to be catchy, with part-gibberish lyrics,” says composer Devi Sri Prasad, better known for his Telugu song, Aa Ante Amalapuram.

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