PRANALI - Music Review

Source: avstv.com ::: By Aakash Gandhi

Reviewer’s Rating:  8/10

The music of PRANALI is worth looking at because it is the cinematic debut of one of India’s newest and greatest bands. Kailasa, which is made up of Kailash Kher, Paresh Kamath, and Naresh Kamath, has released two independent albums in the past few years that have opened to phenomenal reviews; with their latest album, Kailasa Jhoomo Re, garnering its fair share of popularity as well.

The eclectic potpourri of earthy sounds and sufiyana fragrances that were satisfyingly present in their previous two albums came as a fresh wave of stylish ingenuity. However, it remains to be seen how these very specific sounds will blend into today’s screenplays. Or will Kailasa tailor (aka compromise) their creative integrity in order to fit the crowds of B’wood. The good news is that PRANALI is a relatively small/unknown/artsy project, so there probably will be more flexibility between Filmmaker and Composer. So begins the eclectic journey..

We’ll kick start this party with the melodically rich Sakhiyaan, which is arguably the best that Pranali has to offer. The single most appealing factor that will seduce your musical senses is the tremendous all-female vocal cast of Sunidhi Chauhan, Shreya Ghoshal, Mahalaxmi Iyer, and Richa Sharma. Rarely are we treated to such a quartet of fine, veteran artists. Apart from the powerful vocal presence, Kailasa’s swaying melodic riffs throughout will tickle you all over, especially the chorus renditions of the title line and “Barsao khushiyaa..” Providing ample support, the background arrangements put forth a lively pinch of pure Indian flavor mixed with some Arabic percussions. Some of the over-powering instruments include Sarangi and Bansuri.

Drawing comparison to their previous albums, the music of Sakhiyaan is highly reminiscent of some of the upbeat numbers in their two albums. This comes as a relief, knowing that no creative suffocation has visibly taken effect. Anil Pandey’s pen gives lyrical substance to the outwardly festive melody and arrangements. Like the composition itself, Pandey’s lyrics escape grasps of conventionalism while attempting to emote feelings of joy and bliss. Verdict: A wonderfully animate composition that boasts of a ridiculously talented vocal cast worthy of every ear’s attention.

Sach Na Batana is a melting pot of sounds with Kailasa’s signature stamp all over it. The song is vaguely reminiscent of their hauntingly romantic track “Tu Meri Jaan Hai” from their sophomore album Kailasa Joomo Re, drawing inspiration from the Nusrat Fateh Ali Khan school of music. Melodically, the music will have to grow on you - but if you give it its due attention, it WILL grow on you. Musically, whether it be the catchy violin interludes or the melodic jugalbandi between vocals and electric guitar, this track has enough in its kitty to draw you in. The song has been presented identically in two different versions, one rendered by Kailash Kher, while the other is sung by Udit Narayan. Both do an equally outstanding job in capturing the nuances of such a poetic melody. In many ways, it is lyricist Anil Pandey that gives this song its spiritual punch. I won’t spoil it for you - go have a listen!

Bikhar Gayee is a touching composition that entraps the essence of human individuality. Each musical department of this song will stand out to you in its own way due to its creative integrity and musical individuality, as if to mimic the message of the song itself. Production values are pure Hindustani. Coming to the rendition - it’s refreshing to see Madhushree outside of a Rahman score for a change. And although it’s frustrating not to hear her talented voice more often, there isn’t much of an argument against it; her vocal texture is unusually sharper than most singers today, something that restricts her chances of finding ample work. I would believe that for Madhushree to be successfully integrated into a composition, the composer must create a song especially for her, which is what Rahman does, and what Kailasa has done with Bikhar Gayee (at least that is what I would like to believe). Nevertheless, she nails the performance, giving it a beautiful balance between emotion and poise.

There is a second version, once again identical to its predecessor, with the vocals being replaced by those of Kailash Kher. Once again, this is right up his alley, as the female-centric words kiss off his lips with immense passion, like a subdued outcry to humanity. The unsung hero would have to be Anil Pandey yet again. His seemingly simple phrases carry a complex message of pain and discrimination. In fear of doing further injustice to Pandey’s work, I bid this lovely piece adieu.

Tandav closes this soundtrack out in a very religious and passionate way. The purely classical number comprises of heavy drumming of the table and vocal swaras. For those who aren’t privy, Tandav refers to the vigorous dance, symbolically performed between Lord Shiva and Goddess Parvati. The dance represents the cycles of creation, preservation, and destruction, including the cyclic rhythms of birth and death. Classically rendered by Pt. Birju Maharaj, the composition and arrangements follow this pattern with vigor, fury, and passion.

The soundtrack of PRANALI is a refreshing one. It’s unfair to expect Kailasa to reach the same heights as they did in their independent albums (due to now-existent external forces), but they do an extremely respectable job in bringing their trademark sounds and styles in to the cinematic realm. If you liked the reckless abandon of their previous works, then you’ll definitely want to pick up a copy of PRANALI’s soundtrack. Oh, and just for the record - Sakhiyaan takes top honors in this one. Enjoy!

- Aakash Gandhi