Damp music at
Nikhil-Vinay's score for Tum
, a love story starring four new faces, fails
to create any sparks
It's newcomers time. Mujhe Kuch Kehna Hai introduces Tusshar Kapoor, Paagalpan introduces Karan Nath and Aarti Aggarwal, and now Tum Bin features four new faces -- Priyanshu, Himanshu, Rakesh, and Sandali.
With this film, Hindi cinema graduates from love triangles to love squares! In Tum Bin, three boys fall for the same girl. Produced by music major T-Series, this film is directed by Anubhav Sinha, the man who made the videos from Sonu Nigam's Jaan and Yaad.
Nikhil-Vinay, music composers for Tum Bin, had composed the popular number Tera milna in Sonu Nigam's Jaan and Jeena hai tere liye in the same singer's other private album Yaad.
Sinha set out to make a crime thriller out of the film -- the first
scene shows a man just dead in a road accident, and his cell phone
ringing -- but turned it into a love story instead. He shot most of
the film in Canada, and canned the songs in Mumbai, reversing
the Hindi film trend of shooting the film here and going
abroad for songs.
The Tum Bin album begins with Chhoti chhoti raatein, which lacks the charm that the duo wove in their private albums. The introductory instrumental arrangement, the chorus, and the changing rhythmic patterns on the dholak remind you of Jatin-Lalit's songs. The initial electronic beat sounds fresh, but the beaten-to-death dholak shows up soon enough. Sonu Nigam is at his competent best and Anuradha Paudwal sounds better than Alka Yagnik and Kavita Krishnamurthy. In fact, Anuradha sounds young and travels easily through a wide tonal range.
Jab kisiko kisise pyar hota hai describes the sleeplessness of people in love. Listening to the introductory violins and rhythms, I thought for a moment that it was some song from Jatin-Lalit's Dilwale Dulhaniya Le Jayenge or Yeh Silsila Hai Pyaar Ka. There are cross fades between the Western and Indian percussion. The arrangement is pure Jatin-Lalit, with violins and a chorus beginning the song, a Western beat turning into an Indian one, and then the aah-s in between. Abhijeet sings well, and it is unfortunate we don't hear his songs that often.
Sonu Nigam expresses the pain of love in Meri duniya. His versatility is probably one of the main reasons for his success: he sings with equal ease bhajans as in Sanskaar and flamboyant love songs as in his private album Mausam. He has been regularly singing in southern languages like Kannada too. On this number, the packed orchestra expresses desperation, and the chorus adds its bit. The flute is used well. New voice S Shailaja, who sings another version, matches Sonu Nigam's expression.
The title track, Tum bin, is sung beautifully by Chitra. The slow, romantic song is set to a waltz beat and creates a peace rarely heard in Hindi movies these days. An unnamed male singer can also be heard on this track.
Zoom boombura by Sonu Nigam is a complete contrast. The music for this number is by Ravi Pawar who created the tunes for Sonu Nigam's album Mausam, which included the hit Bijuria. A metallic beat accompanies Zoom boombura, a tune with a definite Arabian influence. Stylistically different from other songs on this album.
Su ru ru is a mediocre song, and shows no musical talent from Ravi Pawar when you compare it to Zoom boombura. Again there is the Arabian influence. The beat is loud.
Daroo Vich Pyaar is a creation of T S Jarnail or Taz from Stereo Nation. The band's latest album Oh! Laila shows a definite Latin influence, and this song is no different. The violins are used well but there's little musicality otherwise, which was the same case in Pyaar ho gaya from their aforementioned album.
T S Jarnail sings this song too, and sounds strained. When he performed live at the International Indian Academy Awards (IIFA) at Sun City (South Africa) recently, he wasn't any better on this or the other songs.
Jagjit Singh sings Koi fariyaad with his 24 carat voice. The mood and style remind you of Jagjit Singh's ghazals like Shaam se aankh mein and Aaina. The lyrics take a nostalgic journey, and the chorus is enchanting.
The album ends with Tumhare siva, which is not much of a grand finale. The electronic instrumentation is good but the chorus and rhythms don't offer much. Both Udit Narayan and Anuradha Paudwal sing with ease.
Nikhil-Vinay fail to create any
sparks with this album. You may wonder why their music becomes
so conventional and boring in movies when they are more adventurous in
their private albums.
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