Director : Habib Faisal
Music : Amit Trivedi
Lyrics : Kausar Munir and Habib Faisal
Starring : Arjun Kapoor and Parineeti Chopra

When it comes to introducing new acting talents to B-town, Yash Raj Films (YRF) has always been a frontrunner, and this trend continues with their latest venture, the upcoming ISHAQZAADE. Whether it was Anushka Sharma (RAB NE BANA DI JODI), Ranveer Singh (BAND BAAJA BAARAT) or Parineeti Chopra (LADIES V/S RICKY BAHL), the production house has delivered a potential entertainer all these years.

ISHAQZAADE, a violent love-story, directed by critically acclaimed Habib Faisal (of DO DOONI CHAAR fame), and set against the backdrop of rustic India, brings the lucky charm of another star-kid Arjun Kapoor (son of Producer Boney Kapoor) to the marquee. Amit Trivedi, one of the most reliable and iconoclastic musical talent heads the music department, and promises pack of upbeat-cum-entertaining tracks for this album. After delivering out a reasonably audible album (EK MAIN AUR EKK TU) earlier year, Trivedi is all set for another frolicking fun-ride. Will he make it this time? Let's find out...

Smoothening and melodious, the ferocious-looking love saga gets a sober makeover of musical happenings in the introductory track titled "Ishaqzaade". This title track shows the soft-verve of the love-chemistry, and blooms with flows of tenderly pitched soft-rock ballad aesthetics. Javed Ali's serene rendition suits the mood to hilt as he moistens his vocal chord to modulate out every mushy romantic groovy emotion. Amit Trivedi's composition has a typical jazz emblematic romantic feel (somewhat similar to A.R Rahman's "Do Kadam Aur Sahi" - MEENAXI) where horns, trumpets and soft-drums sounds are interspersed well into the rocking percussions, loud table-loops and lovable guitar strings. Kausar Munir's story-telling stylized lyrics are narrative and invigorates the "anxiety-quotient" to a large extent. To inculcate Bollywood's mushiness, the soundtrack proceeds with demure Shreya Ghoshal's slender voice in the latter stages of the track. Trivedi's author-backed composition paints a "rosy" picture of this volatile love-saga and succeeds in creating a positive word for the title SHAQZAADE. Like the recently heard "Raabta" (AGENT VINOD), this number can be presumed to be an evocative background score or ending title feature, and marks a prosperous beginning to the album.

Feasting high on rustic U.P "nautanki" madcap entertaining pep-fizz, Amit Trivedi follows Vishal Bharadwaj's style of composing in boisterously rendered, and garishly choreographed "Chokra Jawan". It charters a similar territory that made "Beedi" or "Namak" (OMKARA) a chartbusting hit, but the tempo is relatively sluggish and lyrics lack the desired spicy tinge to make any fervent impact. Habib Faisal's wording works more like a wicked conversation between boy and girl, while the backdrop is very "filmi" (gun-shots, bawdy chorals, heavy drumming) and delivers a peculiar 70's situational action flick appeal. Sunidhi Chauhan's chirpy rendition in varying pitches is notable while Vishal Dadlani's coarsely delivered vocals add to the mood. Going with bankable listener's choices, item-songs (especially "nautanki" stylized numbers) usually make a mark, and this one too will surely be adding to the glam-quotient of the flick.

Mushy romantic grooves go ballistic in female "rockstar" full throttle mode in meticulously composed "Pareshan". Shalmali Kholgade, the silken "n" sensuous voice, is the biggest surprise of the album (and off-course one of this year too) and makes this an euphoric occasion as her vocals erupts like a volcano and then settles well with the retarding pace of the arrangements. Like Neha Bhasin and Shweta Pandit, Shalmali's voice quality is brilliant and her potency at serenading every higher and lower note is on par with the composition, making this a bright romantic feature of this volatile love story. Trivedi's toil is a fine blend of ethnic-cum-western instrumental moves, mixing well the sounds of harmonium, sarangi and table, with the ferocious hard-rock arrangements. Kausar Munir's lyrics bring a breeze of innocence immersed in flows of sensuality ("Be-baat khud pe marne lagi hoon, Marne lagi hoon, Bebaak aahein bharne lagi hoon, Bharne lagi hoon, Chaahat ke chheentey hain, Khaarey bhi meethe hain...") that concocts well with synchronized vocal throws of this potential soloist. High on innovation, Amit Trivedi has a potential winner in "Pareshan", which in a nutshell is a well-conceived on-screen depiction and will surely be radiating out the prospects of this song. "Pareshan (remix)" adds commercial substance to the party; it's a conventional "club-house" hi-voltage impulsive track that is going to fire up floors. Shalmali's gleaming voice gets an electronica synth-beat thrive, and together it delivers a heavy dosage of "booty-shaking" madness. All in all a well-etched "remix" number that is going to be next big thing on DJ's charts. Rocking!!!

"Jhalla Wallah", a loquaciously flamboyant "mujra" track adds hilarity in mood to the sensual pacing of a typical Bollywood "item-song" feast. It mixes the ethnical sensuality of "Kajra Re" (BUNTY AUR BABLI) with the chirpy raciness of "Anarkali Disco Chali" (HOUSEFULL 2), in a typical "disco-mujra" format. Kausir Munir's coquettishly penned lyrics amuses and are bizarre at places ("Aashiqon main jiska title Titanic, Mua kinara dikha kar ke duba de gaya..."), and raises the humor-quotient to a great extent. Shreya Ghoshal's versatility in mischievous tones strikes gold for the track as it enamors the feminine charms with playful "tongue-in-cheek" humorous tinge at intermittent phases of the track. Amit Trivedi's aesthetics in balancing the equilibrium of humorous and romantic moods is another appreciable feature that works. A strikingly rich on-screen opulence will be adding "chaar-chand" to the vistas of the track. As predicted by the vivaciousness of the track, a crazy "club-remix" is certainly on the cards, and it comes with quintessentially funky elements to entertain all party animals. It's rollicking as well as amusing, and accentuates the chirpiness of Shreya's voice. A calculated mix of hip-hop emceeing, DJ scratches, claps and beat-juggles makes things even spicier and funkier. Go for it!!!

Fiery and atrociously loud to the core, the hot-headed facade of the love-story, and the hot-tempered chemistry of the love-birds takes a route of "death-rock" in "Aafaton Ke Parinde". Spearheaded by the deep-throated grumbling tones of Suraj Jagan, it has dark melodramatic shades of aggressively violent backdrop of happenings with "Ishaqzaade" (compassionate lovers) winning every battle of love. Divya Kumar's brief "alaaps" and chorals give it an edgy feel but its altogether Suraj Jagan's bombastic jamming number that should be finding maximum takers amongst rock-concert lovers. Trivedi's intrinsically dark composition is a typical "head-bangers ball" treat and has all the bright features of an enriched hard-metal base number. To be precise, it can be termed as the violent "title track", and also an effective background score during the compelling moments of the flick.

To sum up things, ISHAQZAADE is a vivaciously tuneful musical album, and brings together many emotional musical shades. Amit Trivedi, one of the most talented composers of B-town, justifies his mettle again, and lives up to the expectations. The USP of the album is that it has no loose ends or traces of mediocrity in it. Soundtracks like "Pareshan", "Jhalla Wallah" and "Aafaton Ke Parinde" are sure to catch up fast with the masses, and will be making it big in the weeks to come. Newbie Shalmali Kholgade's singing ("Pareshan"), and Kausar Munir's cheerfully written lyrics too deserve a special mention. Overall the album delivers a satisfying listening experience and should add one more success to both the producer and composer's credits.

Rating - 4/5