Written by Suanshu Khurana | Updated: May 12, 2018 1:20:30 am The first section of the piece has been created like an old folk, with just dholak and harmonium accompanying the voices in a sangeet.
The litmus test for the music of any film, which has a Punjabi wedding in the background, is that it has to be catchy as hell. It doesnt matter if its slow or runs at a pace. If its catchy, its likely to be dazzling. Its also going to stick enough such that it is hard to shake the melody off your limbs and lungs. Director Shashanka Ghoshs film starring Kareena Kapoor Khan, Sonam Kapoor Ahuja, Swara Bhaskar and Shikha Talsania presents us with eight tracks, and no real music and lyrics to show. The tunes are mostly lackluster and not even remotely singable.
Then there is the issue of Tareefan, the recent internet sensation, the music video of which has Kareena and Sonam lip-synching to Badshahs rap. The video has Kareena and Sonam looking phenomenally gorgeous and dancing while handsome men, in hardly any clothes, are just some of their non-descript favourite things. If Ektaa Kapoor (producer) and Ghosh are so keen to exact retribution on patriarchy, being feminists, objectifying men the same way women have been in the past, it seems like a strange solution. What he did with Kaala chashma was innovative. Tareefan, without an old tune as its base, is a stylised club piece, one that we are likely to miss in a club. With strong synth and computer generated electronic sounds and Badshah rapping along, the piece is extremely forgettable.
There are a couple of songs which are better than most of the album. Sunidhi Chauhan gives Buri nazar wale her voice and some of her spunk. The dhol and a standard Punjabi tune have been interspersed with squelches and a number of synth sounds for an interesting piece. Remembering it beyond the listening session, however, is another matter. The age-old Punjabi folk Mehendi taan sajdi je nache munde di ma has become Bhangda taan sajda when nobody gives a damn. Evocative is not what we were expecting but this is a strange choice of lyrics. The first section of the piece has been created like an old folk, with just dholak and harmonium accompanying the voices in a sangeet. The song, post a gidda-like fast-paced ending, goes into a tumbi, dhol and synth zone as Neha Kakkar and Shashwat Sachdev attempt this one. Squelches and sarangi find themselves together in interludes. Hinglish lyrics take away the soul of the folk piece completely. The song, by way of its dhol beats and elements of goodness through the dhol, is likely to work on the dance floor at least for the next few days.
Laaj sharam by Divya Kumar and Jasleen Royal is again synth and laptop heavy. Kumar is the star of the song. His high pitch has a lot of heart. The tune by itself isnt brilliant. Veere, sung by Vishal Mishra and Aditi Singh Sharma, attempts to be a soft, modern ballad that picks up the pace gradually. It has been made to sound sparkling. But the tune isnt impressive enough to match the sheen. Arijit Singh seems completely wasted in Aa jao na, a melody that uses a lot ambient music along.
Bass gira de raja is definitely more intelligently crafted than the rest. Squelches, strong digitally created, and staccato sounds, are the order of the day. He does drop the bass too but pairs it with a strong melody. It works. The score of Veere Di Wedding misses the punch that an album such as this needs. Queens score hit the bulls eye in this regard. Veere Di Wedding, in an attempt to sound suave and sexy, delivers a flat soundtrack.
- Veere Di Wedding