Sometimes a small film can make a huge impact. For no particular reason, somehow one feels that Aamir would be one such film. Even though the film arrives sans any media hype or promotion, there is something about this production that makes one look forward to what does the film and its music have to offer. Though one doesn't expect the film's lead Rajeev Khandewal to be dancing to the tunes created by Amit Trivedi with lyrics by Amitabh, there are expectations of a quality soundtrack in the offering which would go well as a part of the background score.
Welcome to a Qawalli outing with Murtuza-Qadir, Amitabh and Amit Trivedi teaming up behind the mike for 'Ha Raham (Mehfuz)'. Instead of a conventional Qawalli with a regular sound, 'Ha Raham' indeed takes a different route. Though the essence remains just what one expects from a Qawalli, it is the serene feeling, some powerful lyrics and soulful singing which makes it a cut above the rest. One wishes the track is placed appropriately in the film's narrative for the maximum impact.
In his next song for Aamir, Amit Trivedi takes a folk route and creates the kind of sound that one has been exposed through the band Euphoria or Kailash Kher. Amit also comes behind the mike for this fast paced number that stays attached to its ethnic route with some unconventional lyrics that make one study the song closer. It would have been interesting had a music video been created around it.
Amit continues to play the twin role of composer and singer with 'Haara' and this time around he modulates his voice to go with the soft rock mood of the song. The song manages to create a haunting environment that goes well with the kind of psyche that the lead protagonist in the film is going through. There is a segregated sound in this 4:30 minutes song which doesn't follow a linear musical pattern and instead concentrates on the terrible situation that protagonist finds himself in.
'Phas Gaya (Never Mind)' is the best song of the enterprise to come after 'Ha Raham'. An innovative piece of music which has a western base to it, 'Phas Gaya' is crooned excellently by Neuman Pinto who does perfect justice to the new age sound created by Amit Trivedi. Yet again a track which takes an audience into the mind of the lead protagonist, it has a pop feel to it and is a good hear even outside the film's narrative.
For the first time in the album, a female voice is heard once 'Ek Lau' begins. Shlipa Rao is the chosen one as she pairs up with Amitabh for this number that hardly has an instrument in the background for most part of its ~five minutes duration. Yet again, Amitabh spins poetry for this song which has a sad theme to it. Towards the end of the song, Amitabh makes his presence felt with his repeated rendition of 'Ek Lau Zindagi Ki Bujhi Kyon Mere Maula'.
Finally comes the climax theme by Marianne D'Cruz Aiman & Jeetendra Thakur (who plays the violin). A six minute piece which has an international base to it and is paced quite slowly to bring on a haunting feel to the proceedings, the climax theme here is different from the kind that one normally associates with a Bollywood product. Truly different and spell binding, it would ensure that no one moves when it plays for the big screen. Lastly, there are bonus songs from Khuda Kay Liye ['Allah', 'Bandya O Bandya'] and Kailash Kher's 'Dilruba' and 'Chaap Tilak' which bring the album to a close.
Aamir isn't a kind of album which would make much impact the music stands. However, the kind of sound it carries may work well with those who are looking for something unconventional in the offering. Amit Trivedi and Amitabh do well in sticking to the film's genre and create a soundtrack which goes well with the film's theme.