There are good expectations from the music of David and there is just one reason behind that - Bejoy Nambiar. For his last film Shaitan, Bejoy had given his composers freedom to experiment and the music went on to grow on quite well over a period of time. It also established the sense of music that Bejoy carries and hence one expects something unique in David as well. Yet again it is an ensemble of composers who come together to put together this album which has as many as 15 tracks!
'Ghum Huye (The Theme Of David)' is just a correct beginning to the album as it brings on the kind of haunting sound that one can expect to play right through the film's narrative. Boasting of a Western treatment, this Bramfatura composition is nothing that one expects from a quintessential Bollywood score. Since that is not an aspiration for the musical team (comprising of singer Siddharth Basrur and lyricist Ankur Tewari) either, the end result is satisfactory.
What is rather surprising is to hear the traditional number 'Mast Kalandar' so early in the album. From a soundtrack that promises innovation, one would have expected Bejoy and his team to go wild with so many other gems that they had to their disposal. However what one hears is Rekha Bharadwaj rendition of this song that has been put together by Mikey McCleary. Of course it is done well and is striking as well, especially the 'rock version', but then it's placement in the album could have been a little later in the day.
Maatibaani is a new name that comes to fore as a composer for fusion number 'Tore Matware Naina'. Joyshanti and Pt. Laghulal join Maatibaani as the lyricists for this song that has Nirali Kartik and Joyshanti coming together as singers. The end result is the kind that may just find fancy amongst the DJs who could add on their own thing to this four minute long piece. However one still awaits that set of compositions that could actually make one go wow about the album.
There is a hint of that with Remo Fernandes's 'Maria Pitache' which reminds one of the kind of musical experiences he has shared with listeners over the decades. He is joined by Abhijeet Deshpande as a co-lyricist though overall this all around piece by Remo is entirely on the same lines that have made Goan folk popular in Bollywood over the years.
There is further progress in the album with Naresh Iyer and Shweta Pandit coming together for Gopal Datt written 'Tere Mere Pyaar Ki' which could well have been an A.R. Rahman composition. Very well worded, beautifully melodic and rendered in a manner as sweet as it can be, this Prashant Pillai composition brings in a lot of 'thehrav' in this album which was bordering on getting a little too noisy for comfort. Well, the relief is short lived as Modern Mafia brings to fore 'Bandhay'. A hard rock number with Ankur Tewari as the lyricist, this is core situational and lasts a mere 150 odd seconds.
The best is heard in the middle of enterprise with the sound of flute at the very beginning setting tone for what follows in next five odd minutes. No wonder, it is also the lengthiest of the lot, and deservingly so, as Swetha Mohan begins to sing it in a voice which is extremely beautiful. She is joined by Anirudh, also the composer of the song, and together they make 'Yun Hi Re' a song which is worth playing on a repeat mode. Good marks to Turaz for bringing the feeling of love so effortlessly in his words.
He returns with Prashant Pillai for 'Rab Di' which is just the kind of 'Sufi' number that starts giving this Bejoy Nambiar film an added edge. Kartik is high impact in this song that carries the kind of punch which is further accentuated in 'The Rab Step Version' which has to be heard to be believed. It is simply fantastic with Dub Sharma taking care of the version and making it special enough to throw a listener into trance.
Yet again it is time to relax and just soak into quietness for a song which is ironically titled 'Out Of Control'. Mikey McCleary is the composer and lyricist for this situational track that should aid the film's background score. Nikhil D'Souza leads from the front with Priti Pillai not just coming behind the mike but also working with Mikey McCleary on the lyrics. In addition, there is also a 'Choir Version' of the song that has Marianne and Tara Sitaria coming together.
Meanwhile Turaz and Prashant Pillai continue to experiment with sound and this time they bring back Lucky Ali from oblivion. The song in question is 'Ya Husain' and one can be rest assured that with the kind of sound design that the song carries with some high definition arrangements throwing a punch, it would aid the imagery created by Bejoy in a big way.
'The Light Years Explode' is behind a track that has been interestingly titled 'Three Kills'. Yet another rock song, this one is entirely in English with lyrics by Aaron Carvalho. He also comes behind the mike along with Saurabh Roy for this situational track that would be appreciated primarily by those who are primarily into this genre.
The album ends with Remo Fernandes' 'Light House Symphony' which is quite smoothing and smooth. Also, Remo brings an altogether different touch to this song by getting into the kind of mode that Bollywood isn't too familiar with. It is amazing to see the 59 year old giving competition to the young ones. In fact watch out for the way he begins the track and then takes it to a crescendo.
David is yet another experimental soundtrack by Bejoy and it works quite well. Of course, yet again one needs to get a hang of what the compositions are all about. In fact not all tunes are uniformly fantastic and though none of them is pedestrian or commonplace, one can't quite say that the album is a wholesome experience. Still, the ones which do work are indeed worthy enough to be picked and to their good fortune of the album, there are many such songs. Expect a musical outing once David plays on screen.
Yun Hi Re, Mast Kalandar, Tere Mere Pyaar Ki, Rab Di (The Rab Step Version), Ya Husain, Light House Symphony