by Srikanth Mantravadi
Rarely have I been bewitched,infatuated and swept off my feet by a song like Madno.People go to bizarre lengths for things they desperately want,or so I heard,yet this desire to own a song or the very thought of possessing one never seized me so suddenly or startlingly as this one! So here I am typing away as the clock ambles,as it always does,towards a rainy midnight!
Such is the intricacy and craftsmanship–very much like Mithoon’s own songs from Anwar before he graduated to punchy techno grooves which were no less tantalising though–of the work that the composer painstakingly puts together,more in the form of a towering edifice than a mere song!,that asked myself for the umpteenth time “Where was this bloody guy? and what was he doing all these days?” Curse my vivid imagination,but all my mind could conjure were images of Mithoon working away in a dimly lit dungeon,like a miniature artist in Orhan Pamuk’s My Name Is Red,polishing and refining his landscapes of sound.Maybe he was building this,secure in the thought that once he unveils his creation to the World at large it would be left speechless,tongue-tied and slavering at his feet.
Getting back to the piece itself,it is fashioned rather uncannily like a bustling,gurgling creek-it’s opening gushing forth through Kshitij Tarey’s magnificent overtures,before steadying itself to a meander in Chinmayi’s seraphic vocals as much to conserve its pace,fluidity and energy as to set itself up for a final,lasting,memorable flourish before giving itself up to the teeming ocean waters.Such a sublime and pure song!
It is in no sense of the word perfect.One would be mistaken to assume as much for there are parts in it where one wishes it speeds up,parts where the song lapses into an aimless,rudderless drift and parts in the 8 odd minutes that even seem indulgent on the part of the composer.And yet,inexplicably, this is what makes it seem more and more ravishing for craving for flawless things is perfectly logical and sound.But blemish less this isn’t.Then why such endearment?
Dwelling on the technical matters on matters of (he)art may not be advisable but concluding hastily even without a note of appreciation for the men behind it wouldn’t be fair too.For the male playback parts Mithoon makes two choices:Kshitij Tarey and Mika.Two clearly piquant choices to say the least.Kshitij,though it must be said,is a priceless addition to the song steering it with passion and verve with his uniquely smoky vocals.That leads us to the second intriguing choice-Mika.Now why the hell would any composer worth his salt give anything other than Baamulaiza to Mika,you and I might ask.But Mithoon has a mind of his own.And a very inventive one at that! Though Mika does seem disquieting in the initial portions,he handles it extraordinarily in the latter portions,taking on the garb of an entirely different singer by smothering out the creeping nasalities inherent in his singing.But truth is,if not for Mithoon this chap would have,in all likelihood,been only singing Bhootni Ke’s all his life and we would never ever have to know of his amazing skills. Chinmayi,on the other hand,is an epitome of poise and restraint,singing with unmistakable maturity and grace.
A standing ovation would be in order for the composer,Mithoon.Such virtuoso performances come only once in a,proverbial,blue moon.
PS:- I was so into this song that the others in the OST passed away in a blur.But I also liked Palash Sen’s brooding,almost Dostoevskian,Main Kaun Hoon.It is perhaps one of the best written songs about the strife in the valley and the concomitant identity crisis.Mithoon’s own Rehmat Zara is a fantastic mix of ballistic hooks and powerful vocals providing for a satisfying finish.