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In the Melodic Lane

Dear Maya is an intriguing task from multiple points of view. It denote the arrival of yesteryear on-screen character Manisha Koirala, last observed in Rohit Kaushik's 2015 discharge Chehre – A Modern Day Classic, which wasn't a blip on the movies. Likewise, this is the first run through Anupam Roy has created music for a non-Shoojit Sarkar film. The film has been coordinated by Sunaina Bhatnagar, who helped Imtiaz Ali on Jab We Met and Love Aaj Kal. These were movies that accompanied tunes that are still recollected. In any case, Bhatnagar gives AR Rahman and Pritam a miss and picks Roy rather, who built up himself through the music of Piku. 

The collection opens with a delicate piano prelude that converges with Rekha Bharadwaj's voice in Saat rangon se. Bharadwaj's voice overwhelms this moderate, reflective piece; her handy vocals are upheld by straightforward instrumentals. A tabla keeps organization with a similar beat all through. Roy has dependably delighted in utilizing sitar in his pieces. In this, he has consolidated a break on the instrument with an electric guitar. It's an investigation okay, however is a moderately tangled expansion for a tune that gloats of clearness and clean notes generally. Before long, Bhardwaj murmurs Maine bola zindagi, Aaja khelenge murmur khwabo ka nigaaho se jua. This bit in the piece can without much of a stretch be likened with the arrival of lyricist Irshad Kamil we once knew. What's more, not the Baby ko bass pasand hai Kamil we have heard in the current circumstances. The acoustic variant of the tune has Roy take the mouthpiece, raise the melodic scale, and thus the bar. His variant sounds better. 

This is trailed by Harshdeep Kaur singing Sune saaye. A sitar is strummed close by an acoustic guitar (this works magnificently) just before Kaur enters the tune. This is one of those few times when Kaur's voice sounds easy on a high pitch. The sitar exists out of sight of this whole piece and in a recess later, includes another measurement; from a quiet, fretful automaton, the melody lifts itself to a piece one can play on the circle. At that point comes Kehne ko, in which piano harmonies are assembled with Jonita Gandhi's imposing whispers. It's one of the all the more wisely organized melancholic melodies; it verges on frequenting. Towards the antaras, Gandhi lifts her voice and achieves a crescendo. Drums seem simply after the main half. It's, nonetheless, a forgettable creation. 

Patil's buri follows in newcomer Rashi Mal's voice, who has likewise penned the verses of the melody. The melody, with the words "I'm a daylight young lady" could sit well with "I'm a Barbie young lady" — a bubblegum pop piece by Aqua, the Danish eurodance gathering. When English pop has turned out to be much all the more intriguing, this doesn't seem to be a positive indication of the '90s — both as far as verses and voice. Roy's pieces for Dear Maya merit tuning in to. Notwithstanding, the soundtrack isn't as momentous as what we heard in Piku. It glides some place in the center and has intermittent touches of brightness.

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