Ekta Kapoorâs latest titillating film, âLove Sex Aur Dhokhaâ (LSD) opens soon and promises a scandalous look at the world that we live in today. Itâs a world where sexuality has been ripped out into the open by technology and a world in which we revel in our overt sexuality in ways that older generations frown uponâŠparticularly in India.
The film directed by Dibakar Banerjee has the creepy tagline, âYouâre Being Watchedâ and has a cast of unknowns (perhaps because the topic and scenes were too racy for established actors). One thing is for sure, itâs definitely not for the prudes in the Bollywood film audience, and you might need to take a shower to wash off the sexual grime after seeing the movie.
So, in the days when music is used for promotional purposes and consists of a catchy refrain repeated multiple times over a techno beat (perfect for commercials, not so much for fans of good music), how is the music for LSD? Itâs just as wild ânâ crazy as unbridled kinky passion can be and most definitely worth multipleâŠlistens.
âDev Dâ paved the way for this kind of pseudo sensual darkness on the silver screen, it was and is an avante-garde musical soundtrack that LSD uses as a platform to push itself in another more perverse direction.
Kudos to the director for having the courage to not go down the typical musical lane, rather to sign up the fairly unknown Sneha Khanvalkar (one of the very few female music directors in India), of âOye Lucky!Lucky Oye!â. Sheâs also composed music for âGoâ and âSarkar Rajâ (trust Ram Gopal Varma to recognize a talented newcomer when he sees one).
So what do we get? Well dim the lights to turn on whatever you want to turn onâŠand letâs take a listen to âLove Sex Aur Dokhaâ.
With a great bombastic charged track like the title song, one would think the next track would be a letdown or drop in quality, but thatâs not the case, as âTainu TV Pe Vekhyaâ is Punjab folk at itâs playful best. Dhols and western drums are used to good effect to create the beat that will have you moving your body in ways reminiscent of the throes of passion. I am in a Sufi induced daze, and the lyrics by Banerjee (like âTVâŠ.TV..TVâŠban ja biwiâŠ.â) are pop shot snap on.
Next up is another one of my favorites from the album, âI Canât Hold Itâ, which starts out innocently enough with flutes and excellent use of scratching which is used throughout like a kinky instrument. The vocals, by the music director herself are full of crazy naughtiness (desire) and desperation as she sings, âI canât hold it any longerâŠ. kunwar saa band ye kivada, khol khol koâŠmatko ye rasko, ghol ghol goâŠnahin toâŠF.O..F.O..F.O.â. Donât miss the clever if controversial use of F.O. during the track, begging censorship from the Bolly censors for itâs underlying meaning. Itâs folk, itâs on the edge and incredibly catchy. Rajasthani folk meets the modern woman.
The fourth track on this groovy album is, âMohabbat Bollywood Styleâ and brings the soundtrack to the more traditional sound that we are used to from romantic Bollywood films, but with a wry commentary all its own courtesy of lyricist Banerjee. The track cleverly plays and turns the romantic song genre on its tail and is sung innocently enough by Nihira Joshi and Amey Dale. It starts out with the typical Yash Chopra mandolin, dhols and lyrics that mention that the common SRK name, Rahul. From the romantic Yash Choprafied melody we move to the twist ânâ turn of Shammi Kapoor (and the more recent âZoobie Doobieâ from â3 Idiotsâ). The lyrics play with the music and vice versa as the mandolin returns for âsuhaag raatâ. Worth a listen or two, but itâs certainly not as cutting edge as the other tracks on this album.
Just when you think the album has peaked, we get the fifth track that will burn itself into your insane membrane, âTu Gandi Achchi Lagti Haiâ, which originally was titled, âTu Nangi Achchi Lagti Haiâ, but was changed due to heavy criticism. Honestly, itâs a crazy title (lyric) even with the replacement of nangi with gandi, and the track doesnât lose its visceral impact. Kailash Kher returns with this track and sings words you never thought youâd hear come out of his mouth. I felt dirty after listening to this track, and Iâve heard a lot worse. The music relies on an electric guitar rock sound in the foreground supported by a retro disco beat in the back. It shouldnât work, but it does, creating an immensely catchy and likable track with a killer melody. Lyrics by Banerjee like, âTu gandi achhi lagti hai, tu bandi achhi lagti haiâŠTu kali si kachhi, tu tali si machhi lagti haiâŠ Sach sach main bolne wala hoon, main mann ka behad kala hoonâŠâ Yeeeeeeeouch! Tell me this track doesnât get every in man in the house nodding his head in agreement! Play it loud and play it loud brothers!
Rounding out the album, we have previously released tracks by Kailash Kher's group Kailasha, âNa Batati Tuâ and âTauba Taubaâ plus a remix of the LSD title track (which really destroys the creative ingenuity of the original).
Now, that the lights have dimmed, youâve sweat in places you never knew you could sweat before, and the strange dirty sound of a saxophone is playing in the background as the hot breath of your loved one teases you across your face, you can hit the replay button for âLove Sex Aur Dhokhaâ, a dirty, catchy, melodic soundtrack that will stick in your mind long after the music has died down. Music director Sneha Khanvalkar handles sexiness, kinkiness and adult themes, all without being sleazy. Though not for the prudes in the audience, anyone who likes catchy lyrics and music that pushes the envelope will be in for a hot ride.