The craze for sequels has pushed Vishesh Films to extend the storyline of the original Murder, which was released in 2004. The Bhatts' camp has evolved in the manner they extract music from their composers since Kabzaa (1988) to Crook (2010). The music team is composed of Harshit Saxena who was the runner up of Amul Star Voice of India in 2007 and was also heard in Tees Maar Khanâ€™s 'Happy Ending', Sangeet and Siddharth Haldipur and Mithoon. The favourite lyricists include Sayeed Quadri, Kumaar and Mithoon himself.
Escapism in the wild nature is the effect of listening to Harshit Saxenaâ€™s originally composed â€˜Hale Dilâ€™, which has a remarkable peacefulness to it. The soulful and melodious track opens up magnificently by soft guitarsâ€™ riffs by Pawan Raseily in the prelude before moving into the well composed 'mukhda', where Harshit Saxena renders the exquisite poetry of renowned lyricist Sayeed Qadri in an absolutely top performance.
Within seconds, the piece transforms into an exclusive romantic excursion with the vocal emphasis on the words 'Hale Dil'. With backing vocals designed by Rana Mazumder, the backing vocalists Rana Mazumder, Joi and Dominique add an exotic touch to the harmonious track. Interestingly, the composer uses the accordion music at the beginning of the song; bringing the best of yesterdayâ€™s music with todayâ€™s advanced programming (DJ Phukan). The orchestration is furthermore blessed by the flutesâ€™ music assured by Naveen Kumar, who instantly elevates the piece to a melodious solo romantic track. Harshit Saxenaâ€™s high pitched rendition in the well connected and composed antara, coupled with the thoughtful interludes, and the mix of the male and female chorus reciting â€˜Oh Ohâ€™ render â€˜Hale Dilâ€™ an extremely well packaged song at all levels. The track concludes with a sublime outro of soft rock guitar sounds; demonstrating superb musicianship.
â€˜Hale Dil (Acoustic)â€™ by Harshit Saxena is a soft rock version which incorporates all the best elements of the original track in a much more relaxed version. The programming and guitars are done by Kalyan Barua, while the backing vocals are by Rana Mazumder. It has a full acoustic sound which gives the tune a new life on its own.
The extremely talked item song, which features Yana Gupta is titled â€˜Aa Zaraâ€™ and is crooned by the established and versatile Sunidhi Chauhan, who has already proved herself with such numbers such as â€˜Dekh Leâ€™ in Munna Bhai MBBS (2003). Composed and programmed by Sangeet and Siddharth Haldipur, it is Abhilash Phukan who is at the helm of affairs with the guitar in the prelude. But in no time, the raunchy vocals of Sunidhi Chauhan evade the atmosphere of the track and set the cabaret style song in action! Lyrics by Kumaar are captivating and generate interest. The Halidpur brothers have kept the tune simple with a thrilling background music and have put more efforts into the programming. Sunidhi Chauhan sings the middle octave antara with ease; this is where the duo has extracted the best out of her voice. The only improvement area could have been a raunchier tune with more attitude and punch! The track ends with a mysterious outro, leaving the minds of the music lovers' in imagination.
The Haldipursâ€™ last song for the project is the mass oriented â€˜Tujhko Bhulaanaâ€™ sung by Sangeet Haldipur and Roshni Baptist. Although it appears to be a genuine effort, unfortunately the guitar sound does not gel with the overall package of the fast-paced track and lightly reminds us of Rajesh Roshanâ€™s â€˜Dil Na Diyaâ€™ from Krissh (2006). The composition is situational, with catchy beats but they become too repetitive after a while. The singing by Sangeet Haldipur is energetic, while Roshni Baptist who makes her appearance in the first antara, is efficient.
After composing for Emraan Hashmi in The Train (2007) and arranging â€˜Agar Tum Mil Jaoâ€™ in Zeher (2005) for the Bhatts', Mithoon is assigned the huge responsibility of composing two tracks in this hot venture.
The synthesizersâ€™ string sound opens up â€˜Aye Khudaâ€™, which incorporates instruments like the acoustic guitar in one of the longest mukha, composed by the young music director who gave us Anwar (2006). â€˜Aye Khudaâ€™ is pensive, can be spiritual and flows with Mithoonâ€™s established style of composing â€“ something abstract mixed with emotions and with superlative singing performances. The enchanting vocals by Kshitij Tarey, Saim Bhat and Mithoon merge heaven and earth. They stretch their vocal cords to the maximum in conveying the reflective emotions at unusual spots. Starting off on a low octave, music lovers are served with high-pitched semi-classical renditions in the mukha itself. Mithoon cleverly blends the rock influence later on in the song, amalgamating two genres in one track! Interesting interludes, the flute music and the occasional pause of the synthesizersâ€™ string sounds are Mithoonâ€™s answers to experimentations in Bollywood.
The similarity in the guitar opening of â€˜Phir Mohabbatâ€™ and â€˜Tere Mera Milnaâ€™ from Aap Kaa Suroor â€“ The Moviee (2007) is coincidental and unintentional. With a long prelude and the ubiquitous strings' sound, the track by Mohd Irfan, Arijit and Saim Bhat is another quasi-meditative piece, peaceful, filled with emotions and offers a middle octave to high octave singing experience, keeping the same rhythm and tempo of Mithoonâ€™s popular tracks. The young music director composes another long mukhda and offers generous doses of instrumentation with soft acoustics in the first part.
â€˜Aye Khuda (Remix)â€™ by DJ Kiran Kamathâ€™s carefully programmed blips and beeps create a mood that is danceable despite the emotional gravity of the lyrics. This is one of the best remixes released so far this year! The piece is shortened by about two minutes.
The soundtrack of Murder 2 is a combined effort where all the music directors have tried to give their best to produce a successful soundtrack. Obviously, comparisons with the original Murder would be made but this aside; each song fits into the script and is in line with Visheshâ€™s Films School of Music. The sheer intensity and passion in the original soundtrack is missing, but the music composers, the lyricists and the singers have been under close supervision of the Bhatts'.
In terms of musical compositions, Harshit Saxenaâ€™s tune is fresh, easily accessible and youth-oriented. One can spot similarities with the programming to that of Pritamâ€™s tracks, but the programming has been done by DJ Phukan, while the tune by Harshit Saxena is king. Mithoon does a commendable job in both tracks, especially with the programming, lyrics and soulfulness of the melody, but his creations are restricted to a trademark sound and style. The minus points also come in the form of using similar singers and sounds, without being totally versatile. Sangeet and Siddharth Haldipurâ€™s two tracks meet the demand of the situation, but could have been more tuneful.
With the hidden meanings behind the lines by Sayeed Quadri, Kumaar and Mithoon, paradoxically, the soundtrack of Murder 2 is bound to ignite more interests after its movie's release. Within the music grasps of its script and the architecture of the sounds, â€™Hale Dilâ€™ and â€˜Phir Mohabbatâ€™ will satisfy aficionados of Bhatts' music. Recommended!