Tag Archives: Delhi 6


(A post by @techrsr which went missing during the move to WordPress, originally posted on June 23rd 2012)

Time seems to stand still, as a cavalcade of harmonies and this shrill, indescribably involved vocal melody pierce the ear. The brief silence that follows it is punctuated by an evocative arabesque of instruments, whence comes the confession: “My heart has fallen somewhere… suddenly”. Dafatan.

Free verse in Urdu-laden Hindi is rendered by Ash King, while a happy marriage of diverse instruments – a santoor, a jaltarang, violins, synthesizers and a bass guitar somewhere, provide the seemingly arbitrary soundscape for the vocalist’s initial outpouring, itself an unusual crossover between an uplifting Gospel melody and some Bollywood cliché. In one memorable interlude, Irish sounds abound in bagpipes, and lutes from some village in southern China and some synthesizer in A R Rahman’s studio too, and they all seem to yearn for your attention.

The meandering soundscape has this one constant background melody, as the other instruments wrap around it. They are all beautifully chaotic, as winds may deflect some hovering bird, or as waves may splash carelessly on feeble monuments of loose sand. They break into order from discord, as if to be destined to arbitrarily synchronize with the vocals by Chinmayee and Ash Singh. There – a mention of pearls and seashells – where the bass and the vocals conspire to describe some epiphany. There – a mention of ghazals and intoxication – a musical dopamine shot and a lyric that incites more than musicality; a lyric that suggests the infatuation of music itself.

As the lyric melds into an arbitrary synchrony with the soundscape of melodies and synth, it is revealed that the object of his affection is unaware – utterly ignorant – of this drama, and entirely oblivious to his little romance. Cruelly and carelessly, the sea seems to inundate the vocalist’s love and he conjectures if the sea herself sleeps, drowned and covered in her waves. An intoxication takes over, the kind that is ceaselessly interesting and yet tumultuous. As the song winds up, this treat to the senses that started with a confession, ends with a regret : “Tu, magar, hai bekhabar… hai bekhabar”.

Dil… gira kahin par… dafatan. In my opinion, this is the best song on A R Rahman’s exceptional album, Delhi 6.



Shades of Dark

(A post by Deepi)

It’s the intensity of the lines “saare riti riwaaz hatakaar, dekho apne ghar ke andar, shaayad kahin kisi kone mein, oongh(?) raha hai kaala bandar.” The answer that is said with conviction, forcing you to open your eyes to reality. That is what makes this song so endearing.

This is the sort of song that tells you a story and the story here is woven into the movie. (Interestingly, one other such song is Hawa Hawa from Rockstar. The picturisation and the lyrics are in step with the events that are about to unfold in the movie.) The concept of Kaala Bandar. Everyone’s got something to say about him. He prowls about at night, invisible and attacking the innocent folk. Some claim he’s a cyborg and a nuclear bomb was used to make him. Ridiculous, yes? So Karthik sings along explaining, who knows the kaala bandar might just be you. Look into that mirror there, you’ll see. You hide beneath all those layers but no one can cover up the black truth that resides deep down in your heart. So it is only appropriate to say “Paagal hain ya naadan hai hum sab.


Now that the truth has been exposed, the earlier statements on the monkey have been retracted. The song keeps picking up pace. There’s a statement, then a discussion and they reach the conclusion. He’s really like-able and the streets are safer because of him. He’s the reason they have electricity and the people are happy as long as the monkey doesn’t get to them. They refuse to face the truth, begging for the black monkey to stay on.


Arziyan – Delhi 6: Divineness

I will not be completely wrong if I say that Sufi music has found quite a fan following amongst Bollywood music listeners. Arziyan from Delhi 6 is one such soulful Sufi rendition by Javed Ali and Kailash Kher. A.R. Rahman divinely delivers the instrumentation for this song written by Prasoon Joshi. And the picturization of this song with the Jamma Masjid in Delhi (I guess that’s the location) blends well with the song so very well, with the long shot of the people performing Namaz in front of the historical monument. For me, this is one song that transports me into an entirely different world, and for once I’ll say I don’t know if it is the lyrics, the rendition or the music that cause this effect in me. Probably, it is a collective effort of all three factors!

‘Arziyaan Sari Mein, Chehre Pe Likh Ke Laaya Hoon
Tumse Kya Mangu Mein, Tum Khud Hi Samjah Lo…’