Bollywood turns a new note

Newer voices, rock bands emerging as music directors, pop artistes changing tracks as new playback singers...the film industry is getting a new voice, says Abhilasha Ojha

It isn't often that music in the rock genre makes it to a mainstream Indian film. But Life in a Metro, a UTV-produced and Anurag Basu-directed film, is promising to change the way Indian audiences view and listen to music.

In the first-of-its-kind initiative, the film roped in an ensemble of musicians (they call themselves Band Metro), including its music director. "I personally supervised the entire selection procedure and we assembled musicians to come up with a fantastic rock sound for Metro," says Pritam, one of the rising music directors in the industry who has given music for films Dhoom 2, Gangster and Woh Lamhe recently.

What's fascinating is the manner in which the music will play out in the film. Actors won't be lip-synching; instead, the band will be showcased as part of the script and will sing all the songs. And just what is Pritam expecting from the score? "If it is accepted by audiences, then we're all set to say hello to original Indian rock in Bollywood."

It's quite possible that his wish may come true. Those of us who've picked up CDs from music shelves recently will vouch for this trend that's taking place in the music industry. After all, in a growing number of films, the credit for music is increasingly belonging to bands like Medival Punditz, Indian Ocean and Rabbi Shergill to name just a few. And while they blend their musical influences into films, names like Shankar-Ehsaan-Loy, Vishal-Shekhar and Salim-Sulaiman have become synonymous with the Indian music industry.

"This change had to happen. There was a time when we were newcomers with our own set of musical influences. After we started composing for films, we infused our influences to give a fresh sound to the industry. Thankfully, we had directors who also encouraged this change," says Ehsaan Noorani.

Pritam agrees. "It is a collective effort. In the 1980s, director Mansoor Khan wanted to change the mood from the disco sounds to soft romantic melodies and he succeeded in giving us Qayamat Se Qayamat Tak. If you look at the late 1990s, it was Farhan Akhtar who wanted to bring in fresh sound for Dil Chahta Hai. That sound was so contemporary and it succeeded tremendously," he says.

He does feel, however, that the industry is undergoing another lull phase. "I hope Metro can change it. It's an album for urban listeners," he says, adding, "Till last year, we found Himesh Resshamiya's brand of music very fresh. But now everyone feels that there has been an overkill of that sound."

Maybe that's why Resshamiya is busy promoting his new film (he debuts as an actor in Aap Ka Saroor), while newcomer Mithoon, who gave a spectacular score in the film Anwar, takes over as music director in Train, a film that was offered initially to Himesh.

"I didn't know that the film was offered initially to Himesh, but yes, it feels good to know that music in a classical genre is still accepted by listeners," says Mithoon. Extending the conversation on the changing trends in the music industry, he explains that the debacle of Anwar on the box office didn't deter his music from becoming a runaway success.

"I was, for a change, working with the sort of sound that I always wanted to see getting translated on screen," he adds. Mithoon has experimented with the traditional Indian classical sound in Anwar.

So there was "Maula", a fresh Sufi sound, while "Tosey naina lagey", another track, was a pure raag-based Indian classical track. Mithoon also experimented with new voices; another trend that's marking a change in the notes in this music industry.

Pritam answers: "Our notes will never change, so it only makes sense that we give a break to newer voices. Songs can sound different only when newer voices are encouraged." And yes, he's confident that the industry today accommodates everyone in its fold.

Hamsika Iyer, who recently sang for Shantanu Moitra in Eklavya, says, "Today's industry, unlike the '80s and early '90s, doesn't encourage singers to imitate anyone. Your unique voice will ensure that the right song belongs to you."

What's interesting is the manner in which music directors today are finding their source of inspiration. Moitra, for instance, loves travelling and gets his compositions from everywhere; deserts, mountains and the interiors of India.

Salim-Sulaiman, who composed the fabulous soundtrack of Dor recently, usually infuse a lot of folk element in their soundtracks. And though a lot of commercial music continues to be heard, there are always strong rumours in the industry that musicians like Jatin-Lalit (who have split), Anu Malik, and Nadeem-

Shravan (another split pair) are finding it difficult to even find takers for their music. Says a source: "Malik's music is dry. No one's really approaching him anymore because he's not doing anything differently."

So directors are veering towards Pakistani bands, giving break to a new breed of music directors, fresher voices and Indian rock bands and bringing them into Indian films. And even if the film doesn't do too well, it's the music where enough hype is created.

While we've already mentioned Anwar, Delhii Heights, for instance, is another film that was in the news for Rabbi Shergill making his debut as a music director. "I was looking for a script that didn't make unnecessary demands on me to alter my sensibilities," says Shergill.

Xulfi, from Pakistani band Call, says, that while India is a crucial market for music bands, the fact that directors are actually approaching them to compose tracks for mainstream films is what's making a very big difference. "Our song in the film has received a tremendous response and somewhere it's reflective of the overall change in the music tastes of audiences."