Sneha Khanwalkar draws rich semi-classical melody and orchestration from the politically potent Urdu poetry of the 1940s. It is its own thing and still very much in line with the duo's signature sound: lush, original, big. Balasubramaniam, going in unpredictable directions. But Ajay's singing is enjoyable as ever, a touch of SP. I'm not so hot on the Shreya Ghoshal portions – they are too…demure. The composers do a superb job in the way it evokes the spirit of the original, with goose-flesh inducing chord shifts and a winning hook. A remake with a new title needs a new…title song. But something about replacing the word Sairat with Dhadak and expecting the rest of the composition to remain undisturbed seems off. They could've taken the short-cut and gone the same route as in the rest of the album – substituting with new, Hindi lyrics and singing, retaining everything else. With the "Dhadak Title Track" Ajay-Atul handle a situation unique to Indian cinema – working on the Hindi remake of a Marathi film they had composed for. It's difficult to hold a candle to the awesomeness of the "Sairat title song" – that piece de resistance interlude, the joyous singing, the wild, rustic-ness of it all.
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January 2023
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