Tu Kuja was haunting my mind since two days. Couldn't get over it unless hearing it on headphones. With all those electronic 'noise' thrown in. Yes, the reason why I love the track so much is because of that electronic treatment ARR has given to it. And for which, people often criticized it. But for me, the sound creates more mysterious atmosphere. More 'black' 'dark' and 'unknown' element it adds. There are two ways to enjoy this track - close your eyes trying to get away from everything. Or open your eyes, while traveling, sitting at window and look at visuals passing thru it.
The exact way to enjoy whole soundtrack of Highway, is like that. I just did it for umpteenth time. And that's why I am penning this down, without any purpose. Just as my mind felt about the songs, getting immersed yet again in this journey of sound. Highway.
Who knows, if Tu Kuja, initially, wouldn't have designed like this? Can anyone confirm, if it was actually made a qawwali as we heard on radio in the movie. May be, that sounded out of place to the director for the situation he wanted this song to be played to. So enter the mysterious version, for a scene where Veera is running away from reality, towards unknown.
That one track, isn't alone inspired by the visuals. Almost all of them, tells the same tale. Moving on to next, the one which got least accolades, for having more 'pop' sound. Maahi Ve is another one, which takes you on a journey. Passing trees, one by one, as the 'clap' sound goes in the song. Another song, almost bordering on structure of Phir se udd chala. With no fixed lines to repeat. (agree, its not, but). It ends very unusually. But by that time, you already have lump in your throat, by the lyrics and the violins in the last para.
Sooha saha, again, an emotional journey. Scenes in the movie, are put in flickering motion. Coming and going in seconds, from the past of Mahabir. By the time song reaches its climax, and Veera starts singing - Toota Tara sa... for the broken Mahabir. You can't help, and tears well up in your eyes. Visuals of Veera consoling Mahabir come up in front of eyes, when Mahabir totally breaks down, right before the climax. And Veera consoles him like a mother would. Aching pain the scene had, that reflects in a song, that comes way earlier in the movie.
The the playlist moved to ARR's version of Patakha Guddi, which unlike the 'happy' sound of the former version, has its soul more inclined towards devotion. Devotion, towards the one you love. From the silent scattered continued beats, it goes to the height, of belonging-ness, in terms of music - with hard rock portion, gradually coming down. With faint sounds of a dafli. And near conclusion, offering one's self completely to the 'Saaiya'. You hear more faint sounds, almost silent, of 'manjeera', repeating at certain intervals. A symbol of devotion-literally.
And after all this ride into unknown, emotional, physical, devotional peak, and back on soil. Implosive Silence cools down everything. But not for so long. The longing sound remains inside. Like heart beats. Increasing gradually. And then, bass increases, but not outwards. Inwards it takes you. Just like the name of the track. Implosion - of thoughts, of things squeezing you inside. Without shouting outside, without letting anyone else hear you. The one, that makes more devastating effect than an explosion.
The exact way to enjoy whole soundtrack of Highway, is like that. I just did it for umpteenth time. And that's why I am penning this down, without any purpose. Just as my mind felt about the songs, getting immersed yet again in this journey of sound. Highway.
Who knows, if Tu Kuja, initially, wouldn't have designed like this? Can anyone confirm, if it was actually made a qawwali as we heard on radio in the movie. May be, that sounded out of place to the director for the situation he wanted this song to be played to. So enter the mysterious version, for a scene where Veera is running away from reality, towards unknown.
That one track, isn't alone inspired by the visuals. Almost all of them, tells the same tale. Moving on to next, the one which got least accolades, for having more 'pop' sound. Maahi Ve is another one, which takes you on a journey. Passing trees, one by one, as the 'clap' sound goes in the song. Another song, almost bordering on structure of Phir se udd chala. With no fixed lines to repeat. (agree, its not, but). It ends very unusually. But by that time, you already have lump in your throat, by the lyrics and the violins in the last para.
Sooha saha, again, an emotional journey. Scenes in the movie, are put in flickering motion. Coming and going in seconds, from the past of Mahabir. By the time song reaches its climax, and Veera starts singing - Toota Tara sa... for the broken Mahabir. You can't help, and tears well up in your eyes. Visuals of Veera consoling Mahabir come up in front of eyes, when Mahabir totally breaks down, right before the climax. And Veera consoles him like a mother would. Aching pain the scene had, that reflects in a song, that comes way earlier in the movie.
The the playlist moved to ARR's version of Patakha Guddi, which unlike the 'happy' sound of the former version, has its soul more inclined towards devotion. Devotion, towards the one you love. From the silent scattered continued beats, it goes to the height, of belonging-ness, in terms of music - with hard rock portion, gradually coming down. With faint sounds of a dafli. And near conclusion, offering one's self completely to the 'Saaiya'. You hear more faint sounds, almost silent, of 'manjeera', repeating at certain intervals. A symbol of devotion-literally.
And after all this ride into unknown, emotional, physical, devotional peak, and back on soil. Implosive Silence cools down everything. But not for so long. The longing sound remains inside. Like heart beats. Increasing gradually. And then, bass increases, but not outwards. Inwards it takes you. Just like the name of the track. Implosion - of thoughts, of things squeezing you inside. Without shouting outside, without letting anyone else hear you. The one, that makes more devastating effect than an explosion.
