Tere Ishk Mein: The accomplishment isn’t remembering the return of AR Rahman with great music, but it is going to remind each listener why this great musician continues to be one of the best in India. This new film album has received acclaim not only for its alluring melodies but also for the well-placed songs in the narrative line or story. The result is that all the songs add to the effect-the emotional depth of the scenes within which they have been placed. The works of Irshad Kamil highlight that touching depth and sensitivity in understandings with his poetic lines too.
The only slight disappointment for fans is that the title track is not played in its entirety in the film. However, hits like “Usey Kehna” and “Tere Zikr Mein” exist, making them highly recommended for anyone who enjoys Rahman: signature music.
For most audiences, 2001 to 2010 is perhaps the most brilliant phase that Rahman’s career ever saw, especially in Bollywood. To those who have witnessed his output in that decade, it sounds as if there are innumerable cult classics compositions, which not only firmly established the sound of Indian cinema but also revised the whole thing film music could ever do. Few could muster up that creative zone, keeping him all so much ahead with respect to his experiments in genres, vocal textures, and orchestration.
Albums from that glorious “era”-like Meenaxi, Lakeer, and Yuva-reveal just how timeless and groundbreaking those compositions remain. Each song was a different personality, but they sound so fresh even today because of Rahman’s instinct for creating music that is far ahead of time.
Rang De Basanti provides the feeling that the man is in a different plane altogether. People say had any other composer composed that soundtrack, he would have been straightaway among the greatest of all times. But since it is Rahman, such brilliance comes with almost a certainty-an indication of the remarkably high standard he has set for himself.
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