The Indian music scene is an amalgamation of a diverse many worlds. Whether it be indie artists or popular blazing voices that blare out from under the Bollywood banner, folk and fusion souls that attempt to bring out the best of both worlds or even those whose sole pursuit with music is the only reason behind their existence, the circuit of tunes and melody in the present Indian context is as booming and enriching as the very presence of this elixir that warms up the heart and feeds the soul.
For long now, music has been romanticised, like you can only hum and croon when you are in or out of love. Because it is melody that explains the pangs of your heart and the butterflies in your stomach so well that you are inevitably led to believe just how much love and music has been paramount to each other, throughout.
No wonder then for years altogether, voices as mellifluous as that of Arijit Singh and as pensively subdued (or melodiously enticing) as that of Mohit Chauhan has been ruling the roost. But with changing times, as popular opinions are giving way to more exclusivity and inclinations are making way for the unconventional, there also is an emerging and sometimes established breed of singers who do music for the sole reason why it is done- because it unfailingly and invariably satiates the soul.
Among such lesser applauded musicians of the lot, Amit Trivedi is a name that you still have commonly heard and mostly been crooning away to. That’s because even when his music is offbeat, even when they stay under the tag of smaller banner films and even when you wouldn’t think his song is the next big thing on the radar of hits, Trivedi has this wonderful penchant of pleasantly surprising you with offerings that are not as half mainstream but still sticks with you more than even some of the fleeting chart busters.
All said about how unconventional he is but you can’t deny that Amit Trivedi does has an ear for deciphering just how conformist mainstream music needs to be. In most of his pieces, therefore, you find elements of the known, even when you know quite well you are not gonna be disappointed with the same old fare on offer.
Trivedi’s long standing and very much deserving fame was brought upon by the phenomenal success of the music and tracks of the 2009 whiff of fresh air film Dev D. Dev D was also revolutionary in that it was a complete concept album in itself, one that would have told a full length story even without the accompanying storyline. But waxing eloquent about the phenomenal richness that Dev D is abundant in is only a testimony to just the many promises that Amit had seemingly in hold for the future.
Year after year thereafter, Trivedi did not disappoint. With an exemplary coursing through between genres, for different songs and different albums, and in many instances for one particular song itself, Trivedi shows how he is fearless in even exhausting his musical nuances to churn out among the finest of pieces. Yet he has little to fret about because with his expert repertoire of creative faculties, Trivedi sure can tread even the remotest of musical terrains with ease.
Amit Trivedi dazzles in even the subtlety of his music. Like in Wake Up Sid, he is the man behind the phenomenal musical masterpiece Iktara. The song is all things subtle you can dream of- the beat does not scream into your ears, the tempo isn’t anything fast paced but with his music Trivedi manages to strike those chords in your heart and those strings of your soul that you live your way through this song. Iktara is everything very intense, yet with an easy- breezy air to it. You can listen to this song and flow with it, but you know the music still resonates with you; even when you feel like you are zoning out with an overwhelming sense and urge over coming you, you are still roaming the paradise of Trivedi’s striking melodies with deeply detached but indulgent fantasies.
Trivedi’s music for the 2010 film Aisha had been another of his liberating, uncommonplace endeavours. For enthusiasts of most things new, the film was in many ways a depart from the masala that rules conventional Bollywood. Equivalently, even the songs had been off beat and unlike unidimensional as Bollywood tracks had forever been. Diversity is definitely one nuance that Trivedi takes considerable care of in his compositions and the captivatingly crafted essence of what makes up his music goads him on well to come up with lyrics woven by tunes that indeed are ladles of honey dipped emotions to the ears.
Like everyone who tries to break away from the monotony of the beats and the stale appeal of the cliches, Trivedi too has his quirks on ample focus. In the track Gulaabo from the film Shandaar, Trivedi’s play with music and all its accompanying, uplifting elements are in full swing. This is one track that is particularly peppy and catchy, but even in the appeal you decipher things that are new. To say that Trivedi concentrates in making his own in roads even when he is going supposedly conventional only sums up the exemplary tricks that he brings to this trade he has mastered.
Trivedi just about gets the groove going for all his compositions, albeit in strikingly different mannerisms. Like in Lootera, he goes soft and assertive with his business. But turn to Udta Punjab, and you know exactly the reverberations that he seeks to bring unto you with those majestic, heart tugging renditions of power packed significance. Even in Ishaqzaade, the songs have an inherent air of power about them, though a bit goofy that seems to downplay the assertion, nevertheless they still held that aura of assuming importance that stays with you even as you enjoy your way through the song.
Even in Kai Po Che and Queen, that are films that dwell on the depth rather than mere entertainment, Trivedi brings out melodies that are groovy enough to make you spin and swing but with that underlying theme of what it was meant to deliver and encompass. His more recent track Naina da Kya Kasoor from Adhadhun is another of his more enjoyable songs, that is light on flavour and equally appeasing to the ears.
For someone who is largely called the next A. R. Rahman, even though the comparision is more vague than concrete, Trivedi can indeed ride high on the fame. Mostly a shy persona whose media interactions are few and far between, Amit Trivedi’s relative lack of exposure in the spotlight have sough to hold him down. But not with his creations; for this man whose music speaks louder than the accolades he garners, music is his passion and life and we sure know just how blessed this man is going to make us feel in the coming years.