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There is a techno Ting-a-ling (from Katiya Karoon) version that plays when Jordan and Heer do in Prague, what they did in India with the Punjabi version playing in the background. It features in varied forms in the background score throughout the film. The haunting Tum Ho melody and its Piano motif, is interchangeably used as the recurring musical themes for love, passion, longing and pain of Jordan. It certainly is not necessary to write new motifs, when you have sixty seven minutes of music already created for these very characters, their emotions and the situations. It is aptly used in some of the key moments of the film.Īs I expected after hearing the soundtrack with fourteen songs, most of the background score cues are derived from the melody of the songs. The most used musical piece in the background score of the film is the least heard piece of music in the entire soundtrack CD – the Synth soundscape that Rahman builds around Rumi’s poem. These stretches of silence further add to the intensity of emotions, especially in the latter half of the film. Even the scenes in which one usually expects music in the background, like say, when Jordan meets Heer for the first time, or when Heer finds Jordan in Prague, Rahman maintains an astounding silence. The film is quiet throughout, with no music to push or exaggerate the emotions in the visuals. Rockstar Background score is one of the most restrained of all of Rahman's Indian film scores. The whimsical carnival piece Hawaa Hawaa… that features gypsy music with bits of flamenco is pleasantly surprising and perhaps the best quirky number we’ve heard since Vishal Bhardwaj’s Darling… from 7 Khoon Maaf.Tum Ho Orchestral Version & Phir Se Udd Chala on Flute Towards the end, it routes into the electro-pop realm effortlessly. The opening song sung by Chauhan, Phir Se Ud Chala… is a quintessential Rahman number with wide soundscapes, lots of sonic textures and vocal harmonies. Often, the song stops abruptly and you’ll hear the producer giving comments and suggestions in the background.
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For instance, in the semi-parodic Sheher Mein… that’s both a song as well as the making of one, Chauhan’s voice dominates, though Karthik also features on vocals. His voice oozes flair without going over the top. Second, the idea of keeping Jordan’s voice consistent à la Mohit Chauhan (who sings on nine songs) is a great decision. However, multiple listens are highly rewarding. The richness is in the details, and if you play the tracks casually, without paying much attention, you’ll miss out. First, its 66-minute length – with no remixes or reprises to speak of – demands time and attention. Instead, it follows the musician Jordan’s (played by Ranbir Kapoor in the film) journey across the country and to Europe and packs in wonderfully evocative numbers ranging from folk and alternative to electro-pop and some Balkan gypsy pieces as well.īecause there’re just so many nuances and undertones in all its 14 songs, you cannot judge Rahman’s music in one go. For all the right reasons, there’s minimal ‘rock’ to be heard. It may come across as a surprise, but the music of this Imtiaz Ali film is nothing like its name suggests.
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The award-winning artiste selects his projects very carefully, so naturally, everyone’s been eager to find out what Rockstar’s music is about. It isn’t every month that you get to listen to a Hindi film soundtrack composed by AR Rahman.