1.   Jazz KalluJust a few days ago I had one of my Liv sessions on Instagram with a talented composer/singer called Ajesh Ashok and I compared him to some of the best talents in India like Sushin Shyam, Charan Raj, Ajaneesh Loknath and others. Sweekar Agasti was in that list as well, and here he is making me proud and justifying his talent and potential by composing the best song in India for the week. This as the name suggests is a brilliant rendition in Jazz style of music and since I am a fan of the genre I have a high bar. Sweekar crosses that with splendid ease and he is helped enormously by a magical sounding Damini Bhatla. She has a tailor made voice for this and I am happy for this opportunity that she has landed like a perfect 10. The singing is a masterclass in Jazz vocals and we have some very crucial support on the Keys. Sunil Abraham, Phil and Sweekar are the programmers, and they bring about the perfect harmony of the Piano and drums. Shravvya Kothalanka is the lyricist and Sweekar plays the guitar. The interlude is studded with the Saxophone solo by Weber Marley and Rajesh, but don’t forget to pay attention to the groovy bass guitars by Dan Gallagher. I wonder where Damini got the inspiration and idea to deliver vocals with such tenderness in certain places and at times with coarse punches. The track is mixed and mastered by AM Rahmathulla 2. PAATHAI - KEVA wonderful Tamil song comes up at the number 2 spot in the country thanks to some excellent collaborative work from artists around the nation. The song is written by Anand Kashinath who has featured many times here and my articles for Tamil numbers on Behindwoods. He also has produced this brilliant number. Kev and Anand collaborated and worked on this song back in 2020, and like great Tech companies were born out of garages, songs like these originated in rooms during lockdowns. In-fact go read up on this bizarre yet inspiring story of how Kevin Paul a.k.a. Mr. Kev stayed inside his room vowing never to come out till he finished composing an entire album. Kev does the vocals in the first half with Vaisakh Somanath singing the latter part. Kev plays the electric, acoustic and bass guitars, with Baidurjya Banerjee relishing the solo in the middle. It is Vinay Ramakrishnan. I will be listening to the other tracks from this album pretty soon. The track is mixed and mastered by Sajin A Stanly. The electronic sounds from some solid programming adorn the track and then Vaisakh takes the track to a newer high with his vocals.  The drums are not just run-of-the-mill, but Vinay is outstanding especially combining that solo along with Baidurjya, and this segment is pure magic, good enough to outclass any global rock single. The song has a texture and tone resembling “Aaromale” by AR Rahman.3. ASCEND - EVENODDThese Indian musicians have moved base to the US, founders Debojit Kaushik and Karan Chowdhary, but they are not only living the American dream but also keeping the dream of many Indian musicians alive by continuing their musical project under Evenodd. Zorran Mendosa has produced the track. This is like the Rock Gods have descended upon earth to perform ‘Ascend’ for us. The electric guitars are scintillating with upbeat drums and the lead vocals are nothing short of dreamy. The kind of rock music that stuns you, uplifts you and at the end of it all when you are ready and locked, energizes every cell in you. Just listen and let go of the meandering and mesmerizing music. 4. BEQANAB - WADALII remember featuring and writing about Lakhwinder Wadali in a song produced and composed by Salim-Sulaiman a few months ago. This is another Ghazal-styled melody, just a brisk faster in tempo. Wadali ji has composed the song along with singing it but the song is produced by Aar Be. The song thanks to some excellent production has a mix of western and Indian classical sounds as well. The guitars are a strong presence with drums and Tabla in unison, it feels like fresh air hitting the cheeks. The interludes are laden with instrumental arrangements and the bass guitars provide a beautiful layer underneath the vocal strength of Wadali ji. Just watch out for that brilliant landing into the opening lines, form the antara aided by terrific drums. MS Abid is the lyricist and the track is wonderfully mixed and mastered by Sameer Charegaonkar.  5. HELPLINEKalpana is an artist who has spent time in the US and India and like many indie artists, it only helps implement facets of the art that is specific to either hemisphere. The song impressed me at the get go and there are not many who can do that when I am hearing their name for the first time. The singing is pitch-perfect, but as you can see the song is not supposed or meant to inspire from the very beginning. It treads a story in itself with the title giving away precious amounts of hints about the theme of the song. The guitars are like the heartbeat of the track thanks to Andrew Deepak. The production is immense in effort and impact and that is the sole reason we can hear such amazing sounds beyond the hymns and cries of Kalpana. I categorize it as ‘cry’ because she displays the vulnerability in her voice. Sanjai Shine and Balaji R Krishnan have gotten the elements in place to produce something soothing and substantial, knowing exactly when to let Kalpana’s vocals dominate and when to interject with layered sounds on the synths and Keyboards. It might have sounded low and mellow at the start, but she does ante up vocally and to the listener it feels like Help is on the way and hence the pumped up adrenaline. The vocal arrangements are never to be ignored in this number and we have Sanjai, Balaji and Nora Alexy working on those. The track is mixed by Pushkar Srivatsal of ‘Second Sight’, and mastered by Thomas Juth. Amulya Kundran and Yashna Tulsiani have handled album art, photography respectively 6. DHAAKAD The man has been in the papers for having returned to composition after a while, Dhruv Ghanekar. For a man who has 20 years of experience in composing, producing and playing with some of the global greats, he has had very little opportunity to prove his mettle. I did not have great expectations when I knew this was one mediocre movie, but the music simply amazed me. I'll be featuring the title song here but in the subsequent week I'll be mentioning the other amazing songs in the album plus I will be doing an album review as well. Dhruv Ghanekar has composed, arranged and produced the track, with lyrics by Ishitta Arun. This is no ordinary number as the song feels like an elaborate orchestral piece in itself. I have probably never seen so many live instrumentalists used in a Bollywood number in a very long time. Vasundhara Vee is the lead vocalist and she performs with incredible zest and control as always expected from a singer of her caliber. The last time I mentioned or featured Dhruv was last year when he produced Vasundhara’s “Run”. The flute is just majestic and mesmerizing right at the start and it is all part of the FILMharmonic Orchestra in Prague conducted by Adam Klemens. The guitars are a very western movie sounding like something out of “The Good, The Bad and The Ugly”. Dhruv himself plays the Keys and acoustic guitar and bass along with the mercurial Mohini Dey . Neuman Pinto, who I have also featured in some lovely indie singles, has done the vocal arrangements and backing vocals for this track. I can go on and write about every element like the strings, the horns and so much more and this truly is what music should be like. The title line is sung with pumped up energy by Vasundhara and ably supported by backing vocals. Jai Row Kavi plays the drums while there are many percussionists involved viz. Taufiq Qureshi, Dipesh Varma, Khwab Haria and Shikhar Naad, Taufiq have done the percussion arrangements. The song flows like a river with varying intensities and all the strings we hear right through, is orchestrated by Steve Turner. The solo Sitar is played by Ravindra Chary and I listen to him sizzle in the end at break-neck speed. P.A. Deepak is the mixing engineer assisted by Vincent Joseph, and the track is mastered by Rueben Cohen. 7. ENTHA CHITRAMWhat did I just write or mention at the beginning of this article? I talked about some of the new-age composers in South India who are dominating the scene, and just like Sweekar Agasthi made it, at number 1 this week we have the other name Vivek Sagar composing here. His earlier single in the same movie sung by the legendary Carnatic artist Aruna Sairam was also featured and reviewed. This song has an Irish feel to it thanks to the multitude of fiddles and it feels like that song in Dhanush’s debut score by Yuvan Shankar Raja called “ Nenjodu ''. Anurag Kulkarni is at his best, exploring his full range vocally. Just listen to some tantalizing vocals in the chorus by ‘EL Fé’ with vocal arrangements by Roe Vincent. The fiddle is played by Ray Legere and Vivek himself plays the acoustic and electric guitars while Keba on bass. Lalit Talluri plays the flute solo to some delight in the interlude and Abhijeet Gurjale plays the Violin. The stanza has Keerthana Vaidyanathan singing the female lead vocals and many lines are sung in harmony by the lead vocalists which sounds fantastic. The second interlude is beautifully scored as well with Abhijeet playing the Violin solo. The notes are truly reminding me of Maestro Ilaiyaraja especially in the closing segment of the stanza. Sanjay Das does the mixing and mastering which would have taken a toll considering all the vocals, harmonies and instrumental layers in this song. The lyrics are written by Ramajogayya Sastry with additional programming and Synth by Vivek. 8. DUREAfter a brief gap, according to my understanding, Papon makes a comeback in Bangla after many forays into indie music in Assamese and Hindi. Rohan Roy’s strings welcome the listener in this slow and somber melody composed by Indraadip Das Gupta. I get a sense there is some Raag Khamaj in places, and to make matters even more touching and moving Iman Chakraborty jo

1.     FableJunkyard Groove is all about Ameeth Thomas who is the front man, soul and spirit of the band. He believes that that the only constant existence in the band is him and he is perfectly fine going solo, with band members and instrumentalists changing around him for different projects. All these details aside, if you are reading this, just take a break and listen to the brilliant rock number, one that elevates to a global scale or quality. This is proof that music produced in India is definitely right up there with the rest in these genres popularized by, and originated in the West like Rock. Ameeth’s vocals are nothing short of tantalizing reminding me of great voices like Chad Kroeger from ‘Nickelback’. The vocals keep me glued, as I who claim to be a multi-tasker am struggling to do anything beyond listening to the enticing vocals, thumping drums and electrifying guitars. The writing is excellent and you pay attention to the beautiful words, and the way Ameeth sings “anything we say, anything we want, we can make it up as we go along” with a tinge of falsetto, is memorable. Past the 2.30-minute mark we hear a stunning electric guitar solo by Vikram that perfectly encapsulates what we hear right through. This is not just a ‘Fable’, this is just as Real as it gets. Ameeth plays all other instruments in the track.2.     Baby JaanThis Delhi-Gurugram based band is a coming-together of some supremely talented and experienced musicians and I was mighty impressed with their recent single. Sumit Pratihast has this very likable vocal delivery style which oozes of confidence and style and he also has written and composed this track. There is some very solid support on the drums and guitars by Palash Bedi and Jishnu Banerjee respectively. The vocal harmonies are extremely crucial in this track as they form an inseparable layer right through. The song very vividly reminds me of Shaan’ astronomical hit “Tanha Dil Tanha Safar”. Gavin Pacheco plays the bass guitars and Sumit contributes himself on other musical accompaniments. Anindo Bose at Plug ‘N’ Play Studio does the mixing and mastering for the track. Ths song is just not about the solid instrumental support, Sumit’s singing is excellent at times like the portion where he sings “Teri yaadosh mein dhubke , rehna hai aur kahin na jana hain”. He displays subtle vibrato which is delightful to hear unlike misunderstood rock-styled songs where only decibel levels rise.  The recording engineers are Anindo, Mukul Jain and Abhinav Upadhyay. The artwork illustration is handled by Liana Petri.    3.     The Same Some nice stories need or entail good music as well. This particular short in the anthology series “Modern Love Mumbai” was one of the best showcasing a cute love story set in Thane. If you watch this story, and as it slowly comes to the climax the relevance of this song in the background is apt and clear. Neel Adhikari is the composer and lyricist, and I have featured him before for a Bangla track called “Karon Amar Akashe”. The moment Karsh Kale comes on board as the lead vocalist, the song gets elevated into something else. Karsh has been a very impressive musician/producer and I have featured him many times but his vocals simply never make you feel like ‘It’s the same’.  He has a baritone voice and it suits the English lyrics better for some reason. The synths are straight away reminiscent of the magical 90s Pop and it is Neel on both guitars and synths. The way the scale and notes shift as Karsh sings “the same” just after singing “Now the roof is gone, nothing quite feels the same”, pure magic both in singing and composition. I would pay to just go hear those lines, as Karsh elevates the scale one more time. Karshni Nair comes out of nowhere and makes her presence felt with her low-scaled vocals. Neel and Kelly D’lima back on the vocals in the harmonies, layer that feels not forced but very functional. Yohaan Pissurlenkar is the bassist, and he has been featured for his role in songs like “Kow Your Hail Mary”, and Sanjay Das does the mixing, additional synths and production. The song feels like a chirpy promising love song, and at the same time one which creates some mystery and suspense almost like making you wish the couple got together on screen but unsure about what they would do. Samarth Chawla does the additional production with Matt Jeferies on mastering. 4.     Moonbrain Shikhar C will immediately grab your attention whether you like it, want it or not. The guitar strokes are particularly strong and imposing and with a voice like that of Bryan Adams (sounded like that to my mind). The electric guitar solo comes in thanks to Melvin Mukerji, but behold the drums by Gaurav Khanna, as he stops just for a second when Shikhar sings “Stop here just for a second”. Soorya Praveen is the bassist, as he proclaims his powers and presence the moment Shikhar finishes the line “Im stuck waiting by the Sea”. The shift in the Octaves when Shikhar sings “Moonbrain” twice, the use of strings and their arrangements in the background by Aman Arakh all are very noteworthy features of this fantastic number. Aman has produced the track along with mixing and mastering and kudos to him for getting all the intricate elements right in the final product.  Shikhar also does additional production, and he sings like a dream.   5.     The OneAishwarya Andrade released her debut album called “Discovery” and it helped me discover a new artist, that I quite like and will probably end up following closely now. Ash Andrade as she is known delivers her best in “The one” according to me as she writes, composes and performs with Brandon Mendes on mixing, mastering and overall production. I love serene the song starts off with repetitive mention of “the one” in multiple layers of vocals. The guitars and vocals are soothing like how the words “you are the one” itself would make one feel, being at the receiving end. The drums probably programmed, gently gain momentum and tempo and you start shaking your head and tapping your feet. As the song progresses, Ash shows greater confidence especially in the bridge singing “You’re running after me, you’re ever seeking for me”.6.     MehroomA lot of the songs this week are extremely well composed melodies with the predominant guitar, yet every one of these is different from each other making it a fantastic list. Raman Negi has written, sung and produced the track. The song starts off like the calm before the storm, but the storm sure does arrive, just past the 1-minute mark when Raman sings “Aarzoo dhunde kushi ke tikhane”, this is some vocal delivery of outstanding quality at the higher scales. Gaurav Chintamani has co-produced the track and he has recorded and mixed the track. The song has a nice shift in notes and trajectory when Raman sings “ Aawaz de mujhe”. The electric guitar solo comes in for a brief while in this wholesome number. Brian Lucey masters the track, and the video is a film by Maan Boruah.7.     Ghum KahinHansika Pareek is a fantastic vocalist and she has been featured on my lists for songs like “Bano” and “Besharam si Nazarein”. Even if you just glance through her Instagram account you will hear wonderful covers of some famous numbers and the best part is that she explores languages she doesn’t speak. Shubham Srivastava is the male vocalist who we hear right from the start and he creates a great platform over which the song then tends to build. Shubham is the composer, lyricist and producer and he must get more than the lion’s share of credits for getting this track the way it from start to finish. The guitars and keyboard programming is effective and keeps the song’s creative value high. There is an electric guitar solo, along with the Harmonica at the interlude after which Hansika goes from 0-100 kmph in no time, metaphorically meaning that she hardly takes time to outperform vocally. The subtle yet stunning things she does with her vocals is truly impressive and the song is a electronic pop song that will be on loop after you hear it once. Lowkey does the mix and master 8.     Dekhlo Wahaan PeIt is a Chandigarh based band and they call themselves a western-classical fusion band. No wonder they have a beautiful name “Gamak” known to be the Vibrato in Indian classical music. The band consists of Mrinal Sippy on lead vocals and rhythm guitars, Gaurav Arora on Lead guitars, Kushal Sood on drums, and Vaibhav Kathuria on bass guitars. The EP that the band released is called “Four Lane”, and I loved this track the most. The guitars lead the way with the mild drums and gathering intensity. The vulnerability in Mrinal’s voice is refreshing as it draws you deeper. But he doesn’t stop there, as he explodes into the higher scales singing “na jaan kyun, aasoon behaye”. His band mates Gaurav, Kushal and Vaibhav provide backing vocals creating a nice layer of harmonies. Just as the name in the band, Mrinal gives those minute gamakas when he sings “mujhko rulaye”. The support on drums and bass by Kushal and Vaibhav is adequate. Gaurav sizzles on the electric guitar in the background past the 2.30-minute mark if you pay attention. The track is mixed and mastered by Mrinal and Gaurav with Kushal assisting. Mrinal Sippy has written and composed the track. 9.     Give Up

1.  SuperhumanIt is amazing when you can trust a certain name, and can bet on the quality of their work and output. Tarang Joseph is one of those musicians who falls right smack in the middle of that category. A regular on my rankings thanks to some consistently good composition, flamboyant Piano chops and amazing vocals. “Feeling empty” and “Destiny” were excellent tracks that both got featured among the best in the country and now we have this. Tarang gets RANJ on board, a diva with an attitude that makes most of us envious and she comes in with the savvy Rap portions along with Mary Ann Alexander on vocals. Tarang has written, composed and performed as usual with his unmissable role as the Pianist as well. Doc Awes does the musical production and it is one heck of a track possessing all the perfect ingredients.  You don’t have to be feeling sorry Tarang, maybe you and the entire team can feel superhuman for this effort. Surya Kalyan keeps the song groovy and stylish with his bass guitars. Doc Awes ups the game with the splendid horns section and drums and just when you think “wow, love where this track is heading”, RANJ brings the house down with her Rap rendition and many artists wanting to specialize in Rap/Hip=Hip can learn a thing or two from her. The constant Piano in the background with the rap feels like a deluge of energy. The track is mastered by Stuart G Hawkes and on the video credits side, the producer is Yashas Hegde with Denin Day as DOP, Divya Runwal doing the set designs, Akshaya on styling and Deanne on Makeup. Akshit Bahri handles the subtitles, with Saasmit Chhetri directing the video. 2. Is this that feelingA few combinations are always golden, and they work together like magic. Many months ago we had a composition by Meghdeep Bose which was sung by Shekhar Ravijani called “Boonda Baandhi”, a tranquil melody that perfectly fits the impending monsoon in Mumbai. Now we have nothing tranquil about this song, but is scintillating in quality and impact, bringing in elements of Latino Jazz, Calypso styles. Shekhar has composed and sung it with impeccable bravado and here Meghdeep has produced, arranged and mixed the track. The first time I heard, I couldn’t stop singing the title lines, and I only ended up irritating my wife even though she is a huge Shekhar fan, I probably should blame it on my singing. I just wanted to drive the point that this song is contagious so watch out. Priya Saraiya mixes Hindi and English lyrics so beautifully but the Hero is Shekhar and how he delivers it vocally. Meghdeep can’t be far behind and probably he has elevated a very catchy tune into something of monstrous likability. I over the years have attached great respect and admiration for Meghdeep’s work and he time again surpasses my expectations. The guitars right at the start set you up for something fiery along with the tantalizing riff on the guitars and the basslines. The song has some influences of the Vishal-Sheykhar times. Hear the amazing bass guitar notes along with the percussion when he sings “Jo dil mein reh jati hai”. How eloquently Meghdeep brings in the trumpets and Accordion into the fray of things. It is a joy ride and you need to hear it to believe it. The track is mastered by Christian Wright and Joshua Rodrigues is the mastering co-ordinator3. KhatBig names don’t surprise as much as some new singers and composers, when you suddenly hear their work for the first time. It brings a smile wider than the pacific rim. I specifically loved the guitar strokes by Arbaaz Khan who keeps the romantic quotient very high with his ingenious plucking. The line that is my favorite is “Har dam tu, haan tiu, har haal mein tu”, sung beautifully by Durgesh R Rajbhatt and Deepali Sathe. I cannot make out who among the two is more mellifluous, maybe they both equally are. Durgesh composes a soft and tender melody that oozes rich quality. The sound of the percussion instrument which is mostly a Thavil to my mind is a great addition. The interlude on guitars takes the song forward, and the stanza is a beautiful extension of the melody and the vocalists are truly like an oasis in the desert, rare and priceless. Saaveri Verma cooks up perfectly sensible and emotional lyrics that will make you shed a tear thinking of your loved one. Durgesh does quite well on the arrangements and programing which I am sure includes all the rhythms and the track is mixed and mastered by Pranjal Bohra and the recording is by Rahul Sharma and Sameer. The song does have a mild flavor of “Hey Sona, Hey Sona”, which was incidentally composed by Vishal-Sheykhar.  4. Aur kya (Chapter 1)I don’t remember the last time I featured 3 songs from the same EP in 3 different weeks by any musician from the day I started reviewing music. Is this guy Anurag Mishra cut form a different fabric? The previous songs “Khwaab” and “Dhaage” were fabulous tunes and productions and the effort that has gone into each of these is there for all to see. Every song has a story and a video that depicts a message, like this one here showcases the life of Ganesh Vanare, a photographer and influencer.  Very impressive screenplay and theme shows the main character getting a letter from his younger version and the idea of the video was to inspire others through Ganesh’s story. Anurag has composed and written this very touching number that rises and ebbs like a wave. When I heard it the first time it reminded me of an Ajay-Atul score and Anurag should be proud of this comparison. The female vocals are by this Ahmendabad based musician, Krishani Gadhvi and she acts as the perfect complement to Anurag’s tantalizing vocals. The strings arranged in the background along with the Piano, and harmonies are like extremely well assembled blocks in a structure giving stability and strength to the final output. Prasanna Suresh who has been a regular for all his composition/ production work of late especially in collaboration with Sanah Moidutty produces this one too, so he must desrve a pat on the back for all the grand sounds we hear and a fine finished good. Jaichu C and Prasanna Suesh have mixed and mastered the track. As far as the beautiful video goes, Bijoya handles the story, direction and screenplay with Abhii Kamble as cinematographer and photography by Rishi Agarwal.5. Who I loveAnanya has been featured before with a A-grade song called “State of the art” and so I recommend that you first listen to that to know what a high bar she had set for herself. Now we know sequels are always difficult for people to enjoy and they never get even remotely close to being a decent effort after the original. But Ananya stuns me with her “Who I love”. It has the striking presence of Sanjay Divecha on guitars stroking away to glory and he also has adequately flaunted his production and arrangement skills on this one. It is a wholesome number that will please the ears in every way possible, so long as you are looking for music in its purest form. Icing on the cake, well who doesn’t love that, and Ananya has that too for us with Brecilla Dsouza’s backing vocals in the number. If I am not wrong Ananya did the same for Brecilla’s single called “Know you Hail Mary” which too was featured and reviewed here. The reason I called this an icing is because I Have reason to believe Brecilla is one of the finest vocalists out there and she brings a fine element in the harmonies thereby enriching Ananya’s wonderful composition. The guitar notes are a separate song in itself and pay close attention to the acoustic and bass guitars, with some very soothing percussions. The humming is like a lovely pack of birds calling out in love. The electric guitar solo is unexpected and turns the song into something more energetic from there on.6. Mehki hawaIt seems to be a new band of boys from Mumbai and they call themselves ‘The Atlas Project’ (TAP), and I am sure with this excellent and exciting new single their name should soon be on the map. Get it? It is a great move to rope in this talented singer-songwriter Ashish Kulkarni to do the vocals. People might know him from the recent Indian Idol but I have featured him a few times even before for some excellent Hindi indie singles. The band is a pop focus group, but the song is very gentle like the blues, and the song literally feels like the cool breeze as the title says. Soumil Pandit plays the guitars, and I love the drums being so gentle like it barely exists. The harmonies are excellent arranged right from the beginning. The electric guitar solo is splendid after the initial vocals, and let us applaud Jignesh Patel for the high-hat drums and even otherwise for being solid. Archit Shah and Ruparel SMit were together as a duo making music and they probably are the brains behind the composition and programming for TAP. Some of the excellent percussion we hear is because of the specialist Omkar Salunkhe and he has been working with AR Rahman and I remember mentioning his name when I reviewed “Jalwanuma” the song few weeks ago. Omkar is a rhythm programmer, percussionist and rhythm producer. The fantastic bass guitars are by Govind Gawli and it keeps it stylist right through. The song has some excellent layers if you pay attention there are so many instruments coming and going, and I think I also heard the slide guitar if I am not wrong. The track is mixed by Vijay Dayal and mastered by Donal Whelan. Ashish truly experiments with his vocals, improvising the notes and he comes out on top every single time he does that. The song is not without a clean and nice theme and message and it is apparently about a bird called “Mehki” and it talks about the journey on flight it is taking against the heavy winds, probably indicating the journey that TAP itself is taking. I wish them a happy flight, and always a safe landing at the destination. 7. Laage re nainIt is extremely exciting when singers, instrumentalists cross the bridge over into musical composition, just like how actors enter the domain of direction. It is an uptick and a higher run of their professional ladders and it showcases their overall sense and sensibilities in music. Well Paras Nath is a brilliant flautist, just listen to him compete and at times dominate Shreya Ghoshal in “Muraliya” by Salim-Sulaiman released as a part of Bhoomi 2020. Here he as recreated, arranged this song and added some very fine textures and layers to the song. Pratibha Singh Baghel is a walking, singing ‘University of Ghazal style music’, and she nails the vocals. Dilshad Khan’s Sarangi beautifully decorates the interlude along with Pratibha’s swara delivery. The way the song also eludes a Jazz style thanks to the tempo, drums, and bass guitars is a masterstroke. Santhosh Mulekar does the music programming while all the woodwinds and Flute is played by the man Paras himself. The song sounds very much like an influence of Raag Hamsadhwani to my ears. Sameer DHarap does the recording while Elvis Garagic handles the mixing and mastering. The outro with the aalap and flute solo is fitting.8. Have you