The season of comebacks is here in the K-pop industry! Big Hit Entertainment's rookie group Tomorrow x Together is set for their second comeback this summer. The quartet will complete their trilogy with 'The Dream Chapter: Eternity'. 

The first teaser of their title track 'Can't You See Me' is here. More than one year after their debut, the boys are all grown up in this comeback. You hear them sing, "Can't you see me? / Like that magical day / Say believe me / Can't you see me?"

The five members are seen spending some good times together before everything falls apart. In the end, all of them stand outside a burning house as Soobin is seen screaming! It already looks like the MOAs are in for an emotional rollercoaster ride.

The concept trailer had similar emotions - a sense of losing your close friends over the course of time and lost feeling Soobin senses when he gets captured in the glass box.

The album is set to release on May 18, 2020. The group, which includes five members - Soobin, Yeonjun, Beomgyu, Taehyun, and Huening Kai, debuted on March 4, 2019, with the EP 'The Dream Chapter: Star' with lead single 'Crown'. This was followed by 'The Dream Chapter: Magic' with '9 and Three Quarters (Run Away)' as its lead single.

Not just that, they also made their Japanese debut on January 15, 2020, with the single 'Magic Hour'. 

ALSO READ: TXT drops The Dream Chapter: Eternity concept trailer and the morse code says “SAVE ME”

<strong>EXPECTATIONS</strong> One look at the title <em>The Dark Side of Life - Mumbai City</em> and it seems more apt for a book than a feature film. Nonetheless, that is indeed the case for this film which has a mix of newcomers and experienced actors with Mahesh Bhatt being seen in a crucial part as well. While Azeem Shirazi is the biggest contributor as the lyricist, several composers come together to create half a dozen songs in the film. <img class="aligncenter size-full wp-image-925603" src="https://www.bollywoodhungama.com/wp-content/uploads/2018/11/T4.jpg" alt="" width="620" height="450" /> <strong>MUSIC</strong> The kind of sound that kick-starts <strong><em>'Aawargi'</em></strong> reminds one of the kind of music that Vikram Bhatt time and again brings in his films. Jubin Nautiyal is effective as the singer in this Sabir Khan composition which is put together by Azeem Shirazi. The trouble though is that the song sounds dated by at least a decade. Hence, even though it has a soft feel to it, the overall impact is not the kind that makes you revisit it again on loop. The song that follows next is titled <strong><em>'Tu Mujhse Nikalta Nahi'</em></strong> and has the kind of hook-line which is indeed catchy. In a bigger film with a larger setup, this Prakash Prabhakar composed and heard song may well have found good traction. Again, the song is not exceptional but still has that quintessential Bhatt touch to it which makes it stand out. Moreover, Tanveer Gazi puts together a good spin of words, especially the title. Remember <em>'Manali Trance'</em> from <em>The Shaukeens</em>? The song which follows, <strong><em>'Saanp Seedhi Wala Saanp'</em></strong>, is on the same lines and belongs to the trance genre. As a matter of fact Tripty Sinha sings this one too in the same style as that of Neha Kakkar and does manage to make an impact too. It is a new team of composer Sandeep Batraa and lyricists Azeem Shirazi and Ozil Dalal who pair up for this promotional song which is expected to bring in good entertainment quotient. However, a little impact that had been created so far is diluted to a major extent by Rashid Khan composed <strong><em>'Ae Zindagi'</em></strong> which is as sad as it gets. From the composition, writing (Nisar Akhtar) as well as the singing (Altamash Faridi Brothers) perspective, the song is really depressing and just doesn't make you root for it all. A slow moving number that is all about pathos, separation and the fact that life doesn't have much to offer to the protagonists, this one belongs to the quick-skip variety. Another newcomer, Shaan Asif Raj, is the composer for <strong><em>'Muddaton'</em></strong> which starts with the sound of guitar. Seemingly a concert number, this Azeem Shirazi written song is rendered by Amit Mishra. A soft rock number, <em>'Muddaton'</em> tries to bring in the kind of mood that was created by <em>'Sun Raha Hai'</em> [<em>Aashiqui 2</em>]. Though it does fall short, it still makes for a decent hear after all. Had it carried more punch to it, this one could well have found itself a better audience. <strong><em>'Aawargi Deewangi'</em></strong> is the song that concludes the album and its depressing notes do not really help the cause. On the same lines as <em>'Ae Zindagi'</em>, this one is written by Aslam Sani with music by Ahsan Ahmed. There is just nothing in there which arrests your attention and even though Mohammed Irfan is the singer here, you don't really find much entertainment quotient in there. <strong>OVERALL</strong> The music of <em>The Dark Side of Life - Mumbai City</em> is a mixed bag and though there is no real chartbuster out there, two-three songs at least hold your attention while at play. <strong>OUR PICK(S)</strong> <em>‘Tu Mujhse Nikalta Nahi’</em>, <em>‘Saanp Seedhi Wala Saanp’</em>, <em>‘Muddaton’</em>

<strong>EXPECTATIONS</strong> Films directed by Abhishek Kapoor have traditionally carried good music. From <em>Rock On</em> to <em>Fitoor</em>, the music has been consistently impressive and has been as per the theme and setting of the film. Now that he is bringing on <em>Kedarnath</em> that marks the launch of Sara Ali Khan opposite Sushant Singh Rajput, one waits to hear what do composer Amit Trivedi and lyricist Amitabh Bhattacharya have to offer. <img class="aligncenter size-full wp-image-926514" src="https://www.bollywoodhungama.com/wp-content/uploads/2018/11/Petition-filed-in-Gujarat-High-Court-seeking-ban-on-Sushant-Singh-Rajput-Sara-Ali-Khan-starrer-Kedarnath.jpg" alt="" width="620" height="450" /> <strong>MUSIC</strong> There is something truly divine about the manner in which <strong><em>‘Namo Namo’</em></strong> begins. A devotional number which is truly devoid of any forced Bollywood inspirations, this one is a well rendered number by Amit Trivedi and makes an instant impression. A smooth sailing song that has a peaceful feel to it and is further accentuated due to the striking visuals that go alongside, ‘<em>Namo Namo’</em> can well be assured of a long shelf life amongst those who want to hear a devotional number first thing in the morning. A love song arrives next in the form of <strong><em>‘Qaafirana’</em></strong> and the mood and feel remains consistent with the kind of set up that Abhishek wanted to put together for <em>Kedarnath</em>. Moreover, there is certain director’s touch that is apparent in the way the tune has been composed, words have been written and especially the manner in which Arijit Singh has rendered this one. There are minimum instruments in the background as primarily it’s the voice and the core composition that takes centre stage which ensures that <em>‘Qaafirana’</em> turns out to be a soulful number that can be heard for a serene experience. What further adds to the beautiful melody is the manner in which Nikhita Gandhi makes a very good impression as a singer despite making a late entry. Things take a celebratory turn as Dev Negi enters the scene and croons <strong><em>‘Sweetheart’</em></strong>. A fun number which is just the kind that one could expect from a Karan Johar, Imtiaz Ali or Aditya Chopra film, this one is as Bollywood as it gets. As a matter of fact it also faintly reminds one of <em>‘Butterfly’</em> [<em>Jab Harry Met Sejal</em>] due to the kind of desi stage and setting that goes with the situation in which the song is set. This one could well have been picked up by Shah Rukh Khan, Ranbir Kapoor or Shahid Kapoor with glee and in that aspect Sushant Singh Rajput can well be happy about the fact that he bagged ‘Sweetheart’ which is a potential chartbuster. Arijit Singh returns on the scene, this time with <strong><em>‘Jaan ‘Nisaar’</em></strong> which appears in a couple of versions. A situational number where the male protagonist is trying to understand why his ladylove is unhappy with him and is trying to woo her all the way back, this one has a smooth flow to it which sees Indian melody being supported by Western instruments. That said the consistency of sound stays in the mood set so far in <em>Kedarnath</em>. Asees Kaur is the voice of the female version and this one somehow appears to be even slower. This is the kind of number that is good when heard in a stand-alone fashion though one can’t expect it to emerge as a chartbuster of sorts. <strong>OVERALL</strong> The music of <em>Kedarnath</em> is good and though it doesn’t have too many songs to result in a complete package affair, it is fine till it lasts. This one has the kind of music that could well grow on the basis of the success of the film. <strong>OUR PICK(S)</strong> <em>‘Namo Namo’</em>, <em>‘Qaafirana’</em>, <em>‘Sweetheart’</em>

<strong>EXPECTATIONS</strong> <em>Manikarnika - The Queen of Jhansi</em> is a dream project of Kangana Ranaut and she has given more than a year into making this happen. While it is expected that the film would have the much required scale, canvas and grandeur that the subject necessitates, the same is expected from music as well which is put together by Shankar-Ehsaan-Loy and lyricist Prasoon Joshi. <img class="aligncenter wp-image-941752 size-full" title="Music Review: Manikarnika - The Queen Of Jhansi" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/01/Music-review-–-Manikarnika-The-Queen-of-Jhansi.jpg" alt="Music Review: Manikarnika - The Queen Of Jhansi" width="720" height="405" /> <strong>MUSIC</strong> Shankar Mahadevan is the lead singer for <strong><em>‘Bharat’</em></strong>, a patriotic number which is about bringing the country first before your own self. One wonders if the song is primarily for end credits roll since its theme and tonality suggests a sober conclusion to the war drama that Kangana is bringing on screen. The soundtrack in fact concludes with another version which has Prasoon Joshi narrating (and not singing) it for the audiences. Meanwhile, Shankar Mahadevan is back with <strong><em>'Vijayi Bhava'</em></strong>, yet another theme track which is about moving ahead in the right direction and aim for victory. This is the song that should well have been positioned right at the beginning of the album since it comes with just the right kind of passion and energy that one expects from <em>Manikarnika - The Queen of Jhansi</em>. Reminding of the kind of soundtrack that <em>Baahubali</em> series boasted of, <em>'Vijayi Bhava'</em> should make for a good impression if picturised well on screen. Next to arrive is <strong><em>'Bolo Kab Pratikar Karoge'</em></strong> which has Sukhwinder Singh at the helm of affairs. Yet another song which is high on energy and should arrive at a crucial juncture of the film's narrative when the protagonist is gearing up for the battle, it has a thump to it that should make an impression when experienced in theatres. For the first time in the soundtrack a female voice is heard, what with Pratibha Singh Baghel coming behind the mike for <strong><em>'Rajaji'</em></strong>. A romantic number that should play between Manikarnika and her beau, this one has a sweet sound to it and should bring on some light moments on screen. Pratibha does well as the voice of Kangana and she is joined by Ravi Mishra who arrives in the later part of the song. Yet again, one can't expect the song to emerge as a chartbuster here but should fit in well into the film's narrative. It is back to theme songs in <em>Manikarnika - The Queen of Jhansi</em>, what with Shankar Mahadevan coming up with <strong><em>'Shiv Tandav'</em></strong>. As is expected in a song belonging to this genre, this one too stays on to be strictly situational and one waits to see how it is picturised for the big screen experience. Rest assured, one can expect Kangana Ranaut in a fiery avtar here. A song about waiting for the love of your life to be back soon, <strong><em>'Tak Taki'</em></strong> is yet another song that is rendered by Pratibha Singh Baghel. This too is a situational number and at best should aid in taking the story forward. With a period feel to it, this one does well though in staying well within the mood and ambience of the era gone by. The soundtrack concludes with <strong><em>'Dankila'</em></strong> which has a horde of singers coming together in the form of Prajakta Shukre, Shrinidhi Ghatate, Siddharth Mahadevan and Arunaja. A celebration number that should be set in the happier times of Manikarnika's life, <em>'Dankila'</em> should have arrived much earlier in the film's soundtrack. This one has the right energy to it with a peppy feel. <strong>OVERALL</strong> The music of <em>Manikarnika - The Queen of Jhansi</em> is in line with what the film's subject and narrative warranted. Though one doesn't foresee any chartbusters here, the songs should do well to aid the film's narrative. <strong>OUR PICK(S)</strong> <em>‘Dankila’</em>, <em>‘Vijayi Bhava’</em>, <em>‘Rajaji’</em>

<strong>EXPECTATIONS</strong> Since <em>Thackeray</em> is a biopic, one basically expects situational soundtrack for the film which would basically glorify the subject in question, Balasaheb Thackeray. Composers Rohan-Rohan [Rohan Pradhan and Rohan Gokhale], who had earlier composed a couple of songs for <em>Sanju</em> [<em>‘Main Badhiya Tu Bhi Badhiya’</em>, <em>‘Bhopu Baj Raha Hai’</em>] are the composers for <em>Thackeray</em>. <img class="aligncenter size-full wp-image-944480" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/01/Music-Review-Thackeray.jpg" alt="" width="720" height="405" /> <strong>MUSIC</strong> It is a grand beginning for <strong><em>'Saheb Tu Sarkar Tu'</em></strong> and one does get an impression of a biggie outing for the big screen with the kind of orchestra that is put up. Moreover, the lead singer is just apt too, what with Sukhwinder Singh crooning the words written by Manoj Yadav. As expected, the song is all about glorifying Thackeray as the 'messiah' of the masses. Expect the song to arrive at a crucial juncture of the film's narrative and bring on the dramatic appeal. Next in line is <strong><em>'Aaple Saheb Thackeray'</em></strong> which is written by Manndar Cholkar. This one is in fact a Marathi number and carries the signature tune that one has heard in the promo of the film. With the kind of beats that one associates with Marathi folk music, this one is rendered by Avadhoot Gupte and is again a situational outing. One wonders though why only the Marathi version appears in the soundtrack as it would have added on to the album had there been a Hindi version of the song as well. Nakash Aziz is the lead singer for <strong><em>'Aaya Re Thackeray'</em></strong> and given the kind of energy that the singer time and again brings in his songs, one expects the same here as well. Yet again, it is traditionally Marathi music that forms the basis for this song that is written by Dr. Sunil Jogi. While it is in line with the earlier two songs when it comes to the core theme and presentation, this one turns out to be far catchier and has a good recollection value going for it. Last to arrive is <strong><em>'Thackeray Theme'</em></strong> which is put together by guest composer Sandeep Shirodkar. It basically has a set of dialogues mouthed by Nawazuddin Siddiqui in the film with a base Western theme playing in the background. With the core theme of <em>Thackeray</em> supporting this near three minute composition, this one does make for a good impression and raises expectations from the film. Moreover, the intermittent sound of lion's roar only adds on to the excitement. <strong>OVERALL</strong> Music of <em>Thackeray</em> is situational and should aid the film's story telling. Though there isn't anything memorable about it that would play on after the film's exit from theatres, at least for its playing time it should do well. <strong>OUR PICK(S)</strong> <em>‘Aaya Re Thackeray’</em>, <em>‘Thackeray Theme’</em>

<strong>EXPECTATIONS</strong> When the very title of the film is based on a chartbuster from the 90s, you expect the overall soundtrack to be melodious. Thankfully, there is just one composer-lyricist team for this Vidhu Vinod Chopra and Fox Star Studios production and hence you expect certain consistency from Rochak Kohli and Gurpreet Saini. <img class="aligncenter wp-image-949396 size-full" title="Music Review: Ek Ladki Ko Dekha Toh Aisa Laga" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/02/Music-Review-Ek-Ladki-Ko-Dekha-Toh-Aisa-Laga.jpg" alt="Music Review: Ek Ladki Ko Dekha Toh Aisa Laga" width="720" height="450" /> <strong>MUSIC</strong> R.D. Burman and Javed Akhtar's '<em><strong>Ek Ladki Ko Dekha Toh Aisa Laga</strong></em>' is recreated with singer Darshan Raval and Rochak Kohli chips in as well. The very start of the song is quite different and catches your attention. Further to that the manner in which the recreation is done while using the beginning of the original base tune is done impressively as well. Had this song been promoted more aggressively, it could well have gone to a different level altogether since it is sung quite well and is very easy on ears too. The song that follows is a recreation too, this time of Punjabi track '<em><strong>Gud Naal Ishq Mitha</strong></em>'. Set in a 'shaadi-byaah ka mahaul', this one is kick-started by Harshdeep Kaur and soon enough Navraj Hans takes over. The song would be remembered primarily for the energetic moves on display by Anil Kapoor who makes this one his own. Overall, this one is decent enough and though one would still go for the original any time, as a recreation is passes muster too. The voice of Kanwar Grewal hasn't been heard much in a Hindi film song before and in case of this film, it is used for '<strong><em>Chitthiye</em></strong>'. A situational track that comes towards the second half of the film in the midst of a conflict situation, it does well to take the narrative forward but that's about it. With a sad and pensive touch to it, '<em>Chitthiye</em>' aids the storytelling to an extent. Next to arrive is a party song which is titled '<strong><em>House Party Song</em></strong>'. There isn't much recollection power that the song carries, though it does well in going with the situation for which it has been created. Sukhwinder Singh leads the show with Arjun Kanungo and Parry G joining in, and together they ensure that there is some kind of energy flowing when the song plays on. By this time you do get an idea that the music of <em>Ek Ladki Ko Dekha Toh Aisa Laga</em> is by and large situational and the last one to arrive, '<em><strong>Good Morning</strong></em>', pretty much reaffirms that. Vishal Dadlani is joined by newcomer Shannon Donald for this number which is set during that part of the film's narrative when the entire family is coming together for one big celebration. Again, as a part of the film it is okay, though there isn't much about it that you take home as a standalone number. <strong>OVERALL</strong> One expected an out and out melodic score from <em>Ek Ladki Ko Dekha Toh Aisa Laga</em> but barring the title song there isn't much to hum around. Overall, a fair soundtrack with largely situational numbers. <strong>OUR PICK(S)</strong> <em>‘Ek Ladki Ko Dekha’, ‘Gud Naal Ishq Mitha’</em>

<strong>EXPECTATIONS</strong> Well, this could be a record of sorts when an entire soundtrack of a film has been made out of recreated versions. However, this is what happens in case of <em>Luka Chuppi</em> which has five songs in there and each of these has been a hit in its original versions during the last few years gone by. Let's check these out. <img class="aligncenter wp-image-956950 size-full" title="Music Review Luka Chuppi" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/02/Music-Review-Luka-Chuppi.jpg" alt="Music Review Luka Chuppi" width="720" height="405" /> <strong>MUSIC</strong> The only song in the album which has been recreated from a Bollywood flick, <strong><em>'Poster Lagwa Do' </em></strong>is based on <em>'Ye Khabar Chapwado Akhbar Mein'</em> from Akshay Kumar and Urmila Matondkar starrer <em>Aflatoon</em>. This time around the singers at the helm of affairs are Mika Singh and Sunanda Sharma, and both come up with a very energetic outing. White Noise Studios is the force behind the new composition and lyrics, though this version could have done without the brief rap portion. Also the crescendo that picks around 'Ek Ladka Ek Ladki' is a bit odd and avoidable. Tanishk Bagchi, the man responsible for quite a few recreated versions during the last few weeks, picks Tony Kakkar's <strong><em>'Coca Cola'</em></strong> and gives it a new flavour, pun intended. This one is an instant party hit and you want to hit the dance floors while it is on. Tony Kakkar pairs up with Neha Kakkar for this song and also writes lyrics along with Mellow D with Young Desi stepping in for the rap portion, which actually works for this number. In the same mould as the kind of dance numbers that were last seen in Kartik Aaryan's <em>Sonu Ke Titu Ki Sweety</em>, this is a winner. Things turn sober after a couple of dance numbers with Tanishk Bagchi recreating Goldboy's <strong><em>'Photo'</em></strong>. A love song about remembering the one whom you love most, this one has beautiful and simple lyrics by Nirmaan that add on to the romantic appeal. Moreover, the manner in which Karan Sehmbi sings this one, it turns out to be instantly likeable too. The only regret? This one is way too short in duration as one would have wanted to hear more of it. Celebration number <strong><em>'Tu Laung Main Elaachi'</em></strong> comes in next and Tanishk Bagchi scores well yet again while recreating Gurmeet Singh's<em> 'Laung Laachi'</em> that was originally sung by Mannat Noor. Kunaal Vermaa is the lyricist for the new version that has Tulsi Kumar as the singer. She is just the right choice for this sweet and pleasant sounding number that is set to be a rage all over again up North, given its traditional flavour that is out and out 'desi'. When composer Bob and lyricist Raja came up with <em>'Khaab'</em> a few years back, even they wouldn't have imagined that it would emerge as a major chartbuster with a really good shelf life. This is what has happened now; what with the song finding a new version in the form of <strong><em>'Duniyaa'</em></strong> that indeed has a timeless appeal to it. Akhil, who had sung the original version, returns along with Dhvani Bhanushali and Bhrigu Parashar for this really beautiful love song that has new lyrics by Kunaal Vermaa and music put together by Abhijit Vaghani. A winner all over again! <strong>OVERALL</strong> The music of <em>Luka Chuppi</em> is a major winner with a wide variety to it that should appeal across segments. Agreed that there is no new original number in there but then the packaging of earlier chartbusters ensures that you are hooked right though the proceedings. <strong>OUR PICK(S)</strong> <em>‘Coca Cola’</em>, <em>‘Photo’</em>, <em>‘Duniyaa’</em>

<strong>EXPECTATIONS</strong> The promo of <em>Mard Ko Dard Nahi Hota</em> candidly admits that it doesn't wish to be slotted as a festival film. That is pretty apparent when it comes to the soundtrack as well since there are as many as eight songs in there, albeit pretty offbeat in nature. Newcomer Karan Kulkarni puts together the entire album with Garima Obrah writing maximum songs. <img class="aligncenter wp-image-966210 size-full" title="Music Review Mard Ko Dard Nahi Hota" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/03/Music-Review-Mard-Ko-Dard-Nahi-Hota.jpg" alt="Music Review Mard Ko Dard Nahi Hota" width="720" height="450" /> <strong>MUSIC</strong> Benny Dayal goes all energetic in <strong><em>'Rappan Rappi Rap'</em></strong> which has quirky lyrics in there right through the song's four minute duration. A fun track that has a peppy appeal to it, this one is unique in its own way as you have never heard something like this before at least in the Bollywood scheme of things, courtesy lyricist Garima Obrah. Karan joins hands with lyricist Garima Obrah and also comes behind the mike for <strong><em>'Kitthon Da Tu Superstar'</em></strong> which has Sanj V taking the lead. A Punjabi number which has just the kind of musical ingredients that you expect in a song belonging to this genre and setting, this one has a foot tapping appeal to it. Before the album concludes though, there is a shorter <em>'Shooter Version'</em> too which is Sanj V show all the way with Dipanjan Guha joining Karan Kulkarni for the music. Guest composer Shantanu Ghatak comes up with <strong><em>'Tere Liye'</em></strong> which starts with the sound of a piano. This one has Vishal Mishra beginning the proceedings with newcomer Kamakshi Rai joining him behind the mike along with Karan Kulkarni himself. A song based in night, this one tries to be all serene and cool though eventually turns out to be just about decent. Karan Kulkarni takes lead as a singer along with Saba Azad for <strong><em>'Nakhrewaali'</em></strong>. This one has a different kind of a sound to it when compared with the kind of Bollywood numbers that one has been exposed to. That said, the final impact is not really the kind that makes you root for it. Written by Garima Obrah and Hussain Haidry, this one just about passes muster. What catches your attention at the very onset of the title of the song that goes as <strong><em>'Life Mein Fair Chance Kiska'</em></strong> (Jimmy Mani Song). The lead singer here is Suresh Triveni who sings in a style similar to that of S.P. Balasubramaniam, and that too rather intentionally. However, even though this Garima Obrah written number tries to be all cool and funny, it doesn't really manage to make much of an impression. Moreover, the manner in which Suresh Triveni sings this one along with Surya Ragunaathan and Veera Fauzia Saxena, you can hardly comprehend it. Kamakshi Rai returns, this time for an English number <strong><em>'Dreamtime'</em></strong>. Written by Karan Kulkarni, this one has an out and out Western base to it with a club setting to it. One waits to see how this one is picturized on screen and so is the case with <em>'Shaolin Sky'</em> which follows next. This one has Karan Kulkarni playing the triple role of composer, lyricist and singer, even as he tries to bring back the theme of <em>'Rappan Rappi Rap'</em> intermittently. <strong>OVERALL</strong> The music of <em>Mard Ko Dard Nahi Hota</em> is too niche and certain portions of some of the songs may probably make an impression during the film's storytelling, but that's about it. <strong>OUR PICK(S)</strong> <em>‘Rappan Rappi Rap’</em>, <em>‘Kitthon Da Tu Superstar’</em>

<strong>EXPECTATIONS</strong> An Akshay Kumar starrer always has scope for some good music, regardless of the genre that it belongs. <em>Kesari</em> is a battle drama and it is not surprising to actually see half a dozen songs in there. A couple of songs from the film have already become popular and it is time to check out what do the multiple composers and lyricists have to bring on the table for the soundtrack. <img class="aligncenter size-full wp-image-964866" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/03/Music-Review-Kesari.jpg" alt="" width="620" height="450" /> <strong>MUSIC</strong> <em>Kesari</em> kick-starts with Guru Gobind Singh Ji's shabd <strong><em>'Ek Onkaar'</em></strong>. There have been quite a few versions of the track that have been released during last many years and the most popular one has featured in <em>Rang De Basanti</em>. Now Jasbir Jassi comes up with his own rendition here and does manage to make a good impact. It is surprising to find a love song comes next in <em>Kesari</em> which is basically centred on a battle. <strong><em>'Ve Maahi'</em></strong> is a pleasant surprise though as Tanishk Bagchi, who is known most for number of recreated chartbusters that he has delivered, delivers a soulful romantic number which is also written by him. Though the song has been released late in the day, it is bound to find good popularity in long term, courtesy beautiful vocals by both Arijit Singh &amp; Asees Kaur who sing with their heart in. Next to arrive is <strong><em>'Teri Mitti'</em></strong> which is easily the best track in <em>Kesari</em>. In fact it is also one of the best compositions to have been unveiled in 2019 as it has the right thump to it. Right from Manoj Muntashir's high impact lyrics that bring in the right mix of patriotism and emotions to the manner in which Arko composes this one with minimal instruments in the background, <em>'Teri Mitti'</em> warrants a repeat hear. As for the man who makes it all possible, it is newcomer B Praak who impresses with his vocals and leaves a lasting impression. After a high intensity <em>'Teri Mitti'</em>, it is time for celebrations with Tanishk Bagchi bringing on 60s style music for <strong><em>'Sanu Kehndi'</em></strong>. Set in a retro mode, this one written by Kumaar has a good vintage feel to it in every department, be it composition or lyrics. Same holds true for the manner in which Romy and Brijesh Shandilya sing this one, hence making it an all-around effort. It is time to bring back intensity with Chirrantan Bhatt coming with <strong><em>'Ajj Singh Garjega'</em></strong>. This one hails the valour of Sikhs as there is pride written all over the lyrics, courtesy Kunwar Juneja. The manner in which Jazzy B sings this one, you are reminded of many a track like these that feature in Punjabi soundtracks, be it filmy or non-filmy. Yet another high energy song. Last to arrive is <strong><em>'Deh Shiva'</em></strong> which appears in a male and female version each, and has a different set of composers and singers for both. The male version rendered by Sukhwinder Singh is a high decibel version that should make for a good impact in the film's narrative. Put to tune by Gurmoh, it has a wide canvas feel to it. On the other hand Jasleen Royal composes as well as sings the female version in her characteristic voice and this one turns out to be a much sombre version. Based on the shabd by Guru Gobind Singh Ji, this one marks an apt finale to <em>Kesari</em>. <strong>OVERALL</strong> <em>Kesari</em> does well in packing as many as seven tracks in there and cuts across genres while still maintaining a consistent sound. The music is the kind that should earn longevity for itself once the film has a long run in theatres. <strong>OUR PICK(S)</strong> <em>‘Teri Mitti’</em>, <em>‘Ve Maahi’</em>, <em>‘Sanu Kehndi’</em>, <em>‘Ajj Singh Garjega’</em>

<strong>EXPECTATIONS</strong> Most of the times when newcomers are launched, the film belongs to the romantic genre. Of course when it is a love story in the offering then music has to be a strong point as well. Moreover, <em>Notebook</em> is a Salman Khan production and hence you do expect composer Vishal Mishra to deliver goods along with his team of lyricists who come together for five tracks. <img class="aligncenter wp-image-966217 size-full" title="Music Review: Notebook" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/03/Music-Review-Notebook.jpg" alt="Music Review: Notebook" width="720" height="450" /> <strong>MUSIC</strong> The manner in which <strong><em>'Safar'</em></strong> begins, you are reminded of <em>'Ilahi'</em> [<em>Yeh Jawaani Hai Deewani</em>]. Moreover, Mohit Chauhan is the common element as well which further enhances the appeal of this Kaushal Kishore written number. Composer Vishal Mishra does well to create the kind of music that is set in the hills and brings in the right serenity that you associate with such milieu. Based on Kashmiri folk music, lyricist Kaushal Kishore spins <strong><em>'Bumro'</em></strong>, the core theme of which was also heard in Hrithik Roshan's <em>Mission Kashmir</em> almost two decades back. This time around it is Kamaal Khan who renders <em>'Bumro'</em> and while the impact is decent enough, you still want to go back to the Shankar-Ehsaan-Loy composition that had made waves back in year 2000. It's the sound of piano that kick-starts the proceedings for the first romantic number in <em>Notebook</em>, <strong><em>'Nai Lagda'</em></strong>. Vishal Mishra brings himself behind the mike for this soothing love song that is based on melody with Akshay Tripathi coming up with quintessential filmy lyrics. A song about pain associated with separation, this one has Asees Kaur as Vishal's companion and is fair. Vishal Mishra steps in as a lyricist too along with Abhendra Upadhyay for <strong><em>'Laila'</em></strong>, another love song, which is led by Dhvani Bhanushali. A soft sounding number which has a core situational appeal, it has orchestra playing a major role as there is a variety of instruments coming into play. With a Western influence to it, this one starts seeping into mind after repeated hearing. Last to arrive is <strong><em>'The Notebook Symphony'</em></strong> and can well be expected to be a part of the film's background score. An elaborate piece which is made to accentuate the soundtrack's big screen appeal, this one should make an impression along with the film's narrative. <strong>OVERALL</strong> The music of <em>Notebook</em> is decent and though there aren't any major chartbusters out there, as a group of songs there is certain consistency coming into play. If the film does well in theatres, the music should find added traction. <strong>OUR PICK(S)</strong> <em>‘Safar’</em>, <em>‘Nai Lagda’</em>

<strong>EXPECTATIONS</strong> Since <em>Romeo Akbar Walter</em> is basically a spy thriller, music is expected to be primarily an added accessory and not necessary an integral part of the film's narrative. Hence, even though there are five tracks in the John Abraham starrer, one expects a situational score at best. <img class="aligncenter size-full wp-image-969148" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/04/Romeo-Akbar-Walter-3-1.jpg" alt="" width="720" height="450" /> <strong>MUSIC</strong> First to arrive is a patriotic number <strong><em>'Vande Mataram'</em></strong> which has Shabbir Ahmed composing and writing it. This one has an old fashioned feel to it and goes all the way into the 60s style. Sonu Nigam leads the show as a singer with Ekta Kapoor (not to be confused with the namesake film and TV producer) in this song that is just about okay and doesn't cover the distance. The one that turns out to be quite good though is <strong><em>'Bulleya'</em></strong>. In fact it is surprising that the song wasn't really pumped all over since it had the potential to emerge as one of the major chartbusters of this year. Rendered by Rabbi Shergill (of <em>'Bulla Ki Jaana Mein Kaun'</em> fame), it has Shahid Mallya as his singing partner. A well written number by Ashok Punjabi, it has a very catchy tune by Sohail Sen that belongs to Sufi genre but has been presented in a Bollywood avtar, hence turning out to be an all-around effort. Next to arrive is a romantic number <strong><em>'Jee Len De'</em></strong> which is put to tune by Raaj Aashoo and is written by Murali Agarwal &amp; Shabbir Ahmed. This one has the kind of tune which reminds one of many Emraan Hashmi numbers that were composed a decade back. As a matter of fact the beginning of the song reminds one of Mohd. Rafi's <em>'Teri Pyaari Pyaari Surat Ko'</em> that was picturised on Rajendra Kumar in <em>Sasural</em> [1961]. However, the similarity just stops at the opening line as rest of this Mohit Chauhan rendered track maintains its own identity. <strong><em>'Allah Hoo Allah'</em></strong> comes next and just like <em>'Bulleya'</em>, even this one had the potential to cover some sort of distance. Composed and written by Shabbir Ahmed, this one is crooned by Sameer Khan and is a good qawalli in the offering. In fact it also appears at a good juncture of the film's narrative and is actually one of the few songs in there that really fits in well. Last to arrive is <strong><em>'Maa'</em></strong> which is written by debutant Prince Dubey. An ordinary piece by composer and singer Ankit Tiwari, it has a slow start and stays that way right through its three minute odd duration. An ode to the mother, it is about the protagonist remembering her in the times of pain and sorrow. Though this is a situational number, it actually brings down the film's pace. <strong>OVERALL</strong> With the current trend of number of soundtracks releasing just a day or two before the film's release, it takes time for the music to grow. However, one can expect <em>'Bulleya'</em> and <em>'Jee Len De'</em> to find an audience in the long run. <strong>OUR PICK(S)</strong> <em>‘Bulleya’</em>, <em>‘Jee Len De’</em>

<strong>EXPECTATIONS</strong> There are huge expectations from the music of <em>Kalank</em>. After it, it sees Karan Johar and Sajid Nadiadwala join hands who bring on board composer Pritam along with lyricist Amitabh Bhattacharya. Moreover, with a stellar cast at its disposal and Varun Dhawan along with Alia Bhatt leading the show, you do expect fireworks. <img class="aligncenter size-full wp-image-971649" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/04/Kalank-4-2.jpg" alt="" width="720" height="450" /> <strong>MUSIC</strong> First to arrive is <strong><em>'Ghar More Pardesiya'</em></strong> which is set during the Dusshehra sequence in the film. The song helps take the narrative forward for the film as Alia Bhatt meets Madhuri Dixit and then Varun Dhawan for the first time. The well written number has a good metaphorical reference too and Pritam brings a new dimension of his to the fore by putting together this semi-classical track that is very well rendered by Shreya Ghoshal. Later in the soundtrack, a 'radio edit' version appears which has Vaishali Mhade joining Shreya. This one adds to the recall value. Next to arrive is <strong><em>'First Class'</em></strong> and this is also the best song of the soundtrack, what with a peppy tune, catchy lyrics and some 'masti se bharpoor' singing by Arijit Singh and Neeti Mohan. In fact one wonders why this wasn't the first song to be promoted and placed right at the top of the soundtrack. With a start that reminds one of Pritam's own <em>'Afghan Jalebi'</em> [<em>Phantom</em>] and the flow that is on the same lines as <em>'Saree Ke Fall Sa'</em> [<em>R... Rajkumar</em>], <em>'First Class'</em> is a chartbuster with cool rhythm accompanied by the dance moves that have become quite popular. Arijit Singh gets into an altogether different 'avtar' with the title song <strong><em>'Kalank'</em></strong>. This one only adds further class to this album that keeps the fire igniting with every passing number. A heartfelt number with sadness all over it, <em>'Kalank'</em> has brilliant lyrics by Amitabh Bhattacharya that stay with you long after it has been heard first. Moreover, Arijit's rendition is truly the kind that is for a heart which is in pain and that's something which turns out to be the hallmark of the song. There is a duet version too with Shilpa Rao but it's the solo version that stays. Shreya Ghoshal is back as the voice of Madhuri Dixit and she sings <strong><em>'Tabaah Ho Gaye'</em></strong> in a manner that only she can. In fact Pritam too composes this one in a style that is reminiscent of the kind of music that Sanjay Leela Bhansali has in his own films. Musically, this one is on the same lines as <em>'Maar Daala'</em> [<em>Devdas</em>] though this one does manage to bring in its own individuality as well, hence lending a good impression. There is certain sadness and pain in Shreya's voice which compliments the situation that Madhuri Dixit finds herself in the film, and that works. <strong><em>'Aira Gaira'</em></strong> comes next a couple of times and this is the much talked about song-n-dance appearance of Kriti Sanon. Sung by Antara Mitra, this one actually reminds one of the kind of songs that Rekha Bhardwaj has sung in quite a few films. A high on energy number, this one actually reaches its crescendo when Javed Ali and Tushar Joshi pair up to provide vocals for Varun Dhawan and Aditya Roy Kapur in the film. In a style that has its base in the 40s and the 50s, this one needed more time for promotion in order to reach out to the audiences much quicker. The album concludes with Jonita Gandhi going solo for <strong><em>'Rajvaadi Odhni'</em></strong>. This one too has its base in Sanjay Leela Bhansali style of music and again it is surprising that the song wasn't promoted much in advance. A song which actually kick-starts the film and introduces Alia Bhatt to the audience, this one is picturised as well as placed well in the film. A catchy number that has the feet tapping. <strong>OVERALL</strong> Pritam comes up with a very good soundtrack for <em>Kalank</em> and is helped a great deal by lyricist Amitabh Bhattacharya. Moreover, there is a consistency of sound right through half a dozen odd songs that feature in the soundtrack. Even though the film is set in the 40s and the music compliments that era as well, even today's audience can well be entertained. <strong>OUR PICK(S)</strong> <em>‘First Class’</em>, <em>‘Kalank’</em>, <em>‘Tabaah Ho Gaye’</em>, <em>‘Rajvaadi Odhni’</em>

Shah Rukh Khan’s last film, Zero, released in December 2018 after which he went on a long sabbatical. He has been reading scripts and even shortlisted a few of them. Meanwhile, the names of a lot of filmmakers did the rounds with whom the superstar was supposedly working with. However, of late, it has come to light that SRK is working with blockbuster filmmaker Rajkumar Hirani in his next directorial flick. Recently, while answering a fan question, he also let out a strong hint that he has indeed given his nod to Rajkumar Hirani’s flick. And naturally, it led to a lot of excitement among fans.

While not much is known about the film and its subject, Bollywood Hungama has exclusively learnt that for this venture, Rajkumar Hirani and his frequent collaborator writer Abhijat Joshi have been joined by Kanika Dhillon. She has become quite well known of late thanks to her work in films like Manmarziyaan (2018), Kedarnath (2018), Judgmentall Hai Kya (2019) and the web film Guilty (2020). Interestingly, in the beginning of her career, she had extensively worked with SRK’s Red Chillies Entertainment. She worked as an assistant director on SRK’s 2007 blockbuster Om Shanti Om. She wrote the screenplay of Ra.One (2011) and additional screenplay of Always Kabhi Kabhi (2011). Rajkumar Hirani’s next hence marks Kanika’s reunion with Shah Rukh and Red Chillies Entertainment after almost 9 years.

A source close to the project says, “Kanika Dhillon has come on-board and she along with Rajkumar Hirani and Abhijat Joshi are busy scripting the film. Kanika is mainly scripting while Rajkumar and Abhijat are helping her with inputs. They are hoping to finish in a month or two. The film was to go on floors in August but due to the lockdown, it seems that the shoot will be pushed ahead.”

Rajkumar Hirani’s last film, Sanju, released in 2018 and was based on the controversial life of actor Sanjay Dutt. Starring Ranbir Kapoor, this flick emerged as the biggest hit of that year, earning Rs. 342.53 crores. Hirani, in fact, holds the envious record of not giving a single flop as a director. The source assures, “His film with Shah Rukh Khan too seems to be shaping up well, at the writing stage. And Rajkumar-Abhijat-Kanika collaboration has added a lot to the script and it’ll be something to watch out for.”

Also Read: Post Manmarziyaan, Taapsee Pannu and Kanika Dhillon reunite for Haseen Dillruba

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