An alternate music classification would tell you that movie tracks can be classified as a â€śDisc Numberâ€ť, â€śPlaying while you drive numberâ€ť, â€śPep up the mood numberâ€ť or â€śOne for the movie only numberâ€ť. Monty Sharmaâ€™s Fox attempts to create music that might fall in one of the first 3 classifications but ultimately I believe it ends up in the last one. You might not have expected much out of this soundtrack and it delivers just that.
The album is typically characterized with a lack of innovation. Songs are fairly good in places, but everything feels repetitive. Lyrics from Sandeep Nath have the Sameer-touch. Use of electronic beats and rhythm, hackneyed party tracks and weak lyrics makes the album enjoyable only if you are not paying any attention to the music being played. The entire soundtrack appears more like a background score. And this might be true as well since Deepak Tijoriâ€™s movies have a characteristic thriller feel that does not require songs and so the soundtrack might be more suitable to the movie.
The album starts with a very different concept of a song called â€śAdvocate Dae Satanâ€ť . As a Jim Carrey type voice introduces â€śThe story of Satanâ€ť, you become curious to listen to the song. Alas if only the song had lived up to the curiosity! The lyrics of the song â€śCrime Karo Wrime Karo Kuch Bhi Karoâ€ť are at best, average. Kunal Ganjawala tries to put life in the song, but to no avail. For a thriller movie like Fox this might be the best suited song for the opening credits.
Monty Sharmaâ€™s earlier soundtracks have brought new voices that call out for attention. Akruti Kakkarâ€™s voice is a voice that makes such an impact in the next on the album, â€śJashn Jashnâ€ť . The â€śMarjaaniâ€ť girl sings with style, and is absolutely pleasing on the ear. The song moves from electronic beats to pure voice based singing in parts and is sluggish and racy in parts. So even with the best voice of the album the song fails to impress. It reminds me of a few of Rajiv Raiâ€™s movie songs from the 90s.
Further electronic sounds (followed with a small piano-drum combination), take us in to the song called â€śJosh Joshâ€ť. The start by Sunidhi Chauhan feels good but as soon as Kunal Ganjawala joins her, it feels like a deja vu. You wonder how different it is from the previous â€śJashn Jashnâ€ť that you just heard and sadly it fails to offer anything fresh.
A single piano piece composition, which I also found to be the highlight of the entire album, takes you into arguably the best song of the album â€śYaadeinâ€ť. K.Kâ€™s voice suits the track well and gives you a feel that the song will be used at the peak of the suspense thrills. Whilst it may be the best song on offer here, it still pales in comparison to other releases this year. The beats seem to have overflowed from the other songs and it seems to add little value to the song.
That brings us to the only love ballad of the album â€śZindagiâ€ť. Key instruments such as drums and the guitar keep themselves in constraint, and that makes the voice of Kunal Ganjawala and Shreya Ghoshal shine. Kunal Ganjawala in particular proves his versatility in this album. Itâ€™s a pleasing song and is definitely hummable.
We have seen movies in recent times where the actors have 'coasted' their roles. This turns out to be a movie where the music director appears to have 'coasted' through the music. Though it is not bad, the album has nothing new to offer.