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#New music hindi 2015 movie#
We fall for it the same way we decide to go for a movie based on the information that it has earned Rs 200 crore, and not because it’s a good movie.īut beyond the subjectivity of good art and bad art, there has been, over the past decade, a seismic shift in terms of how the industry functions. Music companies, producers and artistes buy ‘paid-views’ on YouTube, and advertise the numbers as though they’ve earned it. What we listen to is, often, driven by what’s being aggressively marketed. Albums aren’t released so much as singles are ‘dropped’, reducing our chances of discovering a song in this too-much-to-choose-from era of entertainment.
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It’s also been a decade that saw a change in the way we consume music. There are just too many remixes, and the rest sound like each other. And yet the decade has ended in hopelessness. It began with an infusion of fresh, new sounds, and allowed for experiments that would've been unthinkable before - a two-part, 27-track album such as Gangs of Wasseypur (2012) curated soundtracks with an indie edge, such as Shaitan (2011), Detective Byomkesh Bakshy! (2015) and Gully Boy (2019) the musical numbers in Jagga Jasoos (2017). I’m kinder to albums I had problems with 7 or 8 years ago. The things I love I’ll be militant about. Even in the songs I like I will find flaws. It’s also… gradually realising that with age, my feelings towards what has always been an inherently commercial art form will be complex. Of Rockstar (2011), the soundtrack to which I’ve spent many a drunk post-break-up night drowning in self-pity. Of the long-held suspicion that Sanjay Leela Bhansali is a closeted music director coming true. The first half of the 2010s is peak Amit Trivedi the arrival of an absolutely nuts composer called Sneha Khanwalkar and a brand new Pritam.