Like their song Slowly, Slowly from their breakthrough album Go Goa Gone, Sachin Saraiya and Jigar Sanghvi have been carving out a niche in the world of filmi music. Unlike fellow new khiladis Ajay-Atul and their song Chikni Chameli which ignited their career instantly, Sachin Jigar have not had a zeitgeist hit yet. Their rise to fame has been on the backs of a steady stream of high quality songs.
Their sublime set of tunes for Shuddh Desi Romance is unlikely to change this mode of operation - I don't hear a monster hit on this album (and I sure hope I'm wrong here), but I can't stop listening to those songs either.
Sachin Jigar started off arranging music as part of Pritam's crack production ecosystem. They gradually branched out to arranging songs for other composers before breaking out as music directors in their own right. All through their early journey, they credit Pritam as being a constant source of support and encouragement.
Sachin Jigar's first big piece of work was composing for F.A.L.T.U. They delivered a set of jangly, mischievous songs. (If you haven't rolled your eyes and shaken your hips to Char Baj Gaye Lekin Party Abhi Baki Hai, you haven't lived). But on early display was the ability to deliver foot tapping arrangements, soulful tunes and generate something interesting (O'Teri). Since then, their journey has been similar to that of other rising composers - compose music for a lot of small movies and try to make most of those opportunities before a quality project lands in your lap. And boy, did Sachin Jigar maximize those opportunities. Their songs have made me sit up and take note - Hum Tum Shabana (Hey Na Na), Kya Super Kool Hai Hum (Dil Garden), ABCD (a personal favorite - Man Basiyo), and Go Goa Gone (Slowly slowly, Khoon Choos Le, Babaji Ki Booti).
Shuddh Desi Romance arrives at the right time for Sachin Jigar, when instead of getting typecast as youngistan, masti party composers, they get to deliver an exhilarating mix of art and commerce. Its a bravura album full of fine tunes and a heady tweaking of Rajasthani folk cliches. I loved how playfully Sachin Jigar took something like "ararara" - which shows up in bazillion songs - laced with distorted vocals and rock guitars and then tailed it off with the word "Random" on the hugely entertaining Chanchal Mann Ati Random (Divya Kumar). I also liked how carefully the flirtatious Tere Mere Beech Mein Kya Hai (Sunidhi Chauhan, Mohit Chauhan) is allowed to develop.
There are five instrumentals on this song - the best and most evocative of them is Mujhe Kiss Kar Sakte Ho, which goes from delicate to soaring and captures the emotions tied to the title. All through the album, Sachin Jigar's ability to provide fresh, catchy twists to songs really stands out. Its not consistent in their music yet but there are sparks of Pritam's no-holds barred tuning and Amit Trivedi's inventiveness.
Because they pay close attention to the music programming, Sachin Jigar sound modern. Take Jatin-Lalit as a contrast who still under-program their songs and have an old-school focus on vocals. Jatin-Lalit's songs for Besharam are a good example of what I'm referring to here. (Ironically Jatin-Lalit are Sachin-Jigar's idols)
Sachin Jigar are both my gujju brothers. I know this sounds terribly regional but I'm really happy to see Himesh Reshammiya (who I still love), Shekhar Ravjiani and Amit Trivedi all showing some superlative Humanities prowess. Bollywood music, the Gujju Invasion is here!
Shuddh Desi Romance opens in theaters on September 6
If you'd like to trace their journey, here is Sachin-Jigar's work in Indian films in chronological order:
2013: Shuddh Desi Romance, Issaq, Ramaiya Vastavaiya, Go Goa Gone, I Me Aur Main, Jayanta Bhai Ki Luv Story, ABCD - Anybody Can Dance
2012: Kya Super Kool Hain Hum, Hum Tum Shabana
2011: Shor In The City, F.A.L.T.U.
2009: Teree Sang