For example, a cap of maximum two entries for Amit Trivedi, who pretty much dominated the first half of the ‘10s. There were rules that needed to be set up - as all lists must. The list includes soundtracks that adhere to the more traditional idea of the Hindi film album, an approach that is falling out of fashion, or show a new way of doing it. Add to that, a creative bankruptcy in the music industry and a new, corrupted working system that has contributed to it. The gradual digital takeover that has happened in this decade has meant that the way music is produced, distributed and consumed is more singles-driven. Standing here, today, now, at the fag end of 2019, the idea of an album itself seems to be on shaky ground, with an uncertain future.
The changing nature of Hindi film music has been one of the big trends of this decade. Or at least undergoing a great change - being redefined. It is about imagining how a song will be picturised in a film, before it has released and after you have seen it it is about lingering in its afterglow. All this is going away. The director’s contribution to a good album is sometimes almost as important as the composer and the lyricist. The singer’s association with the hero’s face. A Hindi film album even more so, where the visceral nature of music meets the visuals, glamour and format of Hindi cinema. An album is larger than the sum of its parts.
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