Makkhi Hindi Mp3 Song Download

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Sear Sommerfeldt

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Aug 4, 2024, 6:46:14 PM8/4/24
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All movie is around about THERE of them. Bindu was live a colony and in front of bindu house jani the hero he was live. Jani loved bindu always he was bindu wanders around. Bindu also loved jani but Never understand to jani that she also loved him. And bindu was worked sudeep office. Sudeep was also like bindu. But sudeep was very bad Guy. One day jani and bindu walking for home together there was a song that i liked most.


When bindu know the makkhi was jani. The she help him to Making sharp nails and Spray free mask in eye. For that any spray was not harm makkhi. Bindu and jani together prepare to kill sudeep. Makkhi was disturbing sudeep too much. Watch it then you understanding that how much disturbing makkhi to sudeep.


Last scene of the movie

When sudeep trapped makkhi and bindu. Then makkhi sacrifice his life for bindu.In Sudip's house, he put the gunpowder on himself. And makkhi In gestures bindu that he burn sudeep. Sudeep want to burn makkhi.


EXPECTATIONS





Eega is the latest Telugu blockbuster that made waves just a few weeks ago and now when the film is arriving in Hindi as Makkhi, one expects the film to find added audience for itself. However the same cannot be said about the music which, despite popular down South, isn't quite getting much time for itself to make a splash in Bollywood. With the album hitting the stands just days before the film's arrival in theatres, one wonders what composer M M Kreem has to offer.





MUSIC





It is a very good start that Makkhi gets with a love song 'Are Are Are'. While the composition is as sweet and simple as it gets, the effect is enhanced further with Neelesh Misra's lyrics coming across as a breeze and K.K. doing very well behind the mike as well. This is the kind of love song that would have easily found some good popularity coming its way already had it featured in a Bollywood biggie.





New entrant in Hindi film music, Anuj Gurwara, is roped in for 'Thoda Hans Ke' and he does well in a song where he is also the lyricist. Pretty much continuing from where 'Are Are Are' left, this one has a South touch to it and one does enjoy what composer M M Kreem offers here. Though the song isn't the kind that makes for a chartbuster, for an album where everything was equivalent to being bonus no less, 'Thoda Hans Ke' isn't a bad bet.





Neelesh Misra returns with a song of vengeance, 'Naam Apun Ka Jaani'. This one is all set to be a riot on screen, what the protagonist returning as a 'makkhi' and getting his revenge. Forceful and ferocious to the core, this one should make frequent appearance as a part of the film's background score. With Western arrangements adding to the pace and an overall energetic feel to it, it is sung well by Deepu and Rahul Sipligunj who bring just the right spice that one would have associated with a theme song like this. With the 'remix version' bringing the voice of a 'makkhi', it only adds on to the fun.





Remember the music video of a non-film song that was shot with Krishan Kumar years ago, 'Guzare Zamaane Yaad Aate Hai'? The same song is recreated by MM Kreem (who had also done the original) in the form of 'Lava Lava'. This time around the singer is Anuj Gurwara and he justifies his inclusion by coming up with a rendition which is in complete contrast to his work just a few minutes back in 'Thoda Hans Ke'. A theme song written by Sravana Bhargavi, it should add on to the film's narrative.





Last to arrive is 'Sapnon Ki Ek' which is sung by Kaala Bahirava. With a fairy tale base to it, it is a core situational song written by Anuj Gurwara and doesn't quite add much weight to the album musically. In fact one waits to see how this slow moving number really adds on to the film's narrative since as a standalone number, it doesn't cut much ice.





OVERALL





Makkhi is largely made of theme and situational numbers that should make a good impression along with the film's narrative. However commercially there isn't much in the offering except for 'Are Are Ar' which, unfortunately, has hardly been promoted. Though it would be futile to expect the album registering good sales, the soundtrack should make the film a fairly entertaining watch.





OUR PICK(S)





Are Are Are, Naam Apun Ka Jaani


Anuj Gurwara who voiced for Nani is also the dubbing director, Hindi dialogue writer, Hindi lyricist for songs "Thoda Hans Ke" and "Sapnon Ki Ek Duniya Hai" and playback singer for the former. Ajay Devgn and Kajol did the voiceovers for the opening credits in Hindi version.


The cassette is a tool of communication. From metalheads eager to hear obscure demos and Deadheads trading live tapes to boomboxes blasting hip-hop and go-go on city blocks, this compact audio format invented by Lou Ottens in 1963 not only gave listeners the opportunity to share music but also information... some of which fueled revolutions.


In his book High Bias: The Distorted History of the Cassette Tape, Marc Masters gives a necessary account of how the cassette was made and its crucial role in the democratization of sound and information. Throughout its early chapters, in particular, you meet the characters who realized that the next step in technology had to be personal and pocket-sized.


The Bloomington label Ulyssa understands the art and utility of the mixtape as a means to expose the stranger corners of music. It has released a Soundcloud rapper anthology, crate-dug streaming curiosities and doubled down on whatever "toe jazz" is. On the surface, Craig Peyton doesn't seem to fit Ulyssa's usual oddballs and outsiders: He wrote scores for PBS and BBC shows, was a regular musician on BET, produced house and R&B songs in '80s NYC. (He was also the Flight Ambassador to the Bahamas?!) But from wonky fusion and smooth-prog to vibrant new age and some straight up elevator jazz, it's like, who is this guy?! Here's my favorite jam of the bunch, in which Peyton turns William DeVaughn's smoove, two-chord hit "Be Thankful for What You Got" into a motorik, Giorgio Moroder-style groove.


The demo tape never died; it lives on in punk and hardcore. Indonesia's Chain Circuits is in and out in seven minutes, its drum machine d-beat provides a mudflap thud to lyrics spit in English, French and Spanish. The guitar is just swimming in chorus pedal, contributing to the demo's ooze oeuvre. (Ooze-vre?) It makes me want to throw up.


The lament is a pillar of folksong; given the country's history within the British empire, I feel like Scots are naturals at them. On this cassette from Glasgow-based label Glarc, Harry Grski-Brown takes traditionals sung in various Gaelic dialects and gravitates toward their natural, piercing drones with pipes, fiddle, bouzouki and organ. But there are cracks, executed in subtly glitched electronics that simmer at the surface, destabilizing the drone's hypnotic power until the full force of sadness is obliterated by metallic overtones. Thrilling, terrifying stuff that confronts centuries of mourning.

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