Making his debut and producing both hit songs and film, Diljit Dosanjh is known for his voice wrought with emotion and charisma that translates across screens and radios. The Punjabi actor/musician is deeply attuned to his community, putting front and center the issues of his state such as those of the Punjabi farmers.
His new album, ‘AURA’ though is markedly less political, only a few songs could even be in reference to the issues of his hometown, mostly consisting of vague shoutouts. ‘AURA’ is certainly a much lighter album than his previous album ‘Ghost’, and a more exciting album with its heavy Spanish influence that lean into Diljit’s emotional strengths as a romantic singer.
However, the album still fails to reach a true high point, veering off the subtler romantic course for some truly bizarre additions to the album that make the overall idea of what aura Dosanjh is trying to allude to a mystery.
The Collaborator Conundrum
A common complaint I had across the album was with the tag of Dilijit Dosanjh’s collaborator, MixSingh, who signs with his tag of “Mixing in the House”. While it may have worked for a more energetic album or indeed songs that were able to absorb whatever nonsense lyrics were thrown into them. ‘AURA’ is a tightly laid romantic album in desperate need of a collaborator that would not overwhelm the production nor soft pleading voice of Dosanjh.
Track By Track
Unfortunately the cracks are already beginning to form in “Senorita”, with the already shaky takeoff due to MixSingh’s tag. It does later manage to gain ground until Dosanjh sings about “cappuccino skin” which takes the listener out of what is supposed to be a sensual experience. It is made even worse by the overcompensating beat that never can decide if this is supposed to be seductive or a straight up dance battle, and the fact that Dijit keeps singing “Senorita” like “Margarita”.
“Kufar” is everything “Senor-ita” should have been, the name itself adding to the mystery and seductive power the woman has over the singer. Even the tag “mixing with the beat” goes down easy with this smooth jam. Its production value itself shown in the lavish music video shows that this song easily could’ve been the lead especially in an album that is about the vibes or one could even say ‘AURA’ of Diljit Dosanjh.
‘You & Me’ is the song you play with the sunroof down, driving along a windy road after you had an explosive fight with your love. While the lyrics mention an almost violent explosive fight between the two lovers, the beat cannot seem anymore forgiving as though the singer has already forgotten what has transpired. You can see the lyrics reaching out, trying to wrap you in for a hug with the kind of patience that borders on fantastical. “You & Me” is a personal favorite off the album sung by someone who is practiced in the art of loving.
While a similar beat to ‘Kufar’, ‘Charmer’ contains more yearning within it, actually forcing Dosanjh to stretch his vocals, with each beat being a plea from the singer. The song forces so much emotion into each verse that the end of which Dosanjh trails off as though his beloved is just a breeze that cannot be kept in one place. ‘Charmer’, is as the title suggests, charming, flirtatious and never overpowering, with its Spanish influence being incorporated rather than carelessly laid overtop the song.
If ‘Charmer’ is like a slow seductive ride, then ‘Ban’ is like being blasted out of the car. The song functions as a shoutout to Dosanjh’s home state Punjab. While its essence mirrors other artist’s brags about their hometown (think Jay Z’s “Empire State of Mind” or any country artist talk about the “dirtroads”), Dosanjh kills it with his part giving his singing a distinctly Punjabi feel, bellowing the lyrics from his gut. Maybe its place in music culture is slightly overplayed but you can really feel Dosanjh is truly singing about this from his heart and soul, his pride reflected in each note.
“Balle Balle” is the dance jam that Dosanjh is famous for and one this album desperately needed. While there are smatterings of Spanish influence in the name and bit in the beat, it exists more as a slower version of Bhangra music (typical Punjabi dance music). The female singer in the background adds a light bit of seduction that helps ground this song in the particular oeuvre of the album while still allowing it to remain distinct. Bhangra music
Unlike “Ban”, there is nothing to recommend about “Gunda”. The production gives a dour sound to what is supposed to be a prideful song; the lyrics are so muddled it’s unclear if this is social commentary or just about how great Punjab is. The collaborator/rapper on this song, 604Blizzy, gives no assistance and actively drags this song down, stripping any of the specific pride Diljit felt to make it a song that could have been produced anywhere or anytime with any artist.
Thankfully, “Mahiya” returns Dosanjh to familiar ground–a pleading love song that sees him trail after the titular girl. Of all the songs in the album this one screams ‘Filmi’, just because of how dense the narrative of this song is. Its only drag is the “Mixing in the House” tag which again upends what is supposed to be an earnest song about falling in love. It’s earnesty is so close to being almost sickly sweet but Dosanjh’s voice gives real sentiment behind what would have otherwise been merely a fluffy love song.
“Broken Soul” starts with the omnipresent “Mixing in the House” that plagues this album. The beat itself is mostly minor keys with Dosanjh’s voice seeming close to crying. The love that Diljit had been pining for has turned sour, turning his ecstatic voice woeful as though his heart is being pierced with nails. However, despite the more depressing tone “Broken Soul” still fits with the rest of the album, keeping the stripped back yet Spanish influenced beat that backs the rest of the album, playing out the heartbreak with mere strings.
“God Bless” is the worst song on the album. It’s an obnoxious song about how great Diljit Dosanjh is with a truly nauseating drill beat behind it. Even Dosanjh doesn’t seem convinced since his energy is halved from his conviction in “Ban”. That might be because this song’s beat is too slippery for Dosanjh to hold onto. The worst part is that “God Bless” is the signoff of the album made even more explicit with lyrics referencing the album name. It overall leaves a bad taste in the mouth for what was before a sweet and seductive album about love. But who cares about love, when money is what it’s all about? I guess that was the AURA Diljit Dosanjh wanted to project all along.
Marked Between True Feeling & Passion
‘AURA’ starts shaky and ends terribly but the rise in between is marked with true feeling and passion. Its decision to combine Punjabi and Spanish music is genuinely inspired and its slower pacing could have made for a more thoughtful album but it just never hits its peak nor seems to know what AURA it wants to emulate.
