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![]() In 2007, it entered its twelfth year in Mumbai cinemas. A major critical and commercial success, the movie became the year's top-grossing production in India. He followed it with Aditya Chopra's directorial debut, the romance Dilwale Dulhania Le Jayenge. The film, which dealt with reincarnation, became the second-highest grossing film of the year. His first release was Rakesh Roshan's Karan Arjun. In 1995, Khan starred in the two biggest hits of the year in India. ![]() Though the movie was not a box office success, Khan's performance earned him the Filmfare Best Villain Award. In 1994, Khan once again played an obsessive lover/psycho's role in Anjaam, co-starring alongside Madhuri Dixit. ![]() Khan maintains that this is his all-time favourite among the movies he has acted in. In that same year, Khan played the role of a young musician in Kundan Shah's Kabhi Haan Kabhi Naa, a performance that earned him a Filmfare Critics Award for Best Performance. His performance won him his first Filmfare Best Actor Award. Baazigar, which saw Khan portraying an ambiguous avenger who murders his girlfriend, shocked its Indian audience with an unexpected violation of the standard Bollywood formula. In Khan's entry in Encyclopedia Britannica's "Encyclopedia of Hindi Cinema" it was stated that "he defied the image of the conventional hero in both these films and created his own version of the revisionist hero." Darr marked his first collaboration with renowned film-maker Yash Chopra and his banner Yash Raj Films, the largest production company in Bollywood. In 1993, Khan won acclaim for his performances in villainous roles as an obsessive lover and a murderer, respectively, in the box office hits, Darr and Baazigar. ![]() ![]() ![]() “Backwards” has a lot of potential but is a bit slow and lacks a major hook. The other tracks aren’t necessarily weak, but they do seem to be a bit hit-and-miss. 1)” may not be fair to judge apart from its two counterparts, but it’s certainly the most compelling of the three and is certainly one of the most brass-heavy tracks on the record. “About to Break” is a faster tracker, with a strong emphasis on percussion and Gardner’s soothing falsetto. “Hero Over My Head” exemplifies many of the hip-hop elements across the record, with tight lyrical delivery, chopped vocal underlays, arpeggiated synths, and fascinating drumming. There are a couple standout tracks with particular appeal. The accompany artwork and merchandise are also fitting: bright colors, children’s toys, and amusing shirts serve to remind us that art doesn’t need to be stoically-serious to still have power. It’s an energetic, beat-driven album that thrives on good vibes. With Jesus, and we wanted to change.” These sentiments make perfect sense in light of approach ZEAL takes. Wonder – faith had been beaten to the dust with arguments about church that had nothing to do “We wrote ZEAL because we felt flat on the inside,” Gardner said in the band’s press release. Indeed, it balances these elements well and sits comfortably somewhere in the middle – occupying a space that is artistically-challenging yet still accessible. Needless to say, it’s hard to even tell what genre would be best to describe the flavors of ZEAL: there’s not enough guitar focus to quantify it as rock, it’s too experimental to be called a pop album, and it’s too production-heavy to be called chamber pop. Then, of course, there are touches of analog synth patches and vocal modulation that are reminiscent of many Humble Beast artists. Gardner doesn’t rap, but there’s still a particular flow to his lyrical delivery that seems to borrow from that scene. They’ve undergone a bit of label-hopping, dabbled in releasing a mixtape (2017’s The Beauty Between), and now they’ve returned with yet another proper full-length release: ZEAL.Īt its core, ZEAL delves deeper into the hip-hop elements of The Beauty Between there are certainly orchestral elements at play, but Chad Gardner’s production is as strong as ever. Over the course of their career, they’ve continued to meld elements of hip-hop, chamber pop, R&B, and even hints of math rock together – but such to a degree it has never the songs too obscure to listeners. 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