Style
Anand-Milind styled their music mostly based on Indian melodies and folk tunes. Their compositions bore some resemblance to the Laxmikant-Pyarelal school of music, in the early 90's, resulting in most of their compositions between 1988-1995 being popular in the interiors and rural India, even today. In fact, Laxmikant-Pyarelal loyalists like Mohan Kumar, Harmesh Malhotra, K. Vishwanath, Ashok Ghai, Boney Kapoor, to name a few, opted for Anand-Milind in the 90's over Laxmikant-Pyarelal for their new projects.
Later, they went on to be influenced by some tunes by maestro Illayaraja (on the insistence of producers, directors and actors), and the beats and style from these songs formed a major part of their arrangements. So much so, that a lot of their tunes began sounding alike. This was one of the main reasons for their downfall in the late 1990s from the immense popularity they achieved during the early 1990s, giving room to new composers and their fresh compositions.
Anand-Milind experimented with their music and proved their true musical genius with Mrityudand (1997) (where they worked for the first time with wordsmith Javed Akhtar) and Daayraa (1997) (with poetry by none other than Gulzar). Both these albums received rave reviews by critics unanimously, but both soundtracks were highly ignored, in terms of promotion. Sangeet was another fine example of them exploring and experimenting.
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