First and foremost the question that comes to mind is around the relevance of the film''s title itself. What exactly does it mean? What does it signify? How does it fit in well into the context of a movie? With Vinod Pandey at the helm of direction whose last film was Shiney Ahuja starrer ''Sins'', one knows for sure that it would be a different kind of subject handled in a slightly off beat manner.

Sherlyn Chopra as the prime attraction in the film is another surprising element. All this and more makes one start wondering about how much would music by Shamir Tandon and lyrics by Pande himself have to offer here since Red Swastik is being touted as a psychological mystery. Well, after hearing the album the answer is - Nothing!

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Rekha Bhardwaj, who made a stunning impression in ''Namak Issak Ra'' [Omkara] last year, is heard yet again in ''Sadiyon Kee Pyaas''. Shamir Tandon aims at mixing ''raga'' based music with a Western orchestra while Pande''s lyrics are so heavy duty that a listener just gets lost in all the mumbo-jumbo happening around.

Rekha brings in her unique style of singing here too but the tune is oh-so-boring that one can''t help but give out a big yawn! Shabab Sabri appears briefly to croon a line or two but doesn''t really add on anything to this forgettable track.

Later, out of nowhere, an eminently inconsequential ''remix version'' comes in the vocals of Prabhati Mukherjee with Shabab Sabri and Clinton Cerejo as voiceover singers that makes one wonder when would film makers, music companies and composers finally put a full stop to the remix trend!

Now what exactly is this? A track ''Rakth Rakth Rakth'' actually goes like ''Rakth Hi Pooja Hai...Rakth Hi Maryada Hai'' and so on and so forth and helps do only one thing - make a listener completely disinterested in whatever is left in the album. Crooned by Shafqat Ali Khan, this true blue Indian/Western fusion track seems at maximum a theme song which may not even be a part of the film.

Though it moves at a fast pace, it is only noisy with nothing working in its favor. If it was aimed at ''aam junta'' then the lyricist/composer have certainly missed the bus and if it was for the intellect then those appreciating the song would also be barely a handful. To add insult to the injury, there is a ''remix version'' of this track in the album''s end too.

Time for some hard rock with ''Thee Zindagi Bas Wohi'' which is crooned by John and Ashutosh. The words here are difficult to follow though since the focus is mainly on getting a thumping effect with a punch in the voice and really heavy arrangements. ''Thee Zindagi Bas Wohi'' follows the rock genre and for a woman oriented film, it would be interesting to see if this all-men song finds a place in the film''s narrative. And if it indeed does, then what kind of impact does it overall manage to create!

''Yeh Jo Tera Shahar'' is not the first time that Shamir Tandon and Bhupinder Singh are coming together. Just recently they were heard in ''Na Jis Din'' in Traffic Signal which was anyways mediocre at most. ''Yeh Jo Tera Shehar'' is no better as neither the mood nor the rendition is any different here.

While ''Na Jis Din'' had failed to create any sense of love, even ''Yeh Jo Tera Shehar'' fails to evoke any empathy for the characters in spite of an attempt being made for the situation. A track that drags and makes you firmly bolt the album back into the stack.

Shamir Tandon doesn''t have a good Bollywood soundtrack to his credit for quite some time now and Red Swastik only adds on to his list of forgettable soundtracks. Let''s not even mention about marketing, promotion, lack of notable credentials or film''s setting - the plain and simple reason for Red Swastik failing to make any impact is that the music just doesn''t work at all.