Whether or not the hype surrounding Dekh Magar Pyaar Say (DMPS) translates into box office returns, one thing is for sure: Asad-ul-Haq’s debut film is the best-looking film to have come out of Lollywood in recent times. The lead pair of Humaima Mallick and Sikander Rizvi is drop dead gorgeous, the costumes are fantastic, Lahore’s historic locations look breathtaking and the overall production value is super slick.

Accompanying such a visually strong product is a soundtrack that, luckily, provides a listening experience just as stylish. Since its official release last week, we’ve been playing it constantly in the car and have to admit that it has us hooked.

The DMPS album provides the kind of easy listening that one would expect from a rom-com, but that doesn’t mean that it is frivolous or the sort of disposable music that has zero recall value once it goes off the airwaves. What lends depth to the album is the fact that it encompasses a variety of genres that range from techno to qawwali to pop and does justice to all, creating a product with a fresh and eclectic appeal.

That’s exactly what Asad set out to do. "Most desi soundtracks are based on a theme and hence are very linear, with all the tracks sounding the same. DMPS’s OST has a varied flavor running through it. I picked out songs that I liked personally or those that would feature on my own playlist," says the director.

The album doesn’t rely on one sound producer. Instead, it features some of the best young Pakistani talent and gives them the opportunity to impress with their unique sound. And impress they definitely do. The first song on the album is ‘Kabhi Kabhi, written and composed by Soch and sung by the band’s vocalist Adnan Dhool. It’s a simple melody with a fun retro feel to it and marks a departure from the sound that has made Soch such a big hit in Bollywood - intense and lovelorn.

Asad disclosed that this was actually the last song to make its way into the album. "We were missing a love song. I wanted something reminiscent of Pakistani music of the ‘90s that channeled Vital Signs and Ali Haider." Talks with Atif Aslam to provide a number couldn’t be finalized because of his busy schedule and it was the Soch boys who finally came to the director’s rescue with ‘KabhiKabhi’, the ideal ‘date’ song - romantic without being nauseating.

Soch’s contribution to the soundtrack stretches over a total of four songs. The mellow notes of ‘Kabhi Kabhi’ effectively lead into the thumping electronic beats of the old Punjabi classic ‘Kala Doriya’ which gets a techno makeover under Asad and Soch’s expert guidance. In the absence of the requisite "item number" that Pakistani movies have come to rely on to provide the masala factor, it is this wedding number that acts as a stand-in. The video features the svelte Amna Ilyas looking ravishing shaking a leg alongside Humaima Mallick and we love the fact that the song builds on the familiarity of two much-loved Punjabi songs and retains their inherent desi-ness while setting them along a hip new sound.

‘Kala Doriya’ isn’t the only classic that gets a reboot on this album. Adnan Dhool gets to do what he does best - channel heartbreak into intense vocals - with an updated version of Nusrat Fateh Ali Khan’s qawwali ‘Dillagi’. Yet the sound is less Bollywood and more Portishead of the ‘90s, with a beat that is dark and down-tempo. It must be mentioned here that Adnan’s range as a vocalist is superb - he moves between the soft love song, the edgy qawwali and the energetic Punjabi wedding song with equal ease and shines. ‘Neray Neray Vas’ rounds off Soch’s part of the soundtrack - another intense ballad that was actually composed by the band last year and picked up by Asad because it fit in with his vision for the OST.

When it came to the film’s theme song, the man handed the baton was the inimitable Asrar, the breakthrough artist on last season’s Coke Studio. His raw vocals and distinctive music sensibilities ensure that ‘Dekh Magar Pyaar Say’ is unlike any other track on the album. It is quirky and street-smart yet intensely hummable and quintessentially Lahori in its essence. It might not be a commercial favourite, but it stands out for its fun lyrics and unique treatment.

The other offbeat track that finds its way into the soundtrack is Naheed Akhtar’s ‘I am Sweety’. In the video, Humaima Mallick channels Babra Sharif (the actress featured in the original version of the song for the film Kora Kaghaz) in all her coquettish glory as she cavorts around London with the handsome Sikander Rizvi. Asad explains why this unusual choice of a song featured on the album. "This used to be the college anthem for us when we were growing up. Ask anyone who went to NCA and they would tell you that ‘I am Sweety’ was the song to listen to if you were cool and hip."

In the hands of a London-based DJ, the Lollywood number gets a modern repackaging and while it would be easy to ridicule the song for its awkward English, this version chooses to celebrate it for its campy lyrics and quintessential Lollywood-ness.

The talented Mooroo is another upcoming Pakistani musician who is part of the soundtrack. ‘Tasveer’ showcases his multi-faceted musical influences, ranging from laid-back acoustic to mellow jazz, all given a desi tarka with his now signature harmonium infusion. This is the kind of song you want to hear when you are winding down at the end of a hectic day.

Overall, the DMPS soundtrack is unlike any that belongs to a commercial desi film. Chalk it up to the fact that none of the songs have been lip-synced ("I HATE lip-synching!" exclaims Asad) and that they have been shot as music videos ("my tribute to ‘80s MTV," says the director). It’s hard not to like this album given its expansive musical palette.