From the depths of whim-dom comes this catastrophic caper. The waif-like Tanya, whose dalliance with the greasepaint soured, hopped on the croon bandwagon with astonishing quickness.Tanya is back with another indulgent trip in Khanki Hain Chudiyan, which makes you feel you had serenaded more than your bathroom tiles. The album is a collection of vacuous musical wanderings, and Tanya`s vocal chords do not sustain the merry ride. But we do not blame the motley crew of Ravi Pawar and Faiz Anwar. Their flogging-a-dead-stallion efforts do get noticed, when Tanya`s banshee vocals are not snuffing them out.

There is an inherent potential in some of the tracks, which could have done well with better handling. The title song is a robust ride, but someone with a one-night-stand with singing had better steer clear of such challenges. Chhup chhup si dhadkanein tries to tiptoe up the ladder, but Tanya`s uninspired singing wrings it dry of whatever promise it held.

There are two guest appearances in the album, but in the larger scheme of "sings", they are rather unwelcome. Stereo Nation contributes notes to Akhiyan mila le, which has a metamorphosed-for-sometime Tanya building a remote sense of quality into the vocals. But the inspiration is uneven. She runs out of steam somewhere in the middle, and the rest of the ride is just an effort to finish the race.

The other, Masti hai pyaas hai is a large dose of Ajit Singh`s pampering. Tanya`s singular and determined shriek dominates the track, and this one is easily the worst of the lot. The so-called oomph just goes bust, and you have weary vocals taking precedence.

Tanya`s voice reflects a kind of meandering, plaintive quality, and is replete with rough edges. The energy is feigned, and comatose in most places. She is somewhat saved by the innovative orchestration, but it does not come to her rescue all the time.

This is one non-stop cacophonic clinking ride.