Chaar Diwaari has said the whole Parvana EP came out of revisiting Kishore Kumar's “Pyaar Diwana Hota Hai” from Kati Patang — specifically the old Sufi image at its center, of a flame telling the moth circling it to leave before it gets burned. That's a metaphor with centuries of poetic baggage (parvana literally means moth in the tradition it borrows from), and rather than treat it as a one-line reference, the EP builds an entire emotional register out of love as self-destruction, surrender, and the particular kind of wanting that knows better than to want.
“Iss Tarah” is where that idea gets its clearest showcase, mostly because of who's singing it. Sonu Nigam doesn't guest so much as anchor the track — his vocal harmonies are given real room, not folded in as a feature-verse afterthought, and the composition visibly bends around what he can do with a melodic line rather than the other way around. It's a genuinely different move for an artist whose earlier work leaned hard on abrasive, industrial production; Parvana, and this song specifically, is Chaar Diwaari trusting melody and a legendary voice over noise, and it's a trust that pays off.
What's most notable, listening to “Iss Tarah” against his earlier work, is how much more assured the production itself sounds — less about proving a point with texture, more about getting out of a great vocal performance's way. Indian Ocean and Gini also appear elsewhere on the six-song EP, but “Iss Tarah” is the one track where the collaborator and the composer are most clearly in conversation rather than one deferring to the other.