I finally grabbed the CD of KV and must have heard it almost a 100 times. I am very impatient to listen to any ARR soundtrack. Why not? Afterall he stuns everyone by his innovative compositions.
Talking about KV, Kathir has always musically enriched his films...be it "Uzhavan" or "Kadhal Desam" or "Kadhalar Dhinam". The common factor in all these films is undoubtedly, ARR's magical music. I loved "Uzhavan", in fact all his earlier compositions. His style was something very different. Also lyrics by Vaalee compliment his tunes. (I dont understand Tamil...but have gone thru a few translations). The latest offering from this combo is "Kaadhal Virus", a story of youthful love. I must confess that ARR has come out with what was needed at this time in his career. "Paarthale..", "Kannathil", "Baba" were terribly rejected by the audiences and people started talking about ARR losing popularity. Let them listen to KV and judge themselves. ARR really stuns in this album.
I have tried to make my observations about the music. What I like about KV is that the music is balanced. 6 tracks- 3 very melodious, 3- catchy, rhythm-based, mass-appealing. The arrangement of songs on the album is also very appropriate. They have placed all the songs alternatively. One fast and one slow. The result- you dont feel bored of one style. Rahman has really proved his versitality in this album- ranging from hip-hop to semi-classical to trance and to jazz.
Rating scale: -poor, - nothing great, - avg., *- quite good, **- mind-blowing
Ye ye enna achchu (Vasundra Das)- The song starts with catchy vocals by Vasundra.."tana naa tana naa..." progressing to the main song. The rhythm is very catchy complementing the mood of the song. Suddenly you feel you are listening to a Britney Spears number like "Oops...I did it again" or "Hit me baby one more time" or a Mariah Carey track. The song is so much westernized that barring the lyrics, even people from the West can identify with the genre. Its definitely a track to be played in discotheques. Programming by Mohd. Rafee is excellent. There is a tremendous use of vocal modulations done digitally. The highlight is when she sings "Kaadhal virus...", listen to the chords played by the strings. Simply amazing! Also the subtle violin enhances the mood. Percussions are apt. The overall tune is hummable and registers in your mind. There are no specific interludes as such. The importance is given to the song. Good attempt. Sure shot winner! I am sure those who dont like Rahman's music will also like it. Rating: ***1/2
Sonnalum ketpadhillai (Harini, Unnikrishnan)- What can I say? Another classic composition by the Maestro. Beautiful melody...just captivating your soul. The song opens with soft flute with bells and gradually strings and violin take over. It reminds you of the prelude of "Nee than en desiya..." from PP. The best part of the song is the female Harmony. How beautifully he's progessed from one note to other notes, every time increasing the note-progression. The percussion is soft as melody rules. When the rhythm starts after the flute and violin, the strings melody is superb. The song is based on Raga Gaud Sarang and Khammaj. The essence of Gaud Sarang is 'Pa Re Sa...Ga Re Ma Ga' with all shuddha notes, which is clear in the first line 'Sonnallum ketpadhillai kanni manadhu'. It definitely has a Carnatic touch to it.The line reminds me of another beautiful song from Anthimanthaarai, "Sakhiye nee than tunaye" and "thoda thoda" from Indhira. The melody shifts from Gaud Sarang to Khammaj employing the Komal Nishadh. This raga was used in "Nenje nenje" from Ratchakan. Talking about Harini, she absolutely mesmerises you with her sweet voice and improvisations. Good choice Rahman! Unni as usual is at his best giving soft touches to the song. The song has a use of sweet bells thruout.The 1st interlude has the guitars, veena and the flute along with strings. The credit must go to Srinivasamurthy for arranging such a wonderful strings orchestra. Its very heavenly! The charanams are charming too, stretching the vocals on the higher octaves. The halt on Madhyam in 'ulaginil ullatho uyire' is fantastic. Listen carefully to the lines where Harini sings ' yellaam therindhirundum..', there is a use of Thavil-sounding percussion. Its not thavil..but reproduced on electronic percussions. Harini takes a beautiful 'harkat' when she returns to the pallavi encompassing a full octave- 'Re Ga Ma ni Dha Pa Ma Ga Re Sa', also singing the pallavi off-beat. The 2nd interludes has moorsing and soft mridangam with the harmonic jathis.The strings in the background are amazing! I love the way Unni returns to the pallavi in the lines 'vanji kodiye...' using chromatic notes- 'Pa Sa Pa ma Ma Ga'. (ma-teevra madhyam). The song ends with harmony singers singing the pallavi and mridangam playing in the background. Sorry...if I bored with such a detailed analysis...but cudnt help it. Beautiful compsition. Rating: *
Vaan nila (Srinivas, Karthik)- Absolute stunner. Attempting Jazz is not something very usual or easy. That too in today's film music. I think the song starts with the Dulcimer for which James Asher is credited. The feel is mind-blowing. The second time it is played it has a touch of Raga Peelu- ' Ma Pa Ga Ma Ga Ma ni Pa ga Sa' (small caps for komal swaras). The song breaks out with Rock-n-Roll kinda rhythm, drums being the core percussion. The song has some really outstanding sax, piano and guitar pieces. Pay attention to the piano/keyboard played in the jazz style thruout the song. Its played free-hand. The main song reminds me of works done by old composers like RD or Shankar-Jaikishen. If you've heard "Aji aisa mauka phir kahan milaga" from An Evening in Paris, you'd agree with me. The charanams are absolutely innovative. You have no clue where the song is proceeding towards. There is a lot of off-beat progression of the song in the charanams durin the lines 'dam..dam..sangeetam...' ARR has attempted jazz in Iruvar in the songs "Vennila" and "Hello Mr.Ehirkitchu". This jaunre has never been used off late. Its a genuine attempt. Both the singers have done justice. For a while you cant distinguish between the two voices. They are so much in-sync. Its very youthful and will surely catch up with regular listening. Rating: ****1/2
Enthan vaanin (SPB, Swarnalatha)- I dont know what to say...but Rahman is bound to cause us Diabetes. His compositions are sooo sweet. We dont mind them either! The starting Aalap by Swarna reminds me of the charanam of "nee than en desiya..." from PP. Listen to both the songs...especially the lines "verum udalaal varum sugaththai..odara paarkiren..." from PP. This song is definitely inspired from "Nahin saamne" from Taal and "Swasame' from Thenali. The style of composing as well as the arrangements. There is a constant use of sitar and santoor when SPB sings "vaazhga vaazhga..." SPB's in full form-delivering his usual best. What a soothing voice he's got! The basic melody is woven around Raga Bihag and has got treaces of Kalyani and Maand. The 1st interlude has the same aalap by Swarna and also a tarana style- "dirana dirana di rana tana". The percussions are again kept soft. Its got a Bombay Dreams hangover like "Closer than ever". Both the charanams are very melodious, Swarna providing the harmony and desired smiles! She's indeed got a smiling voice.Listen to the first line of the first charanam- "venpani nee thoongiya pulveli naan...", there's a duduk piece after this line. (Remember this instrument...used in "Rajyamma" from Baba). The 2nd interlude has sitar, piano and santoor. What is interesting is that the instrument keeps on fading when the other enters. Sitar fads out when piano enters and so does the santoor. The last lines of charanams has a beautiful chord. (Vijay, Rano...specially wud like it). Overall satisfying song. Rating: ****
Baila more (T.R.Simbu, Tippu)- Whats this? At first I cudnt digest the song at all but then slowly started gulping it down. Its a typical Trace-kinda song. I basically dont like Trance. The song cud have been better. First of all, I cudnt undersand what that female was speaking...but got y doubts cleared when someone clarified she was speaking in French-"la mode debarque a chennai". Again, both the voices are undistinguishable. When the lines "azhage..." appear, its clear that ARR has used his favourite raga Panthuvarali (Puriya Dhanashri). This song will definitely find its place in discotheques and fashion shows. Its something what RD attempted with "Dum maro dum". You can literally feel the atmosphere with smoke and dancing lights. The rhythm is stunning. The whole song has digitally programmed vocal and rhythm modulations. Cud be appreciated by the masses. In the end there are strains of heavy Tanpura. May be some like it...but I prefer the softer numbers. Rating: ***
O kaadhale (Mano, Clinton)- Once again, a melodious number...but on a sad note. The song starts with Mano's humming, singing the tune of the pallavi. When the song progresses to the main lines...you seem to be familiar with the rhythm pattern. Its the same used in "Tu hi re" and "Poraale". But then it doesnt stay for long. Its replaced by soft percussions. I love the 1st interlude with the strings and the flute. It gives a very nostalgic feel. Now...a regular ARR twist! The swaramandal (harp) glides thru the notes of Raga Charukeshi giving it a sorrow appeal. It gives us a feeling that two lovers are separated and are longing to see each other. The charanams are too good. The first charanam has soft tabla playing.Its similar to what he did in "Anbe...idhu nijamthaana" from Rhythm. In the charanam he changes the raga to Charukeshi and introduces the tabla. The overall melody is a bit complicated. But only a genius like Rahman can do justice to such songs. Be it any kind of song, he assures they enter our souls and capture our imagination leaving us to nothing but to adore him. The 2nd interlude has stunning vocals by Clinton(sounds so much like ARR). I can recall "Aaja sanwariyaaa..." sung by ARR in Bombay Dreams in the song "The journey home...". The way he sings 'Kaadhale..." is remarkable. Listen to the hymns and chants in the background with oodles of chords. It gives us a feeling that we are standing under a open moon-lit blue sky with stars shining and pouring sweet honey-like musical notes. (See the inlay cover with blue sky and clouds). The song is great with lots of innovations and suprises. Pay attention to the end when the harp just glides thru Charukeshi leaving us craving for more, giving us hope that ARR will return back with the same magic! Oh..its the last track! Beautifully sung by long-lost Mano. He finally arrives, he was seen last on Padaiyappa! Rating: ****1/2
So, this is KV. ARR comes with a vengeance. Forget all the complaints and enjoy this wonderfully-crafted album. Waiting to see the movie with its imaginatively picturised songs. It wud be a treat both for the eyes as well as ears. Overall Rating: ****
Hail ARR...Yeh dil maange More!!!
Swapnil
posted at: 13:11 | permanent link to this entry