Tuesday September 2, 2014
As Maname starts, it only creates an anticipation that the singers, Suchith Suresan and AV Pooja will break into ‘Dil se re’ at any time, since the background seems like its replica! Aetti enga pora starts uncannily like another Rahman song, Thaniye, from Rhythm. Thankfully, it changes track soon enough and holds a lovely, slow melody fabulously sung by Nivas and Manasi! Paadatta is dignified and mild kuthu, well orchestrated and well sung by Velmurugan and Hariharasudhan. Raasa raasa is Thaman’s templatized Telugu-style material, merely repurposed for Tamil. But for occasional inventiveness, this familiar, predictable output from Thaman is distressing.
Keywords: Thaman, Vanman
Tuesday September 2, 2014
The title song is standard-issue hero intro material, with a generous sprinkling of bombastic English epithets and a repetitive rhythm. Junction lo and Narri narri are no different – Thaman’s stock rhythm, along with fangled, severely digitized singing by Shruti Hassan in the latter. Aaja saroja shuns precisely that kind of predictable rhythm, and depsite Rahul Nambiyaar’s voice being digitally enhanced, the unusually paced song makes a difference. Bhel poori too has a nice, expansive ring to it, given the kind of slowly sweeping kuthu rhythm it employs. The dialog-based Theme is an interesting variation! Largely humdrum material, this Aagadu.
Keywords: Thaman, Aagadu
Sneha’s Sound Trippin’ looms large over Engine ki seeti and Baal khade, the former, a Rajasthani funk riot, aced by Resmi Sateesh and Sunidhi, and the latter, a significantly more zany mix, with Sunidhi’s rendition making a huge difference. Maa ka phone too is pretty wacky, situationally, lyrics-wise and the supreme confidence with which Priya Panchal and Mauli Dave deliver the goofy track. Preet has an ethereal feel and Jasleen Kaur Royal’s child-like vocals make it even more dreamy. Abhi toh party, the only song composed by Badshah is predictable Punju techno. Sneha’s inventive sounds add soorat to this Khoobsurat.
Keywords: Sneha Khanwalkar, Khoobsurat, Badshah
Sean writes, sings and composes Odura nari, all by himself! The colloquial lyrics are intriguing, and the tune is neat and sing-along’ish. Thanniyila‘s guitar-strings combo is unmistably Sean, but its tune sits uncomfortably on it. Naalellam‘s folk tune is distinctly La Pongal-style, but is too simplistic to make a cut. Even Oneday enum match, beyond all the glitzy rock sound, has an ordinary tune at best. The soundtrack’s best is Nalla kettuka, the funky, spoofy tune gaining a lot from AL Raghavan’s vocals and Ramesh Vaidhya’s conry lyrics. Aadama Jeichomada is considerably less impactful compared to Sean’s recent, impressive work.
Keywords: Sean Roldan, Aadama Jeichomada
The title song has a pulsating world music’ish sound and manages the cornucopia of sounds admirably well, headlined by Suchith Sureshan’s confident vocals. Thaane pookum rests on scintillating singing by Saptaparna Chakraborty and Job Kurien and the duo carry Rex’s melody beautifully. Sushin Shyam’s off-beat singing aids the funky sound of Kayethum doorathu, even as the song traverses through really interesting genre jumps. Naam onnai moves from the traditional Kerala to a foot-tapping Punjabi sound effortlessly, before settling on a zingy rock sound – again, a brilliant mix! Rex Vijayan scores big time in Sapthamashree Thaskaraha with his vibrant melange!
Keywords: Sapthamashree Thaskara, Rex Vijayan
Aaryan Dinesh breezes through Vaddi, working with simple lyrics and Sudharshan’s alluring hip-hop sound. En moochum and Counting D’ Cars are Anirudh’ish (already!) – both instantly likeable, groovy pop, while the composer, along with Velmurugan rocks the dance floor in the foot-tapping kuthu, Run for money dude. Jungle in the city has Ranina Reddy and Sudharshan pulling off a punchy rock sound. Karthik sounds oddly different in Kalavu pona, though the mellow tune is a good listen. The instrumentals, Seizing mania and Kings of garage theme round off the soundtrack in a catchy tone. Hip, commercially confident debut by Sudharshan.
Keywords: Sudharshan M Kumar, Burma
Mazhakatha‘s tune and rhythm is a fantastic mix of Latino and Middle Eastern, along with nadhaswaram too! Groovy tune and well sung by Haricharan, and Vandana sounding a lot like Chinmayi. Odum rayilai checks every box in Imman’s current arsenal of sounds – pulsating rhythm, a Raja’ish melody that is instantly likeable and sweeping strings… lovely listen! Actress Lakshmi Menon makes a superb singing debut with Kukkuru kukkuru, no doubt aided generously by Imman’s intriguing tune orchestrated to perfection with the iktara highlight! The rhythm in Sundari pennae is tantalizingly paced with that typical Muslim flavor and Shreya Ghoshal completely rules over the rendition like only she can. Imman laces the song with a lovely mix of electric guitar and harmonium to produce a wonderful effect! The soundtrack’s highlight is the absolutely gorgeous Shamugapriya-based kuthu title song. MK Balaji and Jayamoorthy are awesome in breathing life into it, while Imman builds the likeable Shanmugapriya base in the background with an almost Ilayaraja’esque fervor, along with some more unique additions in the second interlude and in the ending! Imman brings together his brand of musical mix really well here – the tunes, the sound, the singing… all work in great cohesion!
Keywords: Oru Oorla Rendu Raja, D.Imman, Imman, 200, #200
The Friendship Anthem starts off in conventional rock anthemic style, but starting the funky first interlude, it shifts impressively into next gear, as Don Raja Elvis joins Sooraj Santosh. Merise merise is easily likeable, with its simple, ambient backgrounds and easy, sing-along tune, sung well by Rahul himself. Najim Arshad sounds good in the pleasant Suryodhayam, but the tune lacks teeth, with a predictable template repeated. Freedom song sees Rahul mixing pace and genres effortlessly, making it a great listen! Nikhil Mathew’s pop ballad Shoonyamai ends the soundtrack on a mellow note. Rahul does considerably better than his debut here!
Keywords: Paathshala, Rahul Raj
Bey yaar sapna nava has a decent pop sound that doesn’t add anything beyond managing to sound generically good. But Sachin sings the song’s other, more pensive version, Bey yaar tara vina and this one has a lot more heart! Kirti Sagathia handles Rakkhad in his quintessential style, with generous Gujarati touch too, while the composing duo make it adequately mod and catchy! Peecha raja too is handled expertly by Divya Kumar, while the composers build the folk tune mighty well in the pulsating percussion and curious African phrases! Sachin-Jigar’s Gujarati debut is a short, but more than competent affair.
Keywords: Sachin-Jigar, Bey Yaar
Fanny re is so un-Goan, employs very Punjabi lyrics and is sung by a Rajasthani singer, Mukhtiyar Ali! The song has a wacky, distinctly-European sound, and carries an undeniable charm! The song’s other version, Mahi ve, is ditto, with just Fanny replaced with Mahi! Mathias Duplessy croons Ding dong himself and the French-Portuguese mix is simple and endearing. The soundtrack’s highlight is the tantalizingly catchy bossa nova by Sachin-Jigar, Shake your bootiya, that is guaranteed to kick-start an impromptu jig, with Divya Kumar is superb form! Sachin-Jigar go one up on Mathias Duplessy in what’s a short, immensely whimsical soundtrack!
Keywords: Mathias Duplessy, Sachin-Jigar, Finding Fanny, Finding Fanny Fernandes