Akshara Sangeetham

Math & Melody: The Rhythm-Emotion Duel

2008-09-30T19:54:00.000-04:00

There is a beautiful and grossly underrated song in the movie Ratchagan composed by A. R. Rehman. The song, titled Kanavu, starts with kayyil mithakkum kanava nee. For many, it was their first wow moment with the singer Srinivas. What has this song to do with Laptop (movie)’s songs composed by Sreevalsan J. Menon? Let me explain—it is not that any tunes are similar or copied. It has to do with carrying melody with a strict rhythmic structure. As srinivas sings with overflowing emotion and extremely sweet melody in kanavu, we slowly forget the bass-rhythm pattern that sustains throughout the length of that song. There is a point in that song where all this hits a peak-the one that is a feather in the cap or any composer. It is towards the end (right after the crescendo) when srinivas expresses the words ….ennaal thaanga mudiyaathu. I can go on with more examples, but since the album I am writing about is Laptop, let me make the connection.

I can safely say that this is the only album that pleasantly surprised me, and to which I am hearing to continuously, day after day. I liked Sreevalsan J. Menon’s (SJM) efforts to tone down everything and make it palatable to ordinary audiences like us—remember that he is an accomplished classical singer. However, the only thing that I would like to see change is the smoothness & flow of all of his songs. Since I haven’t seen the movie, there might be a mysterious reason why these songs follow the beats so religiously, sometimes even cutting off a wonderfully crafted tune. If SJM reads this, kindly let us know. Let’s go song by song. I sequencing in my order of preference-most liked to least.

Maymaasame (Singer: Amal Anthony)

This song seems to be set in a common raga Aabhogi. The song is extremely melodious, well arranged, and brilliantly sung. The song is a tad bit slow, but makes up for that slowness by the divine voice of Amal. He not only hits the right notes (e.g. etho vishadam, ninnil niranju—listen to the slight gamakams he does with accuracy), but also expresses each word with clarity and feeling. The use of Veena accentuates the raga’s feel perfectly. The pallavi is also richly arranged with santoor, synth patterns and delicate amounts of Tabla. The first interlude demonstrates what I had mentioned in the opening of this review-melody swinging closely with a structured rhythm. The first charanam is a delight with Amal handling the lyrics with kid-gloves (listen to: Manninte Gandham…). The second interlude follows the loose patterns in the first. SJM has provided us with not only a beautiful song, but also nostalgic memories of a legend in the music direction world: Late Raveendran Master.

Etho Jalashankhil (Singers: Soniya, Amal)

This song is featured in a solo version by Soniya and a duet with Amal. This song again shows that melody is too much under the influence of the rhythm. It is a beautiful core tune sung well by both singers. I personally preferred Amal’s version—but I am biased by his voice. The start is stellar with a solo piano. Then the song flows relatively well during the pallavi. I was a bit disappointed by the first interlude, with too much of a cookie-cutter feel. Charanam has the exact amount of string support (which you don’t see these days). Flute interjects during some lines perfectly. The second charanam has a sweet violin solo. Overall, the song is a good hear, especially if you like slow melodies.

Jalashayyayil (Singers: Kalyani Menon, Soniya)

Without sounding repetitive, I would have liked to hear the song with no percussion, at all. This song has, in my view, the best arrangements during the interludes. Like other songs, this one is also dripping with emotion and sometimes awkward silences (e.g. Jalashayyayil _____ ). During the charanams, the intervening silent spots (in between thalavattams/measures) are nicely filled in by synths. Without that the song would not have sounded good. There is also a nice lost feeling to this song, which might be what SJM was trying to express.

Ilam Neela Mizhikal (Singer: SJM)

Another simple song sung by the composer himself. Arrangement is simple most of the time, especially during SJM’s vocals. SJM is a very well known singer and hence the ease with which he goes through the different sections as though it is a walk in the park. The interludes are, however, misfits. Those take-off in an aggressive way. I got the same feeling when I heard the famous song malargale (Lovebirds). Towards the end the pallavi/anupallavi is repeated with percussion, which was unnecessary and awkward—sounded like a remix version. Although initially I liked the melody, it became a bit repetitive after hearing many times.

Vaathil Chaaraanaay (Singer: SJM)

This is a revolting/sad song took me right to Ravindran master’s days. Ravindran master’s songs, especially the earlier ones used to have an underlying feeling of sadness and anger combined (e.g. Sreelathikakal, Thenum Vayampum-arrangement, interludes) that stuck to your soul. I also feel that this is the only one song where SJM flexes his classical music muscle. The charanam goes through wild scale changes reminiscent of some of Sharath’s songs. The second interlude has choral voices fitting right with the emotions. SJM should try to get out of the same pace though. You’ll notice that most of the songs go at a similar pace. This would have been a good song to change the pace a bit. However, I am sitting in my arm chair—easy to say! Musically, this is the most challenging and innovative song in the album, and might be well liked by music scholars & experts.

Note: The start of the song was un-warranted; it did sound like a video game soundtrack.

To conclude, I would like to congratulate SJM on his entry into film music with poise and maturity which I wish most other composers had. SJM has not tried to overreach, over-compose, or over-arrange any of the songs in the album. He has also not tried to be quirky (except Vaathil charaanay). He has treated the human voice and penned words with respect. He has also given opportunities to some great talent—Amal Anthony being chief among them. I wish Amal all the best and hope that other composers note his talent and the intuition he has demonstrated in singing. As I mentioned before, the only two drawbacks that SJM should correct for the future are: (1) Don’t make the melodies too structured to the rhythm, so much as to cut the singers off at the end of each thalavattam(measure); (2) Think beyond the same pace and out of the box-like what Sharath did between Sreeragamo & Valinmel Poovum in Pavithram.

I wish that SJM’s work is noticed and along with Jaison J. Nair, who unfortunately was not noticed after he churned out amazing melodies in Aanachandam was ignored. I am amazed at the second-grade songs that come out like duplicate watches out of an illegal factory these days. It makes me mad, sad, apathetic, and finally bored. For those Malayalam film industry folks who cry about quality, remember that there are talents like the ones I mentioned above that get ignored routinely. It is not a matter of playing with synths and software, it is also a matter of musical depth, intuition and maturity. For the industry folks, it is also matter of just looking, hearing, & noticing.

Rock'n Roll: Music Review

2007-12-15T13:26:00.001-05:00

This review is also cross-posted at http//www.varnachitram.com which has that plus nice articles about malayalam cinema.

My first exposure to a Vidyasagar melody was in 1996—the sublime saranga melody “Thankathingal” (Indraprastham). I felt a unique balance between rhythm and melody in that song and has been a Vidyasagar admirer since. Starting with his entry with the immensely popular “Vennila chandana kinnam” (Azhagiya Raavanan), Vidyasagar is a musician that can change from one genre to another like a chameleon. It is hard to describe his “style”. Lately he has been composing the “Konjam Neram” (Chandramukhi)-style melodies a shade too much for my comfort.
He uses simple rhythms, very little strings, but a lot of synths. But his songs never overpower you with instrumental voices. He gives due credit to the human voice, but occasionally does wander into the Harris Jayaraj-GV Prakash-other ARR wannabes-realm (e.g. Sudum Nilavu; Thambi). Although he is not originally from Kerala, Vidyasagar has a unique ability to use words well inside melodies (e.g. Pinneyum pinneyum, Yaathrayaay sooryankuram), without either the melody or the words sticking out. He is also an exceptionally talented, well qualified, and intelligent MD. Because of all of what I wrote so far, I was a bit disappointed, but not too surprised, with his latest release Rock’n Roll.

Manchadi Mazha (Singers: Madhu Balakrishnan, Sujata): belongs to the collection of “konjam neram”-style melodies that Vidyasagar has been composing a lot lately. I think this trend started with the “Ninakkente manassile” song from Gramaphone. One good thing about this trend is that though many of them sound similar, almost all of them are sublime melodies. Like its very similar precursor (Enthanennu from Goal), the song uses the typical Vidyasagar ingredients—heavy melody, synth sounds, extremely light strings, sporadic chorus and raga. The two singers Madhu and Sujata have sung their hearts out, and this just shows the importance of quality singing. Listen to the subtle gamakams used in the charanam (e.g. thelivaarnnu ni~~lppoo, kadalinte mo~u~nam….). Additionally, I liked the bass patterns, especially the transition during the switch into the first interlude.

Valayonnithaa (Singers: Vijay Yesudas, Geemon, Pradeep Palluruthy, Ranjith): is the jolly-camaraderie-folk song. This reminded me of Vidyaji’s own “Thekku thekku” (Ezhupunnatharakan). The MD has tried to maintain melody in the midst of the informal and often annoying lyrics. Perhaps that’s the goal—to make us feel annoyed. I am sure this would be another one of the chartbusters. The MD has used a lot of percussion as the lead character plays a drummer. Overall, it is a standard-fare item-number.

Chandamaama (Singers: Anita, Rija): This is another buoyant song featuring a new singer. It seems that the song has topped the hit charts. The song has a lot of percussion. The percussion becomes the mainstay especially during the second interlude. The lyrics seemed to be very awkwardly fitted into the rhythms, which is odd for a Vidyasagar melody. From an attention-grabbing perspective, the song might score, but musically, it seemed that the song had vocals as a “third wheel”.

Raavereyaay (Madhu B.): When I first noticed that Vidyasagar is going to score music for this film, this was the kind of music I expected. The dramatic strings/piano beginning is swiftly followed by percussion and synth patterns. The first and second lines (Pallavi) are superbly crafted. Madhu B.’s powerful voice and the bass played very subtly make that part very impactful. However, suddenly, there is a let down in the emotion (hear the lines-Oru yaathrikaneevazhi----pooviral thottu…). I guess, I might have missed the point here. But, when the song reverts back to the pallavi (Raavereyaay) I do feel the impact. The first musical interlude is surprisingly bland, not in tune with the passionate nature of the song. The charanam starts with the same passion as the pallavi. Then it again dampens down with a subdued but melodious last part. Sometimes I do feel that the MD was just playing with (a.k.a experimenting) with the music.

Jiruthana (Singers: Ranjith, Tippu): The song did not interest me at first and I used to skip it each time I heard the album. But I was interested in the rhythm (hear Angel Eyes, Raghav). It sounds like a persian rhythm. I have the same issue with the lyrics specifically in the pallavi and anupallavi as I mentioned in the “Chandamaama” song. However, the charanam (Aakkaraykkaano alle alla) is interesting to hear and lyric flows nicely with the percussion. There is interesting contrast between light pitched sounds and the bass provided by the guitars and percussion.

While some of the songs are moving forward in the hit charts, I feel that this album is a step back for Vidyasagar. Why am I saying that? Listen to “Aazhakkannal”, “Mouname Unnidam” and “Kaatrin Mozhi” (Mozhi). Not only are they melodious, they are deep, and strike your soul. The argument against this premise (that this album is a step backwards) could be that this had a situational requirement that it was about a percussionist. True, but sometimes you do expect a lot from talented MDs.

Sangeeth: Smoothness & Talent Unlimited

2007-08-11T14:29:00.000-04:00

I was listening to this performance from the Amrita TV programme: Super Star. I was completely taken aback by this youngster's (Age 19) performance. Not only does he emanate talent, he also makes it look easy. Many times when singing the sifficult note-patterns, even the most talented of the singers "sound" strained. I am not interested in how their face looks, or how they tense their muscles visibly, I am just interested in their voice; the lack of strain in it that is. Anyways, this kid is a future star to watch for. I also noted that he has sung "Poonilamazha" from Chota Mumbai and probably "Aathmaavin Kaavil" from Black Cat. Both seem very well sung and emoted. I wish this talented youngster all the best for the future.

Ahh....Breathing Space, Courtesy Madhu B & Ilayaraaja

2007-07-20T09:50:00.000-04:00

I was (and am) feeling terrible and suffocated. In the last few months, there have been just a handful of songs that touched my soul, or worse, just made sense musically. In all fairness, most of those songs are far from being bad: They are just mediocre. That's not a crime, actually. I only had negative thoughts about music, and hence I decided to not write anything.

Now, I just happened to hear a beautiful song, and that's what this post is all about. It is from a new flick called "Sooriyan". Music composed by the living legend Ilayaraaja. ONE song, grabbed me from the start: Vasantha Nilaaven, sung majestically by Madhu Balakrishnan, one of my favorite singers. In the new era where you have to be something more than a good singer to be noticed, Madhu stands as the throwback singer. A classy guy, who can sing most of the tough sangathis handed out by Ilayaraaja with so much ease, Madhu, shows us why composers like M. Jayachandran considers him one of the best. It's so refreshing to hear someone who can SING and not do the "performing"-thing.

Lisen to the smooth rendering of the raaga after the words "ezhuthiri vilakkin..." (Charanam 1). The key word is "smooth". Also, listen how he hits each of the notes with such accuracy, still maintaining the overall emotion in the song (e.g. Kodi chaarthi nilppoo, amma, kodi janmamaayi & Kunju pookkale, thozhuthunaroo). Oh wait, one can (has to) do that? How about shake your hips and dance? No? Attitude? No? Then are you a singer?

Kireedom 2007 Soundtrack: What's Missing?

2007-07-04T11:04:00.001-04:00

Well, I wasn't planning to write anything. In fact, this was the last thing I want to do at this point in time. However, I could'nt just resist. I was hearing the song "Kanneer Thuliye" sung by Vijay Yesudas from the "new" Kireedom album (Tamil remake of the 1989 Malayalam classic). While hearing to this particular song, my mind wandered into several important questions that I believe are very important "reminders" to us all music lovers. The first question: Are composers with musical passion losing to composers with technical passion? Why did that question come up? I will tell you why: Listen to the old 1989 version of the song here. No, I am not talking about how the music is different, or how the malayalam-style (in general) is different from Tamil. It's a deeper concept. The old song was composed by one of the least talked about geniuses of malayalam film music: Johnson. A person who can just use some cymbals or no percussion or orchestra at all, but with just one or two instruments evoke heavy emotion in listeners. That's the simple genius of the vocal part of the song. When MG Sreekumar sings the vocals, you don't hear many instruments, except the bass, two mild folk percussion sounds and the occasional harp. But, don't think that Johnson cannot evoke the dramatic scenes pictured in the visuals of the song. Johnson uses a santoor ostinato (rhythm with a melodic instrument), heavy western percussion and heavy strings when he needs it. Instinctively, he stays away from using such heavy orchestra or sounds when the vocals are present. This is called "instinct" or "intuition". The present song "Kanneer Thuliye" is a soft melody, but a lot more rhythm based. It is just the opposite of the old version: technically its aeons ahead, but music-wise aeons behind. Again, remember that "music" is not the same as "high-quality sounds". Of course, a composer can use "high-quality sounds" to embellish good music (ARR; E.g. Thoda Thoda). It's tough to write this about a young up and coming composer, but I am just writing my opinion. Another question: Where is the variety? Does that term even exist? How many composers we know of today (in tamil probably exceptions are Vidyasagar and ARR) can compose a wide variety of songs? How many of them can compose a classical song, a comedy song, a lullaby well? The term is called "versatility". It is non-existent, barring a few potential talents here and there. Again, I am not counting ARR and Vidyasagar, perhaps the only two guys who can compose slow melodies (e.g. Kaatrin Mozhi & Uyirum Neeyae), foot-tapping songs (e.g. Athiradee & Othiri Othiri), comedy songs (e.g. confusion theerkaname & padakaali) etc. with equal ease. Perhaps, its a gloomy moment for music. Not for individual songs per se, but for the industry in general. Maybe we just don't realize it as a collective community...or maybe it's just frustration-laden 20 minutes for a rambler. I personally hope it's the third possibility!

New Malayalam Film Album Releases

2007-06-19T16:29:00.000-04:00

Hello
Music: Alex Paul
Lyrics: Vayalar Sharath
Intial Evaluation: Good couple of songs, but starting to get cliched....
Ratings Based on Criteria:
Vocal Melody: 3/5
Interludes: 2/5
Overall Orchestration: 3/5
Singer Selection: 4/5
Lyrics: 2/5

Black Cat
Music: M. Jayachandran (2 songs) & Alphons Joseph (1 song)
Lyrics: Vayalar Sharath
Ratings Based on some criteria:
Vocal Melody: 3/5
Interludes: 3.5/5
Overall Orchestration: 4/5
Singer Selection: 4/5
Lyrics: 2/5

Arabikadha
Music: Bijubal
Lyrics: Vayalar Sharath
Ratings: Haven't listened many times....

Best Musical Interludes Part 1: Wings of Snow

2007-06-16T19:28:00.000-04:00

"Manjin Chirakulla Vellarippraave....
Ullinte Ullil, Thirayunnathenthe?
Mounam mayangunna mohangalaano?
Thoovalthumpile sindooramaano?
Movie: Swagatham
Music: Rajamani
Lyrics: Bichu Thirumala

Composed by an oft-forgotten Musician, Rajamani, this song was a moderate hit in the 90s. Apart from the beautiful lyrics (e.g. "Nalinangal neenthunna nayanangalil, nizhalpole ninnu njaan..."), the song transports you into a different realm. There is always a sense of chill in the song. Venu Nagavally, the director, aptly shows us the mist covered mountains (if I remember correctly). The beauty however is in the immaculate use of strings, synths and most importantly, Santoor. Look for choruses and creative vocalizations. My instant attraction when I first heard the song at that time, was (and is) it's first musical interlude. Started by wonderful combination of synth and santoor, the interlude progresses with flute, and waltz-like rhythm from an analogue drum kit (high hat cymbals; probably performed live). The way Rajamani leads the orchestra into the charanam is just picture perfect. This is one of those moments where you hear this and think: How could he think of this?

Here's to the Crazy One......

2007-04-23T07:58:00.000-04:00

“Here’s to the crazy ones, the rebels, the trouble makers….the ones who see things differently. While some may see them as the crazy ones, we see genius…”
Transcript from an old Apple commercial.

This is a cross-posting, and was also published on Varnachitram.
Just recently, I was rambling about the lack of “stuff” in malayalam film music to my family and friends. I am not saying that we do not have good songs. I am talking about composers not having the strength to push music to the edge. Not for topping the charts, but for the sheer joy of the moment, the adrenalin rush, whatever. When Reghukumar-Rajamani team used powerful sustaining electric guitars and orchestral strings in the arranging the song “ponveene”(Thaalavattam), I do not think that they were thinking about making a “hit” song (just by the use of such innovative patterns). They just did it. So did Jacob Alexander in the song “Etho Kadinjoolkkinaavinte” (Kaalaalpada). In Tamil music industry, there was Ilayaraaja and now A. R. Rahman to do that, whereas in ours, there were none. Why? Because our audience is known for rejecting anything slightly different from tradition, and at the same time, hail the same innovations when it comes in other languages. Now, this is not blame, it’s just our nature.

Alphons Joseph is a music director from whom you can always expect the unexpected, and both as a listener and as a reviewer, I like that! All of his albums (except Iruvattam) were extra-ordinary compositions pushing the edge, bringing us a variety never before seen from a single composer. He incorporated both western (e.g. ithile nee) and eastern classical music (e.g. keranirakal) seamlessly and often forced us to take a look at different worlds of music.
With Big B, three things have happened. First, Alphons has carved a unique style of his own. Remember, almost every single MD in India somehow or other tries to imitate ARR, knowingly or unknowingly. Some are even clones. If you listen to each and every song of Big B (barring the “Hip Hop” track), you’ll see that the songs are both traditional (e.g. orchestral movements in Vidaparayuka) and modern (e.g. the techno patterns in Oru Vaakkum); focused (e.g. Muthumazha) and eclectic (Oh January). That’s what I call “versatility”. When you listen to the orchestra in “Vidaparayuka” you will be transported to an Ilayaraaja-realm. In fact, many compositions have that “mixed” feel. By mixed, I am referring to the raw feel induced by IR’s compositions (in 80s and 90s) and the highly electronic, hazy ambience created by ARR. Second, the tracks will grow on you. When I heard the songs for the first time, I shrugged and thought: What’s so unique about these? Four days later most of the songs were on repeat mode on my computer. The third thing is the ambience. In my previous review on Notebook, I mentioned about the importance of creating an ambience (Song: Iniyum Mounamo). Almost all of the songs in Big B have a unifying ambience. This is made up of mysterious trance like male or female solo voices or chorus coupled with powerful bass sounds. That is sometimes called a “theme” or a “signature”.

Now, let me qualify by saying this: I am a huge fan of his. I became a fan through his music. So my ideas in this review might be positively biased. Yet, I have tried my best to incorporate responses from others and evaluate things from an objective point of view.

Vidaparayukayaano?
Shreya Ghoshal
This track is perhaps one of the finest, purest western classical compositions in Indian Film Music. You do not have to dig too much to confirm this. There have been very few such compositions. Some other examples are: “Devasangeetham” (Guru), “Oh Priya” (Geethanjali), “Kottumkuzhal Vili (Kaalapani), Sundari Kannal (Dalapathy), and Saara Yeh Aalam (Shiva). The song is more like a symphony. The haunting humming by Shreya is quickly joined by a melodious classical guitar arpeggio skillfully concealing the underlying complexity. As mentioned in my previous reviews, listen to the manner in which the light sounds of the guitar are contrasted with the low-pitched bass provided by cello. When the first lines are repeated, more cellos and violins are carefully introduced. The chord progression is extra-ordinary. Western classical flute and classical guitar take us through the first interlude. The mood changes as Shreya sings “Mazha tharum…” Listen to the precise introduction of an Oboe (?) sound as the words “mukilukal” is sung. Woodwinds (flute, oboe) and strings slowly take over as the crescendo progresses. Then the orchestra takes off with delicate coordination between Brass (e.g. Trumpets, Bassoons), Strings (Violin & cellos) and Choral voices. This arrangement, in my view, takes Alphons to a new realm. Are the other MDs listening?

Oru Vaakkum Mindaathe
Alphons & Mridula
From a vocal point of view, this is my pick of the album. Again, you can appreciate the ambience created in the beginning of the song: hazy, mysterious and trance like. The rhythm pattern is surprisingly forceful. A slow paced techno pattern assists two types of drums. One pattern seems to be synthesized. Frequently, live middle-eastern type percussion is added to give a very active feel. The song, again grew on me in about 2-3 days. Generally, I do not like when MDs sing their own songs (e.g. ARR, IR, Yuvan etc.). But Alphons and M. Jayachandran do sound decent when they sing. In fact both of these MDs could easily pose as singers and get away with it. Still, I wish that Alphons gave this beautiful song to P. Jayachandran. I guess he was looking for a “western” pop like voice (Vidhu Pratap?). The first interlude has mostly an uneventful nature until the end, where a beautiful Gregorian chant- style chorus is sung. This is again, a move from no where (remember pushing the edge thing?). The melody becomes really drenched with emotion when the lines “Ninnil nizhalaakan…”. Mridula’s voice seemed unique, but a slight discomfort is palpable. As the song ends, Alphons again reminds us of the ambience he created in the beginning, bringing the song together.

Muthu Mazha
Vineeth and Jyolsna
Yet again, watch for the ambience created. You should be able to recognize the similarity of this feel with the other songs’. This is a typical “music album” number. In my opinion, Srinivas or P. Jayachandran would have been the better choices for this song. Vineeth’s voice seems to be strained at times. Why am I saying this? Listen to the lines “en munnil va*nnathenth*ino..” In the marked areas his voice strains and thins to almost nothing. That’s where a singer like Srinivas would have shined. However, that said, overall Vineeth has done a decent job singing. Alphons also surprises us with the words “You’re my destiny”, keyed perfectly with the overall mood of the song. The rhythm pattern is rocking and the chorus will make you sway with the rhythm. I would argue that this is purely a rhythm based melody. It seemed like the tune was derived from the rhythm. The pattern is slightly retro (remember the disco numbers of the 80s?), with the bass sounds individually making up a part of the rhythm itself. Bass guitars also come into the forefront when the chorus is sung.

Oh January
Sayanora
When is the last time we have seen an exotic musical number in Malayalam since Yodha? Well, here it is. This song is an eclectic mix of middle-eastern (Turkish?), Eastern European and Spanish music. I heard someone comment that it is similar to some of Shakira’s songs. Sayanora shows off her singing genius. Remember, it was Alphons who gave her another gem of a song (Am I dreaming?). Although a lot of effort has gone into this song to make it authentic, it is also its disadvantage, I believe. The song is a treasure cove of percussion, guitars and solo violin melodies. However, Malayalam lyrics felt completely out of place. Sometimes, I felt that there were a lot of starts and stops, disturbing the flow. Overall, I did not like this song.

Hip Hop
Shelton & Sherdhin
I had written earlier about unwarranted outliers: this is one. I was a little bit let down by this song. It is hard to believe that Alphons composed this. Even if you argue about the unique nature of this genre, I felt that the song was poorly composed and very carelessly sung. There is an unnecessary “rush” and a lot of noise. Skip this track, unless you are willing to listen to ANY Hip Hop number.

Some concluding thoughts: I am not sure how this album is going to fare in hit charts, when compared to some of the crass songs that have come out this Vishu. But, if you are a music enthusiast and you are open to multiple genres in world music, I can guarantee that these songs will grow on you in a week. The exquisite orchestral arrangements and out-of-this-world singing (Shreya) are some of the valuable things that this album offers. I do expect some awards for this album. Since many people may not realize the beauty of the western classical compositions, Alphons’s chances are unfortunately slim. However, I feel that Shreya might get one.

So, go to the nearest musical store and buy a CD for your collection and patiently hear them. You will be at least familiarized with different genres of music, if not entertained!

Authentic Mexican Cuisine, Reethi Gowla and Simplicity…..

2007-04-05T17:21:00.000-04:00

RaathriMazha
Music Director: Ramesh Narayan
Lyrics: Kaithapram

A renowned food critic once commented on Food Network® about trying to judge something. He was judging a dish prepared by a very famous and respected Chef known for his Mexican Cuisine. He explained his difficult dilemma after tasting that dish: How should I judge this? I assume that this is very authentic—but I did not like it taste-wise…so, should I rate this dish high or low?

While I am not a professional music critic, I am sure many listeners (I know quite a few myself) had the same dilemma while listening to the extraordinary musical creations in this album. Several years ago, I remember listening to a concert by Ramesh Narayan (RN) in the Poornathreyesa Temple in Thrippoonithura. Like everyone present there, I too was stunned by his performance. Hence, writing a critical review about his compositions might amount to sacrilege. Still, I am going to write my opinions about this album. Please take a listen to the songs yourself, and you are welcome to disagree!
Let’s take a raaga: Reethi gowla. Its notes travel a tortuous pattern, while ascending and descending (e.g. Sa ga Ri ga ma ni Dha ma Ni Ni Sa or in the Key of C: C, D#,D, D#, F, A#, A, F, A#, A#, C(v8)). There are several beautiful songs composed in this raga (e.g. Onnam Raagam, Kandu Njan, Azhaghana Ratchasiyae, Pranathosmi). However, there is “Meettaatha Oru Veenai” (Poonthottam) composed by Maestro Ilayaraaja. If you hear that song, especially the pallavi and the anupallavi, you will just flow smoothly with the song, and will never realize that the song has used a raga with such a discontinuous pattern. My point is that a music director can take a very strong classical raaga and make it sound smooth and simple. Other examples of such feats (using other ragas) are: Azhage (Amaram), Pramadavanam (His Highness), Vaalkkannezhuthiya (Paithrukam) etc. The songs of Raathrimazha are mostly too complicated for a normal listener. However, the pieces are well orchestrated and authentic. It is no surprise that the album won the state award for the Music Direction, and Playback Singing (male and female).

Let’s start with the simplest of the lot and perhaps the most cinematic of them all.

Aalolam (Solo versions by Sujatha & Nishad)
The song starts with a short signature (E F# G# G# A...). The uniqueness of this song is its slow pace and the traditional “folk-lullaby” ambience. I liked the innovative use of female chorus, subdued with a good dosage of strings. The chorus sometimes even gives a eerie touch (listen to the part where Sujata repeats “aakaasha…..kaliveedu”). Towards the middle of the song, it goes to a place where you feel good, but nothing extraordinary. One thing that caught me by surprise is the excellent rendering by Nishad. We need not dwell on Sujata’s singing, as she is always awesome. But, Nishad has great potential. He has emoted well and sung the gamakams (note-slides) with ease.

Bhasuri Sruthi (Sujata & Srinivas)
This song has fetched State Awards for both singers. Starting off the song in what seems to be the notes of Yaman (just the start), the song travels in almost a zigzagging way to different scales, with the addition of occasional accidental notes (anya swaras; e.g. C#). Or maybe, it is a very complicated Hindusthani raga that I could not understand. I was a bit confused by the melody as it progresses in to the later stages. For example, a nice start like “Aashadapournamiyileeran nilaavil…” suddenly turns into a very ordinary melody. I liked the start and most parts of the orchestration. The strings sometimes felt very synthetic and hollow. The beginning piano notes reminded me of the Oscar winning piano theme for the movie “Finding Neverland”. But overall, the song is hummable and it will stay in your minds for a while. Obviously, the award committee recognized the complicated nature of the song--hence the award for the singers (and the MD).

En Nenchile (Hariharan)
For some reason, I could not get my mind around this song. I was a bit surprised by the “retro” rhythm (except the Tabla). Also, sometimes, I felt like the song is too complex. The song is seemed fine at the charanam stage. Hariharanji, as usual sings the tough raagaalapana and swaras as though it is a walk in the park.

Manasse (Ramesh Narayan)
This song (from a classical standpoint) struck me like thunder and lightning. It seems to use the notes of Amrutavarshini (used in many “rain” sequences). I was spellbound by the use of these notes in a very dark and often angry way. Somewhat like the feeling you get when you hear Revathy raagam (e.g. Kudajaadriyil, Sreelathikakal). The effect of Amrutavarshini is in the repetition of the pattern--Sa Ga Ma (pratimadhyama). Usually, you get a more positive and romantic feel, whereas here, it is more dark and revolting. Overall, this one is a treat for classical music fanatics.

Raathri Mazha (Ramesh Narayan, Gayathri)
This number sounds more like a recital of a poem, than a song. The lyrics are very simple (e.g. Raathrimazhayodu njaan parayatte, ninte sokaardramaam sangeetham ariyunnu njaan). Sometimes, the lyrics seemed to be stretched out and sung like a “niraval” in carnatic classical music. Again, for a classical music fanatic, this song would be addictive. The second musical interlude aimlessly takes on a very confusing melody and beat out of nowhere. It leads to a crescendo with chorus etc.

Overall, the album is not for everyone. If you like hardcore Hindusthani music, or just poetry recitals, you would definitely like this album. Personally, I felt that the songs were authentic, complicated, and definitely a brave attempt by a well accomplished classical musician. The courage-factor is in trying to market these songs to an audience increasingly addicted to the trivial “ringtone” music that the so-called “music directors” are churning out these days. Oh, wait a minute, which camp am I on? Given the trash I get to hear everyday and the despondency I feel when I hear most of today’s “hit” Malayalam film songs, I will gladly take refuge in hearing songs like the ones in this album. At least, I know that these are authentic. It is music, not pre-manufactured electronic cacophony.

Just as I wrap up, I hear Hariharanji’s delicate singing…”Aaahaya pookkal, mazhai thoovum neram, manathin raagam…” (Meettaatha, Poonthottam, Ilayaraaja)…and I start wondering, can anyone measure up to such high levels composing?

Nice Debut: Mejo Joseph's Musical Notebook

2007-01-24T20:09:00.000-05:00

Recently on my trip to Kerala, I found that TV channels were toxically loaded with film songs. It shouldn't have surprised me, as many websites have written about this phenomenon. Having heard Notebook's (Roshan Andrews movie) songs and carelessly dissmissed them, I was surprised by the way a couple of them climbed into my psyche. The weird thing is, I don't know why I started liking them. Below are some thoughts on Mejo Joseph's composing debut.

There are songs like "Penne en penne" (Udayan T), and then there are songs like "Devasangeetham". These two songs occupy two ends of the orchestral spectrum. Mejo Joseph seems to be leaning more towards the minimalist style. Songs have a crispness and simplicity almost reminding us of Deepak Dev's style. I used the word "almost" in a positive way. Mejo seems to be having a richer orchestral knack. He uses strings and electronic sounds very strategically, and carefully suppresses them when vocals are present. Like most youngsters, he also seems to have a penchant for Guitars and synths. He does try to mimic ARR's style, like Deepak (and like several other composers). There are signs of musical talent, but at the same time, there are signs of "impatience". I will describe these when I review the songs.

My favorite song of this album, is "Iniyum Mounamo?". The song is a orchestrated very delicately, with the precision of a micro-surgeon. For any movie-composer, the first and the most critical question, in my view, is "What's the situation that I should portray with my music?". The ambience in Notebook is intenseley romantic. There is the misty look of a hill station, with breathtaking scenery around. What is the best instrument a composer can use to portray that ambience?; Cello. Now, listen to the song: Iniyum Mounamo. You can see how he creates an ambience of rain and calm, by using very low energy vocals. Sudeep shines through with his controlled, mature singing. The arrangement consists of Guitar. Tabla is provided intermittently with light electronic drums. It is refreshing to hear. The best part is the first musical interlude. One of the best I have heard in recent times! Again, it is that quiet, calm, and romantic ambience it creates. The aural bliss of a solo violin's sound!!!! The first charanam starts with "Poyoraa naalukal...". Listen to a very interesting mix of guitar strumming and tabla used alternatively. This creates a lot of space for the vocals to dominate and strike deep into the listener's mind. Strings come in strategically. The second interlude also consists of a short string-ostinato (if I could call it that) with flute. Manjari sings with her usual expressiveness, adding a little manodharmam when singing ".......aa santhosha~~ngalella~a~m". However, this song does drag a bit, because of the repeated use of some of the notes (e.g. hear pallavi-"parayo~o~", charanam-"ka-a-lam". This song is a feather in the cap for a debutant composer.

"Hrudayavum, Hrudayavum" is another romantic, but fast-paced song. The use of chorus confirms my feeling that Mejo is a big fan of ARR. Jyotsna has sung the song well, considering its unique requirements. The english lyrics in the beginning are ok. Nothing against Vineeth Sreeni, I would have liked to hear the song in the voice of Karthik. I think this is a song perfect for his voice. The chorus "sundarante..." is over-used a bit. Otherwise, charanam is well composed. There is a nice mixture of Guitar and strings in this song also. Vineeth strains a bit as he tries to keep his true voice during the crescendo.

"As we all know" is track with devotional/spiritual undertones. Again Cello appears in the middle of the song. There is not much to write about this one. A typical prayer-like song.

"Mazhayude" is fast paced and trendy. I guess, it is the "explosive" track of the album. Both the interludes and the charanam slows down and even takes on a folk flavor. It did a get a bit confusing, when travelling between genres. This is where Mejo could improve in the future. Exercising more patience in switching genres or changing the "feel" of the song might go a long way. Easy to say from the comfort of a chair & a computer!

Overall, I feel that Mejo has shown flashes of talent. He has composed two songs very intricately. I can see how much effort he has put into designing each of the arrangements. A good example is the perfectly co-ordinated "dance" between synths, flute, swaras and the rhythmic techno sounds in the first interlude of "Hrudayavum". I applaud his efforts, but at the same time note here that his songs are in no way "classics". They are fresh, novel (in some ways) and will grow on you. For me, at least two of them did!
Happy listening!

No Man's Land (Guru Music Review: Part III)

2006-12-01T20:25:00.000-05:00

* Important Note: Please read Part 1 & Part 2 of my review before reading Part 3 or leaving comments. Thank you!
Recently, A.R. Rahman (ARR) has started singing significant portions of his compositions. I am clueless as to why this is happening. Hypothetically, "Tere Bin" would have been an above-average song if (and that's a big if) ARR would not have attempted to sing it. It is a melodious folk tune, requiring very special vocal talents. Probably Sonu Nigam or Hariharan would have taken the song to new heights. I will give you a specific example. Listen to the first interlude, when ARR sings swaras. My ears could not stand such a casual singing of notes. A singer with a lot of talent wouldhave to sweat to sing those swaras. Knowing that, what prompted ARR to sing it? Overall, the song has a folkish feel. There is nothing new or surprising in the song to write about.

While my anger is still fresh, let me point out the contrast in the "Jaage Hain" song. The song starts with the fantastic sound of K.S. Chitra. Unfortunately, her part is limited. So is the effectiveness of the song. Strings and then Chorus takes over. You can hear an ostinato by the cellos in the background as the chorus+strings follow the signature tune. The niceties end there. The song dives "south", deep deep south when ARR unnecessarily takes ovethe song. My simple question is WHY? Why sing a really tough song when you have hundreds of talented singers willing to sacrifice anything for a chance to sing under your baton? The signature tune is OK and resembles the Bombay theme. I liked the Ostinato as it gives a periodic feel.
"Bazi Laga" seems to be a purely situational song. Fast paced and with some punjabi undertones, the song gives a very joyful feeling. Arr uses interesting rhythm again reminding us of the 70s. Udit Narayan carries the song with his trade mark "jolly"-feel. Again, I wonder whether we will think twice about this song if any one other than ARR had composed it. It is a far-cry from ARR's usual composing standards.

Ek Lo Ek muft is a below standard song by all means, but supposedly fits with the situation well. I liked the percussion patterns. It reminded me of the complicated folk percussion used by Alphons in the song "Ottuvaccha" (Vellithira; Malayalam; 2003).

This is what I imagined as a "No Man's Land". A couple of songs stand out of the crowd. Obviously, I am only comparing ARR's songs to his own previous songs. It is not even worth the effort to compare ARR's album with the "trash" thats coming out of the so-called "composers" in bollywood.

No Man's Land (Guru Music Review Part II)

2006-11-30T14:02:00.000-05:00

It has been a long tradition and no surprise: ARR's music album typically contains some middle-eastern riffs or full-blown arabic numbers. "Mayya Mayya" is ARR's attempt at Turkish music (?; I heard an interview where ARR says he has mixed Turkish music with Gujarathi music). Initially when I heard this song, I dismissed as it being another one of those repetitive arabic music pieces. Well, about 60% of the song has several things which might remind you of several older arabic numbers. Eg. The sudden string interludes and the use of folk percussion (Darabuka, Tar/Duff?). Again, look for a simply "outta-the-world" song beginning. Music Directors of India.....pay attention please...!!! (obviously they do and we get some star musicians in Kerala/Tamil N. & Bollywood). The starting humming seems to invoke arabic feel. Listen closely as the rhythm is suddenly introduced. In the 8th measure (after percussion starts), the magician's wand is waved when Toller says a few arabic (?) words at the nick of time. It is that touch that pushes the song forward, and makes us sway with the music. The pallavi and anu-p seemed surprisingly ordinary, just like in any other middle-eastern song. The strings support periodically, building the ambience of the genre. The song uses a lot of intermittent choruses and random hummings by the lead singer. But I liked the way ARR builds up the pace. There is nothing else that stands out in the song. Overall, considering ARR's high standards, I would rate it "moderately good" (whatever that means)? By the way, in the outside chance that ARR sees this review, my question to him is: What happened to the "Ae Ajnabi"s, "Mitwa"s, Nahin Samne's etc.?
"Ae Hairathein" is ARR's softie song in this album. Tough to call it a ghazal, although other reviewers have called it so. This is a song where you get convinced that Hariharanji's voice is a blessing for us all! I am guessing that the scenes shown during this song happens several years ago, because the music has the touch of the 70s. The tune is very simple. It is interesting to see lyrics used in a different way (e.g. the sudden stop after ".....lagaaa math"). Obviously, ARR is following the meaning closely. The charanam reverts back to ordinary-levels. Alka Yagnik sings the number well, but I would have paid extra to hear it in the voice of Shreya or Chitra. The second interlude is drier than the first and this is where I got lost in "No Man's Land". Ending is interesting. I thought I heard the typical noises of a dusty old record player. Nice touch!
To be continued....... (with my angry ramblings on why ARR chose to sing a couple of songs. Why, Why? I ask.). Please click here to read part 3.

No Man's Land Guru Music Review Part 1

2006-11-22T12:34:00.000-05:00

When I saw that the music of "Guru" (Mani Ratnam, A.R. Rahman) had released, my heart raced. I just couldn't bear the few seconds before I could hear the songs. Every crazy artist or genius makes people want to hear/see their work. It is an admiration that is beyond our conscious control. Once I heard the album however, I should admit, I am lost. I don't know what to make of it.
It is apparent that ARR has spent a lot of time and effort making this album. It boasts of a crazy variety of numbers tapping into several genres. One example is ARR's attempt to integrate middle-eastern (Turkish?) music with Gujarati folk. Goodness, is that really necessary? What's the harm in trying, right? After all isn't ARR a genius?

Overall, ARR's music is upto his standards: Delicately handling melody, never overwhelming on piece of music with another, and scintillatingly astute in rhythms. Above all the heaps of praise people shower on him, I have always admired his ability to catch us off-guard, even pleasantly surprise us with powerful song beginnings, and rhythm additions etc. You will find all that in this album. Still, is it like what ARR's music used to be? Remember, we are not talking about comparing ARR's work to say, Dil Se, or Taal. His work spans several albums, languages and genres. Yes, I am waiting. Waiting to lean one way or another. I definitely like some songs, but I am not totally bowled over by them. Maybe its just me.

Barso Re is my pick of the album. Firstly, as a music fanatic, who cannot have a crush on the melliflous voice of Shreya Ghoshal. She is the best thing since Lataji and K. S. Chitra that the films have produced. You also have to just sit back and revel in the magic of a superb song-beginning. Elsewhere, I had written that ARR is the King of Song Beginnings. This one starts with the sound of a folk instrument (sounded like a shamisen). Shreya sings the "Na Re..". Slowly, the percussion is added. When the full blown version is played, listen to the clever placing of synth sounds between the drum beats. The rhythm is not overwhelming, but catchy, relatively slow, but steady. There are places where the lyrics strain through the sudden note changes. The charanam is very mediocre until Shreya playfully sings the last part.
Please click here to read Part 2

A Song To Blow You Away

2006-11-02T09:50:00.000-05:00

It is through uncertainty that many good things happen. At every important point in my life, I have noticed something: Good things (or bad things) happen from the most unexpected of places.
With a tired mind, sleepy eyes and weary body, I was browsing some of my favorite music blogs. I happened to see that the album "Blogswara-2" (BLS-2) had released. I clicked on the streaming-audio-player, and was casually listening to the nice songs composed by amateurs from around the world. But, one song, just blew me away, completely. The (tamil) song is titled: Mella Mella, sung by Joseph Thomas (Jo) and Vidyu. The music is composed by Narayan Venkitu and arranged by Anil B.S. What makes this song so beautiful? Well the logic is simple: The song has astounding orchestration, professional arrangements, enticingly melodious music-and, did I forget some mature, superb vocals? In short, it is a product that stands tall, in every which way possible. With my limited music knowledge, let me parse out the nuances.
The song has several unique characteristics. First, it is the contrast in vocal styles. Jo sings with the smoothness reminiscent of Ganagandharvan's voice in the early late eighties and early nineties. Vidyu, on the other hand, reminds us of the purity of classical music, again, similar to the joy we get when we hear Bombay Jayashree sings. Second, is the contrast in the genres. The vocal tune is rooted strongly in the carnatic genre, whereas the rhythm/arrangements are western (specifically pop/classical). Remember the songs: Thoongaatha Vizhigal (Agninatchatram; Ilayaraaja; Raaga: Amrutavarshini) or Enthan Nenjil (Kalaignan; Raaga: Nalinakaanthi)? These two are ultimate examples of how a composer can use both powerful western pop arrangements with equally traditional carnatic tunes. Third, the composer and/or arranger seems to have that knack (shall I say "composer's knack"?) of introducing strings, synths, and rhythm at very strategic places.
The song starts with the casual playing of chords, slowly nudging us into the tune. The rhythm starts in two stages: first the synth sounds and then the actual drums. Though resounding above the general tone of the song, it adds that additional ZING to the song, that, perhaps, a mrudangam would not have added. The bass support is interesting. Anil/NV has used it in an active way, playing short signatures with the B. Guitar (or synth). The first interlude is so professionally done, that you wonder whether you would have guessed that it is NOT a movie song. Jo carries the song into a different world when he sings the charanam with ultimate ease. With no strings during the initial lines (Mandiram.........maranthaen), the focus is on Jo's voice. I am particularly impressed with the ease and the cool head with which Jo handles the song, specifically the gamakams (sonthangal.......thurantha~e~n....). Strings are smoothly introduced as the crescendo starts (Sonthangal.....). When the (Anu)pallavi is repeated, Vidyu starts her vocals. Though almost polar opposite to Jo's vocal style (strongly carnatic based), being a carnatic music addict, it just gave me a different feeling altogether. In short, both singers have excelled in two different ways. Also listen to the sudden silence as Vidyu finishes the last part of the charanam and repeats the pallavi (silence, and then Jo takes over). It is a powerful tool to invoke the emotion, frequently used by (malayalam) MDs like Devarajan master and Ouseppachan. With all the nuances of the arrangements and good singing, it is often easy to ignore the talent behind the core-tune. Whetever embellishments you add to a song, without a good core-tune, it simply will not sound proper. Just like a technically perfect movie with a poor script. So, my special congrats to N. Venkitu for composing such a great tune!
I know it is weird for me to muse on one song, and write a lengthy article. But, I felt that Jo, Vidyu, N. Venkitu and Anil deserves much more than my article above. I only wish that some music/movie professionals get a chance to hear this, and appreciate its value.
Congratulations on a well-crafted artistic piece. Keep up the good work, and music lovers will be waiting with eager ears (and an iPOD)!!!

Alphons Joseph: More Talent Than Hits?

2006-10-21T18:22:00.000-04:00

If there is one music director about whom I cannot maintain my objectivity, that would be Alphons Joseph (AJ), and I hope you will pardon me for that! Why is it that I cannot lose hope on this wonderful talent?
In a recent web-video interview, Alphons sings the classic "Keranirakalaadum" (Jalolsavam, 2004) with just an acoustic guitar. Towards the end, he goes off an alaap on the raaga (saraswathy), like a seasoned carnatic singer. Next, you hear the jazzy number from Manjupoloru Penkutty (Ithile Nee), and then of course, the ground breaking English pop-ballad "Am I Dreaming?". In my 20-odd years of voracious listening, I haven't heard an english song composed with such authority and devoid of an indian-slang, from an Indian composer, including the great ARR (Not to compare Alphons & ARR). It is exactly this versatility in him that gives me some hope about malayalam film music. Yet, commercially, most of the movies he composed have not fared successfully. Few of his songs, though hits, became so slowly, climbing up the minds of the "hit-hungry" audience. Next let me try to parse out his composing style, assuming there is one.
Unlike music directors such as Shareth, M. Jayachandran, Deepak Dev and Jassie Gift, it could be a challenge to pin down what his "style" or signature is. The former four are instantly recognizable, whereas, alphons is hardly so. The only songs that "seem" similar in patterns and composing style are: Karinkallil (Vellithira) and Kulirillam Vaazhum (Jalolsavam). I would say, those are the only "genres" where he is "not-so-comfortable". Generally, His songs could resemble more of a holistic composing style like Ouseppachan, Reghukumar, Rajamani or Mohan Sithara than others, who focus on ONE or TWO aspects of a song. To be more specific, his arrangements are very intricately done and gels with the vocals nicely. To pick one: "Hrudayasakhi" from Vellithira. The amazing use of chorus and strings just blows me away, each time I hear it! Another aspect of his composing is the use of unique sounds in places where we fail to notice it. Yet, they let us enjoy the song as a whole. For example, in the song "Gaanamaanu Njaan" (Iruvttam Manavatty, 2005), just before the first musical interlude, listen to a subtle use of synth voice touching the notes of the raaga as Srinivas and Sujata repeat the first line. Also, note the use of a glassy percussion sound towards the end of the measure (thalavattam). Very nicely done, yet, stays in the background for a first-time listener! Same is the case with the subtle introduction of background strings and bass melodies in Hrudayasakhi or the sprinkling of piano notes/synth sounds/light strings (start of the second interlude) and the double voice-veena follow-up (ending of the first interlude) in Nee Manimukil.
From an effort perspective, I read in an interview in Manorama that he went and stayed in kuttanaadu, interacted with the people to know their culture, values and norms, and then composed keranirakalaadum. Isn't it great to hear that from a young composer? Because of this effort, he was blessed with a film critics award for that movie/song.
Why then, has he just composed songs for 4 movies (except makalkku in which he scored the background music and the upcoming ones)? Is it just because all of his movies did not do well at the box office? Is it because his songs were bad/not good enough? To be frank, I have no clue. Personally, I did not like his latest release: Iruvattam Manavatty. I also know many people those did not like his compositions in Manjupoloru Penkutty. One explanation I could come up with is that he might have composed ahead of his own times: How many Jazz/Blues numbers do we have in malayalam? Another reason could be his tendency to use a lot of western instruments in some songs. A good example is the song "Manjupoloru Penkanavu". There are two or three segments in that song where P. Jayachandran takes off on a classical piece. Call me picky, but I would say that too many western instruments maybe, eclipsed that wonderful melody. Or is it a fact (though an uncomfortable one) that movies have to become hits in-order for songs to be noticed? Then, how about Vellithira or Paithrukam?
Now looking towards the future; It seems that the great Raveendran maash commented in an interview that Alphons is one of the guys to be noticed (informally got this information, I maybe wrong). If this information is true, then, there could be good reason why he felt that. Can Alphons or any other upcoming MDs (e.g. Jason J. Nair, Benny Johnson) take over the responsibility of Malayalam music? Only time can tell.
** Note: This post deals exclusively with his composing style and his songs. His biographical information is already available on his website.
Your constructive comments are welcome!

Deepak Dev: An evaluative look at the "Hit-maker"

2006-10-06T16:16:00.000-04:00

If you ask the Malayalee Gen-X'ers (the young generation of today) about who their most favorite film composer is, they would most probably scream: Deepak Dev!!! Whether you like his songs or not, the influence he has weilded on the music scene of today is tremendous. Starting with the unbelievably hit songs of Chronic Bachelor to the quirky western pop tracks of Rashtram, he has occupied a very unique place in the malayalee music psyche. After seeing this intro-paragraph, some of you might have guessed where my opinion is. Since some mysterious veil objectivity is percieved to be the anvil of a review's credibility, I thus remain a cold-hearted human being and shall try to remain so, during the reminder of this review!

Citing several internet discussion groups and my own personal opinion, it is fair to say that about 99.99% of Deepak's (DD) songs are composed in the so-called "Rahmanian" style. What in the world is a "rahmanian" style? I will reserve a detailed discussion on that one for a future date, but in short, it is something that gives you very clear sound, lots of synth melodies, and a unique signature (e.g. listen to the song thumbikkinnaaram; the rahmanian signature is expressed when Gayathri sings "kinnaaram"; or the word "veruthe viralinaal"--from the same song's charanam). The fact that his music reminds us of A.R. Rahman's songs should not be taken as a bad thing. If it were, then, where will the 10s of 100s of today's aspiring composers go? Should they stop composing?

What about his uniqueness? The following are some points that I observed:

The single biggest instrument in DD's songs is the Guitar. I am not sure whether the sounds are actually made by THE guitar or a mega-voice enabled Yamaha Tyros workstation, but they are Guitar-sounds allright. Typical, that guitar pattern is either played with the lead melody (e.g. Minnedi Minnedi, Naran) or used as a filler (e.g. Parayaathe Ariyaathe). Almost all of the songs composed by any composer will have guitar sounds. Then how is DD different? It is the degree of its prominence. Listen to "minnedi minnedi" or "parayaathe ariyaathe".

The second characteristic is the sound design. Deepak gives a lot of importance to the quality of sound. The result is a 'crisp" clear sound, both for the vocals as well as the instruments. He also strives to add very minute details to the tracks such as "fret noises" (the noise you get when you slide your fingers on the guitar; e.g. Listen to the ending of "Karale") and "breath sounds" (the sound of breath when a flautist blows into the flute; e.g. beginning of parayathe).

The third thing I noticed is that his songs grew exponentially simpler as time progressed (from Chronic to Naran). The songs of Chronic were sort of funky, complicated, but melodius and catchy. The next one, symphony, was simpler and it goes on like that until Naran. Simplicity has its own benefits: it narrows attention. For example, in the song "Panimathiye" (Symphony), all you could hear is the sweet voice of Chithra. That becomes your world...nothing else! The same is the case with the song "Karale".

The fourth thing is the rhythm. DD's songs have very powerful and/or prominent rhythmic undertones. To his credit, he has used multiple styles and variations in rhythms (e.g. Acoustic-Rock'n'Roll type in "Karale", high-imapact, resounding drums in swayamvara chandrike and lighter ones in "Chirimani Mulle".

So far, he is on a continous run of hits, independent of the status of his movies. So, the younger generation (at least) has welcomed his music. Although he cannot be compared to the geniuses like Raveendran or Johnson, he sure has impressed the music world commercially. Not only has he done that, his songs have even made some movies successful.

As to the curious "when will a new era in malayalam music start"-enthusiasts, for now, they will have to keep checking the audio markets and console themselves that one of the curent talents will come to their (and our) rescue!
Constructive comments are welcome!

Articles under preparation

2006-09-30T12:22:00.000-04:00

Hello Friends:
I am working on a multi-part series on one of my favorite topics: Melody Makers. I will be writing about the new music directors in malayalam films such as Deepak Dev, Alphons Joseph, Jassie Gift, M. Jayachandran and others.
Please check back soon........
KK

Mahasamudram Music Review: Moderation Might Win

2006-09-20T14:11:00.000-04:00

Mahasamudram album released several weeks ago. I got around to hearing it only now. The music is composed by the most "successful' malayalee music director of our times, Mr. M. Jayachandran (MJ). The album poses an interestng challenge: MJ has to potray the essence of fishermen and the culture that is prevelant in that community. As any reasonable audio enthusiast would assume, I am guessing that MJ did a lot of research going into this project. Overall MJ tries to evoke the ambience of the fishermen-community by using mostly choral voices in the rowing rhythm. It is not easy, I agree, but MJ could have done better!

The song "chandirane" has a mixed feel to it. On the one hand, it seems very folksy, but on the other hand, strange musical genres appear mid-way through the song. One example is a riff almost resembling "irish-music" which has become a standard among MDs. Their popularity was increased by Shankar Ehsan Loy in Dil Chahta Hai. I would give this song about a 6 out of 10.
Kadalechirichhu is a highly situational number, intensely sad. MJ has succeeded in keeping that feeling intact. The main instrument is a low-pitched flute. Aptly the vocals steal the show. I liked the ending music where the higher pitched flute plays as the male vocals hum the tune.
The best number, in my view, is the song "Kando Kando". The rhythm is very aptly selected for the situation. Venugopal and Chithra sings the songs with ease and emotion. I liked the way the 1st charanam starts abruptly. Again look for the use of male chorus. One thing I noticed is that the tune seemed so familiar to me, bearing some resemblence to the song "Gori Tera Gaon" (Chitchor; KJY). But that could be because of the raaga.
The song "Maanmizhippoovu" is sung by KJY. The song seemed intensely ordinary but melodious. It is a typical heavy melody. Hearing this you can immediately identify the composer. There is nothing special about the song, but for the unique use of flute sounds and sarangi (?) to give it a special ambience. I found the rhythm a bit confusing, as it seemed more north-indian, than song for the fishermen-folk.

Don Music Review Part-2

2006-09-10T11:07:00.000-04:00

Don Theme Instrumental-SEL

The track starts with a few knocks on the door, with Shahrukh’s voice proclaiming (I am) "Don". The same analogish keyboard sounds (listen to the scores of Vangelis around the 80s) comes in. The brass section follows, and takes us right to the 80s Bachhan movies. I also liked the delicate co-rdination between what seems to be acoustic bass and e-bass. The nicest part is towards the middle part of the track where a mixture of female chorus sounds and strings are used to create a unique effect.

Main Hoon Don
Singer: Shaan

The vocal version is somewhat similar to the previous instrumental version. The guitar pattern is repeatedly used here also. The rhythm is really foot-tapping and the melody is cool. However, a huge drawback is the selection of Shaan as the singer. Don’t get me wrong, Shaan has sung the song with his utmost effort and sounds ok too. However, I couldn’t get that feeling of "might". For example, you can listen to the song "Andheri raaton mein-Shehenshah". There is a feeling of someone so mighty that he defies imagination. Shaan’s voice goes a little bit flatter, especially when he suddenly takes the higher pitch in "Mai.... hoon don", in fact you wont even hear the letter "M". But, overall a nice effort (but for the singer-selection) by SEL.

To be continued........

Don Music Review Part 1

2006-09-08T21:15:00.000-04:00

The music of Don was eagerly expected. Shankar Ehsaan Loy (SEL) became famous through their work in a Farhan Akhthar film. Don is Farhan's third. Automatically, everyone expects SEL to break rules and put all of their heart into it. In an interview Shankar said that while working with Farhan, they have to work in a different level altogether. I guess being a huge Farhan-fan, I can see why they say that!
What about the music? As an ameteur critic, I am completely blown over by their music. Overall, they have used a very unique ambience, at the same time, managing to sound like themselves. The movie is set up (I think) to mimic the sounds and style of those wonderful Bachhan movies of the past. It is in fact a remake of the old movie, Don starring Amitabh Bachhan. How do you bring that 70s-80s feel? Well, SEL uses analogue-keyboard sounds and very carefully crafted electric guitars and drums sounding very acoustic (rather than electronic). However, they are also mindful of the youth of today. Hence, they also bring in techno-sounds.In short, they have innovated quite a bit, and retained their style. Let's look at the songs one by one....
Aaj Ki Raat
Singers: Alisha, Mahalakshmi & Sonu Nigam
In my view, this number is one of the finest I have heard in recent years. The song starts with a drums sounding both electronic (house-techno) as well as acoustic. When the rhythm starts, right at the second measure, look for the purposeful amplification of the high-hat-cymbal (the brass disc like thing used in percussion). Techno sounds are added in the next measure, and then in the next, analogish key board sounds are added as a pattern. Look for the Don-theme music played in the background. Alisha's silken sound comes in with some very unique note slides. Listen carefully as she sings the following two lines:
"------Chhaayee hai-----ra~~nge~eniyaan"
"------Phir Bhi Hai -------be~~taa~biyaan"
These noteslides have been so delicately sung that it sounds smooth, rather than like a classical sangathi. The rest of the song is also well composed. There is also a feeling of freshness and peace. This is just because of the intricate musical arrangements used by them.

To be continued........

Aanachandham: Final Part

2006-09-05T21:24:00.000-04:00

The song which almost everyone would instantly like is "Guruvaayoorile". The song starts with en electronic pattern (which was inappropriate), leading into a nicely done chorus. The rhythm and synths give a slightly modernistic feel to the song. I would characterize that as a small mis-step, and a quite understandable one, considering Jason's in-experience. However, he makes up for that by making the song flow so well that you will just get carried away by the melody. Synth sounds have been well used in the melodic part. Madhu Balakrishnan sings the song as though he is taking a casual walk around the temple. He has also put his heart out on this song.

"Shyaamavaaniletho" is another gem of a song rarely heard these days. What happened to such songs? Both G. Venugopal and Akhila sing the song with discipline and emotion. The start of the song is with santur and another string instrument (sounded like a sarod). The rhythm is simple as the lead tune is sung. You can hear the nice change in the rhythm when the anupallavi is sung. Jason seems to have a nice music sense, a natural knack of knowing when to use certain sounds.

Jason has composed "Ganesharchana" in a very mature and simple manner. Though I could feel the likes of Uyirum Neeye, the song stands tall in terms of its emotion and value. Sarod seems to be the main instrument used to build a nice ambience. Occasionally you can hear the perfectly modulated sounds of Veena and very subtle synth-strings in the background. The flute solo has also been used to accentuate the devotional component. Bhavya's sound is suited for this type of song and gives that typical "naamajapam" feel.

This is the end of my review of this album. Overall, as I said before, Jason has to be congratulated on a job well done. I wish all the best for this composer!

Reviews Coming soon.....

2006-09-01T08:52:00.000-04:00

Hello Friends:
Due to busy schedules, I was not updating the site as frequently as I wished to. Please bear with me. Currently I am working on two reviews: (1) Rest of "Aanachandam" & (2) the hindi album "Don"
Thanks,
Krishnakumar

Aanachandam

2006-08-20T07:49:00.000-04:00

When sequencers and softwares rule the charts and the minds of an un-suspecting audience these days, it is worth to sometimes sit back and appreciate the value of nice melodies. "Aanachandam" is the latest offering by director Jayaraj. He has brought in a new composer: Jason J. Nair. I should admit, I have never heard of him before and hence, going into the album, I had uncertain expectations and a lot of curiosity.

After I heard the songs a few times, I felt "relief". What do I mean by "relief"? Not one of the songs were manufactured for becoming a catchy hit, but every single one of them had nice melodies in them. Of course there are flaws, as with any other album. Even accomplished composers make flaws, so a new music director has every right to be forgiven by us (audience).

The movie is about a man's obsession with elephants. Say elephant, and what comes to mind? Temples, festivals etc etc. Jason has evoked that feeling by using traditional instruments or mimicking them.

Arikil Varoo is sung by Rakesh Brahmaanandan & Nasnin. Being new singers, I am completely impressed by their effort. Also, I felt that Rakesh has uncharacteristcally (for a new singer) elicited emotions while singing certain words (arikil, chaareyomal chernnu ninnaal etc.). Kudos to both the singers. The first interlude is beautifully composed by using chendamelam, nadawaram etc.
to be continued.......

The rest of the songs

2006-08-20T07:39:00.000-04:00

The song "Snehikkaan oru manassu tharaamo" reminds us of old-times. The music is simple and lightly mischevious. The orchestration I thought was a bit too light especially towards the end of the charanam. There is also a north-indian flavor sprinkled throughout the songs.
"Neeyinnente" is a beauty of a song. Sometimes it is just enough to use the word "Beautiful" and leave it at that. Again, the song is peaceful and never overwhelms your ears. The orchestration clearly reminds us of ghazals & older bollywood songs. I was particularly carried away by the charanam. With a teaspoon more of bhaavam, the song would have had a bit more life.
"Sivapadham" is a devotional number. The distinct shanmukhapriya touches are unmistakable. The other hit songs on this raagam are: Shanmukhapriya Raagamo, Gopikaa Vasantham, Confusion theerkkaname etc.

Overall, I feel that the album is a valuable one to keep in our memories as the final good bye from one of the most influential composers of malayalam. If you ask anyone familiar with malayalam film music to identify ONE song that has singing and composing almost perfectly balanced, there is a huge chance that the person is going to pick "Pramadavanam" (His Highness Abdullah). I almost feel that there is a divine quality to that song, was it the god's hand or his blessing?

Kalabham: Two songs, one tune

2006-07-29T11:08:00.000-04:00

There are two songs (Munayulla Jwalayaay & Oru Meghanaadham) have the same tune, the former being a duet and the latter sung exclusively by Dr. KJ Yesudas. The tune can be very easily categorized as being in the "Ghazal" genre. There is of course a sad, lost feeling throughout, well sustained by the use of low-pitched flute, sarangi etc. The song grew on me like a wine. Initially, it sounded just like any other Raveendran song. Through further hearings, perhaps due to the fact that he is no more, the song acquired new meanings in my mind. Sometimes, it is tough to separate your own feelings from that of the product you are reviewing. I felt that the interludes were a bit ordinary, except for the sarangi-strings combination leading up to the two charanams. As always, I liked the Gandharvan's version better.
Will post thoughts about the other songs in the next few posts...please che back!

Kalabham: A Legend Disappears Into the Horizon

2006-07-27T09:35:00.000-04:00

Hello All:
Being in a time crunch (Dissertation looming), I will not able to write lengthy reviews frequently, but will try to post bits and pieces of my thoughts as different parts. Hope you'all will bear with me!

Here are my thoughts (Part 1) on the Legend Raveendran maash's latest offering: Kalabham

It is fashionable to think of good byes as an artistic scene, with the person disappearing into the sunset. However, in this case, how else can we audio lovers fathom the loss of Raveendran maash: The genius who had given us truly timeless melodies like Pramadavanam, Azhake, Maamaankam, Enthinu Veroru Sooryodayam and countless others? Only, the horizon is the boundary of music, and the dusk sky the fading colors of music and of course the darkness, a vacuum left by him.

Kalabham album is the latest offering by him. The music is ridden with nostalgic reminders of his earlier tunes. Very strangely, the music has a philosophic feel to it. There is an inexplicable sense of loss, despair and loneliness.

The song "Devasandhyagopurathil" hits your senses like a soft breeze, but knocks your emotions like a meteor. A soft flute starts the sog, but then, for a few seconds, it is the amazing melody of "Thenum Vayampum". Listen to the pattern played by the strings as a lead veena plays a familiar tune (Strings pattern: D C# Bb A). The song is a typical heavy-melody, classically drenched. The musical interludes are montages of his previous songs, beautifully orchestrated. Particularly the second interlude which takes us through "Maamaankam", "Pularkkaala sandhya" & "Harimuraleeravam".

To be continued.......(Please check back)

Broken English: Too Modern or Too Abstract?

2006-07-07T09:14:00.000-04:00

On seeing Karsh Kale's (KK) album-Broken English, I decided to do a little research on this DJ/Composer. To summarize, he is a percussionist and has had the opportunity to share the stage with greats such as the Big Z (Usthaad Zakhir Hussain). He is ethnically Indian, but has been born and raised in the UK & USA. May be because of this background, almost all of his tracks have a large dose (sometimes an overdose) of percussion. After hearing to the tracks, I would say, his style is interesting and novel. Just that personally, I couldn't enjoy most of them, except one track. Let's see go to some details. Here is a link to MusicIndiaOnline site which hosts a streaming audio of his album and here is where you can purchase it.

City Lights
This track is somewhat peaceful for the most part, and plays almost like the style used by "Savage Garden" and also reminded me of another ballad "Shez All I have" by Ricky Martin. Soft e-guitars and Sitars used in combination. When the track started, I thought it was set in Charukes, I may be wrong. For the most part, it sounded western rather than Hindusthani classical. Overall I would say a good track for easy listening.

Dancing At Sunset
This track seemed to be tuned in a unique combination. The background vocals and strings play Indian classical music (Sindhubhairavi or Bhairav). Nice to see Ghatam used with heavy pounding drums. Again, as I said in the beginning, there is a lot of emphasis on percussion. There is also a chaotic feel to the orchestration, which might be a bit disturbing to traditionalists, as notes might sound a bit off. There is a good solo violin piece. A small issue is the tempo. The raaga is very mellow and usually sounds good when it is played in a slower tempo, as KK correctly orchestrates it towards the end.

Drive
Sitar returns complimented by slow high-bass ambience created by techno drums (not in a techno pattern though). Again the meticulous construction of rhythm can be immediately discerned. You might be reminded of Enigma's tracks, partly because of a dark, mysterious feel to the track. I felt that this one was mediocre.

Free Fall
I would say that this one is my pick. You'll immediately notice the indianness of the track. The female vocals seemed to be composed in Yaman (Kalyani for the carnatic buffs). Though it might seem like a hip-hop pattern sometimes, I felt it being more pop than hip-hop. I liked the bass support, playing the Yaman notes in a very subtle yet commanding way. But the star of this track though, is the simplest instrument of all: The Flute. Towards the middle of the track, you can hear a nice solo piece. Just sublime and well treated by KK. Again, hear to the rhythm pounding away, the sense is unmistakable.

To be continued................

Karsh Kale: Broken English

2006-07-04T21:20:00.000-04:00

I am currently hearing to the album, Broken English, by Karsh Kale. I will be reviewing the tracks one by one. My initial impression of the album is that it has an interesting mix of different genres of music. He has used raagas such as Bhairav, Yaman etc. fused it with such wide genres as Techno & Hip-Hop. Will be posting a review soon.
Thank you,
KK

The story of a beautiful song & a forgotten composer

2006-06-29T14:40:00.000-04:00

It is sometimes an irony I cannot fathom. An artist creates a beauty. Along with the product, that artist dissappears into thin air. I am talking about a beautiful malayalam song composed in the early 1990s (don't remember the year): Etho Kadinjool Kinaavinte (click on song name to be taken to www.malayalavedhi.com) from the movie Kalaalppada. The composer: Jacob Alexander. I faintly remember a small write-up on him describing him as being the part of 13AD, a music troupe founded in Kerala in the 90s.

Let me set up the song-situation for you. A young man (played by Rehman) is watching his fiance' (who is also his friend's sister) informally perform bharathanatyam in their tharavaadu. He casually sits leaning to a pillar and goes into a small day-dream. O.N. Kurup-sir's beautiful lyrics are thus:

Etho Kadinjoolkkinaavinte chillayil, Oonjaalidum Mohame
On the frail branches of a tree of dreams, my desires swing

Ezhalla ezhunnooru varnnangalilum ninte, thoovalppudangal vidarnnuvo
Not in seven, but seven hundred colors do your feathers bloom

These floral lyrics are treated to some amazingly simple, yet compelling music. The key is that the MD succeeds in producing that laid-back, day-dreaming feeling. The string support is so nicely used, you will never realize it when you hear the song for the first time. The star of the song however, is some serious pieces of electric lead guitar. The two musical interludes are out-of-this-world. Combine all this with clear, well ironed out piano patterns, flute & a superb rhythm. You have a masterpiece.
Key points to look for:

The start of the song, layering clapping sounds with strings, keyboard etc.
The sudden addition of synth-strings when anupallavi is sung
The setting up of the heavy sustained e-guitar.
Mind blowing scale/chord changes
The piano pattern embellishing the charanams.
The ending, with a solo guitar fading into the background.

Now, for the sad part. As far as I know, this composer has not composed another song!!! What a shame? I have seen forums and discussion boards complaining about the mediocrity of music. What happens when you create one of the best melodies & the best orchestrations and then are conveniently forgotten? Did any other director even consider giving him another chance?

Kabhi Alvida Na Kehna Part 2

2006-06-27T09:39:00.000-04:00

The title track Kabhi Alvida Na Kehna is sung by the Sonu Nigam-Alka Yagnik duo. The percussion will remind you of the countless Shahrukh/Kajol/Karan Johar songs. One would wonder why any director would want to come up with the exact same patterns again and again. Thanks to Shankar-Ehsaan-Loy (SEL)'s thoughtful orchestration, you get to hearsome great strings-piano conversations. Again, you have to laud them for keeping the music clean and calm. I am even more impressed with the ability of SEL to adapt to this genre, although, I would prefer to hear their own stamps on music. The track is somewhat melodious, but somehow failed to strike a chord with me because of the repetitiveness. The piano-strings combo is used in both the interludes. For some reason, I felt that the charanams (2nd & 3rd paragraphs) were a bit too ordinary.

It is somewhat unfair to SEL to associate their music to the word "ordinary", when in fact, their music consistently has been anything but. I would opine that one of the few places where the real SEL shows up is Mitwa. Like on a bed of roses, the track builds up on a guitar "pattern" (I am using the word in a more technical way). I liked the way they start the vocals. Notice the use of sustain-e-guitar. Shafqat Amanat Ali of the band Fuzion is at ease with the musical part of the vocals. I would say that in the "bhaava" department, he could have done a shade better. I also liked the fact that Shankar Mahadevan chips in with his own vocals, along with a nice smooth female chorus produced by Caralissa. The tune (both the 1st, 2nd & 3rd paras) are well composed, keeping in line with the overall feel of the song. The second interlude has Sarod (?) and a nice strings background. Again, Shafqat demonstrates his comfort in taking the note slides.
To be continued..................

Kabhi Alvida Nahi Kehna Album

2006-06-25T19:07:00.000-04:00

Shankar Ehsaan Loy (SEL)’s music has evolved over the years since their entry through Dil Chahta Hai. In the beginning, I was not a huge fan of their music because of several reasons. As said in my previous reviews, the problem is not so much where they draw their music from; In fact they are highly talented musicians, with different strengths (Vocals, Keyboards & Guitar). The problem, I thought, was in the flow of their music. Somehow, their modernistic style interspersed with heavy carnatic notes mixed with funky patterns did not appeal to me at all. In fact, I might be one of the very few who could not hear to DCH music. But, it was innovative, for sure, and they deserve credit for it. But, I took a complete “about-turn” when I heard their work in Lakshya. Not so much the songs (except Kitne Baatein), but their peaceful, deep background score. I was also amazed by how simple some background touches were, and how well they succeeded in bringing out the particular emotion depicted on the screen. So, to summarize, they are good, no doubt. They have a great music sense, somewhat similar to what Shantanu demonstrated with Parineeta. For example, you can hear the beauty of flute solos, guitar solos that take you to a new level. They have a knack of knowing when to use such pieces. Another characteristic is that their music has a “clean”, fresh feel to it. A great example is the song “Aao Na”. This again comes from their knack for using just the right instruments at the right time. When bollywood music is so de-motivating these days with some people with absolute disrespect for music does these so-called remixes (Yes, this album has one, but mind you I did like the one in this album).
To be continued...................

Tanthra Album

2006-06-23T20:24:00.000-04:00

Music: Alex Paul
Lyrics: Suresh Cherthala
Alex Paul started of his career in films by scoring popular music. Most of his works were chart busters. He proved that he could do classical, slow & melodious tunes in the movie "Achanarungaatha Veedu". It is hard to define the "signature" of Alex Paul's music, because he has a very simple style of composing, even while composing the so-called item numbers. Any way, let us examine two tracks from this album.

Goodamanthram
Singers: Madhu Balakrishnan, Manjari
This is a track strongly grounded in classical nuances. The song starts with "Shankhu Vili", and a heartfelt rendering of mantram by Madhu. Whether purposeful or not, his voice has much resemblence to Dr. KJY. The pallavi is very lightly orchestrated with a mrudangam-sound & a tabla. Manjari does a great job complimenting Madhu's thick, bassy voice. However, in the interlude, I could feel some stiffness in her voice. The charanam is nicely composed with tremolo strings (violins) bringing out the emotion (Rage). Again, you can hear strings sprinkled just enough not to leave empty spaces in the charanam. The second interlude is a flute solo. Overall, Madhu B. shines with his versatility in making both the ultra-low pitch & the ultra high-pitch notes sounding equally good. Manjari also as done a good job overall.

Nagathaan
Singer: Rimi
A catchy song sung with vigor and enthusiasm by Rimi. Again, as the song starts, you can appreciate the lightness of the orchestration. The bass support, I thought was a bit more than needed, in that, you can hear the bass strings clearly above the vocals. The song is more rhythm & folk based (Pulluvan paattu). Again, at some points, more orchestral elements would have enriched it a bit more. However, I should also remind you that I haven't seen or know what the director plans to show on screen.

I would say, the album seemed somewhat mediocre, just like most of the albums that come out these days in malayalam. Either, the movie directors aren't pushing the MDs to be more innovative, or they do not have enough resources to come up with a high-tech score. Now these two are the easier reasons. The more saddening one would be: Can they actually come up with innovative tunes?
Let's wait and watch.....

Music & Simplicity: Part 1

2006-06-23T17:22:00.000-04:00

Often I have wondered about the complicated orchestration patterns expressed in songs. Sometimes, you have to stand back and say "Only a genius can think about this in his/her head". Examples of such songs are abundant (Devasangeetham-Guru; Oh Priye-Geetaanjali; Manju Poloru Penkanavu-Manju Poloru Penkutty; P). However, there are some songs which hit you with the deepest of emotions, and they may just have one or two instruments to embellish the vocals. Sometimes, it is through simplicity that you see the colors of true genius.

Let us start from way back: How about those blurry KPAC songs that we all grew up with? Almost all of them are simple, obviously, because they reflect the working class and the political movement at at period of time. I remember getting especially moved by a song "Thunjan parambile Thathe", sung so heartfully by the composer himself, Lt. Devarajan Master. There are no frills, no "swoosh" noises, no loud bangs, just pure music. His rustic sound compliments the utter emotions flowing out of that song. Such is the beauty of simplicity.

How about this one: Surumaezhuthiya Vizhikale. Composed by the wizard and the magician Baburaj master, and sung by Dr. KJY. I had the privilege of hearing this song rendered by one of our music teachers with just an acoustic guitar, nothing else. I can guarantee you, you will stand still, spell-bound by the melody. So magically woven, and so intricately handled by our own ganagandharvan.

It sometimes feels as though some composers get into that simplicity mode almost as if snapped by a switch. Take for example the glorious: Manjal Prasaadavum Nettiyil Chaarthi. Just like the simple raagam (Mohanam), the song is simply out of this world. The song does have a good bit oforchestral support during the interludes. However, when the vocal tunes are rendered, listen and enjoy its melody, again a work of true genius.
To be continued........

Film music

2006-06-23T14:29:00.000-04:00

Firstly, welcome to my blog. This is my first post. So pardon my in-experience. I envisioned this space on the web as a place for discussing film music, the people associated with it etc. I would like to follow the posts on a topic-by-topic basis. Here are some of the categories of postings I am planning to do:
Reviews on recent film albums
General articles about film music (e.g. composing styles of different music directors)
Personal favorites (sort of like a top 5-list of current songs)
Random articles about film songs (e.g. evergreen hits, lyrical value etc etc.)
Thank you and Hope you'll enjoy reading my blog,
KK