Katha Thudarunnu Karaoke Magic

Katha Thudarunnu happens to be the first album of Isaiyaraaja this year. While the songs are stunning, its the backgrounds that will be flowing through your veins once you hear the karaoke versions. Credits to 123musiq.com

Aaro Paadum
Mazhamegha
Kizhakkumala

A story told in one piece

Followers of Isaiyaraaja's background score know how well he can disguise the story of the film in his scores which usually happens during the titles. But giving a postlude to a concluded film? like a recap of what has happened with the main title track as the base? Thats what the king does in this instance. Although it is not a new attempt for him, one would just want to hear the piano tones that he has given in the ending credits.

"The Start"

This is where the PAA theme plays in its original fashion to remind the user of the ensuing moods that are going to be played in sequence. Like a preview of the review that is going to unfold.

"Before Auro"

If you listen closely to the wonderful melody probably played on piano that succeeds the PAA theme, this theme relays the estranged love between Vidya and Abishek of which the film eventually focusses on in the climax. The moods of a inconclusive love can be felt through the gradual changes in tempo of the whole melody.

"Auro"

When the more playful variation of PAA theme comes in, you can imagine the wittiness and sense of humour that Auro exemplifies. The second half of this track is where the instances of where Auro has with abishek are illustrated brilliantly.

"Ending"

This is probably the best example of highlighting the end of the story. The violins tell the tale of a son lost while the piano plays the painfully accepted reunion of both lovers. And both these themes come together in a climax to state the ending, bonds renewed yet one lost.

We have been hearing reviews of PAA film and how it story unfolds but this is Isaiyaraaja's way of reviewing a film, with all the emotions in the story encapsulated as a bonus to the listener. The best way to hear it dun't you agree? :D
Listen to the track to relive the magic of the film.

End Credits

Track is courtesy of hubber teja of Forumhub

Isaiyaraaja's Synth Style

Its inevitable that the maestro has started delving into the synth territories but it seems quite alot of fans are displeased with his synth usage. I for one am not displeased as i started listening to his songs at a time when he had restructured his songs using synth.

The trendy sound made famous by ARR,HJ,YSR and others have become the synth sound we are used to hearing with ARR innovating in this area. However when we listen to raaja's synth sounds alot of us think it sounds out of place and very unpleasant. Is this true or is it a result of us "expecting" Raaja to have a synth sound matching those of the younger generation?

If that is so, it shows we have failed to understand the man's composing style actually. Even a hardcore fan with average music knowledge can distinguish that he has such a unique style that if he started to adopt a synth sound matching that of the younger generation, it will sound pleasant but it is not certainly what really makes his music.

The parody is simple; while the composers today(pan-indian e.g. pritam, SEL, YSR) have a very stylish synth makeover, the genres can be easily distinguished and the overall mixing shows more of enthusiasm rather than substance. You can find out that the composer is incorporating celtic, arabic etc patterns in the song by just hearing, but no unique output to really hail them as close to Raaja's style.

I think Violin Vicky put it best when he said Raaja builds his orchestration using the basics of every genre and composing them in his own style. There could be a shenai, a bass drum and a saxophone but they are made to play in a pattern only possible by the man himself. Truth to be told, it is basically a new genre where we dun't know how to name it(Quite obvious that How To Name It album illustrated what Violin Vicky described. Just listen to How To Name It's main track).

It is in such a style that his synth sounds have been presented. It does sound very "out of place" at first as we are used to hearing a manual instrument in place of them but the IDEA is that the synth sounds are orchestrated in his STYLE. Just listen carefully to Pachaimenia(the raunchy song) from his new album Kannukkulle especially the ludes. You can substitute the synth sounds preceding the first stanza with a guitar and a flute and you get exactly the same result. You can do the same for any song that Raaja uses synth sounds and the result is a constant.

It is well known that Raaja can have various instruments playing different patterns together in his older days. This is what the synth sounds are doing nowadays. Problem is our ears. We have "taken Raaja for granted" for his maximum usage of live orchestra that when we hear synth in its place, we feel distraught and angry. And add to that the additional side effect of judging synth to be ONLY played in the trend that is nowadays and we get tons of "insulting" reviews as the output.

I think its time we open our ears and listen carefully to Raaja's songs once again cause we fail to notice the man's orchestration has always been unique no matter what the instruments are used, it is only us misled by the sounds we hear today that we forget that a style like that of Raaja existed. It does not mean that other composers are cringeworthy. This is just to illustrate how unique Raaja's music is compared to any other composer. In fact, Raaja is probably one of the super few or perhaps the only one to have ATLEAST three genres in one song yet they can never be spotted easily because they have been carefully cooked and given to us for a full meal making us think it is just a typical south indian dish.

Ninaithaley Inikkum Music Review

A trademark Vijay Anthony album this despite some genuine inspirations here and there.

Azhagaai Pookkuthey

After Vidyasagar, Vijay Anthony attempts the Ilaiyaraaja genre for this melody. The interludes are constructed in Maestro's true fashion that you might pass it off as his song. But they are quite genuine and the starting piano is sweet on the ears. The tune itself though has more of Maestro's stamp.

7.5/10

Piya Piya

A Vijay Anthony styled koothu number. On the lines of Aathichudi, but less catchy. Except for the singing the tune is quite average.

5/10

Nanbanai Paartha

An ode to friendship song usually has sprinkles of guitar and this song has it well. Soulful singing by Benny Dayal and the minimal instrumentation enhances the power of the melody.

8/10

Sexy Lady

A club-styled number this one. Except for the percussion rhythm of this song being a adaptation of 50 cent's In Da Club's rhythm, this song is quite catchy. The orchestration overall matches the mood of the song perfectly.

7/10

Kalloori

A song riding on a solo piano, with westernised styled vocals and singing goes straight to your heart. Instantly likeable number but very short though.

8/10

Allah

If you think this is a devotional soulful number your wrong. Vijay Anthony's rock styled koothu number is back again. A song asking Allah to help the poor and the hero, It is a mix of both pace and melody. Very unconventional but listenable nevertheless.

6.5/10

Naatkal

A short sombre song which impresses you straight away. The ending where the both the chorus and the singer join together is the hallmark of this song.

7.5/10

A album with a mix of soulful melodies and rocking koothu numbers, all of which find a place in a film depicting college life. Vijay Anthony needs to be abit more careful with his inspirations though.

Yathumaagi Music Review

I am surprised nobody came across this new album by James Vasanthan, who has come up with brilliant numbers like kangal irandaal. This movie Yathumaagi consists of new faces(sunaina is still abit new) and seems to be based on romance.

Pesum Minsaram

A melodious male solo by benny dayal which has the guitar as the backbone for the song. Subdued orchestration adds more gloss on this song. Certainly hummable and impressive.

9/10

Paarthathum Karaindhen

A genuine fusion between the guitar and tabla in the backgrounds makes for a interesting listen as we are transported to a very simple tune that has his stamp all over. James vasanthan shows his orchestrational abilities when he lets the electric guitar take over the first interlude in a very soft tone while the second interlude is captured by the accordion. The singers have kept to the tune with chitra impressing with her modulations. Watch out for the finishing electric guitar.

9/10

Koothachidiva

A very playful tune which seems to be a competitor for the aval appadi ondrum ellei from angadi theru. Watch out for the tribal percussions in the background. James Vasanthan must be a fan of the electric guitar as it features prominently in the song and the bass guitar as well. Another Ilaiyaraaja school of guitar student? Terrific song, very innovative and the ludes(especially the jazz styled flow in the firs interlude) are impressive.

10/10

Thigatta Thigatta

A female solo this time which is once again a melody. Ilaiyaraaja's style of violins and rahman's style of flute makes a great fusion in the first interlude. Very soulful singing by singer deepa mariam. Amazing flute flow in the second interlude which once again showcases james vasanthan's orchestration. Backed by the electronic bass(i think) and violins occasionally this song has a very breezy touch.

9/10

Yathumaagi Nindrai

A very short song with bharathiyar's original lyrics which is tuned in a westernised fashion very similar to pesum minsaram. Once again a guitar dominated song which makes for a plesant listen. The type of song which you want to hear when your alone.

9/10

Yaradhu yaaro

James vasanthan's carnatic styled fusion numbers(eg kangal irandaal) continue here. He is really creating a trademark for himself in such numbers. Synth dominated backgrounds, a raaga based flute rendition in the interludes and a very mellifluous tune.

9/10

Overall this album proves that james vasanthan is here to stay. He certainly seems well versed in alot of genres and probably from what we see a genuine student of ilaiyaraaja(guitars). Do yourself a favour and listen to the songs.

Varnam Audio Review

While trying to listen to muthirai songs, i came across this good album by isaac thomas(Thoovanam composer) who makes an impression with his unique orchestration. It seems to be a situation driven album with additional instrumental pieces.

Vaanam Muzhuvadum Megam

A wonderful fusion of percussions makes for a unique background rhythm throughout this song which seems to be a lively folk number. The intelligent guitar usage coming in parts of the ludes are a delight. But the tune seems to be melody driven and might prove to be abit anti-climatic for the common listener. Bound to pick up after repeated playbacks.

7/10

Veerapandi Boomi Ithu

The percussions galore continue here as well with a naatupura paatu style but fortunately does not go loud on our ears. Simplistic number uplifted by the vocals and the lyrics. Here you can see Isaac's unique stamp of carrying the melody through the background rhythms without diluting the genre it is based on. But like the above number it will take time to pick up.

7/10

Kannamoochi Aatam Nadukkum

A Pathos number which actually starts off uniquely but turns into a clone of various pathos songs before. But for the minimal instrumentation,the vocals and the ARR style that can be heard distinctly throughout the tune, this song does not exactly strike hearts.

5/10


Muniya

A short and brisky dramatic number with inspired thavil and urumi mellam touches is matched by a tune fused with the angst of the vocals and sprinkles of violins. But the tune goes through many changes that it somehow catches onto you.

7/10

Kadhal Vandhaal

A trademark Isaac melody laced with a unique percussion rhythm and neat usage of synth to package the number. The modulations of the singers and the hummable tune make for a great listen.

8/10

Dangaa Dungaa

A fun koothu number orchestrated wonderfully with the shenoy adding to the charm. The tune being broken into parts after each shenoy driven interlude makes for a interesting listen.

7/10

New Life theme

A theme which slowly gathers pace intending the moods with the usage of flute being very pleasant on the ears. Fantastic to listen as a melody.

8/10

The Clash theme

The tension is built on ascendingly with predictable touches of the urumi and thunderous percussion. But the flute that comes in the middle and follows through with the former piece is the otherwise saving grace for this track.

6/10

First Love

A breezy melody reminiscent of IR's orchestration albeit distinctly grows onto you as you listen. The theme is a concoction of themes based on the main melody(there are abrupt breaks) which sort of shows the composer's understanding of the situation. The ending piece which is dominated by the guitar draws your attention.

8/10

The Chase

The theme looks straight out of a video game(beyond good and evil for a reference) soundtrack with the synth dominance and new age like sounds. But for the casually weaved orchestration this theme is quite weird.

6/10

Dangaa Dungaa(Instrumental)

The instrumental version of the original song sounds even better without vocals. It makes for a great dance number and certainly very catchy.

8/10


Overall a album which showcases Isaac's orchestration prowess and his usage of melody even within folkish numbers but tends to go predictable and abit too monotonous for the liking. Certainly to be cherished for the percussion magic here.

Ilaiyaraaja - My Life

Prelude

For most commoners, Ilaiyaraaja would be at best a bet for those who have lived their childhood to teenagehood between 70s to the early 90s. Basically how could a composer forced down the commercial ladder by a trendsetting composer by the name of ARR manage to turn this young 22 year old by his heart and become his ardent devotee when he has never seen a village or know what is WCM? And how possibly can he be still attracting this guy when ARR is reinventing beauty every album and his competitors giving music that just makes you tap to their feet? Surely there must be some black-magic or miracle that has happened?

Initial experience of Music

Nobody right now will believe if i were to tell them i was a fan of ARR and Vidyasagar's songs during my first taste of music. To me music back then was supposed to have a moving tune and the quality of sound should match it. ARR's minnale in may madham and nenjinile of uyire were a firm favourite of mine closely followed by Vidyasagar's thamarai poovukkum. And not so long ago in 2003/2004 ARR's Warriors of Heaven and Earth came which to me was the first taste of full fledged WCM to me. The chinese song which Jolin Tsai sang had a great haunting touch which really made me feel that ARR was my music idol.

First experience of Ilaiyaraja

Call it fate but then i came across Azhagi while actually searching for Alaipaayudhey songs. That's when i heard oliyile therivadhu. There was a yearning feel in that song that really moved me. Was it the orchestration or was it the tune i did not know but it was quite intriguing. But at that point of time i only had a interest but not much of a heart-turning moment. And then i heard kaathuley lolakku from chinna mapillai. The orchestration of the violins in that song just blew me away. I never heard such a orchestration which really pushed me further to research into this person's songs.

Researching HIM

The result of this was How To Name It. I was shocked at the way the mridhangam and veenai were all made to play like a classical symphony. So far i thought they were supposed to play only in carnatic songs. But this was unthinkable. As much as i was dumbfounded by the technical wizardry the main rhythm was quite simple and soulful. Understandable yet complicated. This is where my journey with Ilaiyaraaja started. The more songs i listened the more addicted i was. My acknowledgement of music as just as a catchy tune became more sophiscated when i started looking into individual instruments. Everytime i listened to a song i began looking into its integrated rhythm and the orchestration especially the ludes. And after listening to most of them only Ilaiyaraaja's compositions stood out. Just wondering how a group of violins could sound so complicated yet bring out the intended emotions really made me worship this man.

Full Devotion

Even now i am still awestruck by this man's experimentation. It is this person that made me cry, smile, dance and yet make me yearn for more. That this person can still keep me listening to his songs despite the quality of the albums being churned out by ARR and co is really a miracle. As much as i like ARR's arrangements and innovative usage of instruments in his compositions i dunt find the soulfulness or mind boggling orchestration that Ilaiyaraaja provides. A funky mridhangam pattern for a song like ada machamulla, tribal beats that are married with a similar indianised tune for a hero-intro song in tholin mele, immaculate use of the latin guitar yet so understandable in ilaya nila just really pushes me to the limits. How is it that a seductive, x-rated song like koothu onnu in dhanam can have such good use of the bass guitar and modulated percussive rhythms that really make you listen despite the beforementioned? I cant really explain but all i can say is that this person has seduced me like none other. No matter how many composers come he will always be with me till the end and it is with his music that i will leave this world. Awards are given in recognition of talent but the biggest award to Ilaiyaraaja is that he can move even those who have not even born. I am proud that i am still alive in this era where there is a person who is not a musician but a god of music.

"Isaikku Peiyar Ilaiyaraaja. Ariyamaalum Urugum Vaazhkaiyin Muzhuvethum."