Music Review: Achcham Yenbadhu Madamaiyada (Tamil)
Composer(s): A. R. Rahman
Listen to the songs online here: Saavn
Showkali's Arabic-folk-rap medley, Aaryan Dinesh Kanagaratnam (aka ADK) and Sri Rascol's super impressive flow of verses notwithstanding, instantly brings to mind Khalbali (Rang De Basanti) and Pettai Rap (Kadhalan). Namba sirugugale/ Indha bike-kungal thane/ Indha ulaginile/ Mudhal thevaiye, goes the lyric at one point, proclaiming the hero's love for bikes over girls. Taken in that sense, the hip-hop song is more of an adrenaline rush, but it doesn't help that the funky arrangements are overly busy for its own good. Thalli Pogathey, on the other hand, is the kind of sugary rush that you might experience when you fall in love, featuring an excellent Sid Sriram on the vocals against the synthy background Rahman employs. But then again, Sid Siram's voice is its unfortunate bane too, carrying with it a sense of familiarity that's impossible to shrug off.
Aditya Rao and Jonita Gandhi are dependably good in the breezy and lilting romantic ballad Idhu Naal, even if it exudes that heard-before Omana Penne (Vinnaithaandi Varuvaayaa) vibe. Avalum Naanum is spectacular, thanks to its arresting assortment of flute, guitars, kanjira, mandolin and violins, topped by a fantastic Vijay Yesudas, who in my opinion gets the most interesting of songs when he sings for Rahman. That leaves us with Rasaali, the incontestable highlight of the album, a free-flowing stunner of a semi-classical-folk fusion that only a composer like Rahman can conjure. (I have been playing that violin'esque first interlude on repeat!) And giving him sure-footed accompaniment is Naane Varugiraen-duo D. Sathyaprakash and Shashaa Tirupati, both of whom lord over the song with their stupendous rendition. The inflection in Shashaa's voice in particular is beyond remarkable, but that should come as no surprise I suppose. A. R. Rahman's musical score for Achcham Yenbadhu Madamaiyada doesn't quite cut it, except for them two tuneful melodies.
Listen to the songs online here: Saavn
Showkali's Arabic-folk-rap medley, Aaryan Dinesh Kanagaratnam (aka ADK) and Sri Rascol's super impressive flow of verses notwithstanding, instantly brings to mind Khalbali (Rang De Basanti) and Pettai Rap (Kadhalan). Namba sirugugale/ Indha bike-kungal thane/ Indha ulaginile/ Mudhal thevaiye, goes the lyric at one point, proclaiming the hero's love for bikes over girls. Taken in that sense, the hip-hop song is more of an adrenaline rush, but it doesn't help that the funky arrangements are overly busy for its own good. Thalli Pogathey, on the other hand, is the kind of sugary rush that you might experience when you fall in love, featuring an excellent Sid Sriram on the vocals against the synthy background Rahman employs. But then again, Sid Siram's voice is its unfortunate bane too, carrying with it a sense of familiarity that's impossible to shrug off.
Aditya Rao and Jonita Gandhi are dependably good in the breezy and lilting romantic ballad Idhu Naal, even if it exudes that heard-before Omana Penne (Vinnaithaandi Varuvaayaa) vibe. Avalum Naanum is spectacular, thanks to its arresting assortment of flute, guitars, kanjira, mandolin and violins, topped by a fantastic Vijay Yesudas, who in my opinion gets the most interesting of songs when he sings for Rahman. That leaves us with Rasaali, the incontestable highlight of the album, a free-flowing stunner of a semi-classical-folk fusion that only a composer like Rahman can conjure. (I have been playing that violin'esque first interlude on repeat!) And giving him sure-footed accompaniment is Naane Varugiraen-duo D. Sathyaprakash and Shashaa Tirupati, both of whom lord over the song with their stupendous rendition. The inflection in Shashaa's voice in particular is beyond remarkable, but that should come as no surprise I suppose. A. R. Rahman's musical score for Achcham Yenbadhu Madamaiyada doesn't quite cut it, except for them two tuneful melodies.
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