Music Review: Ulidavaru Kandante (Kannada)
Composer(s): B. Ajaneesh Loknath
Listen to the songs online here: Saavn
Theme of Ulidavaru Kandante is a brilliant showcase of a multitude of sounds, strings and brass et al, and the composition in itself is very gripping. Knock Knock's arrangements attribute it a very mysterious vibe and C. R. Bobby sings it well too. Richie's Theme rides mostly on a dialogue-driven soundbed and an assortment of techno sounds, but is serviceable at best. Huli Vesha (Tiger Dance) is a mighty innovative guitar-jazz-traditional folk mix, as is the racy flute-laden Final Showdown that goes for an arresting Arabic-percussion base. The title song is unconventional yet easy on the ears, appearing in two separate versions sung by the director and the composer respectively.
Shankar Mahadevan and Vaani Harikrishna, for their part, ace the absolutely melodious Kanna Muchche and I particularly liked the chorus in the second interlude and the classical twist towards the end. Vijay Prakash brings out the pathos really well in Male Marathu, while his other solo offering Gaatiya Ilidu - there seems to be an uncredited second male voice, whom I thought to be Haricharan when I heard it first on radio - is a splendid melody. It has a very likeable Ilaiyaraaja'esque touch in its orchestration and Prakash is as always flawless. Paper Paper Medicine Paper is wacky and the kids do a swell job of rendering the exuberant song, even as Shreya Ghoshal sounds her sensuous best in the intriguing violin-based Kaakig Banna, showing a very different vocal side like she did in Chikni Chameli (Agneepath). Ajaneesh unleashes a musical cornucopia with Ulidavaru Kandante.
Listen to the songs online here: Saavn
Theme of Ulidavaru Kandante is a brilliant showcase of a multitude of sounds, strings and brass et al, and the composition in itself is very gripping. Knock Knock's arrangements attribute it a very mysterious vibe and C. R. Bobby sings it well too. Richie's Theme rides mostly on a dialogue-driven soundbed and an assortment of techno sounds, but is serviceable at best. Huli Vesha (Tiger Dance) is a mighty innovative guitar-jazz-traditional folk mix, as is the racy flute-laden Final Showdown that goes for an arresting Arabic-percussion base. The title song is unconventional yet easy on the ears, appearing in two separate versions sung by the director and the composer respectively.
Shankar Mahadevan and Vaani Harikrishna, for their part, ace the absolutely melodious Kanna Muchche and I particularly liked the chorus in the second interlude and the classical twist towards the end. Vijay Prakash brings out the pathos really well in Male Marathu, while his other solo offering Gaatiya Ilidu - there seems to be an uncredited second male voice, whom I thought to be Haricharan when I heard it first on radio - is a splendid melody. It has a very likeable Ilaiyaraaja'esque touch in its orchestration and Prakash is as always flawless. Paper Paper Medicine Paper is wacky and the kids do a swell job of rendering the exuberant song, even as Shreya Ghoshal sounds her sensuous best in the intriguing violin-based Kaakig Banna, showing a very different vocal side like she did in Chikni Chameli (Agneepath). Ajaneesh unleashes a musical cornucopia with Ulidavaru Kandante.
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