Music Review: Maara (Tamil)
Composer(s): M. Ghibran
Listen to the songs online here: JioSaavn
In Yaar Azhaippadhu, Ghibran almost does a Yuvan Shankar Raja, crafting an effervescent pop confection interspersed with an synthetic groove that finds solid backing in Sid Sriram's vocals. The Celtic-leaning Oru Arai Unathu harks back to his early efforts, but it's no less pleasing and makes for a breezy serenade, with Yazin Nizar and Sanah Moidutty elevating it every bit.
Yazin Nizar also leads O Ajooba, a Hindi track that's almost Rahman'esque in its sweeping arrangements (is it only me or does it remind one of Uyire Uyire from Bombay?), even as Ghibran makes subtle tweaks, turning it into an upbeat affair carried along by bright shades of symphonic, orchestral colour. The song's tasteful instrumentation and soaring harmonies are just as delectable in its Tamil version, Oh Azhage, crooned excellently by Benny Dayal.
Yaar Azhaippadhu pops again, twice, once in the short Unnaithaane, where Deepthi Suresh's vocals take centre-stage in what's a sparsely arranged mood piece, and a second time in the instrumental Maara & Paaru, which layers twinkling piano notes against a strings-heavy soundbed. Search of Soul is a beautiful dance of dramatic strings and urgent rhythms, while Ananthu and Srisha Vijayasekar's soulful rendition adds heft to Kaathirundhen, a signature Ghibran composition that swirls around a pensive folk arrangement, making it an intoxicating slow-burn.
Featuring an array of glitzy electronic sounds, Pagada sits at odds with the tone of the soundtrack, but nonetheless thrums with an energy that steadily escalates into a bouncy, propulsive banger. The album's centrepiece is undoubtedly Theeraanadhi, a classical-adjacent melody that traverses an analogous soundscape as that of Rahman's Chandiranai Thottathu Yaar, its utterly pretty cauldron of traditional elements complemented by Padmalatha's impeccable singing. For Charlie's Tamil remake, Ghibran churns out a delightful tapestry of sounds that is infinitely appealing.
Listen to the songs online here: JioSaavn
In Yaar Azhaippadhu, Ghibran almost does a Yuvan Shankar Raja, crafting an effervescent pop confection interspersed with an synthetic groove that finds solid backing in Sid Sriram's vocals. The Celtic-leaning Oru Arai Unathu harks back to his early efforts, but it's no less pleasing and makes for a breezy serenade, with Yazin Nizar and Sanah Moidutty elevating it every bit.
Yazin Nizar also leads O Ajooba, a Hindi track that's almost Rahman'esque in its sweeping arrangements (is it only me or does it remind one of Uyire Uyire from Bombay?), even as Ghibran makes subtle tweaks, turning it into an upbeat affair carried along by bright shades of symphonic, orchestral colour. The song's tasteful instrumentation and soaring harmonies are just as delectable in its Tamil version, Oh Azhage, crooned excellently by Benny Dayal.
Yaar Azhaippadhu pops again, twice, once in the short Unnaithaane, where Deepthi Suresh's vocals take centre-stage in what's a sparsely arranged mood piece, and a second time in the instrumental Maara & Paaru, which layers twinkling piano notes against a strings-heavy soundbed. Search of Soul is a beautiful dance of dramatic strings and urgent rhythms, while Ananthu and Srisha Vijayasekar's soulful rendition adds heft to Kaathirundhen, a signature Ghibran composition that swirls around a pensive folk arrangement, making it an intoxicating slow-burn.
Featuring an array of glitzy electronic sounds, Pagada sits at odds with the tone of the soundtrack, but nonetheless thrums with an energy that steadily escalates into a bouncy, propulsive banger. The album's centrepiece is undoubtedly Theeraanadhi, a classical-adjacent melody that traverses an analogous soundscape as that of Rahman's Chandiranai Thottathu Yaar, its utterly pretty cauldron of traditional elements complemented by Padmalatha's impeccable singing. For Charlie's Tamil remake, Ghibran churns out a delightful tapestry of sounds that is infinitely appealing.
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