Music Review: Jagame Thandhiram (Tamil)
Composer(s): Santhosh Narayanan
Listen to the songs online here: JioSaavn
Rakita Rakita Rakita is every bit a raucous dance number that practically explodes into bright colors even as it is elevated by frenetic traditional instrumentation and a brass-led sound. Bujji borrows generously from Michael Jackson but manages to assemble its driving beats and funky clavinet textures into a musical amalgamation that simultaneously manages to be effervescent and wholly original, complete with a delightfully askew outro that descends into a groovy slice of folk. Nethu is vintage SaNa, bedecked by waltzy string sections and gentle acoustic guitar strums (Joseph Vijay), but is let down by sub-par vocals from Dhanush (Vijaynarain aces Neetho in its Telugu version), while Aala Ola opens with a bagpipe prelude only to do a complete U-turn and switch to a punchy rhythm riding on a base of thavil and urumi. Theengu Thaakka's slow churn mix of rap, distorted guitars and a staccato set of beats is a banger even if it offers a throwback to the composer's work in Kabali and Kaala. Naan Dhaan Da Mass picks up right from where the former left off, mixing it into a rich palate of shredding rock guitar riffs and heart-swelling choruses. Meenakshi Elaiyaraja's soulful rendition adds emotional heft to the splendid Theipirai, with Santhosh Narayanan concocting an arrangement that's a rich tapestry of brass elements and Indian percussion. In Andony Dasan-sung Kalarey Kalarvasam, the compoer infuses folk sounds comprising of nadaswaram and thavil, once again with highly engaging results. Barotta Master, a late-album highlight, is characterised by burbling synths and throbbing bass, making it a sharply constructed kaleidoscopic track. Santhosh Narayanan has by now perfected the art of delivering left-of-centre pop music, and Jagame Thandhiram is no exception.
Listen to the songs online here: JioSaavn
Rakita Rakita Rakita is every bit a raucous dance number that practically explodes into bright colors even as it is elevated by frenetic traditional instrumentation and a brass-led sound. Bujji borrows generously from Michael Jackson but manages to assemble its driving beats and funky clavinet textures into a musical amalgamation that simultaneously manages to be effervescent and wholly original, complete with a delightfully askew outro that descends into a groovy slice of folk. Nethu is vintage SaNa, bedecked by waltzy string sections and gentle acoustic guitar strums (Joseph Vijay), but is let down by sub-par vocals from Dhanush (Vijaynarain aces Neetho in its Telugu version), while Aala Ola opens with a bagpipe prelude only to do a complete U-turn and switch to a punchy rhythm riding on a base of thavil and urumi. Theengu Thaakka's slow churn mix of rap, distorted guitars and a staccato set of beats is a banger even if it offers a throwback to the composer's work in Kabali and Kaala. Naan Dhaan Da Mass picks up right from where the former left off, mixing it into a rich palate of shredding rock guitar riffs and heart-swelling choruses. Meenakshi Elaiyaraja's soulful rendition adds emotional heft to the splendid Theipirai, with Santhosh Narayanan concocting an arrangement that's a rich tapestry of brass elements and Indian percussion. In Andony Dasan-sung Kalarey Kalarvasam, the compoer infuses folk sounds comprising of nadaswaram and thavil, once again with highly engaging results. Barotta Master, a late-album highlight, is characterised by burbling synths and throbbing bass, making it a sharply constructed kaleidoscopic track. Santhosh Narayanan has by now perfected the art of delivering left-of-centre pop music, and Jagame Thandhiram is no exception.
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