What
I like about Kaadhal Virus is that the album is balanced.
It contains six tracks, three very melodious, and three
catchy, rhythm-based, mass appealing numbers. The arrangement
of songs in the album is also very appropriate. They
have placed all the songs alternatively. One fast number
followed by a slow one. As a result, you are kept on
your toes. Rahman has really proved his versatility
in this album- ranging from hip-hop to semi-classical
and from trance to jazz.
Rating
scale:
*-poor, **- nothing great, ***- avg.,
****- quite good, *****- mind-blowing
1.
Ye Ye Anna Aachu (Vasundhara Das) -
The
song starts with catchy vocals by Vasundhara..."tana
naa tana naa..." progressing to the main song.
The rhythm is very catchy complementing the mood of
the song. Suddenly you feel you are listening to a Britney
Spears number like "Oops...I did it again"
or "Hit me baby one more time" or a Mariah
Carey track. The song is so much westernised that barring
the lyrics, even people from the West can identify with
the genre. It's definitely a track to be played in discotheques.
Programming by Mohammed Rafee is excellent. There is
a tremendous use of vocal modulations done digitally.
The highlight is when she sings "Kaadhal virus..."
Listen to the chords played by the strings. Simply amazing!
Also the subtle violin enhances the mood. Percussions
are apt.
The
overall tune is hummable and registers in your mind.
There are no specific interludes as such. Good attempt.
Sure shot winner! I am sure those who don't ascribe
to Rahman's music will also like this one. Rating:
***1/2
2.
Sonnalum Ketpadhillai (Harini, Unnikrishnan)-
What
can I say? Another classic composition by the Maestro.
Beautiful melody...just captivating your soul. The song
opens with soft flute with bells and gradually strings
and violin take over. It reminds you of the prelude
of "Nee Than En Desiya..." from Parthale Paravasam.
The best part of the song is the female Harmony. How
beautifully he has progressed from one note to other
notes, every time increasing the note-progression. The
percussion is soft, as melody rules. When the rhythm
starts after the flute and violin, the strings melody
is superb.
The
song is based on Raga Gaud Sarang and Khammaj. The essence
of Gaud Sarang is 'Pa Re Sa...Ga Re Ma Ga' with all
shuddha notes, which is clear in the first line 'Sonnallum
Ketpadhillai Kanni Manadhu'. It definitely has a Carnatic
touch to it. The line reminds me of another beautiful
song from Anthimanthaarai, "Sakhiye Nee Thaan Tunaye"
and "Thoda Thoda" from Indhira. The melody
shifts from Gaud Sarang to Khammaj employing the Komal
Nishadh. This raga was used in "Nenje Nenje"
from Ratchakan.
Talking
about Harini, she absolutely mesmerises you with her
sweet voice and improvisations. Good choice Rahman!
Unni as usual, is at his best, giving soft touches to
the song. The song has a use of sweet bells throughout.
The First interlude has the guitars, veena and the flute
along with strings. The credit must go to Srinivasamurthy
for arranging such a wonderful strings orchestra. It's
very heavenly! The charanams are charming too, stretching
the vocals on the higher octaves. The halt on Madhyam
in 'ulaginil ullatho uyire' is fantastic. Listen carefully
to the lines where Harini sings ' yellaam therindhirundum...'
There is a use of Thavil-sounding percussion. Its not
thavil, but reproduced on electronic percussions. Harini
takes a beautiful 'harqat' when she returns to the pallavi
encompassing a full octave- 'Re Ga Ma ni Dha Pa Ma Ga
Re Sa', also singing the pallavi offbeat.
The
Second interlude has moorsing and soft mridangam with
the harmonic jathis. The strings in the background are
amazing! I love the way Unni returns to the pallavi
in the lines 'vanji kodiye...' using chromatic notes
'Pa Sa Pa ma Ma Ga'. (ma-teevra madhyam). The song ends
with harmony singers singing the pallavi and mridangam
playing in the background. Beautiful composition.
Rating: *****
3.
Vaan Nila (Srinivas, Karthik)-
Absolute
stunner. Attempting Jazz is not something very usual
or easy. That too, in today's film music. The song starts
with the Saxophone. The feel is mind-blowing. The second
time it is played it has a touch of Raga Peelu- ' Ma
Pa Ga Ma Ga Ma ni Pa ga Sa' (small caps for komal swaras).
The song breaks out with Rock-n-Roll kind of rhythm,
drums being the core percussion. The song has some really
outstanding sax, piano and guitar pieces.
Pay
attention to the piano/keyboard played in the jazz style
throughout the song. It's played free hand. The main
song reminds me of works done by old composers like
RD or Shankar-Jaikishen. If you've heard "Aji Aisa
Mauka Phir Kahan Milaga" from An Evening in Paris,
you'd agree with me. The charanams are absolutely innovative.
You have no clue where the song is proceeding. There
is a lot of off-beat progression of the song in the
charanams during the lines 'dam..dam..sangeetam...'
A.R.
Rahman has attempted jazz in Iruvar in the songs "Vennila"
and "Hello Mr.Ethirkatchi". This genre has
never been used of late. It's a genuine attempt. Both
the singers have done justice. For a while you cannot
distinguish between the two voices. They are so much
in-sync. It's very youthful and will surely catch up
with regular listening. Rating:
****1/2
4.
Enthan Vaanin (SPB, Swarnalatha)-
I
am lost for words...but Rahman's compositions are simply
so sweet. The starting Aalap by Swarna reminds me of
the charanam of "Nee Than En Desiya..." from
Parthale Paravasam. Listen to both the songs...especially
the lines "verum udalaal varum sugaththai..odara
paarkiren..." from Parthale Paravasam.
This song is definitely inspired from "Nahin Saamne"
from Taal and "Swasame" from Thenali in terms
of the style of composing as well as the arrangements.
There is a constant use of sitar and Dulcimer (Iranian
Santoor) when SPB sings "vaazhga vaazhga..."
SPB is in full form, delivering his usual best. What
a soothing voice he's got!
The
basic melody is woven around Raga Bihag and has got
traces of Kalyani and Maand. The First interlude has
the same aalap by Swarna and also a tarana style- "dirana
dirana di rana tana". The percussions are again
kept soft. It's got a Bombay Dreams hangover like "Closer
than ever". Both the charanams are very melodious,
Swarna providing the harmony and desired smiles! She's
indeed got a smiling voice.
Listen
to the first line of the first charanam, "venpani
nee thoongiya pulveli naan..." There is a duduk
piece after this line. (Remember this instrument...used
in "Rajyamma" from Baba). The Second interlude
has sitar, piano and santoor. What is interesting is
that the instrument keeps on fading when the other enters.
Sitar fades out when piano enters and so does the santoor.
The last lines of charanams have a beautiful chord.
Overall satisfying song.
Rating: ****
5.
Baila more (T.R.Simbu, Tippu)-
At first I could not digest the song at all but then
slowly started gulping it down. It is a typical Trance
kinda song. The song could have been better. First of
all, I could not understand what that female was speaking...but
got my doubts cleared when someone clarified she was
speaking in French, "la mode debarque a chennai".
Again, both the voices are undistinguishable. When the
lines "azhage..." appear, it is clear that
A.R. Rahman has used his favourite raga Panthuvarali
(Puriya Dhanashri). This song will definitely find its
place in discotheques and fashion shows. It is something
that RD attempted with "Dum Maro Dum". You
can almost feel the atmosphere with smoke and dancing
lights. The rhythm is stunning. The whole song has digitally
programmed vocal and rhythm modulations. Could be appreciated
by the masses. In the end there are strains of heavy
Tanpura. Overall, the song is passable. Rating: ***
6.
O kaadhale (Mano, Clinton)-
Once
again, a melodious number, but on a sad note this time.
The song starts with Mano's humming, singing the tune
of the pallavi. When the song progresses to the main
lines, you seem to be familiar with the rhythm pattern.
It is also used in "Tu Hi Re" and "Poraale".
But then it does not stay for long. It is replaced by
soft percussions. I love the First interlude with the
strings and the flute. It gives a very nostalgic feel.
Now...a regular A.R. Rahman twist! The swaramandal (harp)
glides thru the notes of Raga Charukeshi giving it a
sorrowful appeal. It gives us a feeling that two lovers
are separated and are longing to see each other. The
charanams are just too good. The first charanam has
soft tabla playing. It is similar to what he did in
"Anbe...Idhu Nijamthaana" from Rhythm.
In
the charanam he changes the raga to Charukeshi and introduces
the tabla. The overall melody is a bit complicated.
Only a genius like Rahman can do justice to such songs.
Be it any kind of song, he assures they enter our souls
and capture our imagination leaving us to adore him.
The Second interlude has stunning vocals by Clinton
(who sounds so much like A.R. Rahman). I can recall
"Aaja sanwariyaaa..." sung by A.R. Rahman
in Bombay Dreams in the song "The Journey Home..."
The way he sings 'Kaadhale..." is remarkable. Listen
to the hymns and chants in the background with oodles
of chords. It gives us the feeling that we are standing
under an open moonlit blue sky with stars shining and
pouring sweet honey-like musical notes. (See the inlay
cover with blue sky and clouds). The song is great with
lots of innovations and surprises. Pay attention to
the end when the harp just glides through Charukeshi
leaving us craving for more, giving us hope that A.R.
Rahman will return again with the same magic! Beautifully
sung by Mano. Rating: ****1/2
Overall
Rating: ****
(Note:
This review is totally based on personal judgement)
E-zine
Home
Talking
about Kaadhal Virus, Kathir has always musically enriched
his films...whether it was "Uzhavan" or "Kadhal
Desam" or "Kadhalar Dhinam". The common
factor in all these films is undoubtedly A.R. Rahman's
magical music. I loved "Uzhavan", and in fact
all his earlier compositions. His style is something very
different. The lyrics by Vaalee complement his tunes.
The latest offering from this combo is "Kaadhal Virus",
a story of youthful love. I must confess that A.R. Rahman
has come up with something needed very badly at this time
in his career. Rahman really stuns in this album.