Kadal Music Review

December 18, 2012

Kadal Music Review

So after four days of listening to “Moongil Thottam” constantly, I decided to pry into the full album.

Chithirai Nila

Rahman Ji has already dealt with this theme before, remember “En Aatha Pon Aatha” and “Poovukkenna Poottu”? In fact “En Aatha Pon Aatha” was sung by K. J. Yesudas and parallels are bound to be drawn because his son, Vijay Yesudas is performing this number! “En Aatha Pon Aatha” was roughly released two decades ago but somehow “Cithara Nila” effectively transports us back to that time.

Vijay Yesudas who sang “I’ve Been Waiting” from “Jhootha Hi Sahi” was heard implementing his Indian Classical vibrations into Jazz there and although here the tone might seem same, he doesn’t quite reach the same octaves. The singing here has less variations allowing the music to take the foreground and most of the music seems synth orientated, there are exquisite pads, shakers and other patches displaying a fusion sound akin to the early Ninties Rahman Ji. Overall, Vijay Yesudas does leave more of a stamp because this is a simple song but it has stretched notes with which Vijay Yesudas shows off his singing prowess which will lead this to become a great nostalgic melody in the years to come.

Adiye

This song is where the rebellious Rahman Ji brings lesser known music genres to the Indian scene. The ambiance is set straight away with, rocking drums, sublime chorals and a throbbing piano which pave way for the powerful vocals of Sid Sriram.

This song shares many pleasant aspects with “Aaromale” but I feel it’s unfair to compare the two. “Adiye” stands on its own ground and for me it strikes gold in its “charanams”. Dance to it, nod to it, sing to it, laugh to it, cry to it… Do whatever you wish as this song allows you to because it’s a complete package in every sense.

Moongil Thottam

I am yet to come out of this gem and it provides a wholesome divine power in giving that escapism feel. George and Keba Jeramiah are the backbone of this composition while Abhay Jodhpurkar and Harini release their celestial charm all over this piece. I can thank the singers and instrumentalists but the bottom line is, how do I express my gratitude to Rahman Ji? “Moongil Thottam” is the brainchild of Rahman Ji but Mani sir also deserves applause for extracting this larger than life composition. Vairamuthu sir delivers poetic lines which even without music would be a gift to hear.

Elay Keechaan

International appeal is written all over this track. Javed Akthar was right in saying, “I think Rahman is one of those people, who have changed things and he has given a kind of new sensibility to an Indian music listener and the music makers vis-à-vis the sound, orchestration, structure of the sound. He has challenged the basic structure of Indian film songs and he has altered it. He is not much influenced by film music! His sources are different! He has a kind of courage where he is not afraid to experiment! He is not afraid to fail and that is why he succeeds!”

I wonder what Rahman JI’s main source is? He has this childlike passion to always challenge himself! I have not witnessed this passion in other Music Directors. Twenty years down the line from his debut, he still ventures into avenues unknown to Indian film music. “Elay Keechan” is a recurring example of RAHMAN JI being THE ONLY PIONEER in Indian cinema.

When I hear this song I feel that I’m near a seaside or surfing, particularly in sun kissed Pacific and Caribbean locations. Rahman Ji also puts Thamizh native touches with “Dappan koothu” percussion. Rahman Ji rarely experiments with “Dappan koothu” and the only other song that comes to mind is “Thirupaachi” from”Taj Mahal”.

Rahman Ji sings this track with fine ease and in some places I am reminded of “Omana Penne”. At first I thought the additional (background) vocals were off key and should have been avoided but I now have warmed up to them and they definitely bring a feel of fishermen. I think there is a high chance of this being my favourite number sung along with “Athiradee”.

Nenjukkule

“Nenjukkule’s” first line itself reflects how I feel about this song in its entirety as I have “in my heart, tied” this song. My heart seems like an empty canvas to which Rahman Ji comes with an array of colourful instruments. He paints a vehicle in which I’m the passenger and Shakthisree Gopalan is the driver. She drives me through time, I see my playful childhood right in front me, she drives me through many emotions, I see my mum and dad looking after me and finally she drives me through all the four seasons. But If I had to pick a season which is the essence of the song, then it is autumn and the shakers sound like the shuffling of leaves.

Although Rahman Ji has completed this wonderful painting of a song, I’m still a passenger who along with the driver has only just begun this journey of a life time.

Anbin Vaasale

The collaboration of Haricharan and Rahman Ji is something which I’ve been waiting for almost a while now. There’s no doubt that Haricharan has found a place in my favourites as I find myself listening to his “Ela Ela” and “Nee Choopule” every other day.

“Anbin Vaasale” is a typical Mani-ARR song and along with “Cithara Nila”, it takes us down memory lane. Personally I was reminded of “Ini Achcham Achcham Illai” because of the wonderful job by Chennai Chorale which is conducted by Augustine Paul and Kids Chorus.  Overall, it’s a very uplifting song (prayer) conjuring up a collective energy found at a Christian mass. Rahman Ji always does a splendid job with religious themed songs, need I say more?

Magudi.. Magudi..

The gadget boy inside Rahman Ji gets a chance to show off here and rightfully so. “Thavil”, sawleads, electronic effects and rap portions all accumulate to form this number. Those who love listening to experimental music will absolutely find this a delight. “Magudi” translates to “playing the lute”. I believe this might be a metaphor as I can’t hear a lute in this number. Anyways, don’t be surprised if you find yourself listening to “Style”, “Shanno Shanno”, “Liquid Dance”, the odd track from “Enthiran”, “Dost Hai (Girl I Loved You)”, etc. afterwards.

All B-boying” a.k.a breakdancing, popping, etc. dancers have most probably already started to experiment with dance moves to this number and I don’t blame them as I would if I was them but unfortunately I can’t dance.

Overall

Initial reactions don’t really matter when you listen to an album by Rahman Ji because a less impactful song might just become the most impactful of the album but this can only be answered according to how willing a listener is to drown in an album.

The album is called “Kadal”, which translates to Sea and I can’t swim so if I drown in the album it would be like drowning in the Sea. Is Rahman Ji a drop in the Sea or the Sea himself?

There are seven waves (songs) which stumble upon this seashore (album), some are tumultuous, some calm but one thing is for sure and that is they’re all equally attractive

“Kadal” is a versatile album and the Mani-ARR combo strikes once again in proving they are the toughest benchmark this generation has ever seen.

Happy Listening!

Sunil

Part. 2 Review – http://wp.me/p2N6aS-l