Of Extraterrestrial-Intelligence & Roger Federer. Review on A Aaa Songs

I was watching the famed CNN presents edition on Extra-Terrestrial intelligence hosted by Miles O’Brien. Towards the end of the program he wondered whether looking for transmissions from extra terrestrial intelligences were, in fact, too narrow an attempt. What if they did not transmit using radio waves? What if they did not use the concept of “waves” at all? The conclusion: Thinking wildly & openly means just that: There are no rules, regulations. Creativity has no boundaries.

Then, what/who defined film music? Should there be a pallavi, anupallavi, followed by two charanams separated by musical interludes? Does it have to sound pleasant? Should it blow up on your face, push you back? When I commented about the so-called mediocrity of ARR’s recent albums like Swades, I was talking about just that: the nerve to break boundaries, to set trends. This album is what I was waiting for since Lagaan, or maybe, since Dil Se?

Now, you may not like the tunes in this album. You may hate the noise, sounds & what not. That’s only fair, since the clichéd “to each his own” will give you immunity. However, my advice will be for you to carefully listen to this album, & discover it for its novelty. There is heart-thumping percussion right in the middle of a slow-calm song, there is a pathos track which boils sweat & blows surprise at almost every line. In short, I feel immensely relieved that ARR has shown his legendary stature. The King is Back!

Maramkothiye

Shankar M. & Shalini

There are three related genres of music called Techno, House & Trance. The most modern of the three is trance, which is said to have both house and techno roots, & even has a “Goa” version. This song sounds like it is somewhere between house & trance. Typically, a trance number has a more “tingly/musical” feel to it, whereas the others are more mechanical. Don’t be fooled by the initial thoughts you have about this number, which may not be good. As you hear it, the actual vocal tune grows on you. I will go so far as to say that since Dil Se, this is one of ARR’s best vocal tunes. Also notice the use of “generated effects”(GE) on the percussive sounds. It is clear in the beginning of the songs. However, I have one criticism though. The anu pallavi also is a great, sweet tune, but became buried under little too much digital acrobatics. I would have preferred to hear it straight with SM’s voice.

Thazhuvudu

SPB & Shreya

This song deserves special mention because of two reasons. One due to the sheer innovation used, & the second the amazing ease with which Shreya sings tamil & that too with overflowing feelings. There is only a small part of the percussion pattern which remains constant, the rest is constantly changing. Even in the charanams u can hear minute rock-guitar sounds, & then there is a brilliantly placed orchestral piece. The start of the second musical interlude is dramatically different from what you were hearing in this song, with sustain ridden e-guitars, and then it comes back to the quiet singing. Take for example the last part of the song where the singers repeat the anupallavi first before going to the pallavi. Its wildly innovative folks! Make sure you hold on tight!

Thigu Thigu

Sadhna

If you thought those were the only surprises, wait till you hear the start of this song. The pallavi is first sung as though sounding from an old dusty record player. Suddenly, high power-percussion starts. The percussion slowly fades back and tablas take over, then the same percussion comes back. This goes back and forth as the song progresses. Again, you should not forget the beautiful vocal tune. The tune is actually mesmerizing. But the most important place in the song is when Sadhna sings the pallavi leading into the second musical interlude. Notice the percussion as it takes over from the folk drums. There is a light humming in the background. The percussion is simply out of the world. I would just thank ARR for giving us those few seconds!

Varugirai

Hariharan & KSC

Firstly, congrats to KS Chitra for winning her sixth (the only female singer to do so) national award! The signature tune of the song starts the track. But notice as Chitra hums & hideous (James Bond like) start using pluck sounds & astounding rhythm. When Hariharan takes over, listen to an electrical sound (sound of neon lights?) which persists in the background for a few seconds. As soon as Chitra sings the anupallavi, the song calms down with rich orchestral support. Immediately following KSC, the second interlude explodes using the same patterns as he used in the song “Chandralekha”. The charanams begin as a normal song, but flies to huge heights with the crescendo. I noticed a bit of strain in Hariharan’s voice. I would have liked Karthik’s voice used at least in an alternative track. The second interlude reminded me of Mission Impossible’s famed tune, maybe it’s the same scale? The song is meant to be somewhat mixed with anger & sadness, & ARR has rightfully mixed traditional orchestra with powerful percussion & novel sounds.

Anbae

ARR

From the little I know of the language, I could figure out some sentences like “I am really your friend, with out you, I am nothing” signaling his gratitude to the Tamil Nadu in general. This song is somewhat ordinary, with heavy percussion complimenting a mellow tune. Synth sounds are abound & so are e-guitar signs. I really liked the core tune, but I also felt that the orchestration was a little bit overboard.

Mayilirage

Madhusree & Naresh

This was destined to be a good song. However, I was terribly disappointed by the lackluster, casual approach to the way Madhusree sang her part. Not only does it stand out (badly), but also it neutralizes the wonderful work that ARR has done in composing & Naresh in singing his part. I am a bit surprised that ARR gave the green signal to this song to come out this way.

Overall this album ends my wait for over three years to hear what I consider to be ARR’s forte. I can see many MDs of today looking at this album & wondering why it never crossed their minds! It is almost like the way an opponent looks at the one-handed back hand-top spin-cross court shot executed by Roger Federer and shakes his head in disbelief. What was that? Was that for real?