Wednesday April 6, 2016

Sairat (Music review), Marathi – Ajay-Atul

Posted by Karthik

Mark Graham’s strings and woodwinds section opens Yad lagla in an astonishingly beautiful way. The melody is gorgeously tender as if trying to extricate itself from the nuanced and mesmerizing symphony that the composers have conjured. For the second interlude, they start small and move to a goosebumps-inducing crescendo. In Aatach baya ka baavarla, after the opening chorus’ 2 lines, the duo load a mighty ebullient short piece that connects wonderfully with Shreya’s joyous ‘Aatach baya ka… baavarla’ hook and flows into equally breezy horns! The duo play around with the interlude too – the first one layered with sitar while the second one is a vocal chorus, and ending the last hook with a different flavor! Sairat jhala ji is jaw-droppingly beautiful! A haunting melody that evokes Ilayaraja in its construction and approach – the strings, the jaunty rhythm, the symphonic interludes (the 2nd one, led by flute), the folk’ish antara… everything screams Ilayaraja! Ajay and Chinmayi hit it out of the park with their rendition. Zingaat is a lot of fun, mixing Marathi folk’s frenetic rhythm with a mind-bogglingly catchy tune and flamboyant horns! From last year’s Nilkanth Master, to Sairat now, Ajay-Atul are on a staggering high!

Keywords: Sairat, Ajay-Atul, 200, #200

Listen to the songs:

Comments

comments

  • Sunil

    Many individuals daily glance at the sky but only a fraction appreciate its breathtaking scenery, the sky is a constant reminder that there are no boundaries. Some individuals are always staring at it looking at its beauty, be it admiring the Sun which is the reason we’re alive or gazing at Stars and both are exuberant examples of perfection.

    Another example of perfection is Music which like the Sky doesn’t have any boundaries. We go out in the open air when it’s sunny to feel the breeze but sometimes decide to stay indoors whereby the breeze flows and enters its way into our environment.

    I feel this song has done exactly that, it’s breezed into my life fortuitously and I want more of it so have intuitively granted all the spare time I have to it but beyond this its unraveling in my system at all other times. The result is nothing but Love and Peace, both for nature and this song.

    Sairat’s title song has musically inundated me, I can’t escape or rather I don’t want to. Along with “Taal Se Taal” its by the far the most opulent title track I’ve ever heard.

    It’s bursting with folk flavours making me detached from yet bound to the earth. My feet are tapping naturally, my head is undergoing a psychedelic rush and admist this I feel my heart is beating at the tempo of this song.

    Happy Listening!

    • lovethetech

      “taal se Taal’ was one good song after many years from ARR. He was dry for years.

      • Jagan Kumaravelu

        And your ARR rant in another review? ARR gave masterpiece after masterpiece during those Taal times. Previous year (1998), he had given Dil Se, Jeans. In the same year as Taal (1999), he gave Kadhalar Dhinam, Sangamam and Taj Mahal. Now you gonna tell me all these other albums (other than Taal) were not good? And the same old rant from that 24 review, “Put ARR in a room without a computer….”?

  • lovethetech

    Sairaat was inspired completely from one of Ilayaraja songs70/80s. I could not put my finger on.

    “Yad Lagla” is also Ilayrajaish.

    • Sathyajit Krishnan

      Sairaat sounds like manguyile punguyile. Probably that’s what your referencing.

      • Angelina

        The songs have Ilayaraja flavor but calling it clone. Sorry don’t agree with this. Just heard the song manguyile punguyile. The only thing influence I could detect with any Ilayyaraja song was the slow start and the ra-ri-ra beats towards the end. Yed Lagla is more operatic in nature. Sairat Jhaalaji is more of Marathi folk song. Maharashtra is a part of deccan plateau. Songs have similar sounding folksy tune.

        • Joshy John

          I think Sairat Jhaalaji is inspired from “Manakkum Santhaname Kungumame” from Movie “Dharma” by Ilayaraja

    • Korukonda Raju

      I agree with comments of lovethetech n Jagan Kumarvelu. Especially two songs ‘Sairat Jhala Ji’ and ‘Yaad lagala’ seem to be cloned from Ilayaraja compositions. Percussion rhythm beats symphony melody from violin and cello instruments, fine mixing of indian folk and western music are patents of Ilayaraja compositions. Sairat songs portrait Ilayaraja style. So Sairat songs has brought in essence of this style and become popular. Appreciate Ajay-Atul to introduce these songs in Marathi film. Of course Zingaat song has folk touch of marathi music.

  • Lone Reviewer

    Impressed again by Ajay-Atul in marathi. Could be huge in Bollywood if crass music was not so hot in the industry.
    Not in the same league as Natrang, but nevertheless a fanstastic album here.

  • Sathyajit Krishnan

    These guys are ridiculously talented! They’re so unlucky to be born in this Era where such music will go largely unappreciated. But 2016 has been great for Music. Its like the New Year just slapped a Lot of Composers awake!!

  • Jagan Kumaravelu

    Agree with your Sairat review! Raaja, Raaja and Raaja all over! To the point where it sounds inspired. But if Raaja can compose like this in today’s times (the Raaja of today is desperately trying to place himself in tune with today’s times, whereas people today still enjoy his 80’s and 90’s tunes). A old world tune with some snazzy arrangements and modern beats would work.

    I love Ajay-Atul’s work. Big fan of their work in Agneepath and Brothers.

  • Amit

    Ajay-Atul have admitted their fascination for Ilayaraja in several interviews, in fact in some interviews they even sang Raaja’s interludes! There is no wonder that influence is seeping in their songs!

    A great soundtrack!

  • Dinesh Vaidyanathan

    Listening to “Sairat” OST in loop…! Too good.. Feel like I’ve found something long lost..! Only four songs.. But each of them is full of raw energy.. “Everything screams Ilayaraja”..? I beg to differ.. I feel the roots of the songs can be traced in the Marathi folk music.. Tempered with western style.. Of course I know how A&A are fans of Rahman and Raja, but I feel there’s an original ‘tadka’ in their work..

  • Rahmaniac AR

    Mark Graham is the ‘conductor’, not ‘performer’, so saying ‘Mark Graham’s strings and woodwinds’ is technically wrong.

    Let me give you an example. John Williams completed the score of ‘Harry
    POtter 2’, but he could not conduct it (as he usually does), since he got busy with Spielberg’s ‘Catch Me If You Can’. William Ross was brought on board to conduct John’s music. THe score was performed by the London Symphony Orchestra. So, if you review that score, you can’t say “William Ross’s strings and woodwinds open…”!

    • milliblog

      …which means you cannot invoke Graham’s name for anything? Except for, ‘Graham conducts so darn well’?

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