Idho thaanaagave sees Ghibran go hard-rock with a vengeance, almost like a sitar-infused Blaze of Glory (Bon Jovi) even as Yazin Nizar rocks the high-powered rendition! Its variant, I Have Nothing is a slow-burner R&B that’s foot-tapping, complete with Jah Hill’s gibberish verses.Ponapokkil has an elfin charm, and even segues into an unusually retro anupallavi and highly interesting interludes. Thandiraa has an instantly alluring tune; Rajan Chelliah’s lead vocals props the song while Ghibran’s tune veers off in imaginatively uncomfortable directions. The Adhe kangal theme builds on Thandiraa impressively, into another dimension. Curious, unconventional music from Ghibran, as always.
Next enti is DSP trademark – punchy rhythm and repetitively corny fillers. Arere yekkade is a lovely surprise from DSP! Delightful melody set to an engaging rhythm with beautiful snatches of violin and flute, sung fabulously by Naresh Iyer and Manisha Eerabhathini! Disturb chestha ninnu too is a pleasant surprise! Superbly funky bass and a tinge of retro in the orchestration! And Prudhvi Chandra’s singing is darn good! Champesaave nannu is passable, using a generic pop sound. Side please is DSP giving up and succumbing to his earlier self. 2 songs showcase that DSP is capable of a lot more!
Hulli hulli, presumably the hero-intro song is, unlike current trend, not a kuthu number, but is hard rock! Siddharth Basrur’s grungy vocals and the pulsating sound make it work. Hebbuli theme too is on similar lines; powerful, guitar-booming sound. Vijay Prakash is at his usual best singing the easy-on-the-ears semi-classical Sundari. Usire is usual Arjun Janya material, made more interesting by the funky orchestration. Devare, the soundtrack’s best, is an incredibly immersive that Armaan Mallik sings brilliantly! Yennenu soda is good fun; tipsy reggae with mighty enthusiastic vocals by Rajesh Krishnan and Vijay Prakash. Good mass’y music by Arjun Janya.
The holi song, Go pagal, has Manj Musik as composer and Nilesh Patel as co-composer! For that composing power, it is a pretty mundane mix, albeit with a frivolously catchy tone. Chirantan Bhatt’s Bawara mann is a lot more assured, with a breezy accordion sound and a tinge of retro in the pleasant melody, besides very good singing by Jubin Nautiyal and Neeti Mohan. Meet Bros’ Jolly Good Fellow is as addictive as a simple nursery rhyme; that it’s also adequately corny helps. Vishal Khurana’s qawali, O re rangreza is earthy and resonant, and nothing more. Middling multi-composer mix, this.
Shuruvaithu‘s classic rock format is likeable, thanks also to Anand’s repetitive musical phrases and Chetan Gandharva’s softer-Raghu Dixit vocals. Shaliwahna case is corny, using an IPL jingle as filler, but is catchy nonetheless, with superb singing by Manasa Holla. In Edi jagavidhu saladhu, Anand uses a techno sound, but plays around with the tune in interesting ways too, to impressive effect. Thaliru thoranadi‘s Reetigowlai raaga base and Anuradha Bhat’s vocals make it mighty listenable, while Bunga bunga, the obviously-item’ish song is punchy masala. Debutant Anand Rajavikraman’s music doesn’t break any new ground but he seems pretty confident with his craft.
Hinge ondivasa is breezy pop—reminiscing on college days, no less—that a singer like Karthik has aced many times. Lavvayya lavvo has a catchy, foot-tapping outlook but for the generic tune. Saddillade is where Chetan surprises, with a brilliant ghazal-like melody that gains immensely from Chetan’s light orchestration and Deepak Doddera’s singing. Theera dooradalello is an equally good listen, in Chetan’s own engaging vocals, the melody and guitar-base strongly reminiscent of Mano Murthy’s style. Saniha has a nice nostalgic touch, complete with a mandolin-violin sound and Priya Himesh handling it competently. Customary, albeit highly melodic, composing debut by singer Chetan Sosca.
Keywords: Kaal Kg Preethi, 1/4 Kg Preethi, Chetan Sosca
Ekimeeda‘s uncluttered and simple tune is easily likeable, particularly in Shreya and Udit’s vocals. Gana gana gana is perfunctory group song that is best left on screen with visuals, while Mrignayanaa featuring S.P.Balasubrahmanyam, despite the great start, gets into sitar-driven period-classical template. In Saaho saarvabowma saaho, Vijayprakash and Keerthi Sagathiya scream their lungs out ambitiously, but the tune is clearly—and only—intended to go with on-screen visuals. Vijay’s vocals power the narrative-song (Kadhaa Gaanam) Singhamu pai langhinchenu considerably better, with him vocalizing the dialog-medley really well. Composer Chirantan Bhatt delivers a generic, period or context agnostic score for a Telugu historical.
Panthuvarali raaga meets Yakshagana chande in Adhara madhura to create pulsating fusion. The Yakshagana mix comes across beautifully in the interludes too. Teenu Treasa’s lush vocals and Manoj’s splendid violin phrases rule over the brooding melody. That Yakshgana style conversational singing appears in Kelu ranga kelu, but Manoj removes the chande to layer in a significantly more modern percussion layer, though everything else remains similar, including the harmonium! The profusion of singers includes Shwetha Pandit, Bhavani Prakash, Navya and Rama Rama Re composer, Vasuki Vaibhav! The short Urvi Theme song alludes to Adhara briefly, though is largely a pulsating Yanni-style orchestral track with Sylvester Pradeep’s Raghu Dixit’ish rendition. Thili prema sounds like something Charan Raj—who sings in it, along with Madhushree—would have composed! It’s wonderfully breezy, with fantastic interludes! Madhushree is even better in her solo version of the song, with only guitars for support. Kanna hani is Manoj’s trademark – a spartan melody adorned almost only with violin, with Chithra in impeccable form holding the quivering pathos in the melody. Ajaneesh Loknath, Judah Sandhy, Charan Raj, Vasuki Vaibhav, Dheerendra Doss, and now, the return of Manoj George (after Athmiya)! Kannada film music is going through a long overdue transformation!
Ammadu Let’s Do Kummudu has a lazy rhythm and a joke of a tune that seems only to exist to fit the hook. Ratthalu is equally bad, loading absurd rhyming words on a stock Devi package. Sundari is standard-issue DSP material where he is keen on using the sitar. You & Me offers minor respite, thanks to Hariharan and Shreya’s singing, though the tune devolves into a droning sound eventually. Neeru neeru is the mandatory ‘serious’ song; Shankar Mahadevan and the charukesi raaga base help. It’s baffling why Anirudh’s original, significantly cooler and largely nifty score for Kaththi wasn’t reused.
Keywords: Chiranjeevi, Khaidi No 150, Devi Sri Prasad