Saridhaana has so much going for it – an instantly likeable tune, hyper-excited scatting, fantastic vocals by Yazin Nizar and Thomson Andrews, the tantalizing reduction in sound before the first interlude after which the guitars and nadaswaram perform magic, and intriguing lyrics by Karky with existential questioning on the friend’s lady love… amazing expereince! Edhedho ennam vandhu uses a rhythm pattern most associated with Islamic prayer, but the tune itself is rather predictable. Sundar Narayana Rao, in the song’s solo version, souds oddly labored. A similar rhythm appears in the Vaasagi part of Thagam theera; again, a fairly standard tune made better by that part and the use of African Kora. Ghibran cranks up the music again in the very-Malayalam-film-song sound of Mounam paesum, letting Chithra’s sonorous parts beautifully merge with Sowmya Mahadevan’s Aasai aasai hook. Dheva dhevadhai has the distinct sound of a Raja tune, and Ghibran has run riot on the orchestration making it mighty ambient in his unique style, complete with a Yanni’esque violin phrase mid-way. The complex and enticing multi-layered sound of Ghibran is reminiscent of early Rahman. And the man seems to be clearly on a roll, ostensibly adept at churning this with alarming consistency!
Keywords: Amara Kaaviyam, Ghibran, 200, #200
