Your browser does not currently recognize any of the video formats available.
Dilrubha dilruba tamil video songs download#
Dilrubha dilruba tamil video songs movie#
With an almost free-form singing by Khatija Rahman, Deepthi Suresh, Soundarya Bala Nandakumar, Veena Murali and Sowmya Mahadevan for most part, this song feels most representative of the seemingly unconventional nature of the movie itself. Nowhere else is it as prominent as in the dark, haunting Kaayam that kind of follows in the footsteps of Madura Marikozhundhae from Chekka Chivantha Vaanam.
Being the soundtrack of a movie titled Iravin Nizhal, you can understandably sense a quietness, a feeling of night on occasion. Those occasional touches of sivaranjani raga coming in Haricharan’s voice are likely to take your mind back to the Alli Varugiraale segment from Kaaviya Thalaivan’s Alli Arjuna. Haricharan and Bamba Bakya do a fine job of delivering Parthiban’s lines that feature some smart wordplay. The composer goes for a street sound here, and the combination of horns ( Omkar Dhumal) and percussion ( Sivamani) delivers it in style. Bejara is a similar attempt with similarly impressive results. Expressing a heartbreak in an unexpectedly boisterous fashion is something ARR has done in the past as well – Heer (Tamasha) comes to mind. Got to know thanks to a friend that the interlude arrangements are a bit different in the Telugu version of the song, interestingly, the dilruba solo replaced with a vocal + conversational segment. Here too the instrumental build-up is gradual, resulting in a rich profusion of strings ( Sunshine Orchestra) and mridangam ( D A Srinivas) that gives the song a thoroughly satisfying ending. Shreya Ghoshal is in splendid form in Maayava Thooyava, a charming melodic piece that would have been a nice fit in Kaaviya Thalaivan. The melody also lends itself very well to the soulful, achingly short theme piece titled Shadow of the Night. The icing on the cake is of course the delicate, brilliant rendition by Niranjana Ramanan and Keerthana Vaidyanathan.
In what I assume is a nod to this fact, the basic rhythm for Paapam Seiyaathiru is provided by one such instrument (not sure if live or synthesised), and the effect it has is just incredibly calming, especially in the first minute and a half when there is no other instrument to steal the limelight (Also a random aside – the instrument’s twang that kicks off the song prompted a revisit of Mitwa 😀 ) Rahman subtly builds the instrumental layers onto this beautifully unhurried track – the mohan veena that heralds each switch in raga (guessing the ragas are kedaaragowla/saama, hamir kalyani, hamsanaadham – could not figure out the minor scale raga at 2:38), ghatam, kanjira all delightful additions to the proceedings. With bauls it is the ektara, in Kerala there’s the nanthuni/yaazh/pulluvarkudam, I would imagine that even in siddhar paadal there was something similar in use. And in almost all of these, there appears to be some plucked string instrument involved. It is fascinating how much this peripatetic bard practice exists across cultures. As I understood it, siddhar paadal feels a bit like baul sangeet in Bengal, paanan paattu in Kerala etc. This video by Carnatic musician Prince Rama Varma has a nice explanation of siddhar paadal and the most famous song in the genre, also written by Kaduveli Siddhar (the video is in Malayalam though). In Iravin Nizhal, the composer goes on a similar route with Paapam Seiyathiru Maname – a siddhar paadal (a form of folk music) written by Kaduveli Siddhar. My favourite song from A R Rahman’s long -awaited reunion project with Rajeev Menon back in 2018 – Sarvam Thaala Mayam – was the track co-composed by ARR and Menon, Varalaama, a wonderfully realised raagamaalika that never got the love it deserved (IMO). Songs, and artist credits (to the extent available) at the end of the review.
0 kommentar(er)
