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Maryan Music Review

we have Dhanush and AR Rahman coming together for the first time. But this is about Dhanush and AR Rahman. What makes this album so special is the combination of Bharatbala and AR Rahman. Bharatbala was the brains behind ARRís famous 1997 patriotic album Vante Mataram, and their relationship stretches for a long time- just that it was never displayed in a mainstream movie as Bharatbala was yet to direct his first feature movie- until Maryan that is. Regardless, AR Rahman has given a stonking, high original album for Bharatbala that competes tit-for-tat with ARRís brilliant work for Mani Ratnam in Kadal. Similarities cannot be missed, because just like Kadal, this film too is about a man from the fishing community and his travails. But yet ARR gives this album such a distinct flavour that it stands out on its own- none of these songs remind you directly Kadal songs- and thatís not to say whether they are better or worse. They are just incomparable but equally as good. Now that is a testament to AR Rahman.

Nenjae Ezhu(A.R.Rahman)

Rahmanís use of definite instruments such as the acoustic drums and grand string section immediately makes the song universal in nature. As the trackís title suggests, it is a song that strives to spring hope and rise above from the deepest depths of despair. Apart from the songís inspiring words, the mighty backing chorus lends its support almost as a pillar of strength for those seeking solace in the tune. Rahman also displays his mastery over the continuum fingerboard with its subtle yet effective use.

Innum Konjam(Shweta Mohan, Vijay Prakash)

Those who revered Nenjukulle in Kadal will appreciate Rahman spending time on the accordion once again. But the instrument may not be the only thing that reminds us of the aforementioned tune. The repetitive first line is a great setup for the composer to seamlessly build his progressions on. The sound of the supporting ghatam is simply marvelous. A booming string section offers a brief peak at a few places before the track returns to its earthy roots with charming vocal exchanges between Vijay Prakash and Shweta Mohan.

Naetru Aval(Chinmayi, Vijay Prakash)

This is the kind of attempt that distinguishes Rahman from the rest and places him on a different pedestal. The melodic progression is bold and beautiful. Bold, for it to steer clear of conventional demands of the average listener. Beautiful, for the impressively tangled vocal melody that demands a few listens to get your head around it completely. The demands of patience donít go unrewarded as you are treated to musical intelligence, with the stirring orchestration, and consoling warmth attributed by the vocals of Vijay Prakash and Chinmayi.

Sonapareeya(Haricharan, Javed Ali, Nakash Aziz)

Middle Eastern rhythm meets Spanish effervescence in this tune thatís definitely upbeat and not short of enjoyment. Besides the rampant percussions, the playful violins too, make for the mainstay of the orchestration and feature a particularly lively solo of the same. All the three vocalists display excellent awareness and bring their A-game to the party with their improvs.

Enga Pona Raasaa(Shakthisree Gopalan)

The simple yet sure guitar notes spell eeriness and the mood of a melancholy. The words of restrained despair are superbly delivered by Shakthisree. The situation may be high on gloom but itís not over dramatized musically and succeeds in getting the listener to join in on the singerís hopeful anguish, highlighting the composerís awareness of human emotions and his ability to tie them down musically. The moment of heightened distress gives the track its dynamic moment before subduing to its original anxiety.

I Love Africa(A.R.Rahman, blaaze)

A tune about the Dark Continent will necessarily have to be driven by percussions and ARR does exactly that. The song is filled with various percussions that lay down the rhythm line. The drums seem to have their own individual agenda with the drummers permitted to go crazy and freestyle but they come together just fine when played alongside each other. The essence of Africa is captured rather well in the sound and the vocal accents.

Kadal Raasa Naan(A.R.Rahman, Yuvan Shankar Raja)

The highly celebrated union of Yuvan Shankar Raja and A.R. Rahman is saved for the last track on the album and is almost instantly a crowd favorite. Yuvanís vocals receive a refreshing makeover but he does indulge himself well in the high ranges. Again, the percussions are in their own world but do superbly well to keep time and tempo without distracting the listener. The presence of other instruments like the quiet note picking on the strings and the shehnai are not threatened by the heavily populated percussions.

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