Composer Natarajan Sankaran pieces together this juvenile anthem rather nicely by setting up the groove with a vocal melody. The male vocals do not exactly qualify as singing but it works effectively nevertheless while the female vocal enters the fray and offers levity. The overall crafty effort catches you off guard and makes you stand up and take notice of the rest of the record making for a perfect start.

An old timey composition that employs the accordion and using brushes over the drums effectively.  While the song does well to create a mood of pathos it suffers from being captivating and resulting in a tune that meanders towards its conclusion. Srinivas’s voice is a good choice for the composition.

Has a tinge of middle eastern or Jewish folk influence in its string arrangements but the composition takes a life of its own by steadily creating an atmosphere while being rather ironic in nature. SP Charan sings like almost two different people, or one with an alter-ego.

The track continues mood and the tempo of the soundtrack set by the preceding tracks and is pretty much of the same nature – spelling doom and gloom. Musically the orchestration continues to be grand, placed over a simple bass groove. Again the lyrics are self-effacing and self-sympathetic even. The minute detailing of string arrangements breathes life into the song but the horns evoke a feeling of repetitiveness.

A poem by the great Bharathiyar is never short of power. The music director sticks to his guns with the symphonic treatment yet again and the orchestration is as on expected grounds, considering the treatment thus far. The bits of Celtic sounds offer a nice change up amidst all the drama.

Natarajan Sankaran takes the age old lullaby and sets it to overtly dramatic music. By now there is a bit of restlessness that creeps in as the instrumental crests and troughs become too obvious and regular.

The legendary singer KJ Yesudas returns to perform his first ever song that’s been reused in this film. Not much has changed within the composition in terms of melody excepting maybe the rhythm section that’s subdued. The album continues to dwell on the dark side as Yesudas surrenders himself to the words and the melody.

A simple and not entirely uncommon violin melody opens the song before a door bell gives the song a total overhaul. At first it comes across as more of a scene than an actual song, possibly even a vocal interlude to the album. But soon we realize that’s not the case because there is a pretty amusing and catchy vocal hook that appears out of nowhere.

Clocking in at less than a minute the track just about manages to kickstart itself with a dance groove that uses simple lyrics and delivery.

A complete spoken word segment supported by a promising bassline,  that sadly only plays the supporting role without taking off. The strings pull through like the thrilling score of Alfred Hitchcock’s Psycho in one instance as the composition tries to be cool and menacing all the same.

A simply delicious acid jazz groove that’s not short of spunk or funk. The irresistible groove is almost heroic even and is the most readily accessible and enjoyable of the instrumentals.

A composition that comes across as Muzak but with a little more life strewn into it, but could serve its purpose well as a BGM but its understated nature can also cause it to be overlooked.

The strings sway rhythmically and the give and take between the low end and high end of the strings makes for the highlight of the song and it manages to be dreamy like the title suggests.

The composition is a frantic play of the wind instruments over a heavy drum & bass section without being chaotic whatsoever. While there might be similarities drawn to ‘Misirlou’ the track stands its ground as an original.