AMARA KAAVIYAM SONGS REVIEW

The album begins with a groovy guitar melody sung breezily by the vocalists. The track has a fusion of a pleasant melody over modern orchestrations, making it instantly likeable.  The distorted guitar along with the drum loops brings the contemporary touch.  The nadaswaram hooks in the interludes offer another access point to the tune.

Haricharan makes no mistake with his flawless voice and Padmalatha supports him perfectly in this timeless melody. The orchestration creates a fantastic musical ambience around Ghibran’s brand of unique progressions woven around a blend of Indian classical and modern music. The changeover point in second interlude is another major highlight of the track.

The opening piano notes carries with it the tag of a ‘classic in the making’, with the added attraction of the involvement of the legendary Chithra. The exquisite melody is built around Ghibran’s industrious orchestration incorporating both live and digital elements of music. While the lead tune has traces of Raag Kaapi and a little of Nata Bhairavi, this track serves up as a fusion extravaganza. Chithra gives a masterful rendition with her sweet and flawless voice.

The melodies continue to flow from Ghibran’s palette in a similar uncanny and pleasant presentation. The haunting solo humming adds much worth to the overall track and the interludes are intricately woven with the Middle eastern styled string section and rhythm.  Madhu Iyer gives a velvety rendition to compliment the instantly likeable voice of Ranjith.

Ghibran’s display of proficiency continues with a mesmerizing solo rendition from Padmalatha with the backing of acoustic guitars and interesting percussion sounds. The overall template is essentially a blend of Hindustani and Western classical with such flexibility that it would intrigue the listener. It is enthralling to observe that the composition is cleverly based on Carnatic Raaga Amruthavarshini- a raga less explored by the modern day composers. 

The lilting duet arrives again, now as a solo in the voice of Sundar Narayana Rao. He brings a classical touch to the overall composition with his heavy bass voice and expressive diction.  A strange Sufi folk flavor is added to the composition with his rendition.