At first the song seems like a continuation of the previous tune, but soon enough it takes its own shape and form. The bubblegum pop composition is another one of Vijay Antony’s staple products, especially of late. Santhosh’s young voice suits the style and feel of the song. The composer employs some violins to dramatize the tune and the synth interlude is quite peppy.

A standard western composition that’s almost expected in any commercial fare. Vijay Antony leads the way by lending his voice to this electronic tune. While the end result may feel like an attempt at creating a dubstep composition, it has obviously been simplified to cater to the average listener. Vijay Antony allows his auto-tuned voice to hit high ranges in quite a few places.

Vishal turns singer with this tune that makes light of carnatic music, going by his own introduction of the song. The concept is obviously created in good humor and so the lyrics and presentation are designed accordingly. Vishal warms up to his new role quite nicely as the song trots on ahead. Credit should go to the composer for coming up with a tune that accommodates Vishal as a singer, and for succeeding in making it catchy.

The soundtrack opens almost on a festive mood with a colorful folk tune that’s made all the more lively with the voices of Chinna Ponnu and the male singer. The folk beat gallops along in the background, constantly keeping up the tempo. The electric guitar solo might be the only alien instrument used in this native tune, but it does manage to serve its purpose well.

The final track on the album opens with spoken word utterances in a foreign language that’s hard to discern. The song has a Middle-Eastern flavor to it and the mood suggests that it could be an item song. Vijay Antony tries to use a quirky chorus to help the song gain some attention, like he did with Nakka Mukka, but the chorus reminds you of another of his recent releases. A fairly passable tune that brings the soundtrack to a close.