PAPANASAM SONGS REVIEW

The perennial symphonic arrangement from Ghibran proves to be a winner. The treble voices, the Kanjira, the Ghatam, the harmonies and the string sessions create an ambience expressing love and bonding.

To Ghibran’s melodious music, here is the softest voice on earth, Hariharan, lending weightage.  Accolades to Ghibran for retaining the musicianship in his interludes and sticking to the catchiness in the Pallavi alone. Creating a trans like world by using unconventional instruments is becoming Ghibran’s forte. The sudden changeover into rock during the interlude is pure genius.

Like a continuation to Uttama Villain, the theme track is high on symphony. Especially the string sessions and the chord progression suggest a lot of emotion dwelling into the story.

An eerie feeling is created when the bow stretches the string really hard. The brass section and the Timpani’s bass take us into a dark hole.

This is the softer version of the Yeya En Kottakaaraa. Ghibran’s understanding of the Western classical is no easy feat. Special attention paid on the accents while playing the instrument differentiates his work from the rest.

A basic note overlapping another tune is multilayered and complex. The composition creates the urge and the purpose behind such a treatment.

Controlled bowing levitates the tune into a point of no return. Highly dramatized rhythm progression of the track is startling and Hollywood like.

Enforcing a feel of accomplishment, the chorus, hope-giving strings and the voice along with the pianos and the drumming give a full-fledged feel.