What strikes you the most, besides the friendly melody and the pleasant sounds, is the piercing vocals of Vandana which comes through so very well. Prasanna’s singing is slightly in a different shade but complimenting the proceedings. The orchestration offers plenty of room for the string section to shine and also for some tasty fills.

Next up is a splendid melody from Imman based on the Keeravani raagam and again the composer springs up a surprise with his passive and gorgeous treatment. Often known to feast on percussions, Imman quiets things down here and for a large part of the entire album. Poornima Sathish’s raga fills gives the track a unique dimension while Abhay Jodhpurkar adds yet another impressive composition to his already enviable catalogue of songs. Imman’s approach appears to be simple and uncomplicated but there’s plenty of interesting moments persisting in the background.

Another lilting melody which eases its way around Imman’s earthy orchestration. The shenhai fills are used at decisive moments in the song to liven up the mood which is mostly soaked in dreamy romance. Imman himself steps in to voice the tune and he is impressive in the mid-ranges while Divya Ramani casually excels throughout.

A remarkable composition from Imman which is traditional in every sense with its Malayamarutham base, but also containing some contemporary fusion elements like the guitar and violin, both adding plenty of color to the track. The rhythm is reminiscent of classic Raja but the melody is certainly fresh and decorated with nativity. The transition from the instrumental interludes to the vocal parts is seamless and beautifully organic. Santhosh Hariharan and A.V.Pooja places themselves right in the heart of a song which is expected to gain wide reverence.

Violinist Karthik Iyer delivers an inspired solo performance in this instrumental. The take is full of segments where the musician improvises on the original melody and thereby keeping it extremely engaging for the listener.