May be Sunil can explain much more technically however it doesn't matter how much you agree/thrash with my taste & listening experience of YSR & HJ.
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May be Sunil can explain much more technically however it doesn't matter how much you agree/thrash with my taste & listening experience of YSR & HJ.
If the case you put forward is in relation to duet numbers then I agree more than 100%, however if your talking generally then I beg to differ.Quote:
Originally Posted by Scale
Agree with Scale & Sunil on GVP! He's definitely promising! Incidently, I just heard Poovin Manam Poovil Illai yesterday. Liked it a lot, though I do find shades of Aruyire in it. Nevertheless, it may take some time before I keep Poovin Manam in loop, as I'm still addicted to Aadukalam songs with Aiyaiyo, Otha Sollale and Yathe Yathe constantly being in the top of my playlist.
The prelude begins with subtle reverbed hip clicks/snaphs accompanied with a stuttering low-fi keyboard synth which seems to me as a low pitched sine wav. (This continues as a backdrop throughout the song.) This is followed by Harini and Tippu respectively coming together and humming, hey ye hey ye. The humming comes along with chords played on the e-piano which dominates the ambience of the track. Along with the e-piano a ghatam and tambourine also support the hummingQuote:
Originally Posted by Scale
When Harini sings the first stanza, a plucked instrument is also present. The tabla beat is pleasantly dropped and it offers a similar sound usually heard in mellow ghazals. However the reverb effect on the tabla causes the feeling of sitting at a classical concert in a large hall or standing on top of a hill overlooking a lake or river. Though it is self-explanitary that a reverb effect creates this feeling regardless of the instrument being played, but with all due respect, all the credit and respect is due to GVP who places the right effect at the right time.
Conversely, GVP hasn’t used a variety of instruments though with the instruments he has used, his improvisation is highly effective. Strings pop up occasionally in the song, while the bansuri is given the most importance in the interludes. I would like to add, the second interlude displays majestic correlation between the bansuri and the alaap.
All these aspects contribute to the beauty of this number. Lastly, the effect of polyphonic/additional voices is what I believe makes the most impact on the listener. Although the additional voices are relegated to the back seat, if you do listen carefully with your eyes shut they do provide the most enchanting experience compared to any of GVPs previous output.
BUT IT IS THE MELODY THAT I WOULD LIKE TO STRESS HERE . TO HEAR A MELODY LIKE THIS IN THIS DAY AND AGE IS TRULY A DIVINE GIFT.
GVP has worked his socks off and it clearly shows. I hope from here onwards he keeps surprising us with numbers like this, that make us say, “Wow, is this really GVP”.
All the best to him, in selecting the right subjects as well as providing consistency.
Thank you so much for taking your time in explaining it. Now I can enjoy this song much more passionately and it has been on an infinite loop. Wow the backdrop tabla strokes are masterfully done throughout the song.Quote:
Originally Posted by Sunil_M88
Very much appreciated. :clap:
Deiva thirumagan releasing today :) expecting some soulful melodies from GVP
As expected, GVP delivers once again.. :bow: Super album..loaded with melodies..Arariro is melody of the year as of now :)
DEIVA THIRUMAGAN MUSIC REVIEW
Review by : Richard Mahesh
Starring: Vikram, Anushka Shetty, Amala Paul, Nassar, Santhanam
Direction: A. L. Vijay
Music: G. V. Prakash Kumar
Production: Mohan Natarajan
Vocals: Shringa S, Saindhavi, Chiyaan Vikram, G.V. Prakash, SPB, Maya, Rajesh, Haricharan
Lyrics: Na. Muthukumar
Director Vijay and G.V. Prakash have always endeavored with newfangled style of music in their films and now with ‘Deiva Thirumagan’, they seem to reiterate this fact. The album of ‘Deiva Thirumagan’ consists of 7 tracks.
Kadhai Solla Poraen
Vocals: Chiyaan Vikram, Shringa S
Lyrics: Na. Muthukumar
Vikram is known for his husky vocals in his previous albums that include ‘Kanthaswamy’. Incisively it was G.V. Prakash who brought about a different style from Vikram through ‘Meghame’ (Madharasapattinam). And now, we have Vikram with his splendid rendition in this number. The funny lyrics are sure to grab the attention of children. The chords on lead guitars are played throughout the song with some symphonic orchestrations heard during interludes. Well, for Vikram fans, there’s something surprising over the visuals as Vikram appears as a heroic emperor and Superman.
Vizhigalil Oru Vaanavil
Vocals: Saindhavi
Lyrics: Na. Muthukumar
Suavely charming!!! The slow-paced melody draws us with its engaging tune and rendition by Saindhavi. G.V. Prakash’s work on fortepiano is awesome and we hear it throughout the song. This is precisely a slow poison and will surely haunt our senses.
Pa Pa Pa
Vocals: Chiyaan Vikram
Lyrics: Na. Muthukumar
G.V. Prakash has tried something new like a western classic. The composition is simple yet so engrossing as it again caters to the tastes of children. Realizing that the high-pitch won’t work with Chiyaan Vikram, G.V. Prakash has very well pitched the song at appropriate scale. Since the song is based on colloquial style, G.V. Prakash has underplayed with the instruments.
Vennilave
Vocals: G.V. Prakash
Lyrics: Na. Muthukumar
The prelude notes played in the guitar faintly reminiscences of ‘Anbe Sivam’ and so are the vocals we hear during the interlude. But the similarity ends there as G.V. Prakash glides with his fabulous voice. For sure, it will be one of the best songs of this year as it sounds perfect in every aspect. G.V. Prakash’s voice adds Midas-touch to the melody.
Jagada Thom
Vocals: SPB, Maya, Rajesh
Lyrics: Na. Muthukumar
It sounds like the song appears during penultimate point of the film as they are much revealing with the lyrical lines. The percussions are orchestrated with excellence and so are the other instruments. One of the highlighting traits is the singers as SPB along with Maya and Rajesh intensify the song to a greater magnitude. It’s Na. Muthukumar who deserves heavy praises for his lyrics.
Aarariro
Vocals: Haricharan and chorus
Lyrics: Na. Muthukumar
The song emotionally binds us to the core. Hats off to the entire team for the fascinating work! It lets you for a repeated hearing for a wonderful rendition by Haricharan and beautiful rhythm session. Much alike the other songs, the usage of flute and percussions embellishes the song. The lyrics centers on the relationship between a father and his daughter. The complete set of lines during second verse is stupendous and it will soak your eyes in tears.
Life is Beautiful (Theme Music)
Theme music generated with just three instruments – Violin, Whistle and Flute gives a grand feel to the listeners. Apart from these instruments, it’s a trenchant chord work on keyboard that escalates the complete track.
It’s realms of G.V. Prakash again as the young music director strikes with a brilliant composition. On the whole, every song in ‘Deiva Thirumagan’ has chances of getting ennobled as the best numbers. As of now, ‘Vizhigalil Oru Vaanavil’, ‘Vennilave’ and ‘Aarariro’ deserve special mention for the heavenly work by entire team.
Verdict: Genuinely pleasing piece of music.
3*
A good read in recent times :) GVP :clap:Quote:
Destiny's Child
Barely 24, the whiz kid has more films than his age. G.V. Prakash picked up his first cheque for “Veyil” at 18. He is all set to score for Shirish Kunder's 3D film “Joker”, the much-awaited Vikram-starrer “Deivathiirumagan” is ready for release next month while his songs from “Aadukalam” continue to rule the charts.
His story is similar to that of his world-famous Oscar-winning uncle in many ways, yet different. Like A.R. Rahman, he started out with jingles, a live band and keyboard programming with music directors around town. They both studied with Trinity College, London. And if Rahman had to deal with his father's sudden death as a nine-year-old child, Prakash's life was torn apart as his parents separated when he was just in Class VII. They both dropped out of school and dived straight into music and shot to fame quite early in their lives.
But the similarities end there. Rahman was an overnight sensation with “Roja” while Prakash has had to work hard at his music for five years to settle down with some of the most acclaimed filmmakers in the business backing him — Vasantha Balan, Vetrimaran, Vijay and now Selvaraghavan.
“I was interested in becoming a cricketer or taking to software but I was also learning the piano,” he says. “When I was in Class IX, Sridevi, one of my teachers at Chettinad Vidyashram, asked me to step in for the keyboard player who fell sick. I practised for two days and I won the best instrumentalist at Lady Andal's culturals called Orca. That encouraged me to pursue music.” It may sound straight out of a hackneyed movie if we now mention that it was his uncle's song ‘Chandralekha' that did the trick for him on stage.
Dad's the spirit
It shouldn't have been difficult with Rahman around, right? Not exactly. “When my parents divorced, I started living with my father. I wanted to do keyboard programming. I didn't go to Rahman sir but he would've supported me if I had asked him. Music director Bharadwaj was the one who called me and took me in first for “JJ”, “Autograph”, “Vasool Raja MBBS” and then I worked on “Arasaktchi” with Harris Jeyaraj and with Dheena on “Thirupaachi”. I worked with Vidyasagar on “Ji” and “Bangaram” and also played for Anu Malik through sound engineer Sridhar who introduced me to a lot of people including Shirish Kunder. It was my father who supported me during that phase. He bought me all my equipment. He was from a middle-class family.”
Meanwhile, as the word spread that he had taken after his uncle, his grandmother thought it was time for the nephew to work for his uncle.
“I used to see Rahman sir more as my musical guru. Working with him was a big turn in my life. He took me in the same day I went to meet him with my jingles. I worked on a lot of projects with him. ‘Swades' was the first (I did additional programming for ‘Yeh Taara', ‘Yun Hi Chala Chal'). I worked on ‘Rang De Basanti', ‘Mangal Pandey', ‘Dil Ne Jisse Apna Kaha', ‘Anbe Aaruyire' and ‘Varalaaru'. I performed at Birmingham and London concerts with him as the keyboard player. It was when I was in London that I got a call from Vasantha Balan for ‘Veyil'.”
By this time, Prakash had done over 25 films as a keyboard player and Harris had also made him sing for “Anniyan”. “Shankar's S productions {that made ‘Veyil'} paid me more than what they pay other music directors and for the love of music and quality I spent all the money on it without keeping a single paisa for myself. It was a folk film. I needed live music. It also had a period setting. ‘Veyilodu Vilayadu' happens in the 1970s. ‘Urugudhey' happens in the 1990s, it needed to have an Ilaiyaraaja flavour.”
Prakash loves to experiment. Like how he employed a heavy metal score for Parthipan's introduction scene in “Aayirathil Oruvan” or strains of a Morricone Western in “Aadukalam”. “I always put in 100 per cent irrespective of the time it takes. We finished ‘Deivathiirumagan' in six months while ‘Aayirathil Oruvan' took me two years. I am trying to do my best to score on a par with international standards. What's changed over the years is how I translate my thoughts. I keep track of work that happens around the world and I'm a huge fan of Morricone, Hans Zimmer, John Williams and Tyler Bates.”
Of late, he has made a conscious effort not to sound like anyone. “I think I was influenced by Rahman sir initially. ‘Minnalagal Koothadum', my song in ‘Pollathavan', was said to be a rip-off of Akon's ‘Smack'. I may have been inspired but I did not just copy that song.”
“Music could be boring if you don't have the right people by you. Singer Saindhavi, sound engineer Srihari, and flautist Naveen were all part of the band Samarpan and they all still work with me.”
He recently got engaged to Saindhavi who he has known for ten years. “We will get married next year,” he grins.
Does he miss not going to college? “I wanted to break away from school and couldn't wait to get into the industry. Even my father asked me what the hurry was. Why not work as an assistant for a few years? But I went by my instincts and will continue to do that.”
source: The Hindu
I think its the first time he has opened up in the public about his family.