IlayaRaja's New Albums 2013-15 - Mahendran film/Thaarai thappattai/Mythri

[thumburu]

செல்லம் கொஞ்சும் - பாடல் இப்போதெல்லாம் வெகுவாக ஆட்கொள்ள ஆரம்பித்துவிட்டது. என்ன ஒரு டிரம்ஸ் துள்ளல் இந்த ஆக்கத்தில்! ஆரம்ப இசையிலிருந்து முதல் சரணம் வரை தொடர்ந்து ஆர்ப்பரிக்கும் டிரம்ஸை "சரி நீ போய் ஓய்வெடுத்துக்கோ!" என விடுப்பிற்கு அனுமதித்து விட்டு டிரம்ஸ் இல்லாமலேயே இரண்டாம் இடையிசையை அமைக்கும் பாங்கு ராஜாவிற்கே உரிய முத்திரை. இதெல்லாம் ராஜாவிற்கே உரிய எதார்த்த/இயல்பு மீறல்.. அப்படிப்பட்ட முடிவு காட்சிக்கு தேவைப்பட்ட ஒன்றா இல்லையா என படம் வந்த பிறகு தெரிந்து விடும். ஆனால் ஆனால்.. இரண்டாம் இடையிசையில் அந்தப் பாடலின் அடிநாதமாக இழையோடும் அந்த துள்ளலின் ஆழம் குறைந்துவிட்டதே என கேட்கும் நாம் நினைக்காதவாறு உறையச் செய்ய அவரால் முடிகிறது. வெற்றியும் காண முடிகிறது. (அந்த இரண்டாம் இசையின் ஆரம்பப்பகுதி ஹேராம் பட இசைக் கோர்ப்பினை ஞாபகப் படுத்துகிறது). அதுதான் இசை மந்திரம்.

The unexpected "melodic" transitiont in the 2nd interlude in an otherwise fun filled, peppy song is indeed a surprise. Come to think of it, in Anjali "vaanam namakku keezhE" too, Raja has employed a similar ploy. While the first interlude is full of froth and fun, the second one is a contrastand a very endearing one. I guess Raja wants to depict some on-screen happening there

[irir123]

Tune matum dhan Rajava.......... Orchestration, Instrumentation ellam dhanae IR...................

"oosi mani paasi mani" tune is a rehash of "thendralai kandu kolla maane" from Nilave mugam kaattu !

[venkkiram]

இப்போதான் "ஓநாயும் ஆட்டுக்குட்டியும்" படத்தின் பின்னணி இசையைக் கேட்டேன். மெய்சிலிர்க்கும் இசைப் பிரவாகம்.

http://www.lonewolfproductions.in/downloadbgm.jsp

[stULana]

Here is an excellent review by Ravi Natarajan on IR's music for Mysskin's Onayum Aatukuttiyum. Mysskin could release them for free..as he is the producer too (and does not mind losing the money).
IR's Original Score (BGM) for download: http://www.lonewolfproductions.in/downloadbgm.jsp

Review by Ravi Natarajan:
------
ravinat on Sun Sep 15, 2013 7:23 am
I did not react to NEPV, nor to Megha or any films in between. It's not that I did not appreciate Raja's work on those films. To me, they struck me as his normal work that he has done for the past 5 decades. However, Raja has demonstrated something so unique now, that no composer has done from India. This is perhaps the best strings arrangement I have heard in decades. He clearly reminds those who have forgotten that here comes the emperor of orchestration. Such scores rekindle my pride for being a fan of Raja.

Firstly, Mysskin deserves all kudos for making this happen. He has insisted that only Raja should compose the BGM for this film. I will compare this score with some of the finest from John Williams as I cannot think of anyone living today to draw a parallel. I like, collect and watch a number of JW scored Hollywood films. Both Raja and JW have similar working styles, though Raja is extremely fast compared to JW. Both of them have a rock solid understanding of WCM.

The film has 10 BGM tracks.

1. Compassion - Starts off with a lone guitar and a solo violin. Just 23 seconds - reminds you of the 'Schindler's List', though it has less melancholy.

2. Firefly - This is 38 seconds long. It has some pretty intense strings and double bass and cellos. Too short is the only complaint.

3. Growl - This is 36 seconds long - Again, some intense thriller music with double bass, cellos and violins. The emotions from the firefly and the growl tracks are very different that only a maestro can deliver within half minute.

4. Threshold Guardian - Not sure, why this track is called the way it is. Without watching a film, it is hard to tell. The solo violin leads the pack three fourths of the way (1:11 min). The backing harmony arrangement of this track is world class. All new composers must take a few lessons from this track. Kudos to whoever played the solo violin on this track and others (Prabhakar?). The remaining 25% of the track length is pure harmony with strings.

5. The Grim Reaper - Again another track with only 32 seconds of music. This is also heavy on double bass and cellos. Reminds me of Jerry Goldsmith's 'Omen'.

6. I killed an angel - This is one of the finest tracks in the collection. This is the type of track only Raja is capable of. Starts off with a solo violin in a repenting mood. A group of violins respond to the solo violin's sadness. Is that supposed to mean consoling the main character for realizing the mistake? I am just guessing based on what Mysskin said in his recent film launch.

7. Fairy Tale - This is fortunately more than 5 minutes and 16 seconds long. This starts off with a lone violin playing in harmony with the background violins. However, the mood is not one of melancholy, but one that is narrative (same instrumentation, different colors, emotions - that's what happens when it is handled by a maestro). For the first time, after 2 minutes, the flute joins the foray. The background violins and harmony continue, reminding me of some Hey Ram scores. The flute parts are just very soothing, perhaps meant to describe a different stage of a fairy (the first stage being handled by the solo violin). There is a brief silence and another stage of the fairy is narrated by a group of violins in harmony with background violins. Again another brief silence. The mood suddenly shifts to something very jubilant, with the double bass and the cellos joining the fray. The last parts remind you of some of the Marupadiyum score. Also, it reminds me of the stage of the lone horse getting trapped in the battle field in War Horse (JW). One of the top tracks in this album.

8. Walking through Life and Death - This is 4:37 in length. As the title suggests, Raja is describing a span of life challenged by some dark events. This starts off with violins (reminds me of the opening score of Jurassic Park). With the flutes, cellos joining the orchestra, and later by the double bass, oboe, it is ideal for shots that span a wide landscape/cityscape. This progresses for a minute followed by a high pitch violin, normally to sound a marked departure from routine. What follows this is the waves of sound with violins (some scores of JW in Jaws, Once upon a time in Tibet, had this characteristic) that I have never heard in Indian BGMs. I have always longed for such treatment for Indian films. Raja delivers a great score that makes Indian movies no less than any Hollywood flicks. The 30 odd seconds of repeated waves of violin will stay in my mind for a very long time. The final parts are played on the piano perhaps signifying something dark. Ideal for a zoom shot that completes the journey. Another top track.

9. Redemption - This is 1:01 in length. Starts off with a simple piano tune. The solo violin and the background harmony takes over and alternates with the piano. The piano signifies perhaps past action and the solo violin signifies the present and the harmony can show how one tries to bridge the past and the present. The only complaint: too short.

10. Somebody loves us all - This is for 3:35. This track simply hit me on the melody just on the first hearing. This track closely resembles Marupadiyum score in arrangement, though the melody is different. Having heard Raja several hundred times, I will not risk guessing the emotions that he may be conveying in this part. I like the silence between the violins and where the piano starts. The violins play beautifully between the piano strokes. It takes a master to arrange this part. The solo violin takes over playing the same melody the track started with in a different octave. The violin group plays the first melody in response. Ideally, this type of music is ideal for the final summary of the narration. I was reminded of the horse coming back to its old place in the sunset in the final scenes of War Horse. I liked that JW score the most in WH and I like this the most in OA.

Raja has spoiled me over the years by training my ears to expect the unexpected. With these kind of scores, he has set the bar so high that even the peak is invisible. He has scaled a new peak and most observers are still behind his past peak. Most of the general listeners think that he has descended from his peak. Scores like this tells us that he is scaling new heights that observers behind his past peak have no idea about.

I will not be surprised if this score goes unappreciated by any reward committee as they are also behind his past peaks. It is up to every listener to elevate himself/herself to see his constant ascent in musical quality.
------

Soul-stirring pure orchestral music by IR. Best WCM from India, and with Raaja's trademarks, making it IR's music

[dochu]

For a long time, this is been going in my mind since Megha's audio release.

Elite members in carnatic, can enlighten me please.

Could pottu vaitha kathal thittam song and Kalvanae from Megha be on the same raga?

[baroque]

pottu vaitha kadhal .....singaravelan has ROCK music identities like pounding guitars, drums and loud vocals!
Megha's Kalvaney.... has elongated melody with jazzy bgm. May be couple of hard piano strokes rhythm you hear, makes you recall pottu vaitha....

Raja is rocking with Kalvaney..., one song is enough to say numero uno for this year!

nambalai kapathiduvar!

[JamesDap]

Yeah, I don't find any similarities to Pottu Vaitha Kadhal either....def not the arrangements, nor the melody. I would want to verify once when I get the time if there is any possibility of the raga being the same, but I doubt it; it would almost definitely diverge in the charanam.

And not only Pottu Vaitha, Kalvane doesn't sound like any track of his from the past, to me. Not even Kanna Vandhu Paadugindhran. That might also have touches of jazz but is still a completely different song. Balki might think IR doesn't need to write new originals after 900 films but I (we) disagree.

[baroque]

kalvaney....megha
http://www.raaga.com/play/?id=394575

[dochu]

Yes. I know arrangements are different, just not sure about raga. I have no idea on those things.

With the current trend in musicians (including the oscar winner) to copy songs from western even before they cross 100 film mark, for IR to give such a refreshing, 'unheard' , appealing tune, even after 950 films - is remarkable and calls for one of the wonders of the world!

[Joannepx]

இப்போதான் "ஓநாயும் ஆட்டுக்குட்டியும்" படத்தின் பின்னணி இசையைக் கேட்டேன். மெய்சிலிர்க்கும் இசைப் பிரவாகம்.

http://www.lonewolfproductions.in/downloadbgm.jsp

You nailed it..