Initial copies of the audio album of actor-turned politician, Vijayakanth’s 150th film Arasangam were, it is reported, lapped up by his party followers on the very first day of the music launch – a record in the 75-year old history of the Tamil film industry. As a result, retail outlets had to wait for many more days to get their stock.
Srikanth Deva‘s youth oriented music has original tunes brought about by employing a slew of instruments such as the guitar, violin, veena, flute and even the Hindusthani musical instrument Shehnai.
Jil jil mazhayil, the opening number of this five-track album starts with a catchy instrumental and continues in western genre with hip-hop chorus. Rita’s powerful and sensuous rendition and imaginative percussion, which suddenly mellows and then goes into the upper register, are the highlights of the number.
Lyricist Kabilan has used some original imagery except for the pattampoochi (butterfly) metaphor, which has become a cliche in Tamil film lyrics. The stylish number ends on soft instrumental notes.
Pookkal ethinai by Prasanna Rao and Swetha is a melodious love duet with a hip-hop interlude. The lilting veena strains provide ideal backdrop for Kabilan‘s romantic lyrics which are meaningful but once again pattampoochi flies in! Prasanna Rao‘s voice adds pep to the track. Swetha’s velvety vocals are pleasing but her rendition lacks clarity.
The Cindrella track is a foot-tapping racy piece. It incorporates elements of rock and pop with an intelligent mix of techno beats. Ujjayinee’s rendition is upbeat and lively. The number with hip-hop bits, catchy chorus, brisk tempo and high adrenaline flow has all the potential to become a disco favourite. There is nothing much to write home about Vijay’s lyrics, though, which are just a melange of sounds. The number somehow does not create an integrated wholesome feel.
The theme song Adalaru rendered by Ranjith and Megha with rap prelude is noteworthy for its easy flowing, simple yet pleasing rhythmic accompaniment. Ranjith is his usual robust self and Megha gives perfect support. The number with hip-hop interlude and rap sequences ends on a happy note with Megha’s soft laughter.
The composer signs off with Ko kuruvi, which has mixed genres of kuthu and folk. Kabilan’s lyrics with alliterative sounds tumbling over one another do not amount to much. The number in certain places briefly creates a sense of deja vu. However, weighty rendition and loud vocals by Suchithra and Hemambika, and vibrant percussion has managed to make this a lively and pleasing exercise.
It is refreshing to note that Srikanth Deva has shaken off his tendency to copy others and scripted a somewhat above average fare.