Rahman’s use of definite instruments such as the acoustic drums and grand string section immediately makes the song universal in nature. As the track’s title suggests, it is a song that strives to spring hope and rise above from the deepest depths of despair. Apart from the song’s inspiring words, the mighty backing chorus lends its support as a pillar of strength for those seeking solace in the tune. Rahman also displays his over the continuum fingerboard with its subtle yet effective use.
Those who revered Nenjukulle in Kadal will appreciate Rahman time on the accordion once again. But the may not be the only thing that reminds us of the aforementioned tune. The repetitive first line is a great setup for the composer to seamlessly build his progressions on. The sound of the supporting ghatam is simply marvelous. A booming string section offers a brief peak at a few places before the track returns to its earthy roots with charming vocal exchanges between Vijay Prakash and Shweta Mohan.
This is the kind of attempt that distinguishes Rahman from the rest and places him on a different pedestal. The melodic progression is and beautiful. Bold, for it to steer clear of conventional demands of the average listener. Beautiful, for the impressively tangled vocal melody that demands a few listens to get your head around it completely. The demands of patience don’t go unrewarded as you are treated to intelligence, with the stirring orchestration, and consoling warmth attributed by the vocals of Vijay Prakash and Chinmayi.
Middle Eastern rhythm meets Spanish effervescence in this tune that’s definitely upbeat and not short of enjoyment. Besides the rampant percussions, the playful violins too, make for the mainstay of the orchestration and feature a particularly lively solo of the same. All the three vocalists display excellent awareness and bring their A-game to the party with their improvs.
The simple yet sure spell eeriness and the mood of a melancholy. The words of restrained despair are superbly delivered by Shakthisree. The situation may be high on gloom but it’s not over dramatized musically and succeeds in getting the listener to join in on the singer’s hopeful anguish, highlighting the composer’s awareness of human emotions and his ability to tie them down musically. The moment of heightened distress gives the track its dynamic moment before subduing to its original anxiety.
A tune about the Dark Continent will necessarily to be driven by percussions and ARR does exactly that. The song is filled with various percussions that lay down the rhythm line. The drums seem to have their own individual agenda with the drummers permitted to go crazy and freestyle but they come together just when played alongside each other. The essence of Africa is captured rather well in the sound and the vocal accents.
The highly celebrated union of Yuvan Shankar Raja and A.R. Rahman is saved for the last track on the album and is almost instantly a crowd favorite. Yuvan’s vocals receive a refreshing but he does indulge himself well in the high ranges. Again, the percussions are in their own world but do superbly well to keep time and tempo without distracting the listener. The presence of other instruments like the quiet note picking on the strings and the shehnai are not threatened by the heavily populated percussions.
Verdict: Maryan’s music serves to prove that when ARR is given a free hand to do as he pleases, he weaves magic! Three instant hits and two slow poisons.
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