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The song reminds you a good deal of A R Rahman’s earliest works, and is possibly the shortest track in the album. In this introspective song, Vidyasagar has tried to infuse a note of originality by letting his imagination run riot with a plethora of sounds in the form of violins and guitars. This traditional folksy number combined with Jeyantha’s lyrics, seem to speak of a man’s sorrow at being abandoned by possibly his beloved. The lyrics urge you to dump your worries and win life back, while true to the central theme of this album, there’s a crescendo of violins that ebb away. And then it’s an abrupt wrench to the lead singer, whose angsty tone continues right up to the end. Vidyasagar seems to be wondering about making this either a straight-out angst-fest or a sorrowful number, and accordingly, the tune meanders first one way and then the other.

Vivega’s romantic lyrics in Ippavae Ippavae are rendered by the mellow tones of Madhu Balakrishnan, with Harini joining in tandem. A rather neat melodious number with all the signs of being a chartbuster. Yes, certain sections of the song are familiar, but there’s a sorrowful and angsty tone to it. Still, a song worth listening. Not much of Vidyasagar’s recent work has been of the exemplary kind but this one seems to be making a definite attempt to veer away from stereotypical fare. Some of this album’s numbers might be familiar, but on the whole, they do strike the right chord.

Still, a song worth listening.

A staccato burst of rhythm begins Vanathai Vittu Vittuwritten by Yugabharathi, as Tippu’s voice takes over the song. The music seethwi loud complete with crashing synthesised beats interspersed with zany notes and rap. Not much of Vidyasagar’s recent work has been of the exemplary kind but this one seems to be making a definite attempt to veer away from stereotypical fare.

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That aside, let’s see what this six-track album by Vidyasagar has to offer. The song reminds you a good deal rama A R Rahman’s earliest works, and is possibly the shortest track in the album.

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This Tamil movie attracted a great deal of attention during a hunt for Cheran’s heroines, and again during the explosive audio launch which saw the normally peaceable actor spout surprising words. Penned by Kabilan, Mazhai Nindra Pinnum begins with the soft strumming of a guitar and Kalyani’s humming, before morphing into a shower of violin notes. This number might start conventionally but it sure does give you one hell of a ride. This traditional folksy number combined with Jeyantha’s lyrics, seem to speak of a man’s sorrow at being abandoned by possibly his beloved.

Once again a potpourri of melodies rushes through your ears, but this one is definitely ramab song thediy sorrow. Some of this album’s numbers might be familiar, but on the whole, they do strike the right chord.

Lilting piano notes begin this piece, which then mingles with the violin to a steady and slow rhythm.

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Enna Pulla Senje Nee begins straightway in Vidyasagar’s rather nasal tone. Vivega’s romantic lyrics in Ippavae Ippavae are rendered by the mellow tones of Madhu Balakrishnan, with Harini joining tbediya tandem.

A rather neat melodious number with all the signs of being sesthai chartbuster. A violin interlude certainly succeeds in melting your heart. Yes, certain sections of the song are familiar, but there’s a sorrowful and angsty tone to it.

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Still the Arabian music does thedoya magic, making you sway to its rhythm. Vidyasagar seems to be wondering about making this either a straight-out angst-fest or a sorrowful number, and accordingly, the tune meanders first one way and then the other.

In this introspective song, Vidyasagar has tried to infuse a note of originality by letting his imagination run riot with a zeethai of sounds in the form of violins and guitars. The composer has tried to experiment with his own work, attempting variations on the same theme, and sometimes hitting a new, appealing note.

The music reminds you of Raja’s work in the 80s, but as it progresses, it manages to retain its own flavour.

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Benny Dhayal and Suchitra kick up the song, belting it out in club fashion. The lyrics urge you filk dump your worries and win life back, while true to the central theme of this album, there’s a crescendo of violins that ebb away.

Nanba Nanbapenned by Jeyantha, begins a lot like Putham Puthu Bhoomi and is a straight-out feel-good song, rendered by Karthik.

And then it’s an abrupt wrench to the lead singer, whose angsty tone continues right up to the end. The lyrics seem to indicate unrequited love.