About hodadavne, i think the most amazing aspect is the everchanging rhythm. I also feel that there are quite alot of layers as well. Cant pinpoint out though. Expats dissaact the saang. :twisted:
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About hodadavne, i think the most amazing aspect is the everchanging rhythm. I also feel that there are quite alot of layers as well. Cant pinpoint out though. Expats dissaact the saang. :twisted:
I amstill thinking - If a person heard WCM only at the age of 25, what chances are there for him/her to go on to write an official symphony and create thousands of mini symphonies with counterpoints and harmony for Indian and western music in a span of next 40 years. If I was that person, I would have fainted and run away from music. IR survived, struggled and succeeded like no one else. It is ingrained in him to only associate any new 'sound -music' patterns with what he knows already and create a new post modernistic spinoff to it.Quote:
Originally Posted by rprasad
And BTW - I was in chicago this weekend and in the process of taking the architecture cruise tour had a short lesson on post modernism and modernism with respect to Architecture and it reconfirmed my stongly held belief that IR is a truly pioneering 'post modernist' in the field of music long before people even started applying that idea in the context of music.
Jai,
Rajasaranam has been expounding the same views about IR and Post Mordernism. Infact he has had a mail exchange on this with Jeyamohan as well.
I fully agree with both of you on this. Other than just the post modernism, what we need to understand is also the level of originality. He gets all pieces of his own and fuses them together. Which is far cry of the current trend of getting some 'reusable' components, preferably from some unknown place, using it in their composition and then claiming 'modernism'!!
yellaam sir , are the songs really out ?
Valmiki has left me with mixed feelings.
"Kooda varuviya" has Rahman like ambience and when a scale as appealing as "yaman" is chosen, then it is hardly surprising that it turns out to be a pleasing melody. It has brief but sweet interludes. I earnestly wished they were longer. "Thendralum marudhu" starts off in a catchy manner with a nice pallavi like "aatrin karaiyorathu"[ mallu film rasathanthiram] buts doesnt sustain my interest as the charanam progresses due to limpy. lifeless tune. On the whole it ends up sounding like a mediocre Vidhyasagar melody . "OLi tharum" has dejavu written all over. The third line in the pallavi is similar to "iLa vayadhu ponna kandaa thala therikka odum" line of "ulagam kedakkudhu" from "dhanam" and this song pallavi also esemebles "vaa vaa anbe poojai undu" from "eeramaana rojave"/"oLiyile therivadhu" of "azhagi" too. But the strings in the first interlude just before Raja starts charanam is scintillating stuff.
-more later-
//continuing my tirade on Valmiki :)
"Ennada paandi" is of the same genre s "jakkamma" of "SMK" fame. It has minimalistic yet really funny interlude music :))
"poo sirikkudhu"- liked the hip start and prelude music . That harmonium taking over in the first bgm is damn cool and so is the accompanying music that whizzes past the lines "mookuthi mookuthi vairakallu mookuthi". But that female singer is only better than Bhavatharini and that is not a compliment. The second interlude seems to be a wash out. The bass suddenly over powers the rest of the music which is not great either. Have you all noticed this or its just in my case? "Poo sirikkudhu" should have come out well . Iam not sure why it didn't. "OLi tharum" , being set to Raja's fav scale is haunting and the way the 2nd keyboard/piano interlude starts without resorting to pallavi again is a good move. The charanam lines also resemble the charanam lines of "aadhaara shruthi" song of "Konji pesalam" . "Rekka katti" lines are the same as "nagooru pakkathula nambaloda pettai" from "veLLai roja" and "ennanga maapiLLai nalam dhana" [ "Thendrale ennai thodu"] . The music alternating between "nadhaswaram" and band "vaadhyam" is an interesting aspect and Tippu is apt for such songs. "Acchadicha kaasa" somehow reminds me of the much maligned "azhagi varaa" of "UO" , saving the melodious postlude surprise [May be to keep tandem with some on screen happenings]
Poo sirrikidhu was quite balanced. Did not feel anything like the bass overpowering the song. BTW just a advice, try to leave out the guessing of which song it is and just enjoy the orchestration that thalaivar does. Like i said before no point digging into which song it matches.
To me best ambience in a song is puththam pudhu kaalai in alaigaL Oyvathillai. Lot of space to the vocals and the guitar is almost psychedelic. I dont know why IR did not do much songs with lots of space added to the vocals in the 90s and later. There were quite a bit in the 80s.Quote:
Originally Posted by thumburu
I dont think this song is Rahmanic, but there are other songs in AM, BB etc where a drone (like the sruthi petti kind of sounds) is added, which is typical of Rahman (eg. charanam of enna senjaalum from vaalmiki). I think this is a cheap way to add harmony (it sounds nice though), whereas normally IR adds fills, string harmonies and chords. But sometimes he leaves the song just with the beats for a few seconds. That does not seem to be the case now. Lots of harmonic elements in Vaalmiki, AM, BB etc.
Arya's first production is titled "Padithurai" with new faces. As anounced earlier, music is by IR.
By the title, it sounds like a masala movie.
http://www.indiaglitz.com/channels/t...cle/48216.html
thanks,
Krishnan
I had been reading Suka's Blog for the past few months. there are few snippets about the movie here and there, and they dont sound like a 'masala' movie. Whatever, the movie will have a lot of light moments and comedy! 'athukku avar ezhuthum style gaurantee' :)Quote:
Originally Posted by krish244