Originally Posted by KV
Then, after some more listening and ‘building acquaintance’ with them, the ideas appear to start taking shape. Yes, this is very much ‘contemporary’ in musical style, but it doesn’t end there. Raaja elevates these songs through his authority over orchestration, incorporating a score, which in my books, nobody other than him can possibly conceive. It’s like Raaja saying to the younger MDs “yeah, this is what you guys do, right? Now let me show you my way of doing the same.” For Raaja, this might simply be another step in his constant evolution as a composer (though personally I see it as a ‘leap’!). Although there is absolutely no ‘necessity’ for him to ‘answer’ anyone criticizing him as ‘out-dated/can’t keep up with trends’, the very urge and ability to re-invent and re-construct himself as a composer, automatically becomes a ‘response’ of sorts to the skeptics. Yes, Raaja old-timers like some of us here will take time to warm-up to this and accept the fact that Raaja is (either deliberately or unintentionally) wearing the hat of a contemporary composer (which, by the way, is imperative here because of the film, its maker and the target audience – the youth crowd). But, importantly, in doing this, Raaja has not killed the ‘classic’ composer in him, which is why we still have songs like kaatrai konjam and vaanam mella or saidhu saidhu. The end result is this mammoth of an album, one half of which is vintage Raaja and the other, a very atypical Raaja (like I'd said earlier - covering all bases).
