It is difficult to be generous with my words on a keyboard when you only have one and a half hands to function with. But I guess that is how much I owe my will to persist to my inspirations- Mani Ratnam and AR Rahman, that I have to review their latest offering, OK Kanmani.
Many comparisons have been made between OK Kanmani and Mani’s 2000 film Alaipayuthey, owing to the fact that the film retains the same youthful romantic spirit last seen in a Mani film 15 years ago. But knowing Mani and AR Rahman well enough and having followed their careers together over the past 23 years, these two never offer a repeat dish on a platter. OK Kanmani’s music has nothing on Alaipayuthey’s music, it instead has something completely different, unique, and inventively mesmerising on its own.
Kaara Attakara (Dinesh Kanagaratnam, Saasha Thirupathi, Darshana)
The theme song that had accompanied the trailer for the film, the album starts as refreshing and breezy as we had expected, with a full-on whacky rap number interluded with melodious breezy renditions in the middle.
Dinesh is in top form, while Darshana gives him great company. Shashaa Tirupati comes in with dialogue based whispers in the middle. This is like the Endrendrum Punnagai of Alaipayuthey, breezy, and trend setting.
And of course, it looks like it will go with the image of a young man in love riding a Royal Enfield in the middle of a massive city. (rings a bell?) This song will definitely run through the movie.
Aye Sinamika (Karthik)
Bring in those light touches of guitars strumming, Karthik behind the mic, and AR Rahman orchestrating the whole arrangement to lyrics penned by Vairamuthu, then well, you have- a gem.
With minimal use of instruments, Aye Sinamika is an unique expression of love just like the masterful Usure Pogudhey from Raavanan. Though not the same intensity, it is another demonstration of Karthik’s talent of owning and handling an entire number like this with perfection and restrained intensity in his voice.
This song might take some time to grow on you-but once you get used to its irregular qualities, you won’t stop being hooked to it. A perfect song to be imagined along with Mumbai’s coastline. Redefining and full of soul, and what other combo can bring such an effect?
Nee ennai neengadhe.
Mental Manadhil (AR Rahman Male Version, Jonita Gandhi Female Version)
Like-a-like my Laila!
The most groovy, youthful number of our times, of course, has been doing rounds for sometime now since it was released as a single. AR Rahman is in top form as both singer and composer in the the energetic male version of the song. A definite chartbuster!
The female version by Jonita Gandhi is sung using Jonita’s own talents and unique voice modulation. This is Jonita having fun with a stripped down version of the instrument heavy male version. Equally catchy, equally appealing, and added with with some class too. Equally, and uniquely, good.
Parandhu Sella Vaa (Karthik, Shashaa Tirupati)
Just like that- what a composition. Masterpiece in simplicity. Paced ever so subtly, sung with such clarity, almost seductive voices, Parade Sella Vaa is the diamond of the OK Kanmani album. The minimalistic vocals at the background are accompanied with stunning variety in the modulation for both Shashaa and Karthik. We knew how good Karthik was for over a decade now, but to see the quality Shashaa offers on the vocal range is nothing short of pure magic.
Karthik brings the song to another level by enlivening it with a second half ballad accompanied ARR’s genius touches that brings you to a zen mode.
An absolutely stunning piece of work. The Pudhu Vellai Mazhai reinvented with a modern touch, 23 years later.
Naane Varugiren (Shashaa Tirupati, Sathya Prakash)
Again, Shasta’s voice immediately grips you with its class and she owns this number throughout. Laced with contemporary touches based on very classical raagas, Naane Varugiren is AR Rahman at his inventive, fusion best. The song takes its own sweet time to pick up, but two minutes in, the quality is splattered all over it, before Sathya Prakash comes in with beautiful classical notes in the interludes.
Naane Varugiren reminds one of Snekithane from Alaipaayuthey on so many levels- only that they don’t sound the same, at all.
But the effect and the quality of it is pretty much at the same level. This is musical beauty in its purest form.
Threera Ula (AR Rahman, Nikita Gandhi)
Probably the only song in the album that is filled up with mostly electronic touches, but even in that Nikita Gandhi comes in with classical interludes making this another fantastic fusion number. This song sounds more like a situational number than one with lengthy picturisation, but it is very good nevertheless.
Malargal Keatten (Chitra, AR Rahman)
Remember the Alaipayuthey Kanna number from Alaipayuthey? Just like that, this sumptuous number starts with complete classical notes before ARR weaves in his magic with his brand of fusion. It is refreshing to hear Chitra sing a song for an ARR composition after a long gap. The touches of the flute in the middle is the work of a genius.
Vairamuthu’s lyrics are also brilliant for this song. AR Rahman has a small bit at the end, and at times, this number also reminds one of Enge Enathu Kavithai from Kandukondein Kandukondein.
OK Kanmani is another inventive, ground breaking offering from Mani and ARR as they attempt to define modern day romance set in a metropolitan city in 2015.
AR Rahman is in top form, as he always is for a Mani Ratnam flick, while the lyrics are sumptuous. There some gorgeous vocals from Karthik and Shashaa Tirupati especially, not to be missed.
I would pick the whole album for a complete experience, but my personal favourites are- Parandhu Sella Vaa, Naane Varugiren, Mental Manadhil (Male), Malargal Kaetten, Aye Sinamika, and Kaara Attakara.
Er, that’s pretty much the whole album, isn’t it?