Paradesi is the latest offering from the
stables of director Bala’s B Studios.
The project also sees Bala pairing up with
music director G.V. Prakash and lyricist Vairamuthu
for the first time. The movie is a period
film set in pre-independence India.
The track features some beautiful flute playing
throughout the composition. While it’s
easy to get carried away with such fills,
the composer mixes it in a way that it’s
just around your sonic periphery rather than
overpowering the song’s melody. Vandana
Srinivasan and Yasin make it hard for you
to choose the better performance between the
two. Vandana especially nails the dialect
in her delivery.
Prassana, Pragathi Guruprassad
This song features Pragathi of the ‘Super
Singer’ fame on vocals and she delivers
a strong performance with a sense of despair
in her voice. Prassana’s voice tries
to be reassuring when all hope seems to be
lost. The vocal delays used by G.V. Prakash
gives the song a haunting sadness. This is
a typical Bala number drenched in pathos and
philosophy. The string instrumental interludes
are heavy and serious while the percussions
have been kept minimal. The flute stands
out with its pure sound. More emphasis
has been placed on the lyrics and the meaning
Singer: Madhu Balakrishnan
The orchestration with the string segment
that opens the song is reminiscent of an earlier
time of Tamil film music. The words and the
vocal delivery that follow confirm the nostalgia.
G.V. Prakash employs a minimalistic approach
keeping the elements within the song simple
and sparse, giving room for the vocal emotions
to sink in. Madhu Balakrishnan shows good
range in this solo performance of his.
Singer: Gaana Bala
Essentially a gospel song, going by the lyrical
content, but the treatment is totally different
and does catch you off guard. Gaana Bala seems
to be free from being typecast as a singer
fit for a particular genre. This is yet another
instance where his voice is used in contrast
to his homegrown singing style. The shortest
track on the album has pounding percussions
and catchy nadhaswaram fills.
Amaren, Priya Hemesh
Like almost every song in the soundtrack
this one too heavily rests upon the shoulders
of the playback singers to bring the words
to life and give it an emotional meaning.
G.V. Prakash backs them up with a stirring
string segment. There is a certain seniority
in Gangai Amaren’s voice that immediately
warrants for sympathy. Priya Hemesh leaves
you with a gulp in your throat with her vocal
interludes,, without having any actual words
to express her emotions.
Verdict: G.V. Prakash's
core elements for the album are local percussion
instruments, flute and string sections. This
achieves an undistracted and uniform sound-and-feel
throughout this album and it succeeds in placing
the listener in the time and place of the
story. The album, though clearly not intended
for the masses, proves to be rich in its music,
singing and lyrics.