The track lives up to its title with its verbal imagery and packaging. The walking bassline grows into some creative sections in the low end. The presence of Nadhaswaram and Mridangam may have been inevitable in an idea such as this but its usage is hardly predictable, the Nadhaswaram solo in particular is very well executed. But it’s the spunk of the two female vocalists, Nikita and Megha Harini, which holds this track together cohesively.

A decisively constructed tune that progresses with a sense of exactness which is evident with the usage of the backing chorus which appears in the beginning to set the tone for the song and later to lift its spirits. A melody like this in the laps of Haricharan and Chinmayi is assured a royal treatment and the fact is reassured with the quality output. Keith Peters’ slapping and popping is always a joy to listen to and there’s quite a bit of it in here. The presence of Indian percussions keeps the song very rooted to the regional sensibilities.

It may seem like its ‘Modern Kalyanam’ all over again at least in terms of the concept but Arrora resists the temptation to replicate the template and gives this traditional wedding song a unique and refreshing rehash but still retains the holy essence of the auspices. Keerthana rises to the occasion with an excellent performance through the song’s various passages while the composer Arrora restlessly peppers the tune with delightful flute sections, bluesy guitar fills and finally processed beats building the crescendo. Not only the tune, but the words too have been given an urban spin. The line “Milk ala kaal alambi , silk ala kaal thodachu” is an absolute gem in that regard.

The lyrics are surely a tongue-in-cheek reference to a ‘potent’ issue but the light-hearted take on it removes all the seriousness and in some ways could define the film itself. The song is designed around the chorus which also makes for the key hook. The string instrument adds to the comic relief and is a nice touch in this synth-strong tune.

This gentle duet strives to soak you with its romanticized words and melody and is nearly successful in its efforts. The song’s mostly quiet nature works both for and against it. Keerthana sounds beautifully fragile which works very well for the tune and Arrora chips in with the uplifting chants. 

Actor Prassana comes forth to cry out what is likely to be his character’s despair and he’s fairly expressive in his singing efforts. His vocal overdubs offer a decent texture and there’s not much difference in the song excepting the role-reversal in singers.