ORU KANNIYUM MOONU KALAVAANIGALUM SONGS REVIEW

The elaborate arrangement of strings and the overall orchestration make for the composer’s scoring area. The melody is pretty and Naresh Iyer’s tender singing goes well with the soft backbeat. 

High on adrenaline and relentless in pace, this folk tune is so fast that the vocals literally play catch-up with the percussions. The singers are tested and they rise to the occasion, Chinna Ponnu especially seems like she’s waiting for her turn again every time she finishes her verse. Interestingly Natarajan Sankaran underplays his big chorus and focuses more on the energetic verses.

The rhythm that follows Premgi’s awkward announcement of the long film title is totally unexpected if you were awaiting some hip-hop. Natarajan Sankaran has plenty of solid hooks to go with the great groove but for some reason finds himself reluctant to make any one of them the signature tune of the track. Ultimately it’s Gana Bala who makes this number sound great, offering something new in this ‘Surangani’ styled gana. 

A very early 90s sounding Techno collage with a very unsophisticated and somewhat child-like hook begins the series of instrumentals that fill the second half of the album.

More intent and purpose shown in this next instrumental which sticks to the same tempo. The silly-sounding ad libs work better with the Indian percussions.

The composer uses a set of generic African percussions and matches it to the main theme and does no more. After Moodar Koodam, instrumentals were seen as Natarajan Sankaran’s interest area and in that regard the set here is pretty underwhelming.

The album closer is the more intricately designed and executed instrumentals of the lot. The brief segue between the South Indian theme and the church choir is impressive.