Songs and complete credits at the end.
Like in his last movie, it is in the romantic tracks that composer Sam C S delivers his best in Iravukku Aayiram Kangal as well. Uyir Uruvaatha, despite the familiarity in the melody and treatment, is a haunting and eminently likeable package. While Sathyaprakash and Chinmayi are unsurprisingly exceptional on their part, Manoj’s (George?) violin in the backdrop stands out almost like a third voice with its rich sound. Manoj’s violin occupies prime spot in the arrangement of Yaen Penne Neeyum as well, but more prominent here is Kishore Kumar with some fabulous sitar solos. Sam almost seems to channel Ghibran in this fast-paced piece. Excellent vocals again, this time by Haricharan and a competent chorus.
The parallel with Vikram Vedha interestingly doesn’t stop with what I said at the start of the review. Just like VV had Karuppu Vellai, this movie has Yea Pa Yeppappa marking the dark turn of the soundtrack, and Nights of Neverland acting sort of as an instrumental companion piece to it. Sam himself turns vocalist for the former – doesn’t quite hit the base notes, but manages to convey the emotion well, especially in the more frenzied bits in the second half. Nights of Neverland in fact, works better than Yea Pa, with its myriad suspenseful twists and turns. Finally, there is Winds of the Darkest Hour, another short instrumental piece that essentially builds on a single refrain (one that sounds remarkably close to this thematic piece from the 1987 Bollywood hit Mr. India). Interesting employment of the instruments though.
Iravukku Aayiram Kangal. Composer Sam C S’s soundtrack is replete with familiar sounds, but is an engaging one all the same.
Music Aloud Rating: 3/5
Top Recos: Yaen Penne Neeyum, Uyir Uruvaatha, Nights of Neverland
Musician Credits
Music: Sam C S
Lyrics: Sam C S
KEYS:
SAM C S
ONASIS MOHAN
JOMY JOHNZ
HENTRY KURUVILA
LIJIN BAMBINO
SACHINLAL
ACOUSTIC GUITAR:
KEBA JEREMIAH
ONASIS MOHAN
ELECTRIC AND BASS GUITAR:
KEBA JEREMIAH
MANDOLIN, OUD, PIPA, SANDOOR, HARP, SAROD, BANJO & LUTE AND UKULELE:
SEENU
SOLO VIOLIN:
MANOJ
SITAR:
KISHORE
WHISTLE:
DEVA RAJESH
FLUTE:
NADHAN
RHYTHMS AND PERCUSSIONS:
SHRUTHI, DERIC AND VIKRAM
Backing Vocals:
LIJIN, SWAGATHA, ANITHA, NEGA VENUGOPAL
STRINGS ARRANGEMENT AND PROGRAMED BY :
HENTRY KURUVILA
VIOLINS:
HEMANTH – CHANDRAN – MURALI – BASKAR – GOPI – CYRIL – JERRY – MOHAN – SAMPATH – DAVID – PALANI – A SELVARAJ – SIVA – VIJAYA BASKAR – BALAJI – VIJAY KUMAR – KANNAN
BALU – SAMSON – DHANA SEKAR – HIMAM – NARAYAN RAO
VIOLA:
CHANDRAN – MURALI – SASI – SELVARAJ – REX – GRIJAN – BALAJI – BASKAR – GOPI – VINAY KUMAR – CYRIL
CELLO:
SEENU – JOHN – SEKAR – VIJI
DOUBLE BASS:
BITHU
ORCHESTRA CONDUCTED BY:
YENSONE
SONG MIXED AND MASTERED BY:
BALU THANKACHAN (Uyir Uruvaada & Yean Penne)
SABIN JOSE (Ye Pa Eppappa, Nights of NeverLand & Winds of the darkest Hour)
ASSISTED BY: SETHU THANKACHAN
SCORE ENGINEERED BY :
SETHU THANKACHAN
RECORDING ENGINEERS :
SABIN JOSE – PSALTER RECORD INN PVT LTD
AVINASH SATISH – 20DB SOUND STUDIOS
RAJU – JOHN STUDIOS
MUSIC SUPERVISOR :
SWAGATHA S KRISHNAN
MUSIC CO-ORDINATOR :
B VELAVAN
) is immensely derivative, both in sound and words – but the overall catchiness of the template will mean that the song is still likely to rule the dance floors. In fact, multiple songs from the eight track album of Veere Di Wedding fit both these bills, given the Punjabi wedding theme that dominates the sound palette. One such track is Laaj Sharam, a song created (music and lyrics) by White Noise, an A&R outfit from composer duo Sachin Jigar akin to Pritam’s JAM8. Sachin Jigar have apparently previously composed a song in the past (Tu Mere Type Ka Nahi Hai for the 2014 movie Dishkyaaon – thanks to Rujul for this bit of trivia) under the name though. Sung by Divya Kumar and Jasleen Royal with rapping by Enbee, the song is standard issue but entertainingly arranged techno Punjabi dance material (it is perhaps the presence of Kumar behind the mic that takes my mind back to Aafaton Ke Parindey from Ishaqzaade in the Tu Mere’s frenetic portions).
