Edhedho Ennam Vandhu carries a very familiar vibe, tune-wise and arrangement-wise (wonder if Ghibran includes one track in that Muslim song rhythm for luck every time). Nevertheless the composer along with Haricharan and Padmalatha pack enough punch in the song to make it work despite the familiarity. The usually reliable Sundar Narayana Rao however sounds off-colour in comparison, in the Solo Version of the same song. Ghibran’s adeptness with the use of strings mitigates the deja vu factor in Dhaagam Theera, where violins and guitars rule the background with the occasional garnishing of santoor strains, even as Padmalatha produces a beautiful rendition (shades of kalyaani raga I thought).
It is in the other half of Amara Kaaviyam’s soundtrack that Ghibran truly turns on the awesome. In Dheva Dhevadhai is a winsome combination of haunting tune and an intriguingly layered arrangement once again dominated by strings – the two interludes respectively featuring harp and an Arabic violin solo are particularly brilliant. Ranjith and Madhu Iyer are impeccable with their singing. While I have been breaking my head trying to figure out where else I have heard that digi dong dong scatting bit, it is hard not to groove along to Saridhaana Saridhaana that features an absolutely trippy arrangement supporting the generally upbeat tune and a matchingly sprightly singing by Yazin Nizar and Thomson Andrews. Finally there is Mounam Pesum – Chitra‘s soft, almost whispery rendition of the beautiful melody with the occasional spikes around the chorus bit Aasai Aasai section (sung by Sowmya Mahadevan) making for an addictive combination. In the backdrop the composer has a Ludovico Einaudi-like thing going, and a not-so-subtle nod to Albeniz’ Asturias in the second interlude.
His Telugu debut may not have been up to his usual standards, but with Amara Kaaviyam, Ghibran continues to churn out top quality work in Tamil!
Music Aloud Rating: 8.5/10
Top Recos: Mounam Pesum, Saridhaana Saridhaana, Dheva Dhevadhai
