If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 13th October 20241. Hoke MajboorProducer: Akshay & IPComposer: Akshay & IPLyricist: IP SinghLanguage: HindiGenre: Tumri FusionMood: relaxingI have been a huge fan of Akshay & IP and they are a class apart in this sea of mediocrity. I will be listening to the full album of "Taaza Khabar Season 2", but for now I am in love with this song and a lion's share of that compliment goes to the lead vocalist of the band 'Agnee' Mohan Kannan. The song feels like one dreamy Tumri and we have Akshay & IP on composition and music production, with IP Singh writing the heartfelt words. The Tabla and Harmonium with rhythms and keys give us a fusion to behold. The melody reigns supreme and it is also supported by some excellent arrangements, take the Sitar solo in the interlude for example. When Mohan sings "laut aanek ka bahan tha" we feel that this is an excuse to keep coming back to the song, such is the power of great singing, a melodious composition and impactful lyrics. The duo of Akshay & IP excels in their production. How often do we see two varying interludes in Bollywood or any other music these days? The outro is more sumptuous music offered with a Sitar solo. I wish it never ended. There probably is some Raag Bihag in the melody@akshayandip @safirock @akshayraheja @mohankannanofficial @bhuvan.bam22 @rohitonweb 2. Tenu Sang RakhnaMusic Composer - Achint ThakkarSingers - Arijit Singh, Anumita Nadesan & Achint ThakkarLyrics - Varun GroverMusic Producer - AchintAdditional Production - Shalom BenjaminLanguage: HindiGenre: Alt-PopMood: Energetic Yes, I am impressed with some of the songs by Achint Thakkar in 'Jigra'. I had qualms when the teaser was released a couple of weeks ago and the song playing was ' Phoolon ka Taaron ka'. I thought maybe this too will be an album filled with remixes. But this single and the title track are good records overall. Achint who has worked with Vasan Bala over the years, composes the tune and produces the song with additional production by Shalom Benjamin. We are taken into the world of this single with some exquisite guitars and bass played by Achint. I am sold right there as the vocal harmonies step in, in the intro. Anumita Nadesan who has become quite famous in the indie space is the female lead vocalist, and she gives off a 'Jasleen Royal '-esque vibe and tone here. Arijit comes in with a beautiful line written 'raasta ye jaane le chala hai kahan, raasta na maane yu jahan main vahan'. The Piano in the background hits the right notes but things are maintained with some calmness. Achint also joins as an additional vocalist.I love how Anumita performs the line "le chala, hai kahan", with a lag behind Arijit. The accompanying, lead guitars and rhythm guitars are arranged and executed wonderfully. The song enters into a zone where vocalists combine and there is a rush of blood with the line "hun mud aave,  pinjre da panchi hun udeya ve oh" and this part is mesmerising. Kudos to Varun Grover for these excellent lyrics and Parth Pandya who is the music supervisor. The lead vocalists along with backing vocal harmonies, guitars and bass is a fitting end to the song. The kids singing in the chorus are Riti Ganesh, Gaurangi Suresh Veerkar, Dhruva Dipesh Parmar and Rudra Nitendra Rathi. The Choir co-ordinator is Sreerupa G. The recording engineers are Abhishek Khandelwal and Dileep Nair at YRF Studios, with Abhishek also the mix/master engineer.@achintstagram @arijitsingh @vidushak @anumita.nadesan @parthmpandya @nightsongrecords @shalombenjamin @abhimixkardo3. KaliyaanMusic Production: Lost StoriesVocals: Bawari BasantiComposition: Lost Stories, Bawari Basanti

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 6th October 20241. Mera Yaar PuranaWritten, sung and composed by Mansa JimmyMusic Produced By: Vaibhav PaniLanguage: HindiGenre: Sufi- fusionMood: DevotionalMansa Jimmy is a singer with immense potential and it feels amazing to see her in a new release, especially with the 'Merchant Records' label. SOundchk Season 2 continues to impress and inspire and now we have this stunning track composed, written and performed by Mansa with Vaibhav Pani elevating it and projecting it onto us thanks to his musical production. The sound design feels like an AR Rahman production with the keys by Elroy Vincent and the Sufi-styled melody that follows. The initial segment of the melody is where I hear some Raag MaandShikhar Aggarwal plays the flute solo and the Tabla by Fareed Hussain plays gently alongside. Kushagra, Kanika Pandey and Elna Maria sing as backing vocalists leading up to the lead vocals by Mansa. Be prepared to be blown away by this enthralling vocal exhibition. The devotion comes through in the lyrics, melody and vocals but the sound design and arrangements reign supreme at every juncture. The verse is constructed beautifully as well and here I do sense some Raag Yaman. Mohd Iqbaal intervenes with poise and surety on the Harmonium and the flute arrangements too are exquisite. When we get back to the songs Sthayi and Antara we feel pure divinity with Mansa singing "ishq ka rog sayana, maane na deewana". The tracks are mixed and mastered by Tejus Srivastava at Blue Productions. Vaibhav goes crazy on keys, synths and rhythms in the interlude as he takes us into a synth/electronic pop-based trance mode. The bridge section "jise laagi man ki laagi", feels exhilarating and wait for the vocal harmonies and the thumping drum arrangements as well. As we head into the outro, Shokhar sizzles with a stunning flute solo in the background and we float into the heavens as the song comes to an end. I live and write for music like this!@mansa_jimmy @shikhar_flute @elroyvincent @kushagradudejasings @kanika_8kp @mehra_krish @merchant_records @salimsulaimanmusic @iqbalnizami0786 @vidhipoddarmusic @nidhi_ketan @sherishshaikh @tusharmahajanofficial @vaibhavpani @bonnygosain @shivansh.j 2. Allah Ke Pyaare NabiMusic Composed & Produced by: Salim SulaimanSingers: Richa Sharma, Salim MerchantLyrics: Kamal HajiMusic Co-Produced: Raj PanditLanguage: HindiGenre: Sufi fusionMood: Devotional'Bhoomi' for 2024 is here and I always look forward to this collection of great music, fantastic collaborations and ingrained purpose. It is already a masterstroke to get Richa Sharma ji to perform this devotional track in praise of Allah. Salim and Sulaiman weave some of their magic The lead vocalists are Richa and Salim and this is the 2nd time I am captivated by her after "Mirza" from the album 'Maidaan' in early 2024. The intro has Richa calling out into the heavens and when she sings with such power and poise I cannot help but close my eyes and surrender.It sounds like Raag Bilawal when the title line is performed by Richa and Salim and the power of the song intensifies with the backing vocals of Raj Pandit, Shivansh Jindal, Aditya Kalway and Keshav Anand. The guitar by Rhythm Shaw paints a mild stroke, and the energy surges with the Tabla by Naeem Sayyed. Aslam Dafrani's Dholak, Harmonium by Muheet Bharti and Raj Pandit make the interlude swell with admiration for the Almighty. The singing is flawless with Richa singing in the baritonish register and the accompanying Piano by Jarvis Menezes and intervening electric guitar by Nyzel D'lima are excellent decorative elements in this beautiful song. The song was produced by Salim, Sulaiman, and Raj Pandit, with Salim and Sulaiman composing the stirring melody. The lyrics are penned by Kamal Haji. The chorus singers are Umesh Joshi, Janardhan Dhatrak, Dattatray Mestri, Deepti Rege, Archana Gore and Preeti Rege. Kudos to the bassist Ralph Menezes and Salim for playing the unique Handpan sounds. The recording engineers are Aftab Khan, Raj Pandit and Tejus Srivastava at Blue Productions. The tracks are mixed and mastered by Aftab Khan at Headroom Studio with mix assistants Vatsal Chevli and Elvis Fernandes. @salimsulaimanmusic @richasharmaofficial @kamalhaji_ @salimmerchant @rajpandit17 @nyzeldlima @ralphmenezes @mixedbyaftab @rhythm_shaw @ujmusic28 @naeem.sayyed0913 @jarvisintune @vatsalchevli @shivansh.j 3. Hairan - Siddharth PanditPerformed by Alok Ranjan Srivastava, Siddharth Pandit

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 29th September 20241. AasmaanComposition and Production: Sterlin NithyaLyrics, Vocals: Sireesha BhagavatulaLanguage: HindiGenre: Semi-classical fusionMood: RelaxingSterlin Nithya is one of the first students to graduate from AR Rahman's KMMC, belonging to the first batch of this prestigious institute. I have been aware of her work and her contributions in the space of indie music, but finally, I am here to feature her single amongst the best in the nation. Here is this amazing track and it moves into zones and styles thanks to Sterlin's vision as a composer and arranger. The prelude has my soul already stirring with the Veena solo played by Anjani Sreenivasan, and the Cello along with the Harmonica providing various textures. SIreesha has been outstanding in the last couple of years singing for stalwarts and legends like Amit Trivedi and AR Rahman. Kudos to Sterlin for getting SHalmali on board here as she delivers brilliantly from the very first note. Siva Krish is playing the gentle keys and the production is kept minimal other than the intermitten Veena and Harmonica. "Aasaman Zameen bankar paas aa gaya hai" she sings with so much sweetness and a noticeable tease. Interestingly Sireesha has penned the lyrics too. The anu pallavi has this slightly faster tempo which keeps things very interesting for the listener. I was blown away when she sang " seediyon par" with such an amazing ghamaka and it feels like her voice is getting down a flight of stairs, so well done Sterlin for the notes that land like that and Sireesha for picking the words 'seediyon par' and singing with incredible ease and poise. As I hear this melody I am reminded of songs like "Malai pozhuthin mayakathile" by MS Vishwanathan hence I wonder if there are influences of Raag Chandrakauns. We have this massive shift in the interlude to Western Classical music from an Indian classical set-up as we hear some amazing choral and strings section arrangements in this musical theatre-like production. The choral arrangements are done by Sterlin and I am convinced of her abilities and commitment to music when I hear all the vision and effort for an independent single. Sterlin's appetite is endless as she introduces the Santoor and Clarinet in the arrangements once we get to the stanza and every cell in the body gets nourished with such a melody and ravishing vocals by Sireesha. The classical guitar too makes its way in the background and the landing onto the pallavi is one more highlight with notes that go " hosh khoke hi zindagi mili". Sundar Raj is the recording engineer and the mixing and mastering of all these vast layers are by Grammy Award-winning engineer PA Deepak @thesterlinnithya @virgo_originals @sireeshabhagavatula @veenaanjani @krishsiva6 @padeepak @chosenchapters 2. RunningPerformed by Aksomaniac, Fatboi Raccoon, ShreyaWritten by Abhishek K S, Aron Kollassani Selestin, Rajsri A S(Shreya), Raveen VenkateshProduced by Aksomaniac, Fatboi RaccoonLanguage: EnglishGenre: PopMood: GroovyFeaturing someone new, for the first time is what drives and excites me. This is a groovy pop single that ticks a lot of boxes for me. I must thank Drishti of Robach Music Group for reaching out to me and sharing this song just when it was released. We have Aksomaniac, Fatboi Raccoon who have produced this single and one of the elevating factors for this song is its sound design, arrangements and production. Moving onto the songwriting part the credits go to Abhishek K S, Aron Kollassani Selestin, Rajsri A S and Raveen Venkatesh. Finally, the engaging vocals belong to Aksomaniac, Fatboi Raccoon and Shreya. I love the emotions that flow when we hear " I'm running away from something, Spare my lungs" with the tantalising guitars in the background. The accompanying rhythms and vocal harmonies are perfectly arranged and executed. The melody is so beautiful and you can sway your head to the lines " Fight these demons even, one up on my feelings even" When Aron on lead vocals sings " I freed them " it feels like a Middle Eastern pop song which usually has some stylish and excellent vocals and vibrato. Shreya then gives us even more reason to cherish and celebrate this wonder of a song with her vocals. "I hope my ways don't interfere, I'm not pretending to keep you here, as you run all the way" and when I hear this my heart is pounding and I surrender to the beauty of the melody, lyrics and singing. The chorus, post-chorus and even the outro mesmerise me with the harmony arrangements and strings section in the background. @aksomaniac @shreyx.exe @fatboiraccoon @circle_tone @

If someone told me that a Sunday afternoon could be well spent sitting in a crowded auditorium, listening to musicians talk, I would probably say "I'll pass". I am glad I never did that and today as I sit and write this article, I feel a couple of notches smarter and more informed about music, the art form, the business and life itself. I was invited to attend the Ajivasan Music and Dance Academy's ACT 2024 day-long event. This is an institute which has a rich history of nurturing talent and creating amazing professionals in the fields of music and dance. The respected musician Suresh Wadkar established this institute I was witness to humility and gratitude towards Suresh ji from so many established musicians. The eventful day had 4 sessions with stalwarts like Purbayan Chatterjee, Vishal Dadlani, Taufiq Qureshi, Priyanka Barve, Sagarika Das, Aishwarya Bhandari, Rakesh Chaurasia and Shankar Mahadevan. I will be now mentioning the common themes and topics that were discussed throughout the day and the striking answers and viewpoints given by the esteemed celebrity musicians. How should youngsters approach the field of music?The ACT 2024 was primarily an opportunity for Ajivansan Institute's young music and dance students to meet their idols and they had numerous questions like these. Every musician who took the stage was patient, benevolent and candid with their responses. Vishal Dadlani had some great words of wisdom, and with all the frank responses he impressed me. A simple anecdote will explain this. A few students who were seated in the first few rows wanted to show off their singing skills. When one of them was handed the microphone, he performed a Vishal-Shekhar melody. I wasn't too impressed and within a few seconds, Vishal stopped the lad and said "Why are you trying hard to sing in a way which doesn't seem natural? I don't think this is your natural voice. Don't imitate any style, please be yourself". I loved hearing this, because this is the truth that we are facing, a world of imitators who lack originality. Vishal went on to advise students to wait patiently and keep doing the hard and good work until they make it big someday. He rightly said that when young musicians make it big they should remember to never let a young musician jump through hops and struggles. Tabla exponent Taufiq Qureshi said that it was important for percussionists to start with the Tabla or Mridangam and learn the basics of this versatile instrument, so that they can later move on to drums, Djembe or whatever attracted them. Vishal was very open to giving names of legends who percussion students should idolise like Steve Gadd, Ringo Starr, Jai Kow Ravi and Gino Banks. How will young musicians decide whether to pick singing or playing an instrument?Rakesh Chaurasia had a very thoughtful response, and he said parents should show young children YouTube videos of anything related to music. It could be a song, an instrumental or just a talk on any instrument too with some demonstration. The moment the kid's eyes light up is when one realises what pleases the kid the most. Purbayan recommended that everyone visit the Indian Music Experience Museum in Bengaluru to understand INdia's heritage and culture of music. I must agree with Purbayan ji, as I made this visit in 2023 to the museum and fell in love with the concept, items on display and the information available. What should students learn and imbibe to be a music composer?A very pertinent question this was and I loved two responses the most for this and here they are. Vishal Dadlani says that one should try and make a good melody first. The artist must not worry about introducing emotions and all that jazz at the initial stages of writing a song. Production and other departments will handle that. Shankar Mahadevan believes every singer has a composer inside and only self-discovery is needed to find the composer. He believes that no inhibition can help in the process and a composer must be like a singer in the bathroom all alone and in front of a mirror. This is when one is free and has no external and unwanted influences. How should an accompanying instrumentalist perform?This question was posed to Taufiq Qureshi, Rakesh Chaurasia and Purbayan Chatterjee in the day's 3rd session. Here are a few glimpses from that delightful episode. Purbayan asked the crowd if anyone would listen to a live concert if all instruments were switched off and only the singer was performing. He did make a valid point and he said that it would be difficult to listen to the performance for more than a few minutes without instrumental support, driving home the point that instrumentalists were crucial to music. The funniest on the stage was Rakesh ji who has a wonderful sense of humour. He said that film music teaches classical musicians to perform at the right level. He said that he has learnt it over many years because, without film music experiences, instrumentalists would not know when to stop. Jokingly Rakesh ji said that classical musicians would eat up a whole jar of pickles if not for film music which teaches you to add only a spoonful of it to your meal. On a serious note, he said that a supporting instrumentalist should understand whether he/she wants to make a song sound beautiful or get a lot of claps. Taufiq pointed out an example from Zakir Hussain who said that an instrumentalist in a concert was like a driver who must ensure the passenger (the vocalist) reaches home safe and sound. All 3 of them agreed that a musician must know a song in full if he/she wants to be successful as an instrumentalist in a concert, knowing when to back off, and when to lead and provide service in the melody. 

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 22nd September 20241. KyunWritten & Performed by: Karan VermaProduced by: Karan Verma, Ameen SinghGuitar: Ameen SinghLanguage: HindiGenre: ALt-RockMood: EnergeticIt was just last week that I featured Karan Verma's rock single 'Main Kahan' as the number 1 song in India, and here he is again with another blinder. We get the Accordion in the prelude played by Nipun Cheema adding that European flavour straightaway, and feels like listening to some stunning Latin Jazz Rock. The melody and lyrics are written by Karan with Ameen and Karan producing the record. The bass and lead guitars are played stunningly by Ameen, to provide that lush layer behind the captivating vocals of Karan. "kyun khud se ladto hai tu" he sings and this mystery that Karan raises is enhanced by the thump in the drums almost like Karan is enraged a bit by this question lingering in his mind. Shiv Sameer plays the drums and the keyboardist is Arjit Singh a.k.a. Agaazz. With incredible ease, Karan reaches the higher vocal registers and he performs it with beauty too in his unique way and tone at a time when the entire fraternity wants to copy Arijit Singh. The song gives way and space for the lead guitar solos to shine and the drums to energize. This is why the record works in every way possible. The tracks are mixed and mastered by Stereo Shinobi and recorded at L.A. Studios, LATF Studio, Beat Craft Studio, Tweaktone Studios. @karan.verma95 @agaazz_music @shivsameerr @nipun.cheema @dopameen23 @maan_boruah @mixedbyshinobi @awal 2.  Move On EasilyComposition, lyrics, vocals: Neha KarodeMusic production: Brince BoraAdditional production: Madhab DekaLanguage: EnglishGenre: Pop BalladMood: Pathos (Break-up)I always love the work of Neha Karode, because here you see someone who strives to create original music and doesn't digress from her core strengths. The way she composes melodies with a flavour of Western Jazz and Pop, but instils Indian Classical elements in her vocals excites me. This single tilts towards Western influences and Neha deserves praise for the beautiful melody.The Piano is emphatic and her lines are striking without mincing words. She sings " I'm sure you tell him she's beautiful, the way you told me too. We were perfect cos I never ask you the names, of the girls you talked to". All these words flow beautifully like a story, but just then a mild pathos emerges in the words, the delivery and the arrangements. "I'd laugh at those who just get up and move on easily, so it's a shame you did the same and made me cry". The intense lines and the strings section add to the gravity of the scenario, while Neha's falsetto gives the element of heartbreak. The interlude is heavy on the solo violin, strings section and Piano, letting the protagonist breathe before the second verse. The melody is so rich and beautiful when we hear " All the messages of Affirmation every day, whispering me sweet nothings that you were here to stay" is so well written in terms of chord progression and is impactful lyrically. Kudos to Brince Bora for the stunning arrangements and production. This is a breakup anthem that I strongly recommend to music lovers. The bridge section is also the outro, and Neha sings magnificently evocating all the pain. The recording engineer is Mrinal Kanti Das and the tracks are mixed by Rupjit Das at Playhead Studio and mastered by Gethin John at Haod Mastering. Madhab Deka does all the additional production. The wonderful shoot is done by Director and DOP Shivangi Jain@nehakarode_music @horusmusicindia @brincebora @madhabdeka @mrinal.das.34 @playheadstudio @rupjit_playheadstudio @hafod_mastering @shivangaze 3. Main Character EnergyWritten and performed by: Sanjeeta Bhattacharya, JhalliProduced and mixed by: Karan PandavLanguage: English

Here are the best Tamil songs released for the months of July and August 2024. If you are a musician submit your new music here.1. Oru Oorula RaajaLyrics: Mari SelvarajSinger: Santhosh NarayananComposed, Arranged and Programmed by Santhosh NarayananLanguage: TamilGenre: Jazz Hip-HopMood: GroovyHe is unstoppable, is Santhosh Narayanan and here comes this sensation single from the upcoming movie "Vaazhai". Sometimes I think he creates his mini-genre. After mesmerising us with a folkish melody along with Dhee, Santhosh performs here in a genre-bending single that will strike you like a bolt of lightning amidst the dark thunderous folk percussions, and then the brass section and harmonies will feel like reincarnation. I can state with absolute certainty that there is no single Indian composer who can produce something like this, let alone envision it. The horns are not the ones we hear inside a music studio or as part of a symphony orchestra. These are the horns in lorries and trucks, just like how Vishnu Vijay used them in his song 'Welcome to Hyderabad' from the movie "Premalu". After that creative intro, we dive into the magic of the brass section with trumpets, trombones and French horns, if I am not wrong. Kudos to Babu, Maxwell, Dominic Xavier and Vijay for giving us an experience of living in New Orleans. We can hear the synths, keys and rhythms too, albeit in a very subtle way. I don't blame you because Santhosh is singing with his lungs trying to explode and when he performs with that raw tone, it is unmatched. We hit the interlude segment and the ‘Ramanathapuram Marungan Melam Team’ comes alive. The Keys and the folk percussion combine to create magic that even David Copperfield would be proud of. The percussionists that deserve attention are Rajakumar, Arulpandi, Hemanadhan on the Tavil, Pazhani and Janardhan on the Pambai, Mohanbabu on the Thalam and Kadhirvel on the Urumi. It is then the job of Santhosh to deliver the amazing story penned by the lyricist and director Mari Selvaraj. Kindly use your headphones, stand up and give some love to Napier Naveen for the outstanding bass guitars that the man plays right through. They are some of the most zany and ethereal strumming I have heard in an Indian song. Santhosh stands tall as not just the performer and composer, but also as the arranger and producer. The verse ends and when we hear " avan nimirnthu patha vanam, kuninju partha bhumi, idayila avanthan baaram, kaal nadakka nadakka neelum thooram", the brass section arrangements are majectic. We get some pumped-up energy in the second interlude once again with the brass section. I just want to get up and let loose when Santhosh sings " Kuthaattam aduran kuthaattam aduran..."Keep listening for more magic as Santhosh sings for one last time " oru oorula raaja ", The trumpets play that riff, followed by the stunning humming of Dhee performing the same notes as the trumpets. Yes "oru oorula oru raja" and in today's world of Indian music Santhosh is that Raja. The recording engineers are Pranav Muniraj, Karthik Manickavasakam, Rupendar Venkatesh and Santhosh Narayanan. The tracks are mixed and mastered by Rupendar at Future Tense Studios with Jaba Raj as the studio assistant and Meenakshi Santhosh as the musicians' co-ordinator. @musicsanthosh @mariselvaraj84 @navvi_studios @redgiantmovies_ @pranavbalu @karthikmanickavasakam @rupendar_venkatesh @meenakshi_santhoshnarayanan @napiernaveen2. Otha Satti SoruComposed, Arranged and Programmed by Santhosh NarayananLyrics: VivekSingers: Kapil Kapilan, Aditya RavindranAdditional Music Production: Aditya RavindranLanguage: TamilGenre: Alt-PopMood: RomanticI did mention to Kapil Kapilan many months ago that I hope he sings for Santhosh Narayanan and that it will happen soon. This was just my wishful thinking, yet when it happened for an album in Telugu earlier in 2024, I hoped and wished for a better song, 'Vaazhai' is the answer. This romantic Alt-pop single blew me away and as much as the song lights a spark as a melody, it is also about Kapil's phenomenal vocals and the latter does everything to scale up the impact. I do recommend that all of you play this song with your headphones and you will be mesmerised. If possible also catch the movie and behold the song and the frames on the big screen. The song is composed, produced and programmed by the mighty Santhosh and he gives us probably the best Indian movie album of 2024. The beautiful keys and Kapil's affable voice start the journey in the intro. He sings these beautiful words penned by Vivek and the moment we hear " Oru kodi vamba thaandi anba vechom" my heart is filled with love and satisfaction. Vivek is ravishing in his description of this love in the village fields with the words "otha satti soru, kara ottikkitta seru, idha matthiyila vazhkai thulli sirichuduthe" and when sung by Aditya Ravindran in the backing vocals we can get transported to the villages of Tamil Nadu. The mild clarinet just whistles past us in the background and the interlude portion is just Kapil's inventive aalap but with a Scat singing style. The verse that begins "un mela patta kathum" is a union of a great melody, warm lyrics, splendid vocals and some soothing harmonies in the background. I could listen to this song all day and feel confident that tomorrow will be better. Thank you to Santhosh, Aditya, Vivek and Kapilan for this wonder of a song and as we hit that fabulous outro on vocal harmonies my heart just keeps wanting more. Aditya Ravindran does the additional production, the recording engineers are Santhosh, Pranav Muniraj and Rupendar Venkatesh at Future Tense Studios, Chennai. The tracks are mixed and mastered by Rupendar Venkatesh, with Studio assistant Jaba Raj and Meenakshi Santhosh as the musicians' co-ordinator.&nbs

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 15th September 20241.  Main KahanWritten & Performed by: Karan VermaProduced by: Karan Verma, Ameen SinghLanguage: HindiGenre: RockMood: EnergeticI could hardly comprehend what was happening and Karan Verma as the composer and co-producer kept me guessing with the initial hint of a classical song aided by the Thambura. Still, suddenly there is a rush of blood to the head with bass guitars, drums and acoustic guitars pouring in. I am deceived, but pleasantly. Ameen Singh plays the guitars and he also co-produced the record, Shiv Sameer is the drummer and the bassist oozing style is Jose Juvinao. We have a full-blown Rock track on display here. Karan has written the melody, and lyrics and performed the lead vocals. He paces himself and then goes for total obliteration as he sings " Na Koi manzil". I am reminded of some of the exhilarating work by AR Rahman in the title track of 'DIl Se' when I hear this piece. The arrangements and production are spotless with all the live instrumentalists working together in supreme form. The melody is soothing albeit with an infusion of some energy and Karan sings it with poise and passion as he goes " faaslon mein kate ye din yahan"The electrifying guitars by Ameen in the interlude and the pick-up in beats per minute on drums are refreshing to hear in the second verse.  I was already impressed by the vocals, production and instrumental arrangements, and then Karan drops a bomb here with the solo violin. This is played by Subhojit Dey with precision as I am now slowly but steadily losing my faculty of speech, thanks to the awe and shock created by this set of musicians. I am reminded of another spectacular record by U2 " Hold Me, Thrill Me, Kiss Me" of the Batman OST.  Can you hear the standing ovation brother Ameen as you shred me to pieces on the final guitar solo act towards the outro? The tracks are superbly mixed and mastered at Stereo Shinobi and recorded at L.A. Studios, LATF Studio, Beat Craft Studio and Tweaktone@karan.verma95 @subhojit_dhruv @shivsameerr @dopameen23 @jose_juvinao2. JaamSinger/Lyricist/Composer - GurnazarFeaturing - Delbar Arya & Shanaya KhannaMusic - Chet SinghLanguage: HindiGenre: Electronic pop fusionMood: Trippy/PathosA brilliant song and a dream record and for musicians wanting to do some impressive fusion music, here you go! The melody is hummable, and it sticks to your head. Once Gurnazar achieves that as a composer, he gets the song's lyrics to heighten the likability of the song with some witty and thoughtful writing. I do hear fragments of Raag Shanmukhapriya in the melody and I hope it is right. The song takes us back to the 'olden days cinema' where the protagonist is drunk and singing in misery. The Harmonium is in the prelude but soon enough we get Keys and rhythms with a modern electronic pop touch. Chet Singh is the man responsible for the fantastic arrangements and production. I love the line " Yaad aa rahe hain woh, jinhe bulana zaroori hai". The Harmonium keeps coming and engaging us in the interlude and then what we hear in the interlude is a stunningly written melody. This is what Bollywood should aim for, to create original and engaging music, and not focus on making just dance hits. Just feel the line "fikr karo na, yaaro meri, mera jhamela chod do, mujhko aur meri bottal humdono ko akela chod dho" with a fantastic ghamaka on the last word.   I love how interestingly he breaks the phrases "hum dono ko" as " humdo" and "noko" to fit the metering. The writing is creative and funny and speaks the truth like " barf aur paani mein, yeh gham milana zaroori hai". This is one of the best songs I have heard in 2024. Kudos to Gurnazar and Chet Singh. The melody kind of feels akin to the great RD Barman's "Rimjhim Rimjhim" in '1942 A Love Story'. Additional vocals help the impact of the song and we are treated to some more beautiful words in the second stanza. The amazing use of keyboard and rhythm programming is evident in the record. Let us make this song the 'drinking anthem' of 2024. The tracks are mixed and mastered by Chet Singh.  @gurnazar_chattha @chetsinghmusic @abhaynoorsingh_ @gurinderrbawa @shanayakhanna_official @delbararya @eypcreations @warnermusicindia 3. MehfoozMusic composed & produced by Raghav & Arjun

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 8th September 20241. SuprabhatamVocal: Nandini SrikarProduction, Guitars, Keys: Dhruv GhanekarLanguage: SanskritGenre: Semi-classical Rock FusionMood: EnergeticI heard the album Voyage 2 by Dhruv Ghanekar and it was a voyage to remember. This is one terrific album of fusion music with inspiration from around the globe. I strongly recommend that you stream the album and get an everlasting taste of the musical equivalent of pure bliss. I have done a full album review on my IG page and even enjoyed the album gig at NMACC in Mumbai on the 12th of September. If Dhruv and his band do tour your neck of the words, do yourself a favour and get tickets for the show. Nandini Srikar performs the Suprabhatam which most south Indians would have grown up listening to with the angelic voice of M.S. Subbalakshmi. It begins with just the sound of the Tambura and Nandini's divine recital, but soon we get blasted into another orbital with the lead guitars by Dhruv, drums by Lindsay Dmello, bass by Mohini Dey and additional guitars by the scintillating Abhay Nayampally. We have all heard a million rock-styled versions of 'Aigiri Nandini' but the Suprabhatam deserved one zany and wild version like this.The interlude is pure madness with blazing guitars launching us into Sonic heaven. The creative juices are probably flowing thick and fast in DHruv's head as he gets Somashekhar Jois to perform the Konnakol in the background. The classical style of playing these guitars makes me wonder if it is the electric Veena. We get a verse with some Tamil lyrics here as Nandini shines. Lindsay is bruising the heart with these drums and Mohini, as expected oozes style all along. The galaxy of these amazing instrumentalists give us probably the most creative and stylish record of 2024. Sefi Carmel is the mixing engineer and PA Deepak is on the Dolby Atmos Mix. Gethin John at Haford Mastering handles mastering duties and Jashy Mistry is the recording engineer at Wah Wah Music, Mumbai. Khushboo Goyal handles the album art and Mallika Deb is in charge of Wah Wah Records Label Management.  @dhruvg @abhaynayampallyguitar @dey_bass @dmellolindsay @konnakkolsomashekarjois @nandini_srikar @wahwahrecordsofficial @niranjanmenon @hersh.desai.9 @krishnikkk @padeepak @seficarmel 2. Manasuna Manasu NuvveMusic: Gopi SundarLyrics: Saraswathi Putra & Rama Jogayya SastrySingers: Vijay Yesudas, Harini IvaturiSong Arranged And Programmed By: Gopi SundarLanguage: TeluguGenre: Light Music PopMood: RomanticGopi Sundar has a great streak here composing music in Malayalam and Telugu. As always his penchant for semi-classical-styled electronic pop comes out in the open here too and he gives us a smashing single as the composer, arranger and programmer. He ropes in stalwarts like Vijay Yesudas and Harini Ivaturi to perform the lead vocals. I do sense some Raag Pilu (Kaapi in Carnatic music) in the melody here. The swaras in Harini's delectable voice are followed by the chirpy kids' chorus in the intro. The kids performing are Sai Sahasraa, Veda Vaagdevi, Aasrith Raghava and Tanishka. The lyricists are Vishnu Sivan is on the additional programming. I love how Gopi allows a pause at the end of " Manasuna Manasu nuvve....Maralaa nanu kalisaave...Maruvani". The impact of pauses and breaks is delightful here and the accompanying string section arrangements elevate it. The lines performed "sagara sangamam" add such beauty between the two lead vocal parts. The interlude is excellent as a melody and the combined effect of the flute, bass guitars, keys and rhythms is magical. The stanza oozes more quality and my favourite part is "Yedhi anubandham Yevaritho naa bandham". Bhavani Prasad gives us a reason to smile with the Veena solo in the second interlude and the stanza continues to weave more magic. The string arrangements deserve special appreciation. The recording engineers are Srinath Komanduri @ Sruthi Audio Labs, Hyderabad and Gabriel Angelo Fe, Rajath Raveendran, Joe Antony, Nevin C Delson, Gopi Sundar. The mix/master engineer is Sai Prakash @ My Studio Cochin. @gopisundar___official @thevijayyesudas @hariniivaturi @vishnusivan_musical @rajathrian @mystudioco @saiprakashh @babu_velayudan @joeantony_ @nevincdelson @_.mayoni._3. KiliyeMusic Composer: Dhibu Ninan Thomas

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 1st September 20241. Kaahe KaratComposition: Traditional, Anirudh Varma CollectivePiano/Keys/Production: Anirudh VarmaHindustani Classical Vocals: Prateek NarsimhaLanguage: TraditionalGenre: Classical FusionMood: RelaxingI trust Anirudh Varma and his band of amazing musicians to come up with something like this. This is a traditional composition but Anirudh takes up the project of giving it a flavour of arrangements and production spread across the Indian classical and Western music spectrum. Prateek Narsimha is the lead performer we hear in the sthayi singing the classical vocals. Apparently, there are influences of Raag Jhinjhoti, belonging to the Khamaj Thaat.  We have a star-studded array of instrumentalists shining together like Madhur Chaudhary on bass, Suyash Gabriel on drums, Shrikant Biswakarma on guitars, Soumitra Thakur on the Sitar, Rohan Prasanna on Sarod, Saptak Sharma on Tabla and Varun Rajashekharan on Ghatam. Anirudh plays the Piano, handles all the keyboard programming and sizzles with the music production of this record. Prateek continues to serenade us with his angelic delivery and I can think of no better way than this song to spend my twilight and retire into the night. The amazing backing vocalists are Suhavi Kalsi, Basudhara Roy Munshi, Santur Kundu, Aman Varun and Rachit Bose. Kindly check out this song released under the Sounchk 2 banner by the indomitable brothers Salim and Sulaiman Merchant. What would the state of Indian music be today without all these amazingly gifted and committed musicians? We get a super solo on the electric guitar by Shrikant followed by the Sitar, Sarod and Piano in unison. The tracks are mixed by Anirudh, and mastered by Shawn Hatfield at Audible Oddities, USA. The recording engineers are Jonty Indra at Blacksheep Studios, New Delhi, Nikul Vaidh at Treehouse Studio, Ahmedabad. Enjoy the outro and be spellbound. @anirudhvarmaofficial @hollyland.india @suyashgabriel @narsimhaprateek @strings_of_karma @basskarmadhur @vroonr @rohanprasanna @soumitra_thakur @saptak_sharma @suhavikasi @aamibangali @santur_kundu @a_man_varun @rachit_bose @merchant_records @salimsulaimanmusic @guitarded.jon @blacksheep.records 2. MakaneVocals by Sooraj SanthoshLyrics by B.K. HarinarayananComposition by Parvatish PradeepLanguage: MalayalamGenre: Alt-RockMood: RelaxingThis wonderful melody is from 'Vaazha', not to be confused with the album "Vaazhai" by Santhosh Narayanan. Parvatish Pradeep is the composer, for this and he sparkles all along with the melody written with such poise. one playback singer who I have loved to listen to in the last 5 years or so is Sooraj Santhosh and he serenades us with with his voice here. The Keys and guitars make way for that soothing lullaby in the intro. You can hear the piano, acoustic guitar and the rising intensity of the strings section and it feels like a crescendo with Sooraj's singing.The arrangements deserve great appreciation as Parvatish brings in so many elements to haunt us, like the amazing male-female harmonies in the interlude. I featured Parvatish in a couple of Indie songs last year and my favourite was "Raahein", so he has always been quite prolific as a composer/producer. I am reminded of Sushin Shyam's "Ottamuri Vakkumayi" from 'Romancham', when I hear 'Makane' from the melody as well as tone and production standpoint. The solo violin is played by the talented Sravan Krishnakumar. The chorus singers' lines in unison is uplifting and the music production of this song leaves no stone unturned. The composition too is elaborate with the well-written stanza. BK Harinarayanan is the lyricist. @soorajsanthosh @parvatish @mixwithabin @sravan.krishnakumar @thinkmusicmalayalam3. StrongerProducer: AdamyaComposition, Arrangements: JAHNVI & AdamyaLyricist, Vocalist: JAHNVILanguage: EnglishGenre: RockMood: EnergeticI came across this song when a musician posted great reviews and recommended it. I wasted no time and soon enough I was banging my head and tapping my feet to this slick production. JAHNVI writes the melody along with Adamya with the latter on music production. The melody in bits and pieces reminds me of "Dreams" by Fleetwood MacAdamya goes solo on this project playing all the live instruments we hear. He generates some astounding energy and mesmerism on electric guitars and drums giving the song the rock flavours. Adamya also is giving it some funk on bass and the tempo and rhythms through the shaker an drums. I love the writing as she sings " I wouldn't be anymore stronger for you". I was stunned when I heard the subsequent lines of the verse that go " Met you out there, thought you're are my everything". JANHVI sings like a dream that never leaves your head much after you have woken up.The melody continues to wiggle through and she expresses herself through the pain, agony and rage in her voice and we get segments that we just wouldn't expect like "I found you, you found me" This is also a masterclass in vocals and production, sound design. Kudos to Adamya who has mixed, recorded, mastered and created the sound design. We get a bonus in the outro with electric guitar and drums converging and enthralling us.   @jahnvi_4444 @adamyabajaj @rockchi__4. Ghanan

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 25th August 20241.  I Wear My Roots Like A MedalComposed/Written/Performed by DheeProduced by: Santhosh Narayanan, Aditya Ravindran, DheeLanguage: EnglishGenre: Jazz-KuthuMood: EnergeticI, last week, talked about the number 1 song "Oru Oorula Raja" from the movie 'Vaazhai' composed and produced by Santhosh Narayanan, and how he has redefined many new sub-genres or micro-genres of music. Here too Santhosh, Dhee and Aditya Ravindran coin and cook up a new exciting sub-genre I have tried to name it "Jazz-Kuthu", and If I am not wrong Santhosh has worked on a few songs before in this style. Dhee releases her 2nd single from her upcoming album and this puts her among the most sought-after musicians in the indie space. I think with this single we just might have found 2024's topper in the English Indie category in India.Her first single was so funky and catchy, but this one breaks all barriers and Dhee showcases her outstanding gift not only as a performer but as a writer too. The lyrics are fantastic taking us through her roots that originated in Sri Lanka and one of my favourite moments is when she sings " Jackfruit and Puttu, I can't leave, I stay Put". The prelude is like a perfect setting for the fun and dance to start as the Buddhar Kalaikuzhu demonstrate their mastery of the Indian percussions and all the horns blow us away into madness thanks to Rajamelam Band Set. I love the tempo that makes it sound like a perfect Tamil Kuthu song. Aditya Ravindran and Santhosh join on the backing vocals giving it the further flavours of Sri Lanka. The melody written by Dhee is brilliant as she takes us through so many segments, multiple verses and bride sections that have a different melody written for each, now that is a supreme talent. The section that begins with "At my grandma's house" and "3 nought 4 with the Neighbours", sound so different. One man who simply kills it is Naveen Napier on bass guitars as he plays a vital role in adding style and funk to the song. He plays in the background constantly, having his improvisations and tweaks done. All the additional tech is by Karthik Manickavasakam and the additional percussions are by Karthik Vamsi. When you get to the chorus segment Dhee sings it like a dream "I was caught in the middle, spent way too long feeling lost and refused, now I got my foot on the pedal, So I wear my roots like a medal" - sheer brilliance, lyrically, musically and vocally. The adrenaline and my body feel a surge when she sings " I was.. I was.. I was", with the accompanying percussion. Look at the verse "Pigtails and long skirts" with the lovely children's chorus in the background, comprising Sukhi, Rhea, Dhanya, Augustus, Ahana, Mithran, Krishaang, Shakti, Tara, Dhvani, Keerthana and Prarthana. The mesmerising effect continues as she goes on to perform "Khaki ain't my colour, Camo ain't a style" with the improvised effect on the last word, showing fervour, and such style in her delivery. The last verse is once again written with varied notes as here Dhee show her vocal range by singing " weighed heavy on me " in baritone. The song is one helluva of ride taking us through different emotions and one can feel her pain in " I didn't know how to make it stop.."Aditya Ravindran plays the Guitar and the Ukulele and the beautiful, relevant words "My past is written on my body, My future is all in my mind" are performed by Dhee, and here is where Santhosh plays the delightful Harmonica. This is easily the best Indian record I have heard in 2024 and I cannot thank Dhee, Santhosh, Aditya and all the amazing musicians and engineers for putting this masterpiece together. Santhosh is the mixing engineer along with Sriram Ravi and Rupendar, with mastering by Alex Gordon at Abbey Road Studios, London via Bohemia Junction Limited. Don't forget to check out the amazing music video by Amith Krishnan, with some wonderful choreography by Neromie Sriragurajah. @musicsanthosh @chillybeef @adityaravindran95 @dhee___ @meenakshi_santhoshnarayanan @rupendar_venkatesh @buddharkalaikuzhu @napier_naveen @abbeyroadstudios @anu_viswa @amrutha_unnikrishnan @nrajah 2.  Shukra GuzaarSingers: Gulraj Singh & Aditi PaulMusic Composer & Producer: Gulraj SinghLyrics: Manoj YadavLanguage: HindiGenre: Light MusicMood: RomanticIn my opinion, Gulraj Singh is a name one should memorize if you are a music lover. Very soon, you will find him on the best playlists of Indian music across languages. This supremely talented composer/producer surprises me every single time and his knack for writing a delicious and stunning melody. Let us just say that he is Old-school. Tapas Roy shines through with a terrific prelude on the plucked instruments, and we have Rickraj on the Ukulele accompanying throughout.The lyrics are interesting thanks to Manoj Yadav's wittiness. Gulraj sings the lines with such a cool attitude and I want him to sing more. The female lead vocalist is the wonderful performer Aditi Paul. She already cast some magic earlier in 2024 singing in All India Rank. I love the chord progression in the lines "Shukr Guzaar hai.... Shukr Guzaar hai tera", with the keys and harmonies aiding. There is an ARRahman-esque interlude with some Harmonica and harmonies. The stanza is fresh and just allows the heart to swell, with a lush Piano in the background. Thank You Gulraj for your commitment in writing these delectable lines "Tu hi me meri zindagi, oh meri jaan hai tere dum se sai saare kushi", with Gulraj and Aditi singing in unison. Vincent Joseph has assisted Gulraj and the recording engineers are Amey Londhe & Akshay Purandare. Ashish Saksena at Purple Haze Studios is the mix/master engineer. 

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 18th August 20241. Oru Oorula RaajaLyrics: Mari SelvarajSinger: Santhosh NarayananComposed, Arranged and Programmed by Santhosh NarayananLanguage: TamilGenre: Jazz Hip-HopMood: GroovyHe is unstoppable, is Santhosh Narayanan and here comes this sensation single from the upcoming movie "Vaazhai". Sometimes I think he creates his mini-genre. After mesmerising us with a folkish melody along with Dhee, Santhosh performs here in a genre-bending single that will strike you like a bolt of lightning amidst the dark thunderous folk percussions, and then the brass section and harmonies will feel like reincarnation. I can state with absolute certainty that there is no single Indian composer who can produce something like this, let alone envision it. The horns are not the ones we hear inside a music studio or as part of a symphony orchestra. These are the horns in lorries and trucks, just like how Vishnu Vijay used them in his song 'Welcome to Hyderabad' from the movie "Premalu". After that creative intro, we dive into the magic of the brass section with trumpets, trombones and French horns, if I am not wrong. Kudos to Babu, Maxwell, Dominic Xavier and Vijay for giving us an experience of living in New Orleans. We can hear the synths, keys and rhythms too, albeit in a very subtle way. I don't blame you because Santhosh is singing with his lungs trying to explode and when he performs with that raw tone, it is unmatched. We hit the interlude segment and the ‘Ramanathapuram Marungan Melam Team’ comes alive. The Keys and the folk percussion combine to create magic that even David Copperfield would be proud of. The percussionists that deserve attention are Rajakumar, Arulpandi, Hemanadhan on the Tavil, Pazhani and Janardhan on the Pambai, Mohanbabu on the Thalam and Kadhirvel on the Urumi. It is then the job of Santhosh to deliver the amazing story penned by the lyricist and director Mari Selvaraj. Kindly use your headphones, stand up and give some love to Napier Naveen for the outstanding bass guitars that the man plays right through. They are some of the most zany and ethereal strumming I have heard in an Indian song. Santhosh stands tall as not just the performer and composer, but also as the arranger and producer. The verse ends and when we hear " avan nimirnthu patha vanam, kuninju partha bhumi, idayila avanthan baaram, kaal nadakka nadakka neelum thooram", the brass section arrangements are majectic. We get some pumped-up energy in the second interlude once again with the brass section. I just want to get up and let loose when Santhosh sings " Kuthaattam aduran kuthaattam aduran..."Keep listening for more magic as Santhosh sings for one last time " oru oorula raaja ", The trumpets play that riff, followed by the stunning humming of Dhee performing the same notes as the trumpets. Yes "oru oorula oru raja" and in today's world of Indian music Santhosh is that Raja. The recording engineers are Pranav Muniraj, Karthik Manickavasakam, Rupendar Venkatesh and Santhosh Narayanan. The tracks are mixed and mastered by Rupendar at Future Tense Studios with Jaba Raj as the studio assistant and Meenakshi Santhosh as the musicians' co-ordinator. @musicsanthosh @mariselvaraj84 @navvi_studios @redgiantmovies_ @pranavbalu @karthikmanickavasakam @rupendar_venkatesh @meenakshi_santhoshnarayanan @napiernaveen2. How The Tables TurnPerformed by KitanuWritten by Omkar Raghupatruni, Pranav Wahi, Rijul Victor, Rohan Prasanna, Siddhant SarkarLanguage: EnglishGenre: Rock fusionMood: EnergeticThis Indian rock fusion band has already been an object of interest for me for some time now, I featured their prior work as well. Kitanu lives up to the hype and expectation again and here we have this upbeat and transcendental piece. The band's highlight reel is always their Sarod and the intro has the pulsating solo of the Sarod by Rohan Prasanna and in combination with the pacy drums by Rijul Victor, and funky bass guitars by Pranav Wahi, it feels terrific.  Siddhant Sarkar, the frontman makes it a throbbing experience with his energetic vocals as the lead. He even gets many tongue-twisters out of his mouth in the verse and feels pumping. The Sarod and bass are the constant support elements driving the song's tone forward. OMkar Raghupatruni plays the lead guitar and the subsequent verse has more passion coming through in Siddhant's delivery. The jugalbandhi between Omkar and Rohan is brief but breathtaking. Wait till the outro makes its way and you will be captivated by the confluence of the Sarof, guitars, drums and harmonies. The drop in tempo feels cathartic. @kitanumusic @blacksheep.records @guitared.jon @deepkharra @rohanprasanna @_pranavwahi @omkar_raghupatruni @corridormusic @siddhantsrkr3. Oh RaayaMusic: A R Rahman

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 11th August 20241. MemoriesLyrics, Composition: BrecillaProduction, Arrangement, Mixing and Mastering: Pranav KamatLanguage: EnglishGenre: Ballad PopMood: ContemplativeI wanted to listen to this song in May, but I guess my Memory didn't serve me right. Anyway, a good record needs to be given its due credit and praise, so better late than never! I am a fan of Brecilla's work as she stands tall in this landscape of mediocre music. She is a musician with gifted vocal abilities and when she writes a melody like this you only have to earmark her name and keep tracking her releases like a religious ritual. The Keys come in and flow like a gentle steam, also played Brecilla and the humming pierces through my heart. The singing starts hitting me like a nail, and the lyrics are equally incisive. We all get up one day and feel an inexplicable range of emotions at play. Thank God, I at least can listen to such music and relate to the emotions and thanks to the stunning quality I might even be able to recover out of the low. Pranav Kamat who is a usual suspect in all of Brecilla's acts is the man who has done the arrangements and musical production. I love the heavy sound of the Piano, and one line that will haunt me for the rest of 2024 is "But I wish we'd make more memories Before you decided to leave". Kudos to Brecilla for the chord progression here, especially the second half of the line which was unexpected and satisfying. Pay attention to the accompanying Saxophone (played by Brecilla) when the words "before you" is sung. The sadness here felt like a whiff of Raag Charukeshi in disguise. The backing vocals are performed by Nidhi Aswal and Brecilla and the harmonies are arranged to perfection. Pranav plays the guitars and the production is something that elevates the song despite its melody already being captivating. The vocal performance will give other contenders a run for the money in the race for the 'Best Vocals of 2024'. Nothing smells as good as the perfect end, and here we have Brecilla singing " But I think I held you close long enough, Now it is time for you to leave". I'll say no more. @brecilladsouza @pranavkmt @babybluu82. Le Chal SaawareComposed by AgneeLyrics by Abbas TyrewalaSinger - Mohan KannanLanguage: HindiGenre: RockMood: ContemplativeWe have the second season of 'Soundchk' with the music label of Merchant Records promoting and distributing this unique venture that celebrates Indian Rock music. The band Agnee is one of India's finest, and I have been a huge fan of their work. Here we have a spellbinding rock record thanks to the melody and vocals. Mohan Kannan is memerising beyond compare and he brings this delicate texture combined with a very semi-classical style of delivery while performing the lead vocals. John Jaideep Thirumalai plays the bass guitar and Koco is the lead guitarist and the two combine quite effectively without taking up the spotlight from Mohan's vocals. The number of variations in the title phrase "Le chal saaware" that Mohan brings on board and the improvisations in the lines "khul ja sabhi parchaiyaan" are poetic. Koco jumps in with the electric guitar solo and Hrishikesh Datar provides the oomph on drums. The chorus segment could go on for minutes and I would just sway and keep listening to it. The music production is by Koco and he sizzles with absolute profanity in the interlude playing the electric guitar solo. The verse that follows is written beautifully, in a way I would have never expected. Mohan Kannan, take a bow, as this song is like a vehicle that transports me to paradise and his singing is the fuel for that. The tracks are mixed and mastered by Abhishek Khandelwal, assisted by Dileep Nair are YRF studios. Abhsiek and Dileep are also the recording engineers along with Anurag Sawangikar at Studio Manic, Pune. @agneelive @merchant_records @salimsulaimanmusic @themohalife @mohankannanofficial @theofficialkoco @royalewithcheese88 @hrishidatar @abbas.tyrewala @shivansh.j @nidhi_ketan3. O Raahi 

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 4th August 20241. ThenkizhakkuComposed, Arranged and Programmed by Santhosh NarayananLyricist: YugabharathiSinger: DheeLanguage: TamilGenre: Light Music/ popMood: HappySanthosh Narayan comes off the gigantic project of Kalki 2898AD with some unbelievable music and now we have this super collaboration that has always piqued my interest and expectations. The combination of Santhosh and director Mari Selvaraj gave us 'Pariyerum Perumal' and 'Karnan'. This song defines the brilliance and style of Santhosh as he takes a wonderful melody, adds some compelling elements to production and when it comes to the stanza, delivers the twist none of us could have predicted. Dhee is the lead vocalist and this son despite its tough notes, she sings it like a walk in the clouds.Two standout live instruments are the Violin solo by the master Embar S Kannan, and the percussions by Karthik Vamsi. Let us not forget the introduction of the whistle by singer Vijaynarain. Santhosh handles the keys along with all the insane arrangements and production. The song has so much to offer with the extended anu-pallavi segment. I love the sound of the bell-like the bicycle ring just after "Kudai pidippen thayaga". The line that follows " Nee nee sollum katha, naan naan kekkum vara" is like a breath of fresh air that we just did not see coming. Yughabharathi is a magician with his words in this song. The interlude is just magic with Embar Kannan piercing my heart with that melody on the solo Violin. There are some resemblances of Raag Neelambari here as well as some Raag Maand. Karthik Vamsi is the second hero here gently playing the Indian percussions and causing tremendous appeal and pacification. Who would have expected the line "Othaiyila pogum vetta veli megham" to follow this chord progression after what we heard in the song's opening segments? This is why Santhosh Narayanan is a genius for constantly creating newness and discarding tried routes. Look at the notes now when she sings "sitterumbu podum", kudos to Dhee and Santhosh for that. Her singing prowess comes to light as we progress and she sings " Athil Kodi raagam naanum meeeta" in that baritone register. The song is recorded by Santhosh, Karthik Manickavasakam, Pranav Muniraj and Rupendar Venkatesh at Future Tense Studios. The studio assistant is Jaba Raj and the tracks are mixed and mastered by Rupendar. Meenakshi Santhosh is the musicians' co-ordinator. The song's outro once again sparkles with the "nee nee sollum katha" playing in the background. @dhee___ @musicsanthosh @meenakshi_santhoshnarayanan @mariselvaraj84 @thinkmusicofficial @pranavbalu @karthikmanickavasakam @embarkannan @karthikvamsivr @yughabharathi @rupendar_venkatesh @vijaynarain2. KaahePerformed by Antony Mathew, Riddhi Vikamshi, Sumer NaikWritten by Antony Mathew, Riddhi Vikamshi, Sumer Naik, Vallabh KaoreyProduced by Deeptha Ganesh, Riddhi Vikamshi, Sumer Naik, Sandeep PatilLanguage: Traditional/HindiGenre: Semi-classical fusionMood: HappyThis record came as a beautiful surprise with Riddhi Vikamshi, Sumer Naik and Antony Mathew combing and creating this excellent Tumri-led pop fusion single. The melody is written by Antony, Riddhi and Sumer with lyrics penned by Vallabh. The origin of this song is apparently in the corridors of Berklee College of Music. Kudos to the whole team for creating something that justifies their hard work and passion. I can sense a clear influence of Raag Bhimpalasi in the melody.Risshi is the lead vocalist and she has this wonderful delivery style that mixes Blues and Classical Hindustani style. It reminds me of this amazing indie artist Aditi Ramesh who performs with the same vigor and class. The Blues flavour gets a lot of additional colouring thanks to the Keys by Antony, guitars by Sumer, bass by Joaquin Adrian Oribello and Joshua Tan on the mild drums. The melody goes through a beautiful shift and I would have never guessed the chord progression, almost sounding like a Latin Jazz number.The arrangements and production deserve a massive round of applause. Check out the introduction of the Tabla played by Aditya Pahuja and then Riddhi sizes on the swaras with the solo violin by Hrutuparna played alongside her. Additional vocals are heard in the background too and the melody on the Piano written during the other interlude is magical. The classical guitar and strings section along with the Jazzy rhythms make for some meaty moments that every music lover will embrace and enjoy. Kudos to Riddhi for the great vocal execution. The recording engineers are Deeptha G, Devanshee Bansal, Denis Tsyganov, Tushar Bhagat and Sandeep Patil. The tracks are mixed and mastered by Deeptha and Sandeep. @riddhi_vikamshi @antonymathewgc @deeptha.g @jamoribass @adityakpahuja @rey_vallabh @groovegridstudios @jt_rhythmia @sumerflaek_09 @devanshee_bansal @whatistushar @abluesaint @hrutuparna.71 @denis_tsyganov__

Here are the best Tamil songs released for the months of May and June 2024. If you are a musician submit your new music here.1. Aasa KoodaMusic Composed and Produced by Sai AbhyankkarSingers : Sai Abhyankkar, Sai Smriti Lyrics by Sathyan IlankoLanguage: TamilGenre: PopMood: Romantic2024's best Tamil song so far is 'Katchi Sera' composed, produced and performed by Sai Abhyankkar. I loved it and featured it on my website showering the artist and others involved with loads of praise. However, there was always a doubt at the back of my mind if Sai Abhyankkar would deliver another song of this quality or if he would end up being a one-hit writer. Those doubts and fears have vanished and it looks like this talented musician is making his mark. Within a few seconds, the song creates butterflies in my stomach and that is actually what the video depicts too, a butterfly in flight. Sai Abhyankkar is not just a skilled composer, it seems he has the knack to produce a song effectively and that is evident with the vocal harmonies in the intro. Srinidhi Premkumar, Faik, Shiva and Elisa are the backing vocalists and we are treated to 43 seconds of intro music that just grows and brightens the day. Keba Jeremiah and Robin Sebastian play the electric guitars, while Keba is the bassist as well. I was blown away by the Clarinet and Sax interventions in the intro played by Ashish. Viswas Hari plays the Mandolin. The verse starts and we have Sai Smriti and Sai Abhyankkar in solid form taking up lead vocal responsibilities. The baritone style of delivery by Smriti is exciting to hear and she adds a few Carnatic-styled ghamakas too in between. The catchy chorus segment that goes " Nee pesa lighta aasa kooda, vaasam veesum" is a very infectious melody written brilliantly by Sai Abhyankkar. He proves the simplest adage that for a good song , the most important element is the melody. The song has a very beautiful and hummable melody and that is why I feel this song wins hearts again.The interlude is a Jugalbandhi between the Sax and the Clarinet and things do get quite Jaazy and funky in this segment. The stanza continues to showcase a fine melody and there are influences of Shanmukhapriya Ragam according to me. Towards the end when we get to the chorus segment, there is the Nadaswaram by Parthiban and Trumpets by John, Henry Park, H. Warner & Ben. Sathyan Ilanko, the lyricist mixes fun and romance in apt words. There are so many layers and all the keys, synths and rhythms are programmed by Sai Bhyankkar delightfully. He arranges and produces the song masterfully and elements like the aalap by Sai Smriti in the background are great strokes. The tracks are mixed by Sai Abhyankkar at YOLO Records and mastered by Rupendar Venkatesh at Sai Dhwani Studios. Don't forget to have a blast watching the song video with some terrific moments of choreography by Anusha Viswanathan and The Dancers Club. Finally, I am also glad to see this lovely actress Preity Mukhundhan on screen, she is graceful and captivating, just like her presence in the new Tamil movie 'Star' alongside Kavin. @abhyankkar @smriti_ekaa @sathyan_ilanko @preity_mukhundhan @thejobharathwaj @sanika_banerjee_ @brinda.indu @thinkindiacollective @believemusicindia @tdc.thedancersclub @himani.grooves @dikshitaaaa.___ @kebajer @srinidhi_prem @robinsebastianmusic 2. NeelorpamComposed, Arranged & Programmed by Anirudh RavichanderLyrics - ThamaraiVocals - Abby V & Shruthika SamudhralaLanguage: TamilGenre: Ligh MusicMood: RomanticFinally, Anirudh delivers an enjoyable song, after slogging with massy and loud EDM overloads. I wish and hope there is more of this that he has to offer to us now. In the album "Indian 2" this is the only enjoyable song with a fantastic melody that probably sounds like Raag Desh to me. Abby V who is a fine talent, comes on board as the male lead vocalist. He gives life to the song with his Carnatic-styled delivery and excels in all the ghamakas. He is accompanied by a very able Shruthika Samudhrala, and this is one vocalist I will love to track in the future. The song gets a soul thanks to Thamarai's romantic lyrics. I love it when Abby sings "ithai meeri pugaargal illai" with a heavy ghamaka on the second word. Anirudh composes, arranges and programs this eloquence. The additional rhythm and keyboard programming roles are filled in by Shashank Vijay and Arish respectively. Amalraj plays such a significant role in the song playing multiple instruments like the Electric, Acoustic guitar, Dobro Guitar, Charango, Ukulele, Violin, Violas, Ghunzheng and Harp. The man can play over 40 instruments, phew! The melody in the interlude is something that many songs in India are missing these days, so kudos to Anirudh for that. The indomitable Pratik Shrivastava sizzles on the Sarod solo and that is followed by a western piece on the Saxophone by Basanth Muralikrishnan. The stanza is the segment that fills the heart with joy because the melody written here by Anirudh is wholesome and inspiring, and Shruthika delivers like a seasoned campaigner. The parts with the Sax are like an ode to AR Rahman's 'Duet'. Anirudh goes further and creates a brief bridge section other than the stanza, and this song gives me hope that there is still gas left in his tank. The tracks are mixed Vinay Sridhar & Srinivasan M at Albuquerque Records, Chennai, and mastered by Luca Pretolesi at Studio DMI, Las Vegas. 

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 21st July 20241. Raise the BarPerformed by Rahul Matthan, Thermal And A QuarterWritten by Bruce Lee Mani, Leslie Charles Premkumar, Rahul Matthan, Rajeev Rajagopal, Tony Jason DasLanguage: EnglishGenre: RockMood: EnergeticThe TAAQ as they are known impressed me immensely back in 2019 when I just started out as a music journalist. I have been waiting far too long for something like this, and I am reminded of 'Jethrotul' and 'Dire Straits' and all these phenomenal rock bands, as Thermal And A Quarter sizzle on all aspects in this rock single. Bruce Lee Mani strikes you hard with his lead vocals and guitars and it hits like a wrist slap from his namesake martial arts legend. All the lead guitar interventions are by Tony Das, the drummer Rajeev, and bassist Leslie combined beautifully to raise the bar. The astounding lyrics are penned by Rahul Matthan. The song has not just some breathtaking live instrumentals, it also boasts a very enjoyable melody. The arrangements and production deserve a special mention for keeping things lively and fresh. At times I also feel a resemblance to AC/DC's "It's a long way to the top". As we get to the trilling outro I am mesmerised listening to "Get a good grip and remember to breathe, when you raise the bar" as every band member is performing at more than 100% of their potential @matthan @thermalandaquarter @lesliecharles @bruceleemani @tonyjdas @oafrecords @therealdeaconblues2. Raahi ReMusic composed, Programmed and Arranged by Vivek SagarLyrics by Kasarla ShyamVocals by Kapil KapilanAdditional Vocals by Language: TeluguGenre: Light MusicMood: RomanticVivek Sagar is at times under-rated, or maybe there is a better word to express what I feel. He is never the first name that comes to mind when someone shouts Tollywood music, but I have always paid close attention to his work. This is a romantic track that gets a lot of positive energy from the brisk strumming of the acoustic guitars and Kapil Kapilan's lead vocals. Abhishai Jahudi is the bassist and we also have engaging keys and rhythm programming by Vivek Sagar. He handles all the arrangements other than writing the melody. Lyrics are penned by Kasala Shyam. I love the line in the pre-chorus just before the chorus segment of the song and this is where I felt a sense of Raag Shankarabharanam (Bilawal) or maybe some Raag Hamsadhwani. The interlude has this Westernised Sarangi played by Aslam Khan. The backing vocals by Shruthika Samudhrala come in and then the lead guitar solo too, adds style. Vivek Sagar showcases his wide-varied knowledge by including a Punjabi folk segment in the interlude. This segment was written and performed by Romi Kumar and produced by Juggy Gill. Credit must go to the strings section arrangements in the background as they decorate the song with lushness. It has been a while since I was so enamoured by Kapil, and I must thank Vivek for giving him a song the former deserves. The tracks are mixed, recorded and produced at Tapeloop with Sanjay Das as the mix/master engineer. @kapilkapilanmusic @oddphysce @aslamkhansarangi @chinttu_bassman @juggygillofficial @tapelooprecords @sanj_das @shruthika.samudhrala3. KismetWritten and Composed by Raman NegiPerformed by Raman NegiProduced by Raman Negi, Gaurav ChintamaniLanguage: HindiGenre: RockMood: Energetic

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 14th July 20241. JaathreProducer: Michael LeagueComposer, Vocalist: Varijashree VenugopalArrangements: Michael League, Varijashree Venugopal, Pramath KiranLanguage: KannadaGenre: semi-classical fusionMood: ContemplativeThis is one of the finest indie albums released in 2024, and please go stream the album "Vari" right away by Varijashree Venugopal, Michael League and Pramath Kiran. The song's melody composed by Varijashree has traces of Raag Hemavathi and after the initial swaras we get fabulous support on the live instrumentals. The Violins are played by Smitha H M, Sindhu H M and Mattur Srinidhi in unison. The percussions are played to create an unforgettable thump like the Dollu played by Boodyappa H K, Raghavendra H M, Dinesh, Prakasha, Yogamurty, Ranjith and Srinivasa. We also have the Table played by Ojas Adhiya, and Gurumurthy Vaidya playing the Pakhawaj and Chende. Anat Cohen plays the stunning CLarinet at an unbelievably high register. To pacify things down after the pre-chorus we have the aalap by Varijashree and the accompanying Harp by Agnès Bérard Laty. This segment is pure magic and I was tempted to think there may have been some Raag DHarmavathi or Madhuvanthi. The mild Harmonium intervention is by Praveen D Rao and Michael League plays the Mellotron and Minimoog Bass. The Violins unite for the interlude and adrenaline pumping happens with all the combined effects of the percussions. Pramath is the recording engineer, the tracks are mixed by Nic Hard and mastered by Dave McNair@varijashree @pramathkiran @michaelleagueplaysmusic @nic.hard @groundupmusicny @mcsnare @juanospinamusic @____magdalini @misslucywoodward @adrianaospinamusic @silviaospina.art 2. StillComposer: Anhad Khanna, Tanner Willeford, Isheeta ChakrvartyArranger, Producer Anhad Khanna, Tanner WillefordLyricist, Vocals: Isheeta ChakrvartyLanguage: HindiGenre: Semi-classical FusionMood: ContemplativeThe saddening Sarangi by Ejaz Hussain, in the intro forces my submission and I am unable to get my spirits up to write this review. Yet there is hope in the sadness, like a silver lining around the dark clouds, when I hear the strings section and piano, looking at the quality of the music out there within the first 40 seconds. The composition is by a trio of talents viz. Anhad Khanna, Isheeta Chakrvarty and Tanner Willeford. If the glimmer of hope wasn't enough we find the sun ray shining now as Isheeta opens up her throat and starts her vocal lead performance.The synths are heavy in the background and the combination of classical notes by Isheeta and the EDM-styled background sounds is haunting. The Sarangi is constantly present with subtle interventions at times and solid solo bits in the interludes too. Isheeta soaks you into pathos with the touching delivery and the mood is also mysterious with her powerful and improvised aalaps. Anhad and Tanner who have created many such magical songs before, hit the nail on the head when it comes to this production. The use of the Tabla played by Sarthak, is splendid and it says a lot about the arrangement skills of the duo. Was there some influence of Raag Pilu in the melody? Maybe, but Isheeta says there could be a mild Raag Keeravani influence. The tracks were mixed by Anhad and mastered by Shawn Hatfield. The artwork is by Dolo. @isheeta.c @anhadtannermusic @sarthak.pahwa @ejazhussainofficial @dorlorblind 3. Leta Jaijo ReComposed, Produced & Performed by Shashwat SachdevArtists: Shashwat Sachdev, Sunidhi Chauhan, Chotu Khan

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 7th July 20241. Ta TakkaraSinger: Sanjith Hegde, DheeLyrics: KumaarSong composed, orchestrated and programmed by Santhosh NarayananAdditional Music Production: 6091Language: HindiGenre: EDM-FolkMood: DanceThis song defines the mad genius of Santhosh Narayanan, as he shows he can do well under various styles and genres, and he never needs to conform to any set rules. I went into the theatre on the day of the release and when this song came out on the big screen I was bamboozled by its melody, singing, genre-bending style and the overall mood it created. I immediately was elated to hear Sanjith Hegde sizzle, because this would be his debut for Santhosh. Kumaar writes these amazing words and I love how in Hindi the ending words in verse are "Roobaroo" and "Junoon" so that he goes to do that vibrato with the "ooo ooo oo", while in other languages the ending sounds are different. Let's put our hands together for Santhosh on the amazing production, orchestration and arrangements, with 6091 once again working brilliantly on the additional production. Santhosh sings in the intro with the high-pitched humming along with the Santosh Hariharan, Sreekanth Hariharan, Mayank Kapri, Sudharsan HemaRam, and Manikandan Chembai in the additional chorus. We feel the impact of the keyboard and synth programming straight up as Sanjith takes us into the 'Complex' with his magical voice "kisne yeh sab mausam yeh roshni, rang zameen pe utaare". We get an unforgettable high with the folktronica mix of EDM sounds and the Shehnai by Rudresh Bhajantri. I love how the Piano plays with such vigour in the background in the 2nd verse, and the change in beats and tempo also produces a crazy effect on the listener. Santhosh has told in interviews that he was given a free hand to go crazy for this song, and it is written all over, especially when you hear it along with the grand visuals of the complex. If Sanjith wasn't enough on the arsenal, Dhee comes on board with that haunting humming in the interlude and it fits perfectly with the emotion of amazement as the protagonists gaze at the vast buildings and grand nightlife inside the complex. Manoj Kumar plays the solo violin and the strings section by Skopje Studio Orchestra, conducted by the brilliant Karthik Manickavasakam. The short post-chorus segment travels at a brisk pace in full-throttle EDM mode and then things gradually slow down to have the Buddhar Kalai Kuzhu perform the energizing beats. Karthik Vamsi plays the additional percussion. Santhosh gets down to business with his raw unhinged singing "ta takkara". The beats, Shehnai and the Piano come together in great style. The tracks are recorded by Santhosh, Rupendar Venkatesh, Pranav Muniraj, and Joshua D. Fernandez at Future Tense Studios, Chennai. The studio assistant is Jabaraj, the tracks are mixed and mastered by Santhosh, with Rupendar on the additional mix. The musicians' co-ordinator is Meenakshi Santhosh. Kudos to the excellent choir vocals by The Indian Choral Ensemble. They have been on fire in most of the songs for Kalki 2898 AD, and here too the impact of these collective voices is mesmerising. We have Aparna Harikumar, Alisha Mathew Thayil, Sushmita Narasimhan, Nidhi Saraogi, Vani Nandhini, Rutuja Pande, Shwetha Sugathan, Yazhini, Samanvitha Sasidaran, Amritha Rajesh Chelat as Sopranos. Nayansee Sharma, Geethu Nirmala, Fathima Henna, Megha Salila, Shruthi Parthasarathy, Shri Bhadra, Varsha R Mallya, Ananya A, Pavithra Chari and Kaaviya S performing as Altos. Akash V H, Sudarshan HemaRam, Keshav Vinod, Shivsundar R, Shridhar Ramesh, Manoj Krishna, Shibi Srinivas, Dhiyanathiru, Nikhilchandran D S, Arshith Kurian, Chirag Shetty, Manikandan Chembai, Joseph George, Ebenezer perform as Tenors. Regis Tony, Shyam Krishna, Prashanth Mohanasundaram, Cyril Solomon, NeerajSelvaganapathy and Soloman Ravindar sing as Basses. @kalki2898ad @musicsanthosh @pranavbalu @rupendar_vankatesh @kumaarofficial @manojviolinist @kalyaninair86 @karthikmanickavasakam @theindianchoralensemble @adityaravindran95 @meenakshi_santhoshnarayanan @sarathsantoshofficial @sreekanthhariharan @santoshhariharanlive @pahadisingshere @shenbagarajg @jithinrajofficial @sarthak_kalyani @manikandanl @vaidhya_rajesh2. MausamComposition: Anirudh Varma, Divyam Sodhi, Kavya SinghLyrics: LikhariPiano / Keys / Arrangement: Anirudh VarmaVocals: Divyam Sodhi, Kavya SinghLanguage:Genre: Classical Pop FusionMood: TranquilAnirudh Varma is a consistent creator of delectable fusion music with all the stresses on a classical Hindustani core and savvy production elements on the peripherals. The sarod by Rohan Prasanna conquers you straightaway as the riff continues well past the intro. Divyam Sodhi and Kavya Singh are two fabulous singers, who not only are blessed with great voices but also ensure their styles are expressive and impactful. If I am not wrong, the melody bears shades of Raag Yaman, and the ghamaka in the line "Mausam badalta jaaye" is just a sample of his abilities. Madhur Chaudhury can be heard on the bass guitars along with Varun Rajasekharan's Ghatam. Shrikant Biswakarma on acoustic guitars partners with Rohan in the interlude, as Suyash Gabriel mildly plays the drums. It is now Kavya's turn to showcase her skills with the aalap and improvisation with just one word "Balma". The trio of Anirudh, Divyam and Kavya compose the melody. Right through we feel the comfort of the Piano played by Anirudh, who is also the keyboardist. I just feel a strong bond with the song when Likaris lyrics are sung " Itni si dil mein, yaad hai kitni, ambar jitni, samandhar jitni", deep and thoughtful. Saptak Sharma plays the Tabla, the tracks are mixed by Anirudh, and mastered by Shawn Hatfield (Audible Oddities, USA). The recording 

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 30th June 20241. Theme of KalkiSong composed, orchestrated and programmed by Santhosh NarayananSingers: Gowtham Bharadwaj, ChorusLyrics: KumaarRhythm Production: Pranav MunirajLanguage: HindiGenre: Anthem/Symphony OrchestraMood: InspirationalI am bowing down to this magnificent composer, as he proves time and time again that Santhosh Narayanan is India's numero uno! This song is an absolute masterpiece as it perfectly fits the name given to it "Theme of Kalki". Much too often these days we get a theme music or song for movies, but the final output looks rehashed or incredibly loud and bizarre. This is easily the best song released in India this week, and for all you know, it could be Bollywood's best record for 2024. Though the song was released in Hindi, Telugu and Tamil, I found the song most appealing in Hindi for 2 reasons. The lyrics by Kumaar fit the melody in terms of the metering perfectly and secondly, this is the only version where the lead singer's voice stands out in the bridge section. A few months ago I wished my friend Gowtham that he get an opportunity to sing in Santhosh's Kalki 2898 AD, and I am elated to see that it turned out to be true. The song is a soaring anthem with ground-breaking orchestration, arrangements and production and Santhosh delivers what a movie of this scale demands.The intro is when the song settles all doubts about its quality with the chorus performance by Santosh Hariharan, Sreekanth Hariharan, Mayank Kapri, Sudharsan HemaRam, Manikandan Chembai, Shenbagaraj, Jithin Raj, Sarath Santosh, Narayanan Ravishankar and Sarthak Kalyani, The heavy percussion leads the way like the beginning of the battle and itis thanks to Pranav Muniraj's rhythm production. In the background, you can hear multiple voices performing at different vocal registers. It is one Choir group that can perform at this level in the nation today and it is The Indian Choral Ensemble. We have Kalyani Nair and Karthik Manickavasakam for the ideation and development of this concept. After the intro we have the magnificent Brass section with the thumping percussion, playing like an interlude. It is here that I found some inspiration from Hans Zimmer's 'Man of Steel' OST. But upon listening closely I concluded that this record is superior to the former. The layers and arrangements are diverse and more engrossing. Another crucial element when Santhosh does one better than most is the quality of the melody written here. Accompanying the sensational chorus are the brass section and rhythms. Manoj Kumar who has been in red hot form, especially for Santhosh's projects, makes a heart-rending solo on the Violin. Do pay attention to the choir singing "sa sa sa sa", and elements like this add such beauty. Gowtham sings the bridge line " Dardon se paar tu kare" and ends with a crescendo, to be then joined by the chorus. The subsequent lines that we hear are so rich as a melody and when you hear them, the heartthrobs and the muscles shake. "Tere Kisi avatar mein aaoge, kya prabhu?", I tear up! We get the verse again, but towards the end, there is the magical solo by Rajesh Vaidya on the Veena, as he simply performs at a decimating level. Why did Santhosh want the Veena to be played here, why that instrument? Does it have anything to do with it being the instrument of the Gods, like Shiva, Ravana and Saraswati? Questions aside, play this on full blast and enjoy and celebrate that we have such amazing musicians in India today. Aditya Ravindran plays the electric guitar, and it probably sounds more evocative and powerful in the movie's BGM when the 'Theme of Kalki' appears. The recording engineers are Rupendar Venkatesh, Pranav Muniraj, Joshua D. Fernandez, Santhosh Narayanan and Karthik Manickavasakam at Future Tense Studios, Chennai. The musicians' co-ordinator is Meenakshi Santhosh and Jabaraj is the Studio Assistant. The tracks are mixed and mastered by Santhosh, with an additional mix by Rupendar VenkateshA big round of applause to the amazing vocalists of The Indian Choral Ensemble and they are Aparna Harikumar, Alisha Mathew Thayil, Sushmita Narasimhan, Nidhi Saraogi, Vani Nandhini, Rutuja Pande, Shwetha Sugathan, Yazhini, Samanvitha Sasidaran and Amritha Rajesh Chelat as Sopranos, Nayansee Sharma, Geethu Nirmala, Fathima Henna, Megha Salila, Shruthi Parthasarathy, Shri Bhadra, Varsha R Mallya, Ananya A, Pavithra Chari and Kaaviya S as Altos, Akash V H, Sudarshan HemaRam, Keshav Vinod, Shivsundar R, Shridhar Ramesh, Manoj Krishna, Shibi Srinivas, Dhiyanathiru, Nikhilchandran D S, Arshith Kurian, Chirag Shetty, Manikandan Chembai, Joseph George, Ebenezer as Tenors, Regis Tony, Shyam Krishna, Prashanth Mohanasundaram, Cyril Solomon, Neeraj Selvaganapathy and Soloman Ravindar as basses. @kalki2898ad @musicsanthosh @pranavbalu @rupendar_vankatesh @gowthambharadwaj @kumaarofficial @manojviolinist @kalyaninair86 @karthikmanickavasakam @theindianchoralensemble @adityaravindran95 @meenakshi_santhoshnarayanan @sarathsantoshofficial @sreekanthhariharan @santoshhariharanlive @pahadisingshere @shenbagarajg @jithinrajofficial @sarthak_kalyani @manikandanl @vaidhya_rajesh2. Open SkiesComposed by Parikrama, Sharat Chandra Srivastava, Suhail Ali KhanNitin Malik - Vocals Language: InstrumentalGenre: Rock FusionMood: EnergeticThis premier Indian rock band has of late given us some amazing records to cherish and take inspiration from, and this is a new song that follows the same footsteps into stardom and excellence. This is a predominantly instrumental record with Nitin Malik having to do very little as the lead vocalist. Suhail Ali Khan hits you with all the emotional highs on the electric violin as he plays the slow and pathos-inducing solo in the intro. The Gentle Keys by Subir Malik accompany you in the background and you can feel the presence of the massive crowd cheering in this Live performance, back in 2022.  Soon enough Suhail moves into captivate us playing some amazing notes stitched into a heartwarming melody. Saurabh Chaudhury and Abhishek Mittal are the leading guitars and Gaurav Balani is t

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 23rd June 20241. Bhairava AnthemSingers: Vijaynarain, Diljit DosanjhLyrics: KumaarMusic: Santhosh NarayananAdditional Music Production: 6091Language: HindiGenre: Folk-EDMMood: DanceIt has been a very exciting time for music fans with the release date of Kalki 2898AD fast approaching. When this article had been published, the movie would have been released and I would have seen it too. The songs and scores by Santhosh Narayanan are the primary reasons for me to watch in the theatre on the very first day. The Bujji Theme was a terrific piece of synth Pop, Alt-Hip hop and a crafty violin solo. This is the Bhairava Theme and it is Punjabi Folk infused with EDM to energize every sinew and bone in our body. Of the many versions released, I loved the lyrical metering and singing in Hindi the most. The common thread between all versions is the Diljith DOsanj lines in Punjabi, but Vijaynarain throws a belter here as the lead vocalist. Kumaar writes the lyrics and I love the lines " Matlab ki duniya hai saari, main kyun loon kisi ki zimmedhari" which aptly tells the motto of the Prabhas' character Bhairava in the movie, and this is evident from the Trailer released 10 days ago. Vijayrarain has sung some terrific songs for Santhosh in Tamil, but this is a solid delivery in Hindi. The song has all the trademark traits of Santhosh;'s music like the heavy Brass section, the Siren, and some fantastic chorus lines. Babu, Ben and Vijay handle the Brass section and Karthik Vamsi ups the ante on the Indian percussions. This applies in the outro where the Punjabi folk percussions create the aura. One can feel the pulsating effect the singing and lines have like " Dil Yeh Mera aah, Befikra aa" with the ending grunts. Santhosh keeps things interesting and creative when the line repeats "Dil Yeh mera, Mast Maula", with the notes sounding different this time around. Ok, wait for it then comes the line " Punjabi aaye oye" and Diljith makes his entry in phenomenal style. The singing is energetic with loads of oomph as expected from the singer. Santhosh and Aditya Ravindran accompany in the additional vocals. The production by Santhosh is mindblowing and he is assisted by the talented indie producer 6091 on additional production. The chorus singers are Santosh Hariharan, Sreekanth Hariharan, Mayank Kapri, Sudharsan HemaRam and Manikandan Chembai, with the kids chorus comprising Sukhi, Rhea, Dhanya, Augustus, Ahana, Mithran, Krishaang, Shakti, Tara, Dhvani, Keerthana and Prarthana. The humming is another sensational bit that lifts spirits like an anthem and towards the outro Santhosh gets crazy and wild with the " tur tur tur" cries and rising brass section. The sessions are recorded by Karthik Manickavasakam, Santhosh, Rupendar Venkatesh, Joshua D. Fernandez and Rohit Shyam at Future Tense Studios, Chennai. @musicsanthosh @vijaynarain @diljithdosanjh @saregama_official @kalki2898ad @archanaaakhilrao @kumaarofficial @karthikmanickavasakam @rupendar_venkatesh @6091music @adityaravindran95 @sreekanthhariharan @santoshhariharanlive @pahadisingshere 2.  Aasa KoodaMusic Composed and Produced by Sai AbhyankkarSingers : Sai Abhyankkar, Sai Smriti Lyrics by Sathyan IlankoLanguage:Genre: PopMood: Romantic2024's best Tamil song so far is 'Katchi Sera' composed, produced and performed by Sai Abhyankkar. I loved it and featured it on my website showering the artist and others involved with loads of praise. However, there was always a doubt at the back of my mind if Sai Abhyankkar would deliver another song of this quality or if he would end up being a one-hit writer. Those doubts and fears have vanished and it looks like this talented musician is making his mark. Within a few seconds, the song creates butterflies in my stomach and that is actually what the video depicts too, a butterfly in flight. Sai Abhyankkar is not just a skilled composer, it seems he has the knack to produce a song effectively and that is evident with the vocal harmonies in the intro. Srinidhi Premkumar, Faik, Shiva and Elisa are the backing vocalists and we are treated to 43 seconds of intro music that just grows and brightens the day. Keba Jeremiah and Robin Sebastian play the electric guitars, while Keba is the bassist as well. I was blown away by the Clarinet and Sax interventions in the intro played by Ashish. Viswas Hari plays the Mandolin. The verse starts and we have Sai Smriti and Sai Abhyankkar in solid form taking up lead vocal responsibilities. The baritone style of delivery by Smriti is exciting to hear and she adds a few Carnatic-styled ghamakas too in between. The catchy chorus segment that goes " Nee pesa lighta aasa kooda, vaasam veesum" is a very infectious melody written brilliantly by Sai Abhyankkar. He proves the simplest adage that for a good song , the most important element is the melody. The song has a very beautiful and hummable melody and that is why I feel this song wins hearts again.The interlude is a Jugalbandhi between the Sax and the Clarinet and things do get quite Jaazy and funky in this segment. The stanza continues to showcase a fine melody and there are influences of Shanmukhapriya Ragam according to me. Towards the end when we get to the chorus segment, there is the Nadaswaram by Parthiban and Trumpets by John, Henry Park, H. Warner & Ben. Sathyan Ilanko, the lyricist mixes fun and romance in apt words. 

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 16th June 20241.  Main Deewana HuaSinger - Sanam Marvi Music & Lyrics - Imran KhanMusic Arranged by Samarpit Golani Language: HindiGenre: Ghazal FusionMood: PathosI have already featured a song from the album 'Song Craft Season 1', and that had the brilliant Pratibha Singh Baghel. Here we have another terrific Sanam Marvi, who is exhilarating at the top of her voice. The melody sounds like there are influences of Raag Khamaj. Imran Khan makes the delightful and impressive tune and he also writes the lyrics. Abhilash Phukan is playing the guitars and Akashdeep Gogoi is the bassist, along with drums by Lindsay Demello. Sanam's vocals have been recorded in Lahore, thanks to engineer Sonu Aali at the Rahill Mirza Studios. Along with the guitars, we can also hear the ethnic strings like the Rabab, Tar and Strokes by Tapas Roy. The chorus segment sounds magnificent thanks to the combined voices of Samarpit Golani, Aswini Shrinivasan, Sneha Singh, Simran Sharma, Sonu Ishteyak Khan and Azmat Khan. The interlude has the Sarangi by Sabir Sultan Khan and the impounding percussions by Arun Solanki with the traditional Dholak played by Ishteyak Khan and Mustak Khan. Sharafat Khan plays the Tabla.This song is of supreme quality, something that could match up to what we hear in Coke Studio Pakistan, every season. Out of the blue, comes this solo on the Shehnai by Durgesh Bhosle, and that ability to surprise the listener is why I love Samarpit's arrangements. The second verse after the Shehnai sounds like Raag Charukeshi with all the engrossing pathos. The tracks are mixed by Ishit Kuberkar and mastered by Gethin John, with recording engineers Jayakrishnan Nalinkumar, Shashank Sahu and Anupam Sathe@sanammarvimusic @music.samarpit @imrankmusic @smriti.s16 @ishteyakkhanofficial @dilshhadkhan @music.samarpit @akashdeep_gogoi_music @dmellolindsay @abhilash.phukan.921 @taginstitute @arunpercs @snehaa_sings @aswini96 @simransharmaa_music @ishitk86 @sabirsultankhan @sourabh2108 @mandolintapas @jk_theaudioguy @sharafat.hussain.13 @bhosle.durgesh2. SochoMusic: Siddharth PanditLyrics: Rev ShergillVocals: Rev Shergill, Akanksha Sethi, Pooja Tiwari, Shriya PareekComposed & Arranged by Siddharth PanditLanguage: HindiGenre: Blues PopMood: ContemplativeSiddharth Pandit making this a habit, and here comes the 4th song from this album, getting featured and reviewed, rightly so! The combination of REV Shergill and Siddharth Pandit has been a hit ever since I heard them first for this movie album called "Yaara". The partnership continues to shine. The Piano and the rhythms are gentle to give the mild Blues colouring to the song's tune. REV SHergill makes his way, matching up to the same energy of the song, singing in a tepid and casual tone in his voice.I can hear the double bass too in the background and despite such wonderful arrangements and production by Siddharth, this song's writing is so amusing and it catches my attention. "Jeetega kaise woh, jo kabhi haara nahin hai, Tairega kaise woh, joh kabhi dhooba nahin hai", with the notes requiring REV to head into the higher pitch towards the end. This has to be my favourite segment as this line is followed by the chorus of amazing singers saying " Kyun nahi hai". We have amazing vocalists Akanksha Sethi, Shriya Pareek and Pooja Tiwari on backing vocals and if I am not wrong there is also the innovative mouth-trumpet accompanying them and making it interesting. The song's lyrics are written by REV Shergill, with Siddharth on composition, arrangements and production. The interlude with the Piano, and the violins in the background is mysterious and suddenly the heavy lead, bass guitars and drums make this song bleed with heavy adrenaline. The harmonies make a comeback with the catchy " Kyun kyun kyun.. kyun nahi hi hi hi hi hain" interjection. Pure Genius is all I can say! The tracks are mixed and mastered by Siddharth. @panditjeeee @akankshasethimusic @shaandaarshriya @poojatiwari_official @revshergill 3. SymmetriesPerformed by Frizzell D'souzaWritten by Frizzell D'souza

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 9th June 20241. SoosekiMusic: Rockstar Devi Sri Prasad (DSP)Singer: Shreya GhoshalLyrics: ChandraboseLanguage: TeluguGenre: Folk PopMood: DanceThe movie album of "Pushpa 1: The Rise" was a major hit, although I did not like it entirely. There were moments where the songs did create awe, but it was limited. This song from "Pushpa 2: The Rule", was a blinder and it does make me realise why Devi Sri Prasad (DSP) does live up to the name of 'Rockstar'. The melody is rich, especially in the verse and if there is one song in recent times when Shreya Ghoshal has utilised her fullest potential, then this is that song! The heavy percussion effect is thanks to rhythms by Kalyan. I get a wonderful whiff of harmonies by SP Abhishek, like the terrific AR Rahman song "Rukumani Rukumani" from 'Roja'. This song immediately generates the adrenaline rush and one wants to get up and dance. Balesh does a splendid solo on the Shehnai, and usually, this instrument creates an effect of pathos, but here the mood is anything but sad. I love the Jathi vocals by DSP just before the verse and into the stanza. Shreya is killing it with her diction and delivery as she exudes loads of attitude in the singing. The way she ends the stanza with "Srevallikku Thelisu", and the gorgeous vibrato is outstanding. The lyrics is written by Chandrabose. Vikas Badisa is the keyboardist, DSP plays the Banjo, Saroja is on the Dilruba in the second interlude and the creative Frets are played by the talented Vagu Mazan. Kudos to DSP for envisioning the arrangements and executing them brilliantly. I am hoping and betting that Shreya wins accolades for this performance. Lalit Talluri plays the flute in the outro and Manikandan is the bassist. The tracks are mixed and mastered by Uday Kumar. @thisisdsp @shreyaghoshal @lalittalluri @vagu_mazan 2. Dekha Toh Aisa LagaSinger: Johaan Thekkan & Dhruvi SinghLyrics: Dhruvi SinghComposer: Johaan ThekkanMusic Production: Johaan Thekkan - J & D Media LabsLanguage: HindiGenre: Alt-RockMood: EnergeticDhruvi Singh sent me her song recently on my IG account and I waited a while before I finally heard it. All I can say is that it was worth the wait. This is composed by Johaan Thekkan and the vocalists are Dhruvi and Johaan. The energetic Alt-Rock song pushed up the adrenaline levels and I least expected it when the song began. Abel Seliang is mesmerising with his guitar solo in the intro, and things are extremely mild and mellow with the great accompaniments of the Piano, strings section and harmonies all combining beautifully. I must salute Johaan for excellently arranging and producing the song. If Johaan's vocals were soothing, Dhruvi pushes up the sensitivity with some aggressive oomph. Mayank Sharma is having a ball with the drums and he creates moments of magic on his own in the background. The solo on the electric guitar is breathtaking and after a brief episode of calmness the drums and guitars explode onto the scene giving away a face-melting show. The arrangements of the strings section in the outro is another spectacle. The tracks are mixed and mastered by Urmila Sutar. @dhruvisings @johaanthekkan @urmila28sutar @abel330 @mayankshawarma3. Tu Hain TohMusic Composer – Hunny, BunnyLyricist – SagarSinger – Bunny & SagarMusic Supervisor – Azeem DayaniLanguage: HindiGenre: Light MusicMood: RomanticThis was the only song in the new Bollywood album "Mr and Mrs Mahi" that deserved attention and praise. The rest of the album is an utter disappointment, but I'm thankful that this breezy song managed to keep my spirits up. Hunny-Bunny wrote the melody of the song and that to me was the highlight of the song, and with vocals performed by Hunny-Bunny and Sagar we get a heartwarming number. Raag Yaman is chosen for this melody and the influences help weave a hummable and pacifying melody. The guitar strumming is an accompaniment all along and, when they work their magic in the background the impact of dual male voices also creates awe and mesmerism, especially when the melody is performed as a humming.The verse is a continuation of the splendid melody as they sing " Main musafir, Tu musafir", and it feels like an engrossing Tumri that never leaves the mind. Paras Nath joins on with the flute solo towards the second interlude and I love that the melody that he plays is different from any of the notes we hear in the song. Kudos to Hunny-Bunny for the composition and we have talented musicians Azeem Dayani as music supervisor and Manish Natekar as associate music supervisor. Eric Pillai at Future Sound of Bombay is the mixing and mastering engineer, with mix assistant Michael Edwin Pillai. @azeemdayani @hunny777__ @bunny555__ @ericpillai @heemajoshi @rakheee29 @dharmamovies @aarti_r_jain @soujanya94 4. Jiya MeraSingers: Garvit Soni, Priyansh SrivastavaComposers: Garvit - PriyanshLyricist: Priyansh Srivastava, Yashasvi ChaturvediLanguage: Hindi

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 2nd June 20241. Kaaran VondeMusic Composed, Produced and Conducted by ShubhankarSinger - Priyanka BarveLyrics - Arasu AnthareLanguage: KannadaGenre: Rock FusionMode: HappyAfter a few delightful songs in Tollywood, Shubhankar has been exploding onto the scene with some excellent original indie music under the CS Music banner. This guy is a very good talent and here he creates one of his best songs yet. I am delighted to see the phenomenal vocalist Priyanka Barve come on board for this Kannada song. In my opinion, she is one of the best in India, with surreal abilities to sing classical, as well as light music with great style and substance. I just featured her a couple of weeks ago for a Marathi retro-sounding song and here she is bringing us more happiness through her singing. The Mohan Veena is right there all along beside Priyanka's vocals, and I feel the divinity thanks to Manas Gosavi playing the instrument solo. Tanvi, Ruta and Sanika perform the upbeat backing vocals and we get a fantastic rock-styled song with influences of Raag Bhimpalasi. The interplay of electric guitars by Abhishek Singh, Chaitanya Wagh on bass and drums by Abhijeet Bhade is essential in adding a Westernised coat to this semi-classical singer. Priyanka delivers a sizzling vocal performance, with all the ghamakas and she sings the swaras there is the Jugalbandhi with the Mohan Veena, and one can experience a hair-raising episode. Shubhankar composes the melody and handles all the arrangements and production of this inspiring end product. The tracks are mixed and mastered by Ishaan Devasthali. The outro is a piece of tranquillity with the chorus singers and Priyanka with her elaborate aalap in the background. Arasu Anthare is the lyricist@priyanka.barve @shubhankar.28 @arasuanthare @mohanveena_manas @zepzoso @idevasthali @abhee_drums2. AwaaraMusic: Siddharth PanditLyrics: Alok Ranjan SrivastavaVocals: Vidhya GopalLanguage: HindiGenre: PopMood: PathosThe 3rd song from this EP called "Azaad Sangeet Season 3" is here and I have just no words of praise left for composer/producer Siddharth Pandit. I will try my best to compliment this musician who keeps giving like the Akshaya Patra. The intro of this song feels like something out of the "Interstellar", the heavy effect of the Synths. Soon enough we get into Siddharth's world, with the slow and gentle melody, and Vidya Gopal makes a solid foray. Alok Ranjan Srivastava writes the touching words. The way she sings the title line " Awaara" makes pauses beautifully within just those 3 notes. Marcelo S plays the acoustic guitar and the gentle Sarangi can be heard in the background by Momin Khan. Vidya delivers the lines with all her classical training coming to the fore. I have learned the name of a new instrument in this song, with Kahaan Shah playing the vase-shaped percussion called Udu. The interlude is where Momin, plays the stirring solo on the Sarangi.I must appreciate Siddharth because he waves a beautiful and unpredictable melody in the verse. The use of the Tabla and Ghatam goes well in unison and the juxtaposition of the Sarangi, Keys and guitars also is a masterstroke He handles all the arrangements and production as well as mixing/mastering. @panditjeeee @vidhyagopal_ @hashtag.jazbaat @m.sorlii @s.kahaan @mominkhanofficial 3. You and MeComposer: Stephen Fernandes, Garth D'Mello, Bradley TellisVocals: Divisha KhandelwalLyricist: Lavanika Bahuguna, Nathan DsouzaProducer: SOBO House Of Music, Stephen Fernandes, Bradley Tellis, Garth D'mello, Nathan DsouzaLanguage: EnglishGenre: Disco Mood: DanceThis Disco-styled EP was released by SoBo House of Music and Tiger Baby Records. I did enjoy a couple of songs, not the entire list of songs, but this one stood out for me. Divisha Khandelwal sings this like a nostalgic dream that takes me back to the 1980s with her reverberating voice. That cool, casual oomph with which she delivers her lines, singing both in Hindi and English is just uber-savvy. The lyrics are penned by Lavanika Bahuguna and Nathan D'souza.This groovy melody feels like "Dont Stop" by Fleetwood Mac, and the lines " log Hazaaro hain, but you're so special to me, Dost bana hai yeh, so come on" is just uplifting especially the last English phrase in the chorus. The melody is written by SoBo House of Music instructors Stephen Fernandes, Bradley Tellis, Garth D'mello and Nathan Dsouza and produced with exuberant funk. The strings section in the background especially the Violins adds some zip to the song. The Keys, harmonies, trumpets and rhythms, and drums blend beautifully. Rhys Sebastian takes into this dreamland even further with a brilliant solo in the interlude. Aria Nanji is the mixing engineer, Ashyar Balsara is the mastering engineer. I can also sense a strong similarity to songs like Boyzone's version of "When the going gets tough"@ankurtewari @sobohouseofmusic @tigerbabyrecords @br4dleyt3llis @saxontoast @ariananji @div.khandelwal @ashyarbalsara @garthdmello 4. MehboobaSinger/Songwriter: PranjliMusic Producer: PratzappVocal Producer: Aadi AroraLanguage: HindiGenre: PopMode: EnergeticI loved her song "Coffee" as much as I love the beverage itself. This talented vocalist and songwriter impressed me a couple of months ago with this stunning pop number. Here she showcases her ability even more and tells that she is no one-trick pony. This orchestral-symphony-styled Pop number is composed, written a

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 26th May 20241. SonchadiComposed & arranged by digVArtists: digV, Neha Kakkar & Kamala DeviCreative Producer: Ankur TewariLyrics: LavrajAdditional Lyrics: Kausar Munir, Swanand KirkireMusic production: Aman SagarLast year there were a few hits but many misses as well in Coke Studio Bharat's season of 2023. This one stands out as a mesmerising, fusion and original piece. Digvijay Singh Paraya a.k.a. digV has been a regular on my website thanks to come creative compositions and even otherwise for his unmistakable voice and powerful delivery. This multi-instrumentalist composes and arranges the vocals and live instruments in this reverberating piece of original music. When I read about the story of the song, it is a magical tale of Princess Rajula and her lover Malushahi in the forests and landscape of Kumaon. The guiding spirit of the forest that brings the lovers together is represented by folk artist and Kumaon local Kamla Devi on vocal. The terrific guitars draw me into the song, and we have Aman Sagar to thank for that along with bassist Sahil Masih. AMan also does the song's splendid music production with Ankur Tewari being the creative producer. The lyricist is Lavraj with Kausar Munir and Swanand Kirkire as the additional lyricists.I am so thrilled that Neha Kakkar gets a good chance to display her potential, unlike many songs where, vocally she is not challenged. The baritonish lines are delivered by Neha with immense ease and style. Robin Fargose intervenes on the trumpets with great charm while we have Joshua Grant on drums and Tittoo on percussions to keep up the delightful tempo. The interventions are fantastic like Shubham Shirule's woodwinds and Ashwin Srinivasan's flute on the interlude and the song turns into a folk frenzy in the verse. The folk percussions like Hudka and Dholak are played by Nitesh Bisht and Ishteyak Khan. The vocal harmonies have been done well both from an execution and arrangement standpoint thanks to talented performers like Neha Karode, Yashika Sikka, Vishakha Mahore, Shriya Pareek, Pratiksha Kale, Shiwani Bhagwat, Nikita Ahuja and Akansha Tripathi.Kamla Devi's folk lines are mesmerizing and take us to the heavenly forests of Kumaon. There is so much creativity on board here with Karan Joshi's Thali, fused along with Manasqam Mahanta's electric guitars, Momin Khan's Sarangi, Deepanshu Sharma's Mandolin and Pranay Parti's atmospheric synths. Moonscape is behind the Piano and Synths and the musical team for the project involves artists like Ankkit Singh, Aryam and Sanjay Pancholi. The recording engineers are Aditya Arya, Lijin Jolly Alex and Nitesh Bisht. Shadab Rayeen is the mixing engineer at New Edge@digvijaysinghpariyaofficial @kamla_devi_lokgayika @nehakakkar @nehakarode_music @nikitaahuja__ @vishakha.mahore @pratikshakale @akankshatripathi22 @shiwani__bhagwat @shaandaarshriya @jyotideep_rajan @aryamofficial04 @cokestudiobharat @amansagarr @vikamiy @shubhamshirule @ishteyakkhanofficial @pranayparti @brownguyonbasstrip @linguistic.mystic @manasquam_mahanta @joshuagrant3198 @vibhastitu @mixwithdeep @mominkhanofficial @ankurtewari 2. Piya MereComposer - Abhijeet SrivastavaLyrics - Shayra ApoorvaVocals - Sanah MoiduttyMusic arranged and produced by Aman MoroneyAdditional production by Gibson GeorgeLanguage: HindiGenre: Light MusicMood: RomanticWhen I heard this song, I stopped it immediately after a few seconds. Well, this is not because I couldn't bear it, on the contrary, the melody and production were so rich that I needed a pause to appreciate and absorb all its goodness with better clarity. Abhijeet Srivastava composes this beauty, but it wouldn't be what it is without the astonishing vocals of Sanah Moidutty and the revitalising arrangements production of Aman Moroney, along with Gibson George on additional production. Paras Thakur in the intro titilates with the acoustic guitar and when Vaibhav Duratkar strikes the Tabla and Sanah sings "Piya Piya", I can feel my heart swell and it is trying to get out of my enlarging chest. I want to fall in love with this protagonist and who in their right mind wouldn't when they listen to her sing this way? Shayra Apoorva writes these words that spill the message of love all over. You can also hear the stunning bass-lines by Sahil Masih when Sanah sings " Samjhe na, bairi thi" in those high notes. Vaibhav destroys it with his skill on the Tabla just before the interludeRohan Prasanna hits you with the melancholy of the Sarod in the interlude and it is accompanied by the strings section in the deeper layers. Aman Moroney does all the Cello as well as string arrangements. The combined effect of the bass guitars, Tabla and strings is pure magic. Despite being a short stanza, it is beautifully written and executed on vocals as well. The chorus segment starts again and here Vaibhav doubles up on the beats per minute with his Tabla giving the song a joyous expression. The outro is another stunning bit with the Viola, Cello, strings and backing vocal harmonies of Aanchal Tyagi, Subhashree Das and Payel. Shrikant Pise joins the revelry with the Harmonium solo and when it mixes with the Tabla we are taken closer to our Indian roots. The recording engineers are Aman Moroney, Nahush Badge and Gibson George at Gib Productions, Aman Moroney is the mix/master engineer. @abhijeetmusic @sanah_moidutty @shayraa22 @aman_moroney @gibsonbha @vedaant.music @parasthakur @rohanprasanna @vaibhavduratkarofficial @payel.music @subhashree.16 @aanchalmusic @believemusicindia @gibmusick @shrikantpise83 @sahilgholap143 @brownguyonbasstrip @yashjagad95 3. Kahe Bana BatiyaSinger - Pratibha Singh BaghelMusic & Lyrics - Imran KhanMusic Produced and Arranged by Samarpit GolaniLanguage: HindiGenre: Semi-classical FusionMood: Contemplative I listened to this new collective called "Song Craft Season 1" with wonderful artists and some fabulous compositions. Imran Khan, the exponent of Sitar, has written the lyrics and composed the tune which this Tumri leaning. Pratibha Singh Baghel is the lead vocalist and she as always puts this into another orbital with her ethereal delivery. I could sense influences of Carnatic Raag Sindhubhairavi and hence the mild pathos in the scale gets transmitted. Abhilash Phukan can be heard playing the electric guitar along with Akashdeep Gogoi on the stylish bass guitars, and Lindsay Demello on drums. These elements give a western Alt-Rock setting and colouring. The interlude takes us into paradise thanks to Tejas Vinchurkar's Bansuri solo. The tempo and the slow, passionate delivery by Pratibha soak in all the sadness. The Tabla is played by Ishteyak Khan along with Arun Solanki on percussion. An interlude with the melancholic Sarangi by Dilshad Khan follows, but there is a spring in the stride and Imran Khan sizzles on the Sitar. The backing vocalists are Samarpit Golani, Aswini Shrinivasan, Simran Sharma, Sneha Singh, Sonu Ishteyak Khan and Azmat, and the whole song sounds glorious thanks to the arrangements and production by Samarpit. The recording engineers are Jayakrishnan Nalinkumar, Shashank Sahu, Anupam Sathe at Seven Heaven Studio. Just after the 5.30-minute mark the arrangements and producti

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 12th May 20241. Cholo ShobePerformed by Benny Dayal, Charles NazarethWritten by Anil LalProduced by Kappa OriginalsLanguage: Malayalam/BanglaGenre: Folk-popMood: EnergeticWhen I heard this song, I knew I was listening to the best of the week and this made me jump up in joy. Very rarely do i come across such magnificent music, that I immediately set out to find Charles Nazareth's IG handle so that I can message him about my immense admiration for this single. With Benny Dayal on lead vocals, this folk-pop number will blow away your mind and captivate you beyond belief. I have always wondered how the 2 states of West Bengal and Kerala are so similar in things like love for fish, football and communism. Maybe this was a dedication to that strong bond and common desires between these states, as Charles fuses Kerala folk music with Baul from West Bengal. He tells me that the song is a positive take on migration and that the lyrics in Bangla mean " Let us go to the world of laughter". Kudos to Anil Lal who has written the words in both Bangla and Malayalam, and this should be the anthem of migration globally, that is how good this is. Kappa Originals must also be appreciated for constantly supporting world-class original music from Kerala. Benny is on fire and this is the best performance I have heard in the last couple of years. The backing vocals by Charles, folk percussion by Arun Roop, and ethnic strings by guitarist Anurag Rajeev Nayan make it a very authentic folk-pop fusion. The pre-chorus begins and you hear so many elements like the flute by Jijin Raj, and the strings section with very effective keys and rhythm programming as well. The Veena interlude by Bhanu Ullas has mild influences of Raag Reethigowla, according to me and Charles ensures that even this interlude doesn't stray towards something classical, so he gets the pop and EDM influences on board. The bridge section's melody is bliss to the ears and I can only stand up in ovation for this phenomenal work. Amal Mithu is the mix/master engineer. Bevan Correa plays the electric guitar to add some zest to the song@bennydayalofficial @charlesnazareth @kappaoriginalsofficial @amal_mithu @anil__lal2. NyabagamComposed, Produced and Arranged by Amrit RamnathLyrics by Bombay JayashriVocals by Amrit Ramnath, Sindoora JishnuLanguage: TamilGenre: BalladMood: ContemplativeThe album 'Varshangalukku Shesham' had Amrit Ramanth make a stunning musical debut in Mollywood and I gave it a top rating of 3.5/4, and the more I hear it, I feel ensnared by the music. This is the second-best song on the album, according to me and the ballad is powerful and rises like a tormenting and raging storm. "Vaaramal , tharamal, manam engo poguthey" which comes in the anupallavi section is powerful not just because of Bombay Jayashri's writing but also the combined effect of the lead vocals by Amrit and Sindoora Jishnu. I love the Pianos that gently play in the background and the astonishing impact of great arrangements and production by Amrit is key to the song's likability. We can also hear the feeble entry of the strings section as Amrit and Rithu Vysakh arrange this section with the latter performing it like he always does - a one-man quartet. The lyrical value of the song is immense with lines like " oru murai en pizhai maranthu vanthidu", and they get the right treatment from Amrit and Sindoora soaking in the pathos and longing. Rithu makes me weep as he plays the Cello in the foreground, followed by the Viola and Viola in the deeper layers, as this is a stunning finish to the song. The tracks are mixed by Nitin Muralikrishna and mastered by Ronak Runwal, with Maniratnam as the recording engineer. @amritramnath @jayashriramnath @sindoora.jishnu_ @rithuvysakh @palindromamusic3. Ulagham