If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs releasxed in India across languages and genres for the week ending 22nd February 20261. Vaada HaiComposer - Vishal BhardwajLyrics - GulzarSinger - Ananya WadkarMusic Arranger & Producer - Meghdeep BoseMusic Assistant - Anant BhardwajLanguage: HindiGenre: Light Music/PopMood: soothingI was in a car as it came around the hills of Uttarakhand as we left from Bhimtal, and no sane person will close their eyes when such a heavevnly beauty beckons in front of their eyes. Yet I did it because I was listening to the album by Vishal Bhardwaj called ‘O Romeo, ' which I rated highly on my IG page. Incidentally, the brightest spot in that was Ananya Wadkar serenading me with her voice in this gentle song that substantially touched me emotionally. The last time I heard her was on her indie project, which I featured, but this one feels like a song that she deserved. Vishal ji, take a bow for showing your commitment to creating such striking melodies. The words belong to another legendary genius called Gulzar, and a native Hindi speaker might appreciate the lyrics even better than my review here. Meghdeep Bose is not just tantalising our spirit with his live guitars and bass; he is also the man behind the spectacular arrangements and music production. I feel the love immensely when Ananya teases with “ohh tere liye jeena apna iraada hai”. The string section slowly starts to feed in even more serenity, and the killer punch becomes the harmonies by backing vocalists “Rajiv Sundaresan and Shazneen Arethna” singing “ Vaada Hai Humdum, Vaada Hai Vaada Hai”. The interlude brings in the accordion and rhythms, and this is where I felt a touch of resemblance to A R Rahman’s “Ae Hairathe”, from the album ’ Guru ’. When the antara begins, the melody just starts sounding even sweeter, and Ananya is in peak form, giving a touch of playfulness with “tujhe andheron mein jhoom lenge”. The harmonies are constant, and when we sing the subsequent line “tera saaaya pakadke chalenge” the heart grows fonder thanks to the mild Bansuri and the Keys that accompany. When you listen to a song like this, it creates a dilemma between feeling joy that such talents still create splendour and sadness because the industry standards are low and compromised. Listen to what Meghdeep achieves with his arrangements and sound design after she delivers the line “jab koi bhi na hoga gali mein, main pukaroongi khidikiyon se”, with the chords, magic!. The tracks are mixed by SoundsLikeTintin, mastered by Christian Wright. 2. Kya Bataun TujheVocal, Composition & Lyrics: Vishal MishraMusic Production: Vishal Mishra, Vaibhav PaniLanguage: HindiGenre: Alt-PopMood: PathosI am looking forward to this album of 16 songs by Vishal Mishra, but the very firsts ong I heard already makes the cut for me, and here is my review of the song. Kandarpa Kalita makes us all sway away in delight with his Nylon guitar intro, taking us back to the solo interlude in “Hotel California” by the Eagles. Vishal Mishra goes for Pathos in his songs, and it works better than any other mood, thanks to his ability to write the lyrics as well as the melody that carries this melancholy and finally, when he sings with that achingly beautiful voice, the package is complete. I love the phrase when he sings “ pyaar karne tujhe phir se lenge janam” because he brings a few modifications right at the end with notes that differ from the earlier line “chahne ko tujhe waqt kam hai mila”. All hell breaks loose when you least expect and this is possible because Vishal has this wide vocal range, and he goes from 0-100 in 5 seconds, as we hear “kahoonga toh chalne lagenge sabhi, jo kehte hai chahat hai unka dharam”. The accmpanying strings arrangements is ncessary to give us a very impactful sound that adds to the grief. Vishal plays the Keys, synths, bass and rhythms and the music production is handled by the talented Vaibhav Pani and Vishal. I love the unexpected pause in all the background sound when he delivers the phrase “mohabbat se kam”, giving us a jolt and making us pay even deeper attention to his misery. We get some heavy-duty Alt-pop here with Kandarpa’s electric guitar solo, along with some synths as well. The dude just did some face-melting stuff on the lead guitar at the end of teh interlude, making things quite exciting. The music assistants are Kumar Gaurav Singh, Trihangku Lahkar, Bitupon Boruah and Kandarpa Kalita. The song ends on a powerful note thanks to the exhilarating arrangements and production. The tracks are mixed by Arnau Figueres (Spain) and mastered by Dave Kutch – The Mastering Palace (USA). Trihangku Lahkar is the recording engineer. @vishalmishraofficial @vaibhavpani @kandarpakalita @b2pon_ @kumargauravsing @trihangkulahkar @arnaufigueres_ @tseries.official @nruti_s 3. Doob Jaane De

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs releasxed in India across languages and genres for the week ending 8th February 20261. Baanancha DaatiComposer/Singer/Music Producer - Narayan SharmaLanguage: KannadaGenre: Light Music/Pop/ Semi-classicalMood: Calming/RomanceI trust Narayan Sharma to deliver something that always speaks directly to the heart, not through letters but through notes. That is why my inability to fully understand Kannada is not a problem at all. His melody, the poetic and poised arrangements, with a galaxy of celebrated instrumentalists, all come together, and in 4 minutes approximately, even a disturbed and dejected heart is given a spark of joy, the joy of living and feeling the intricacies of music. I commend this man as Narayan composes the melody, produces the music and sings the lines written by the talented Sumedh K. Advait Pattanaik, who teases you with the guitar intro as he plays the acoustic and nylon guitar.You get a folkish flavour, rustic an drooted thanks to the one-man show on strings from the inimitable Rithu Vysakh. His range extends from the cello, giving that soothing texture, but he also plays teh Viola and Violin solos to strike you with their incisive pathos. The sound of Narayan singing ‘Baanancha Daati’ feels like the fresh smell of coffee to me, invigorating. The phrase means “beyond the horizon”, and it does make me travel to a fairy land far away. The instruments are present, distant, and they slowly start rising in intensity. Is there some fragmented piece of Bihag Ragam, because I am taken to Maestro’s “Un Parvaiyil Orayiram”, and there is also a devotional song from Thiruppavai in Tamil called “Oruthi Maganai Pirandhu” and maybe that is why I sense this Ragam’s influence. Santosh Jayaram makes you gasp for breath with that Veena solo in the interlude, and when that combines with the sizzling bassline by Naveen Napier, you already feel like seeing the best of both worlds. The charanam continues to grow fonder in your hearts, and this is where Narayan showcases his vocal range as well as his abilities as the string arranger. I love how the notes end up giving me a surprise “Karmodada usire”, after the way the phrase “pade pade hosa dani” starts. This is what I look for and get intrigued by, because Narayan doesn't settle for the mundane and expected, and with the phrase ”ade ade hale dhani”, that circle of merriment is complete. It is like Rithu’s strings are pulling the melody together and conjoining the various phrases. When you watch the amazing video along with the song, anyone will fall in love with love itself. He uses the anupallavi to land back on the main verse at the end of the charanam. The video is directed by Sucheth Ramprasad with Karthik Kamath and Pranam SK as DOPs. The recording engineer is Vishnuraj MR at 2bQ Studios. The mixing and mastering is done by Aniket Mohanty at Audiokraft Studios, Bangalore.@narayan_sharma227 @advaitpattanaik @santoshjram @rithuvysakh @awwwwwwwwwniket @sreesang_mpse @hypocr8 @audiokraftstudio @vishnuraj.m.r @sumedhk119 @karthiikk.k @ms._.shree @beyondhues.co 2. Yaad Sajan Ki AayeMusic: Shekhar Ravjiani Lyrics: Anvita DuttSinger : Rohit RautProduced by Abhijit Nalani Language: HindiGenre: Semi-classical/ PopMood: CalmingShekhar Ravijani’s journey in the indie space is something of an inspiration, not just because of the quality of work that gets produced, but also the frequency and the fact that Vishal-Shekhar were one of the most original and pathbreaking in Bollywood as well. This is at least the 10th single by Shekhar that I have featured in the last couple of years, maybe, and I must confess that this one here is probably the most profound yet. I listened to teh song wearing my headphones, performing a very laborious and mundane chore at home, but the song completely turned my mood around, giving me a new lease of energy and life to my spirits. So before I start writing anything else, I must say thank you to Shekhar and this super team. I remember Rohit Raut because his song Naar was, in my opinion, one of the best in NEXA S3, and I rated it pretty high, expecting him to be one of the winners chosen by AR Rahman. I am very glad that Shekhar has presented this opportunity to the talented musician, and it looks like Rohit has already paid back with his top-notch singing. A stroke of style with Rhythm Shaw’s lead guitar lifts the curtain up, and when Rohit starts singing, you will feel a rush of blood to the head and a few goosebumps all over your arms, because he loads up the lines with such juicy vibrato and improvisations. A point in example is “Kisse kahein tere bin na hain”, and then the chorus line drops with the ever bankable Gino Banks on drums. The chorus segment takes me back to Pritam’s “Aaoge Jab Tum” from ‘Jab We Met’, while the verse has some similarities with the ‘Taare Zameen Par’ title track composed and performed by Shankar Mahadevan. The most striking arrangements follow as Rohit embeliishes the “ Yaad Sajan Ki Aaye” line with such beautiful harkatein, thanks to Sheldon D’Souza on bass, Rhythm on guitars and Sanjeev Sen on the Tabla. Teh mild string arrangements are as stunning as the sight of string pearls with Abhijit Nalani handling all the music production. Anvitta Dutta gets into your mind with these tender words. How does one focus , if not he/she were a multitasker because the interlude offers so much on a lead guitar phrase and some slick basslines and rhythms arranged by Raju Sardar. This segment may be some strains of Raag Maand. When teh Antara begins, and the notes start heading up higher in the register, “De Dhoongi usko, tooti si duaayen”, Rohit does sound like Arijit Singh , especially when you hear the phras e” dukh hua meri chaar guna”. The recording engineer is Dileep Nair, and Abhishek Khandelwal does the mixing and mastering. This video is directed by Shruti Merchant, with Diptesh Das on VFX & Edit, and Aniket Mishra on the visualiser. 

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs releasxed in India across languages and genres for the week ending 1st February 20261. Yetho YethoMusic composed, arranged, and produced by AR Rahman.Lyrics:  Pa VijayVocals : Amina Rafiq and Shridhar RameshLanguage: TamilGenre: PopMood: RomanceOne touch of a live instrument and the sound of that could invoke so many fantastic emotions, and here, when I heard the Santoor by Sathyendra Singh Solanki, that was 5 seconds of proof that AR Rahman has still some semblance of magic left in his head. How else could he have stayed at the top of the game in a very competitive and demanding space for more than 3 decades? Looking at all his accolades, fame, and achievements, it might not be surprising that he came up with a delicious track like this in the new album “Gandhi Talks”. But for someone like me who has seen the quality of work decline, especially in the last few years, this comes off as a stroke of promise and hope. I pray that AR Rahman stays away from mass cinema and big banner production houses, which are only keen to use his name and not allow the legend to write music with his heart. This movie is a silent film, and has the song released in 5 languages with a total of 10 different playback singers. I am choosing Tamil as that is my mother tongue, and I can feel the words and energy through my bloodstream. As the Santoor ends, we get a classical phrase on the Piano, and a solo violin intervention by Vignesh that reaches for the stars. A pause ensues, and the song’s impeccable quality oozes out with Amina Rafiq’s hauntingly romantic voice. I also need to tell you that her tone sounded the most unique of the 5 female lead singers. Is there some Raag Bihag in the melody because my mind goes to AR Rahman’s masterpiece called “Malargal Ketten”? The guitar notes are like blows to my heart as they keep coming whenever Amina pauses, “Yetho Yetho Ulle Arumbugindradhe.”The song’s brilliance lies in a few things, like minimal production, great lyrics, etc., at the top of that list being the melody, which throws enough surprises and googlies at you. When I kept listening and practising the lines, I knew the song’s anupallavi would kind of separate the pros from the amateurs thanks to the tough notes that follow “Neenda dhooram Nizhal Thedum Paravai”. I felt like I, too, was searching for the exact notes, unable to hit them exactly, just like the bird searching for some shade to rest. AR Rahman subsequently ups the ante with another tougher phrase, “Iman Oram Meendum Ilai Para Vendum”, and then he proudly smiles with a brilliant landing line “, Enna solla manadhin Mozhi Neeyo”. As this line comes to a halt, the flute keeps playing, reminding me of Maestro Ilaiyaraja’s “Sundari Kannal Enna”. Kudos to the lyricist Pa. Vijay for picking words that fit and also complement the amazing melody, not to forget Amina’s stunning delivery. Every single female lead singer cracks it with ease and grace, so kudos to Hinanaaz Bali, Nayansee Sharma, Aanandi Joshi and Sivaangi Krishnakumar. The Piano starts off by playing the melody of the charanam (Sanchari) and then drifts away, and you will recognise the similarity in the phrase “ Pogum Vazhi Engum Putham Pudhu Mutkal”. The charanam is simple with just a couple of lines, but here too Shridhar Ramesh gives that assurance with his delivery and stability, and Amina provides splendour with that mild vibrato at “ Koodam Kai Pidithu Naanum Nadakkiyil” especially on the word “Naanum”. It feels like this woman protagonist, Aditi Rao Hydari, is going to lead the main man Vijay Sethupathi into love and glory, and that is precisely what I feel even Shridhar Ramesh does, following the lead of Amina and doing a few ghamakas of his own in ” Ninaivulla Varai, Nenjil Ganapathu”. The brief yet interesting charanam ends with AR Rahman taking us back to the anupallavi (Antara) notes this time with the male singing “ Yezhudhadha Padal Yar Kaiyil Serum”. The highlight is when the singers unite in harmony, singing such meaningful words “pirivenbadhe sera thaane anbe”. It has been a long time in Indian cinema music since we got a song with two stanzas and two interludes. Kamalakar plays the flute, and the sun shines brightly with the strings played by the Sunshine Orchestra. Jerry Vincent conducts the session here.  The additional programming is by Shubham Bhat, and the tracks are mixed by Suresh Permal and Pradeep Menon. Gun to my head, I would want to go on and rate my preferences from all the 5 versions, and for me, my top pick would be the glorious version in Marathi performed by Aanandi Joshi and Abhay Jodhpurkar, because the lyrics fit so well, and these two stalwarts are cranking it up with their pitch-perfect and poised singing, also maybe bacuse my mind travels to “Moongil Thottam”. Nayansee and Shibi Srinivasan were in terrific form once again, with Telugu lyrics fitting well and the sweet nectar in Nayansee’s voice pulling in one direction and Shibi’s soothing texture in the other. Sivaangi is finally getting the deserved eyeballs , and she proves that she is worth this chance in the Malayalam version. Yadu Krishnan’s delivery is probably my favourite male version of this song. I think being a South Indian, listening to all of AR Rahman's greatest years of music, Hindi was the most distant for me , also because I understood the words much less. But I was elated to see two more worthy performers give this song their heart and soul, so kudos to Faiz Mustafa and Hinanaaz Bali. 2. Ini OndraaiComposed, Arranged, and Produced by Nishad GLyrics: Suthan BalaVocals: VijaynarainLanguage: TamilGenre: Folk-PopMood: UpliftingNishad G is one committed and talented musician who knows the whole 9 yards of composition, arrangements, and production, and he consistently raises the bar with some stunning music. The time of the year when he doesn't release his own music, I keep listening to his breakdown of some of the timeless classics of Tamil cinema music. Here we have a song that begins like the first rays of sunlight, thanks to Rijul’s nimble Piano and the chirping of the birds, transports us to the meadows of peace. A transformation happens, and we are no longer just in serenity, as the energy levels spring up with Chris Jason’s guitar strumming. The verse begins with Vijaynarain’s folkishly soothing voice and the line “Nee pazhaiyathai pazhaiyathi veesi” with the fantastic percussion in the background by Martin is where my heart started to grow fonder.

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs releasxed in India across languages and genres for the week ending 18th January 20261. AraginiyeSinger: Kapil Kapilan & Saanvi SudeepLyricist: Dhananjay RanjanComposed, Arranged and produced by Charan RajMusic producers: Charanraj and Sujith Sreedhar Language: KannadaGenre: PopMood: RomanticExpect nothing less from this guy! Charan Raj, after a solid 2025, is back with a mindblowing sensual romantic single here, and everything about this song is tempting, arousing. I urge you to dedicate this to your loved one when things are about to turn hot and heavy. The tempo is what I loved the most, in this day of hyper-fast and noisy music. The mild Piano and rhythms with Saanvi Sudeep’s alto tone set the perfect pallavi, as the majestic voice of Kapil Kapilan soars in the high pitch when we get to the anupallavi. Kalyani Nair is instrumental in arranging and conducting the soothing strings in the background played by Chennai Strings and Cochin Strings. Keba Jeremihahs guitars and Keith Peters’ bass accompany, while the chorus line is uplifting, making a permanent mark in your mind. Just when you feel like you have been stung by the melody, Saanvi’s English lines, “ Your touch feels like home, your breath blends with mine” , and all I can do is stand up, give an ovation and thank Charan Raj for this. He is not just the composer; Charan also handles the arrangements and co-produces with Sujith Sreedhar. Saanvi is someone I am hearing for teh first time, but she belts this one out of the park into a different orbit. The tone and the mood of this song take me back to Elton John’s “Believe”. The string arrangements are present all through the charanam, and kudos to Kalyani and Charan for giving us a whiff of what the past sounded like. Maestro Ilaiyaraja's numbers like “Oru Poonga Vanam” come to mind. The melody during the closing stage of the charanam is where I felt some influences of Raag Abheri. The temperature rises with Saanvi’s “Ee Rathriya Ranjisutha”, and Keith follows up with a stunning bassline intervention. Sanjay Romauld and Raghothama NS are the additional programmers. Keba hits you with a lead guitar solo, and Saanvi perfectly describes it as “So Divine”. The recording engineers are Aniket Mohanty, Amal Mithu, Biju James, Sanjay Romauld and Sreerag. Sujith Sreedhar is the mixing and mastering engineer at Masterhouse, 2 Bar Q Studios (Chennai). Dhananjay Ranjan is the lyricist. @charanraj27185 @saregama_kannada @kapilkapilanmusic @kaajalkunder @hamsa_narayanaswamy @sanvisudeepofficial @supriyanvipicstudio @sujithsreedhar @kebajer @cochinstrings @kalyaninair86 @sanjay_romauld2. Jil JilSong produced, composed, arranged and performed by Amrit RamnathSong Written by SanjkayyLanguage: TamilGenre: PopMood: RomanticAmrit is destined for big things, and that is evident from his indie projects that prove to be outstanding every single time. I am a little delayed, but that can never take me away from finding the best out there. Amrit performs this beautiful track, and he goes almost solo with the melody, arrangements and music production. The lyrics are written by this bright and talented actress, Sanjana AK (remember her from Lubber Pandhu?). Interestingly, the music video was also directed by this artist. Somehow, the opening lines with the string presence of the Mouth Organ (played by Ramnath VP) feel like AR Rahman’s ‘Kun Faya Kun’, and that is intended to be a ravishing compliment on the impact of the musicality of the intro. We wait patiently as Amrit sings Sanjana’s stunning lines in appreciation of the woman’s beauty and nature. Just when we hit the chorus line “Jil Jil ena mana pookirathe”, the heart truly blossoms thanks to Rithu Vysakh’s one-man show on the Violin, Viola and Cello. How can a woman say no to Amrit’s request “Ennodu Va Rathiye” along with the choral vocals by The Indian Choral Ensemble and the soul-stirring violins in the background. The humming gives me goosebumps, and we only get rocked and swayed away into oblivion with the interlude by Rithu. The violas take the lead with teh violins and Cellos adorning the background. When we get back to the chorus , this time the lines “Jil Jil ena “ and “Sol Sol ena” are performed with such grace by Nidhi Saraogi, Rajeevi Ganesh, Fathima Henna and Yazhini, with Karthik Manickavasakam conducting the session for the chorus. The song has additional music production by Nitin Muralikirshna, who is also the mixing/mastering engineer (assisted by Sanjana Shah). The recording engineers are Vishnu Namboothiri at Mystics Room and Hari at 20dB Sound Studio. K Shyamkrishnan handles the cinematography, and the dance direction is by Shakthivel at The Dancers Club. @amritramnath @sanjkayy @tdc.thedancersclub @deekshitanikkam @palindromamusic @rithuvysakh @karthikmanickavasakam @theindianchoralensemble @shakthivel.iam 

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 11th January 20261. KunnikkuruMusic: CrishnaLyrics: Bharath Krishnan TRLanguage: MalayalamGenre: Folk RockMood: EnergeticThe elements for a rock single are all in place the moment we hear the electric guitar playing the lead, accompanied by the bass and exuberant drums. Crishna draws your attention not just because of that unique ‘C’ in his name but also his vocal presence and dominance as we start progressing. The song is composed and performed by Crishna as he also plays the lead guitar along with Gowtham. Brian Philip Fernandez is the bassist, and Mohamed Mufeed is the drummer. The guitar riffs are enlightening, and with the pause, Crishna makes a foray singing these Malayalam lines and giving the authentic folk rock feeling. The verse comes again, and this time the superb harmonies are enchanting, and this happens with the drums fading into a milder presence. I am tempted to believe that the melody has strains of Abheri Ragam, if I am not wrong. A highlight reel for me is when Crishna, along with some backing vocal support, sings “Aayiram Aayiram Aayiram Aayiram Aayiram Aayiram Kunnikkuru”. He might have said the word “Aayiram” 6 times, but I'll listen to this a thousand (Aayiram) times for its splendor and the way the notes ascend vertically. The words by Bharath Krishnan TR take us back to a time of innocence, and after that solo on the electric guitar in the interlude, the bridge section too is heartening. We get a whiff of the keys that add pop sensibilities and the aalap in the high pitch with some flawless ghamakas is an exhibition o Crishna’s talent. The tracks are mixed and mastered by the master Rex Vijayan. @rex_vijayan @mhd_mufeed_j @bassheart_bp @slowbharath @gowtham_sreenivasan_ @crishnajk 2. Keep YouComposed, Written, and performed by Shrestha DLanguage: EnglishGenre: Synth PopMood: HypnoticThe song begins, and it felt like the lick of a time machine that threw me back into the most cherished period as a music lover, viz., the 1990s. We have some flourishing lead guitars by Hiten Mukherjee, and Gaurab Chatterjee as the  drummer, to make us gleefully  enjoy the great Synth Pop of that golden period. The Keys come in and electrify the nerves in our body, and I feel like I was just stung by ‘Sting’. Mainak Nag Chowdhury oozes such exhilarating style on bass, but the champion is yet to make a mark here. Shrestha D comes on board with her scintillating vocals. Her alto tone is stylish and sultry, and every note she sings “Ohhh Ohh I don't have to touch you to feel you” is mesmerising with all her humming, vocalization, and improvisation. The harmonies are finely executed and arranged as well. My mind is racing, reminding me of the great works of Phil Collins, Elton John, A-Ha, and so many more exquisite artists of yesteryear. Sudipto Paul plays the Keys and his 4-note intervention at times took me to Elton John’s “Sacrifice”. This is a great start to 2026 with such an extraordinary display, and I wanna definitely want to keep artists like Shrestha on my radar of music love. We get a scintillating solo on the lead guitar by Hiten, and then the bridge section with her evocative high-pitched singing is another phase of magic in this track.@dasshrestha @hitenmukherjee @sudipto_paul_keys @bassbumpy @gaurabchatterjee19823. AazmaatiWritten & Performed by Akash KaushalMusic Producer: BharathAdditional Production: Akash KaushalBacking Vocals: Akash Kaushal, Bharath, Ashutosh AnandLanguage: HindiGenre: PopMood: MovingAkash Kaushal is hit

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 4th January 20261. NeelothiSingers: Sooraj Santhosh, Chinmayi SripadaLyrics: SarathiComposed And Arranged By Justin PrabhakaranLanguage: TamilGenre: Light MusicMood: RomanticWhen a movie like ‘Sirai’ gets excellent reviews, especially when it is from a regional language  like Tamil, there is an expectation that the music album too will be good. Of late, a lot of Masala-rich Tamil movies have disappointed with mediocre and loud music, but some good news is Just In, and the composer for the album is Justin Prabhakaran. Just about a couple of weeks ago, I featured a fantastic single from the album called ‘Mannichiru’, and now we have a song that, for me, scores even better. The moment Sooraj Santhosh starts singing, I am drawn, mortified by the brilliance. P Vijay Anant plays the flute solo to leave an indelible mark, and the melody probably has shades of Raag Keeravani. The similarity of tones between Sooraj and Pradeep Kumar is uncanny, both being super playback singers. As I hear the song’s charanam, with the Fretless bass guitar in the background by Keith Peters, I felt like I was listening to a Maestro Ilaiyaraja melody. Can there be a bigger compliment to a musician? Once Sooraj finishes his line, we get drowned in the pathos by Chinmayi’s stunning voice, and that masterstroke is the introduction of the Tabla by Shruthiraj. This mesmerising number, which could easily end up being one of the best Indian songs of 2026, is composed and arranged by Justin, with Sebastian Sathish handling all the additional programming. The Tabla and Flute in the interlude remind me of Santhosh Narayayan’s ‘Manam ENgum Maya Oonjal’, another solid melody that will stand the test of time. The string section can be heard mildly as we have the Budapest Scoring Orchestra playing. The heart feels full, and cheered when I hear Sooraj singing “ Ennam pol vazhkai, mabikkai poi vaa” with the astounding TICE (The Indian Choral Ensemble) performing the harmonies. Don't blame me if I have a tear or two in my eyes; the blame is squarely on Sooraj, Chinmayi, Justin and lyricist Sarathi, but I console myself as he sings “ Naan Varuven Naan Varuven athuvara ninappula kalangaathey”. The amazing choral singers are Kalyani Nair, Aparna Harikumar, Sushmita Narasimhan, Nayansee Sharma, Shibi Srinivasan, Shivsundar R, Neeraj M Selva and Cyril Simon, with Kalyani Nair and Karthik Manickavasakam at the helm. Kalyani is also the brains behind all the profound choir and string arrangements. Abinandan R David is playing the acoustic and electric guitars with a delectable touch. I love the way Sooraj and Chinmayi sing in unison, and the lines make me feel so inspired and hopeful for a great year ahead. “Ellarayum pola, Nallarippom Nala, Neethi Tharum Sethi Varum, Namakkundu Azhagiya ethirkalam”. The tracks are mixed by Balu Thankachan, assisted by Paul Daniel and Sreenivasa Sharma, with Shadab Rayeen on mastering duty. The recording engineers are Vishnu Raj M R (2Barq), Senthil Prasad (Vanaj Kesav Digi Audio Waves), Arjun B Nair (Sonic Island Studio, Kochi) and Aswin George John (Sounds Right). @prabhakaranjustin @soorajsanthosh @chinmayisripaada @anishma_anilkumar__ @keithpeters_bassman @theindianchoralensemble @abinandan_r @thebaluthankachan @sushmita_narasimhan @kalyaninair86 @karthikmanickavasakam @aparnaharikumarh @nayansee__sharma @shibisrinivasan @shivsundar2001 @cyril_simon_ @neeraj_msg2. Theher JaComposition: Garvit - Priyansh Lyrics: Aniket Shukla, Priyansh Srivastava Vocals - Garvit Soni, Priyansh Srivastava Language: HindiGenre: Light Music/ PopMood: CalmingGarvit-Priyansh make your heart skip a beat, more than one too, when they come along, write and perform this semi-classical styled pop. The melody begins, and it immediately reminds me of the stunning evergreen “Kabhi Na Jaao Chodkar,” and maybe that is why this Yaman-based melody also has a similar message: “Chodke Jaane Ki Baatein Kiya Na Karo.” Lucky Sharma teases with the rhythm guitar, and the singing is lighting sparks with these harkatein by both Garvit Soni and Priyansh Srivastava. The melody just becomes incredibly mellifluous as it takes a turn for “khamoshiyon mein bhi alfaaz tu chun lena”. By the time we come to the song’s chorus segment, the heart blossoms, and how can we move away from this enriching experience when we hear “ Yen aankhen meri kehti hain ki tu theher ja, adhoora sa yeh ghar lagega tere bina”. This is where the melody starts showing colours of Raag Bihag or Bilawal, maybe. The lyrics are written so charmingly by Aniket Shukla and Priyansh, with Garvit taking over music production duties. The interlude plays the chorus again on the Piano ever so gently. A fact that can never be debated against is that the core of a song is its melody, and that is why Garvit-Priyansh stay on top. They value a good melody and showcase that with their extended composition, proof of that being heard in the song’s antara like “ kehne ko kitna bacha, kaise karoon main bayaan”. The tracks are mixed by Garvit with mastering by Lucky and Garvit. @garvitxpriyansh @startistmanagement @luckyrsharma @tseries.official @garvitsoni_

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 28th December 20251. Shuru ShuruVocals: Sanjith Hegde, Punya SelvaLyrics: Jayanth KaikiniComposed, Arranged, and Produced by Santhosh NarayananLanguage: KannadaGenre: Light Music/PopMood: RomanticThis is going to be a glorious debut for Santhosh Narayanan in Kannada, and I am indeed excited for the album to release. For now, let us celebrate this stunning romantic single from the upcoming movie “ Balaramana Dinagalu”. In an industry that is already doing well musically, thanks to some fine composers, I hope Santhosh stays here to raise the bar, and this track exemplifies that feeling and hope. The moment Sanjith Hegde starts singing, and after the moving Piano, he does a falsetto vocalisation that sends shivers down the spine. The greatness of this song lies in the composition, with so many segments and elaborate writing, the sequence of notes, and the progression of chords. The line “Shuru Shuru” is just the beginning of this great song, and probably Santhosh’s great innings in Kannada. The amazing strings section begins to mesmerise, and this is omnipresent in this track. Karthik Manickavasagam is the man behind the string arrangements. The line that goes “ Helalu Hodare” is where we start feeling that grounded emotion, surrendering all our pride to the beauty of music. The man, Jayanth Kaikini, who has written numerous songs for the amazing Charan Raj, writes this too for Santhosh. The anupallavi is long and elaborate in times when the whole segment has gone missing in movie songs these days. “Usire Helide..Bisiyada Suddiya.. Heegeke Nannali.. Eedaha Omele..Idakintha Hattira..Neeninnu Bandare..Nanagantu Gotilla..Aamele” is a 25-second segment that serves as a launch pad for the song’s most beautiful melodical patch that numbs you for good. “Mella Bali Seladu” Sanjith starts singing with the continued string arrangements, and the heavy periodic rhythms, and the sweetest part of this melodic segment is “Helu Idu Nijave NIjave Nijave”. Santhosh is a rare gem who gives music lovers like us 2 minutes and 10 seconds with just the intro, pallavi, and anupallavi, in a world where songs last less than 2 minutes, making millions of views. The interlude has the string section in full flow, but what struck me even more were the basslines by Naveen Napier that played the same notes as the strings, but the finesse and style of the bass guitar made an even bigger impact. The charanam is about to begin, and the music lover in me is waiting eagerly, and that pause after “Nee” gives away all the sense of the song’s direction as the string arrangements act like a guiding stick for the lines that follow, like “Hoovina Peteya Mohaka Thangaali”. Listen to the harmonies that taunt you at the end of this phrase in true Santhosh style. Punya Selva joins so late but plays a perfect cameo with some blessed lines “Ee Mounave Thumba Mohaka Manase Maathanu Aadiduvaag”, and I couldn't have expected or predicted the progression of the melody in this entire phrase, whihc is what makes Santhosh the best that he is. That haunting humming by Punya in the background is one final kiss of goodbye from her in this track with the phrase “Naguve Naguve”. Santhosh, like I say endlessly, stands out as a composer because he is not looking for shortcuts. This phrase, “Chalisade Ninthirali Heege Ee Kshanavu,” is never heard anywhere else in the song, and yet Santhosh digs deep and writes a phrase at the end of the song for it to appear just once. Wait a minute, this whole phrase does appear in the interlude on the violins. That seems to be Santhosh’s unique style, and he did this with a song called “Pottala Muttaye” from ‘Thalaivan Thalaivi’. The outro strings are like a winning home run with time running out. A signature ending by the greatest of this generation! Thank you, Santhosh Narayanan. @musicsanthosh @priyawajanand @km.chaitanya @meenakshi_santhoshnarayanan @vinodprabhaakar_official @karthikmanickavasakam @punyasworld @sanjithhegde @napier_naveen 2. Noodhana NoodhanaVocals: Kapil Kapilan & Srinisha JayaseelanLyrics: P. VijayMusic composed by D. ImmanLanguage: TamilGenre: PopMood: RomanticIt is nice to hear how D. Imman still does a good job with his compositions, without letting the external trends and environment corrupt his style. This song comes from a new album called “Niram” and the song, despite its likable melody, gets the ultimate boost thanks to the two phenomenal lead vocalists Kapil Kapilan and Srinisha Jayaseelan. I love the line “Yaarenna sonnalum ketkala,” taking me back to Maestro’s “Pottu Vecha Malligamottu.” Imman composed, arranged, and produced this, bringing in some electronic pop elements onto the table, especially the keyboard and rhythm programming. As we head into the charanam, we get to hear some savvy vocals with both Srinisha and Kapil excelling in the high-pitched vibratos. The soundscape reminds one of Imman’s work in recent years, like the album “Teddy”. “Adi Adi Noodhana Noodhan, Unnai Vittu engum povana” is filled with all of Kapil’s great improvisation, and when Srinisha sings “Mayamo,” one will feel like a Maya surrounding us with a blanket. The combination of the Thavil and Nadaswaram in the outro gives the song a very traditional wedding style end. @srinisha_jayaseelan @immancomposer @kapilkapilanmusic

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 14th December 20251. Kaarmoda Karagi Maleye ShuruvaagideComposed, Arranged, and Programmed by Charan RajLyricist: Pramod MaravantheSingers - Kapil Kapilan, Sindhuri VishalMusic Produced by Charanraj, Sujith Sreedhar, Sanjay RomauldLanguage: KannadaGenre: Light MusicMood: RomanticI love how people get involved in IG comments, and recently, when I posted my weekly picks of India's best music, someone asked me why I hadn't featured “Kaarmoda Karagi Maleye Shuruvaagide”. I end up having a few delays and lags because of teh sheer volume of songs I listen to every week alone. But thanks to that comment, my faith in Indian music got restored, both from a consumer and creator standpoint. So here is my review, 2 weeks later, and what a fine song by the magnificent Charan Raj we have here. One can add this song to the short list of songs that mesmerise and have the ritualistic phrase “Mangalyam Thanthunanena.” The melody begins with such grace as Kapil Kapilan delivers the line. The influences of Raag Hamsanadham are apparent, and one song that immediately comes to my mind is Vidyasagar’s “Poo Vasam Purappadum” from the album “Anbe Sivam”, thanks to the tone, sound design, the Piano, and tempo. Pramod Maravanthe pens the words, and the song generates even more awe and wonder when Sidhuri Vishal sings her line in her astonishingly beautiful voice and delivery style.  Feel that seductive flute by Vishnu Vijayan intervening, along with Keba Jeremiah’s guitars. The power of Charan’s composition comes alive when he surprises you with the phrase “ Ninna Sero Nadiyaade naa”. The man is a magician, and he knows how to deliver a semi-classical melody on a platter of modern sounds like the electronic pop here. The backing vocalists Kavitha, Kamalaja, Abhijit Rao, and Sanjay Romauld sing the “Thanams” with the energising keys and rhythms, and we are in the midst of musical bliss. The interlude with the humming by the lead singers is followed by a fine melodic phrase on the flute and then the nadaswarm by Adyar D.Balasubramaniam. Charan tells me that there are also glimpses of Raag Saraswathi, and I do find those tonal similarities with the interlude of AR Rahman’s. “Malargale Malargale”. The song is composed, programmed, and arranged by Charan Raj, with Sujith Sreedhar, Sanjay Romauld, and Charan producing this breathtaking track. The charanam starts with a pleasant and mild phrase sung by Sindhuri, with minimal additional instrumental support, but the energy zips through when Kapil sings “Olave nannolave”. Pay attention to Vishnu’s flute interventions here. Raghothama NS is in charge of additional programming. The counterpoints on teh flute are fantastic as we can keep hearing it at the end of the charanam and the pallavi when it plays again.  I am taken back to Maestro’s “Sorgame Endralum,” which is also set in the Hamsanadham ragam. Kapil and Sindhuri sing the lines with such finesse, adding the mild ghamakas. The recording engineers are Amal Mithu, Sanjay Romauld, with mixing, mastering by Sujith Sreedhar. @pramodmaravanthelyricist @charanraj27185 @chaithra.j.achar @varsha_v_acharya @sonugowda @shilpanishanth_ @vishnuvijay01 @kaplkapilanmusic @singersinduri @sanjay_romauld @kebajer @2. ChakorComposed by Ashwin Iyer & Mayank SainiVocals by Aaditya LaddhaLyrics by Mayank SainiProduced by Ashwin IyerLanguage: HindiGenre: PopMood: PeppyAshwin Iyer and Mayank Saini have hit this one out of the park. The very first time I heard this song, I had a mix of emotions, like pure bliss from the melody, and then the arrangements and production gave off a peppy vibe as well. It is Aaditya Laddha’s affable voice and his casual delivery that set the initial spark, but soon, we get a barrage of factors that make this a very deeply resonating track, like the Mandolin in the intro and the stunning bass guitar, both played by Manash Saikia. If you see the video, the song begins after a disappointing cast call experience, and the Mandolin perfectly creates the change of mood to positivity. My favourite line in the melody is “Mann mein na bair, na lalach koi, chaand hai tu, chaand se preet hoi”, for some fine notes and the way it surprises me. So well done, Mayank and Ashwin.The harmonies, thanks to Maya Bajaj on background vocals, are a great way to add more juice to the song, and it works brilliantly. Ashwin Iyer, who is also the keyboardist, adds the icing on this cake with his music production duties. Sharodiya Chowdhury makes your heart stop multiple times with her cuteness and impeccable grace as the lead girl. Aaditya’s voice and style remind me of the great Mohit Chauhan. The interlude is where Manash shines further with that solo on the Duitara and Mandolin. In fact, the sound of the Harmonica that follows makes me think of “Masakkali” by AR Rahman, which was also performed by Mohit. There is a drop in tempo, and the production turns mild with the pathos in the song’s tone, which is a very bold but witty take on the movie industry called Bollywood. 

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 7th December 20251. Thaenkoodey Composed, Arranged and Produced by Pranav Muniraj Singers: Sean Roldan, SublahshiniLyrics: Surya Bharathi A ALanguage: TamilGenre: PopMood: RomanticPranav Muniraj’s debut for ‘Middle Class’, the Tamil movie, speaks to me through his musical choices, and the sound design and songwriting give me confidence that he is here to stay. The song here is my favourite from the album, and it is composed, arranged and produced by Pranav, with lyrics written exquisitely by Surya Bharathi A A. The intro is like an indelible mark on my mind as we hear the Solo Violin by Anirudh Kashyap, and the accompanying rhythms on the Ukulele and acoustic guitar. That whistle (Vijay Krishnan) that comes in the wind reminds me of Sushin Shyam’s ‘Kannil’ from the album “Kappela”. The tone, the overall vibe of the song and its arrangements also generate that feeling of similarity between these tracks. Vijay Krishnan and Simeon Telfer are the guitarists (Simeon also plays bass), with the Mandolin and Ukulele played by Simeon. Everything comes to a standstill when Sean Roldan sings “Ponanbe Poongatre Naan Setha Thaekoodey”, and that is the impact this man creates with his inimitable voice. The Keys are alive and well with some beautifully arranged harmonies. The solo violin that comes like an interludal piece is stunning, and the swelling of the heart is unavoidable with the Ukulele tickling away. I love how Pranav has knitted this melody by giving surprises and twists in teh chord progression, and you will feel a high when you hear “ Bhoomi mele vandhu aadum santhosha moochu kaatre oh oho oh”. You cannot keep this star Sublahshini away from action, as she rides the wave along with Sean, but makes her presence felt on the additional vocals. The joy is endless when we hear the innocent and cherubic voices of the kids' chorus singers Tanu Shree, Divya Shree, and S.Nidra. Sublahshini is terrific singing the line “Ponanbe poongatre, naa setha thaekooday”, with a slight lag. The tracks are mixed by Josh Bourbon and mastered by Rupendar Venkatesh. The recording engineers are Pranav Muniraj at PM Studios, Aswin George John at Sounds Right Studios and Srinath at 2 Bar Q Studios. Ajay Sivashankar is the music supervisor, and the musician co-ordinator is Victor. @pranavbalu @rseanroldan @sublahshini @milirkal @kishoremuthuramalingam @kvdurai @trendmusicsouth @goodshowofficial @simeontelfer 2. Aalapikkey UmmakComposed / Arranged / Programmed by Santhosh NarayananLyrics: KelitheeSingers: Kelithee, Santhosh NarayananLanguage: TamilGenre: Gana-Pop fusionMood: DanceWho else can you trust when you need a funky Gana song fused wth synth Pop and heavy Brass section? One man - Santhosh Narayanan is the answer. A small snippet of this song’s melody and arrangements was known when the “Vaa Vaathiyaar” teaser was shown a few months ago, and when I heard this as a full-length song, things started getting groovy and upbeat. Kelithee is the writer and lead vocalist who lets you know what he is going to achieve with her very first word “Maame”. This guy impressed me a few months ago with a single along with OfRo, and that devotional fusion pop was produced by Santhosh called “Vetrivel”.The percussion is on, and we get the combined effect of the Keys and the Clarinet. Santhosh composes the melody and does all the arrangements and programming, while also joining as the additional vocalist. He sings that opening intro line “Variya ah ah Variya, Thariya ah ah Neriya, Varane eh eh Magane, Tharane eh eh Tharane”, which sets the ball rolling. I love the fact that this melody portion never gets repeated in the whole song again, and that makes it intriguing. We get a beautiful interlude on the Accordion (if I am not wrong, it does sound like one), and what follows is the strong point of Santhosh. A super funky line “Skipidi kippidi a, Mattuna Semmadi a” with some powerfully addictive synths. The writing is so witty, and when we hear the first stanza “Annan Judge kke Lawyeru, City la Mayoru, Church la paduvan Choiru, ellarum gatheru, vantaru thootharu, buddharu, sittharu, fatheru” followed by teh cionic voice of Karthi saying “yenda”, one can imagine how this song will play on the big screen, inviting the whole crowd for a celebratory dance. The highlight is that snazzy solo violin by Manoj, and these are elements which put Santhosh above all his competition, to have the vision to incorporate a classical instrument like this in a Gana-pop song. Naveen Napier is killing on bass, adding to the song’s originality and funkiness. A line that truly made me smile was “aatathula Ronaldinho, koopudunga veladino”, making me trust this songwriter Kelithee’s abilities. Aditya Ravindran is on electric guitar, and all the additional arrangements are by Karthik Manickavasagam. The tracks are mixed by Santhosh at  Future Tense Studios, Chennai, with additional mixing by Akash Shravan. The sound designer is Vijay Rathinam MPSE, with sound mixing engineer AM Mohammed Rahmathulla. All additional mixing and mastering are by Rupendar Venkatesh @ MixMagic Records. The recording engineers are Karthik, Santhosh and Rupendar Venkatesh. @keli.thee @vaavaathiyaarmovie @musicsanthosh @nehagnanavelraja @napier_naveen @karthikmanickavasakam @adityaravindran95 @ak

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 30th November 20251. I love You SolladaComposed, Arranged and Sung by Shweta MohanLyrics - Madhan KarkyLanguage: TamilGenre: PopMood: RomanticIt was just a matter of time before this fabulous singer turned a new leaf and wrote songs! Shweta Mohan marks her debut as a songwriter (If I am not wrong), and this feels like a dream debut to me. Shweta not only shines as a composer who gives moments of unexpected surprises in the notations and chord progression, but also gives us some inspiring and uplifting phases, thanks to her arrangements. Madhan Karky loads up on the romance with his immaculate writing as she sings “ Ethai Sonnai Nee Arivay, Ethai Seythal Nee Unarvai”.  Bhuvanesh Narayanan is present at every nook and corner, and you can hear him delicately creating some wonderment on the Keys. Aalap Raju gives us the whole 1980s Ilaiyaraja vibe with his basslines, and one phrase I love is just around the chorus segment “ I Love You Sollada Nanba, Un Ulle Nanangal Yenada”, especially the notes on the last word of this phrase “yenada”. On Vocals, Shweta is a champion who is singing this like a walk in the clouds, and the harmonies are executed and arranged to thrill. Look at her give that vibrato at the end of this line “pazhagiyaval kannai kandu, nee unmai sollvaya”. Bhuvanesh spices it up on the keys  in teh interlude with a tectonic shift from Pop to Jazz, with Josephn Vijay on lead guitars and Siddharth Nagarajan on drums accompanying. The melody continues to sizzle, and Shweta shows immense potential here as a composer. When I listen to the line “Nedunal mayakkam etharko thayakkam, natpai thaandi vaaray”, the last phrase comes as a pleasant surprise. As a music lover, the song is like a box of chocolates as I don't know what amazing thing is coming up next, and I feel the energy, and mesmerism with these stylish pauses, on the whole segment after the “Kalathai Veenakkamal” with the savvy “ippo..the..sonn...naal...enn...naa”. Shweta ends the verse flamboyantly with her vocal improvisation.  The tracks are mixed by Abin Pushpakaran and mastered by Jehovahson Alghar and Roopash Tiwari at Divine Labs. The recording engineers are Abin Pushpakaran and Lijesh Kumar. @_shwetamohan_ @madhankarky @abinpushpakaran @supervijayoffl @aalaapraju @bhvanesh_keys @lijeshkumartk @roopash.tiwari_ @jehovahsonalghar @drumssiddharth @2. Jaane KahaanComposition: Nirmit & LothikaLyrics: Lothika & NirmitVocals: LothikaArrangement & Production: Nirmit ShahLanguage: HindiGenre: PopMood: Immersive Dreamy and immersive right from the very note, with that keyboard and this falsetto voice. Love the way she delivers the notes on the phrase “Jaane Kahaan Chalein, Hai Hum”. Lothika is outstanding as the vocalist, giving the song such amazing core strength and goodness. I have featured her in some amazing songs like one in the ‘Gehraiyaan’ album by OAFF and Savera. Wow, just as she finishes the phrase “ek khwaab sa”, the bass guitar is just sparkling away, and from there on, the fire is ignited in the melody and production. The song’s melody and lyrics are written by Nirmit and Lothika, with Nirmit handling all the scintillating arrangements and production. “Khaali Khaali Sa man, Dundhliyaan” is where the Keys, bass start giving off some feverishly good vibes. Let us not forget the impact of the stirring strings by Ajay Jayanthi and the lead guitar solo by Harshvardhan Gadhvi. Ajay goes on to sow even more seeds of melancholy with that solo violin in the interlude. Lothika is in fiery mode here, and you can feel the melting heat when she sings “dguan raha, jahaan aag tha”. Harsh and Ajay are operating with utmost creativity as they intervene, creating beautiful counterpoints in the background. This is one easily one of the best-produced songs in November, and kudos to Nirmit for that.The outro continues to shine with that solo violin and the Piano proceeding relentlessly. The tracks are mixed and mastered by Prathmesh Dudhane, with Praneeth Kumar as mix assistant. The video is directed by Karthika Muraleedharan & Lothika Jha. The artwork is handled by Lothika Jha, Karthika Muraleedharan, Shivani Javeri, and Riddhi Goenka. @nirmit.music @prathmeshdudhane @luceamma @riddhigoenka @ajayjayanthi @firstwav @aneri108 @sanjanakamra @harshreality91 @karthikahp @taroonishw @praneeethkumar 3.  Bekhudi Ishq Ki

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 23rd November 20251. Aawaara AngaaraSong Composed, Produced, and Arranged by A.R. RahmanVocals - Faheem AbdullahLyrics - Irshad KamilMusic Supervisor and Editor - Hiral ViradiaLanguage: HindiGenre: FolkMood: PathosI think this is the first time I am featuring an AR Rahman song in my weeklies in more than a year. Some think that I am being biased against the great composer, but when something is beautiful and immersive like this, one cannot deny or belittle its impact. I did enjoy the album ‘Tere Ishk Mein’, and the full album review is up on my Instagram page. Kamalakar opens with the Duduk, a haunting woodwind instrument that captivates you in an instant. Renin Raphael is playing the classical guitar with such dexterity, and the introduction of the Duff, played by Hariprasad TS, takes u back to the olden Bollywood era of the 1970s when tshi was heavily used in most slow and sad songs. The intro also reminds me of AR Rahman’s “Ae Ajnabi” from the album ‘Dil Se’. I couldn't be happier for Faheem Abdullah who is making great strides as a playback singer after the huge success of “Saiyaara”. AR Rahman does a fine job by picking him and entrusting this man with a slow pathos number, because until now, we have probably only heard him in heavy-duty passionate folkish Rock songs. He adds a tinge of inebriation to his delivery, and maybe that is the voice of a man in pain and under the influence of alcohol. Faheem pulls you in with “Aawaara Aawaara, Aawaara Angaara”, and the chorus singers add a layer of harmonies that feels like a sharp object piercing your heart. The backing vocalists are Pooja Tiwari, Nikitha Venkatesh, Shifa Ruby, Harshil Pathak, Nitesh Aher, Omkar Bhat, Padmaja Sreenivasan, Deepthi Suresh, and Sushmita Narasimhan.The highlight reel is the line “Jaane Toota Kyun, Main Sheesha Na Taara”, with only the strings, guitar accompanying. Faheem is at his best in this line, emoting to perfection and giving the song its soul. Kudos to the Sunshine Orchestra for performing the ravishing string section. AR Rahman, take a bow for this composition, arrangements and music production. Shubham Bhat handles the additional programming, Hiral Viradia is the music supervisor, and Arjun Chandy has arranged the chorus. The heavy use of the Cello and savvy guitars is a nice interludal melody, and this part reminds me of “Satrangi Re” tonally. The antara is another beautiful segment, however short it may be, and it feels like AR Rahman truly sat down and wrote this melody, pouring his heart into it. Whether it is the Duduk or the string section, the arrangements stand out and call for an ovation. This is the song of teh album for me, even though the title track is making records on YT. The engineers are  Suresh Permal and Karthik Sekaran. The recording engineers are Pradeep Menon, Sharan, and Sachin. All the orchestration is done by Nipun Bhatnagar, with Jerry Vincent conducting the session. The tracks are mixed and mastered by Nitish R Kumar. The song ends with just Faheem’s voice and the suave strumming on the classical guitar!@arrahman @kebajer @ginobanksofficial @reninraphael12 @nikitha_venkatesh @sreekanthhariharan @marisakthi @sarathsanthosh @faheemabdullahworld @padmaja.07 @sushmita_narasaimhan @hiral_viradia @aparnaharikumarh @omkarbhat_music @irshadkamilofficial @mrchandyman 2. Dard Dil KeVocals: Muheet BhartiMusic composed and produced by Sanah MoiduttyLyrics: Mahendra Dhirajlal KamdarLanguage: HindiGenre:  Sufi (Ghazal)Mood: Immersive I have realised over the last few years that Muheet Bharti is one of our finest performers and musicians here. He delivers in a style that is tailor-made for him, Sufi(Ghazal). The song is composed by Sanah Moidutty and exquisitely produced by Prasanna Suresh. It begins with that pathos-inducing Sarangi. I am not able to hide my feelings here of mesmerism, pain, and whatnot as Mjuheet sings “Dard dil ke yeh chupaye toh chupaye kaise” with the incoming Tabla. The Harp and the mild woodwinds do the honours in the interlude before this endearing antara. The sadness is deep and affects the listener with the line “pal vo ham waqt se chheen ke le ke aayen kaise”. Kudos to Mahendra Dhirajlal Kamdar for conveying all these emotions beautifully and effectively through his words. I am trying to wrap my head around the melody and figure out whether there is Raag Patdeep or Raag Madhuvanti. The aalaap on the word “armaan” is where Muheet had tears rolling. All you need is a view of the setting sun, and when you hear this song, you will be moved and even shattered by the singing and the melodic beauty. The outro with the pacy Tabla, the Harmonium, and the Sarangi is the icing on this incredibly delicious cake. @sanah_moidutty @muheet_bharti @officialprasannasuresh3. Kunjikkavil Meghame

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 16th November 20251. Scooter SongSinger – Siddhartha BelmannuMusic – Sumedh KLyrics – Pruthvi AnthaAdditional Music – Sandeep ThulasidasLanguage: KannadaGenre: Pop FusionMood:I recently did a full album review of ‘Su from So’, the Kannada movie, and it was one of the best I have heard in recent months. Sumedh K has composed and arranged, and programmed with additional production by Sandeep Thulasidas. There is some fine genre-bending music with a lot of focus on semi-classical styled melodies. This was the best of the album, and it is delivered like a dream by the phenomenal Siddharth Belamannu. The way the song begins, with the tone, arrangements and texture, I am reminded of Karthik Raja’s ‘Ragasiyamai’ from the album ‘Dum Dum Dum’. That solo violin by Narayan Sharma and the jaunty rhythms lead us into paradise. The lyrics are penned by Prutvi Antha, and as we go further into the anupallavi, the arrangements start to sparkle. Narayan’s violin intervention is perfectly timed, and Sandeep Thulasidas contributes to this album with his additional programming role. I also love the vocalised rhythmic sounds by the backing vocalists Sathvik S. Rao, Abhishek M. R., Sarayu H., Bhagyashree Gowda, and Kavya M. that go “um pi chi kum um pi chi kum”. The melody also reminded me of Maestro Ilaiyaraja’s “Kanmani Nee Vara Kathirunden”, and that is why I am tempted to state that this melody has Malamarutham Ragam influences. The goose-bump-inducing use of ghamakas in “Theera Marali” in the high pitch is a phrase that will stick in to mind forever. The interlude deserves even more appreciation as Narayan not only plays the fiddler but also handles the string arrangements. The charnam is where I sensed some nice similarities between Siddhartha and Haricharan. The charanam is brief, but it still works like a charm, and the introduction of the Mridangam is delightful at the end of it. The keys and rhythms bring on the pop flavours. Abin Paul does the mixing and mastering. @mixwithabin @siddhartha_belamannu @rajbshetty @__satvik_s_rao__ @abhishekmr222 @bhagyashree_gowdamp @narayan_sharma227 @sarayu_hrao @sandeep.thulasidas @prithvi.antha @jp_thuminad @sumedhk119 2. SithameMain Vocals: Shruthi ShekarComposed, Arranged, & Produced by: Sachin Shankor MannathLyrics: Mu ViLanguage: TamilGenre: popMood: DreamyShruthi Shekar, Sachin Shankor Mannath and Mu Vi give us a fantastic Tamil single here and with Mu Vi’s words and Shruthi’s vocals, we are able to feel the exquisite beauty of the melody written by this composer, Sachin, who I remember from the Mollywood album ‘Backpackers’. Godfray Immanuel’s acoustic guitar makes a strong impression, and within seconds, the song shifts gears from being gentle to glamorous. The title line is finely written and delivered by Shruthi, with some nice style and subtle vibrato. The harmonies in the phrase “kayal vizhi” are solid thanks to the backing vocalists, viz.  Velu, Aravind Annest, K T Jayakumar, Devu Matthew and Akshaya Muralidharan.Sachin Shankor Mannath handles all the arrangements and produces this blinder, giving us that Hariis Jayaraj styled single. Shivs Narayan’s gives a spell-binding solo performance on the Veen in the interlude, and after that, the gospel-like choir performance too brings on divinity to the song. Sachin introduces a pause in the charanam, and here, as the lyrics take a breather after “Sayam neengi vazhum kelvikalil neendhiye nidham ”. There is a sutry vocal improvisation by Shruthi here, along with a mild Veena intervention. The lines that follow floored me and are clearly the highlight of the song as she sings “ thavipodu poraduthe, thaniyaga thazhpoduthe”, and here Shruthi loads every note with some mild ghamakas and brings on the pain and melancholy too. Kudos! Sachin piles it up with the choral arrangements in the background. @sachin.mannath @shruthis_music_box @writer_muvi @godfray_immanuel @_shivs_narayan @velssing @aravindd_annest @jaippajk @devumathew @akshaya_muralidharan_3. Ghar Hai KahanComposition and Lyric: Akash Kaushal

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 8th November 20251. Varnamaale Music Composed, Arranged, and Produced by Judah Sandhy Lyrics - Simple Suni Singers - Abhinandan Mahishale, Sunidhi Ganesh Music Supervisor and Vocal Director - Chethan Naik Language: KannadaGenre: Light MusicMood: RomanticJudah Sandhy is a gifted composer, and the best compliment I can give him right now is that there are arrangements and interludes in the song that remind me of Maestro Ilaiyaraaja’s works. Need I say anything more? 48 seconds of intro music with a flute solo, string section, and energetic rhythms and percussion creating a mesmerising effect. How many times have you heard something like this in songs these days? All the arrangements and production are by Judah, with Chethan Naik as the music supervisor and vocal director. George Thomas is the rhythm percussion director with the live percussionists Venu Gopal Raju, Kulkarni VS, Sathya Murthy, Chandrashekar, Gerald, Madhu Sudhan, Shiva Mallu, Prakash Antony, Shanmugam, Madhu Sohan, Sumukh Ravishankar, Alphonse, and George Thomas . The grand string section we hear is played by  Simon Augustine Sandhy, Jeffery D Martin, Sarith Sukumaran, Martin, Jyotsna Srikant, Nelson Prabhu Kumar, Reuben James, Amarnath Shadrock, Immanuel, Aruna, Sibi Immanuel, Ravi Divyanadhan, Rijesh, Emmanuel J, Murthy, Beryl Xandrina, and Anoop Abraham Thomas. When the chorus line arrives, the strings are entrancing, as is Abhinandan Mahisale’s dream voice. The melody may have traces of Raag Bihag, in my opinion. The song’s melody also reminded me of “ Kaathodu Thaan Naan Paduven,” composed by V.Kumar for the album ‘Velli Vizha’ in 1972. Sunidhi Ganesh is making my heart grow fonder and softer with her touch of romance in her singing. That female humming, followed by the flute solo by Neethu and the impeccable basslines by Ashish Borde, is where I lost my heart. Anand Pattnaik and Patricia Gomez handle the woodwinds, and  we have the Harp soloist as Marcel Grandjany. If you are counting on some pauses and breaks to help you breathe, forget it; he is loading all the goodness with an elaborate strings-and-flute-based interlude. The woodwinds and the Harp are coming to life in the charanam with their quirky interventions. Eric Gerald and Sanjay Kumar are the guitarists, with Jared Sandhy on drums. The percussions deserve a mighty appreciation, especially for the way they recharge our spirits in the outro and in the closing stages of the charanam. The recording engineers are Nikshep Gowda, Mrinal Anand, Leslie Charles, Ashwin Prabhath, and Rangaswami Rangu at Judah Sandhy Studios, Bangalore, Prabhath Studios, Bangalore, and StainedClass Production Studios, Bangalore. The tracks are mixed and mastered by Taki Productions.@judahsandhy @sunidhi_music @abhinandan_mahisale @jaredsandhy @chethannaikofficial @ashishborde 2. Pani KaatrinComposed by: Pranav Giridharan Singers: Sai Vignesh, Pranav GiridharanBacking Vocals & Harmonies: Satyah & Pranav GiridharanLyrics by Pa. AravindhanLanguage: TamilGenre: PopMood: HappyHere is a lovely Tamil single by a musician I have featured a few times, Pranav Giridharan. He has composed the melody and also accompanied the fantastic Sai Vignhes on lead vocals. The lyrics are by Pa.Aravindhan. The flowy acoustic guitars with that hint of the flute and Sarangi provide a great and elaborate intro. A line that sticks to my mind and never gets out is “Valaindhorum salai kadanthome, Karainthodum neram marandhome”, with the accompanying solo violins in the background. Sai Vignesh mixes those delicate vibratos and elevates the beauty of the melody. Is there some Yamunkalyani Ragam in the melody? Maybe. Dilip Krishna plays the flute, Violin Shiva is behind the violin solo, and string quartets as well. Pranav does a fine job in handling synth,s rhythm programming, and overall music production. Despite some melancholy in the interludes, the overall tone, tempo, and vocal portions come out as chirpy and energetic. I love the Sarod-led interlude with layered flute interventions. Can you hear that flute intervention after the completion of “Nilavaga vazha vendum”? That was magically done. Satyah and Pranav handle all harmonies that come and go.The melody is beautiful, and the phrase in the charanam, which goes “Karai mele paatham kondu”, especially the way the notes move after “nanna jothegara”. Kudos to the team for this hummable and unforgettable experience this week. Satyah is the engineer who has done the recording, mixing, and mastering of the tracks. @pranav_giridharan @sai_vignesh_r @pa.aravindhan @nisshahegde.official @amitamanooj @payal_chengappa_official @saregamatamil @sidmoolimani 3. YaavaloMusic Composed and Produced by Ashwin VinayagamoorthyVocals: Shivam Mahadevan & Chinmayi SripadaLyrics: Ku KarthikLanguage: TamilGenre: Dance -PopMood: RomanticAhsinw Vinayagamoorthy gives us a chirpy, throbbing pop track with some great talking points for any music lover like me. Shivam Mahadevan is making his Tamil debut here, and I have featured him in indie as well as movie album songs in Hindi before. The melody is composed and music production is by Ashwin, and the other heroes of the song are Nived NP, Kausthubh Ravi, and Viishwaajay GN, who have handled all the keys and synth arrangements. They dominate the intro and background soundscape of the song, giving it that vibe that youngsters dig. The influence of dance pop is combined with a lush melody, and Shivam’s vocal tone takes us back to the good old days when Shankar Mahadevan would cradle our hearts with his singing. Nived and Siva Prakasam get the energy boosters on rhythm programming, and the stylish electric violin solo by Shravan Sridhar is leaving  a mark here. This melody and style of production also remind me of Harris Jayaraj. Behold that zany Veena riff by Malavika Rajhesh, as it mixes coolness and class. Chinmayi Sripada is bringing in some reliable magic to the charanam with her voice and delivery, aided by nice harmonies. This charanam deserves appreciation for its structure, melodic chord progression, and this elevates the song. The female chorus singers are  Punya Selva, KR Soundarya, Pavithra Chari, Ramya RamC, Ambika Jois, Apoorva Ramaseshan, Suprajaa Sairam, Medha Ramaswamy, and Harini Rangan. I love the line “Nee en moochu, sandhegam theerumo” with the mild ghamakas and kudos to Ku Karthik for the lyrics. Viishwaajay GN is in charge of vocal harmony arrangements, and Kausthubh is the creative consultant. The tracks are recorded by  Sivanesh Natarajan at Shimmr Studios, Chennai, with mixing by Sivanesh Natarajan & Ashwin Vinayagamoorthy at Shimmr Studios, Chennai, and mastering by  Dave Collins at Dave Collins Mastering, LA. Additional recording is done by Ameya Mategaonkar at Lambodara Studios, Mumbai . The song reminds me of AR Rahman’s ‘Yakkai Thiri’ thanks to the EDM and dance pop tonality. @ashwinvinayagam @chinmayisripaada @kukarthikoffl @kushithakallapu @shivammahadevan @punyasworld @apoorvarams @harini.rangan @sivaneshnatarajan @ambikajois @sound_wala.wav @suprajaasings @ramyaramcofficial 4. Uska KyaLyrics, Composition: Akash TripathiComposition: Akash TripathiMusic Production: Akshay DabhadkarLanguage: HindiGenre: Alt-Pop FusionMood: Mild PathosIt has been a while since I featured this budding indie artist, Akash Tripathi, and this one did the trick for me. The melody composed by Akash bears the melancholy of Raag Charukesh, its influences, and all its accompanying beauty. The electric guitar riffs and heavy rhythms dominate as Akash’s lyrics and vocals pose a question, “ saare sawaal tune mujse kiye, kya ek sawaal tujse pooch loon”. Akshay Dabhadkar is the man in charge of arrangements and production, and he delivers a super punch from start to finish. The harmonies, keys, and guitars are blending in, in the background, even as the melody starts to haunt you as Akash sings “ woh tune dikhaaye aopne rang, uska kya”. The pathos in the melody, the despair in the lyrics, and the heartbreak in the voice are all coming beautifully together. The tying knot is Akshay’s production that breathes this Alt-Pop fire into the song.   This team deserves credit for presenting a classical raag-based melody with such a delightful texture of Western sensibilities. The best part just hits you as the trumpet interlude comes and blows your mind away. It is a very brief melody, but it hits you like a bolt out of a very clear sky, unexpected and rich. The harmonies are emphatic when we get to the  antara with lines like “ woh jo tere maange te”, and they are exemplary all through. The tracks are mixed and mastered by Akshay, with Benvin Fernandes as the recording engineer, with Vishnu Nair on album artwork. The outro has this humming that keeps repeating with the trumpets playing the song’s main melody. @akastripathi.i @akshay_dabhadkar @firstwav @benvinfernandes @vishnunaiir @headroomstudiogram 5. Little thingsWritten and Composed by Keshuv HuriaVocals: Keshuv Huria & Shariva ParulkarArranged and Produced by Keshuv Huria and Hammad RashidLanguage: HindiGenre: JazzMood: RomanticConsistency is underrated in general, but not here on my website, where the most consistent musicians get their honor roll handed out to them every time. Keshuv Huria has written, composed, and performed the male lead vocals in this gentle, soothing jazz single. Things begin with such clearly demarcated Jazzy elements, whether it is the drums or the double bass, or the Piano. Shariva Parulkar sings with such a dreamy tone, but Keshuv raises the stakes and goes for passion as he sings it on a higher Octave immediately when it's his turn. These are ‘Little Things’ that probably convey a lot about the state of mind of the protagonists. I am also quite impressed with Shariva, who shines as a vocalist. The intervention on the Piano is classic, while the guitar strumming by Hammad Rashid is playful and creative. The song takes us back many decades with this romantic melody, as the arrangements and song production are by Hammad and Keshuv. The song just keeps getting to make your heart grow fonder with the tune and the exquisite arrangements. The harmonies are nicely executed and arranged, and never stop to impress. The writing is very relevant without being preachy like “sabka apna apna hai nazariya, glass aadha kaali hai ya poora”. The tracks are mixed and mastered by Sujith Hydher at Octaves Studio, Chennai and the recording engineer is Mrinal Das at Playhead Studio. @keshuv_huria @sharivaa @samihansule4 @awal_india @dudmixhub @hammadrashidmusic6. AnuragineeLyrics : Kaithapram Damodaran NamboothiriMusic : Berny and TansenSingers : Vasudev Krishna, Nithya Mammen,Shankara Narayanan .Assi. Music Director : Keerthan BernyLanguage: MalayalamGenre: Light Music/ Semi ClassicalMood: RomanticThe opening song plays, probably like a radio recording, “Govardhana Giridhara”; things like the solo violin and the folk percussion (maybe the damru/udukkai)stand out. Sandeep Venkitesh plays all the percussion instruments like Tabla, Dholak, and Mridangam as well. Kudos to the amazing instrumentalists on strings, with  Herald, Francis Xavier, Francis,Carol George,Jose Jacob on Violins, and Albin Jose on the Cello.  We are taken back to the 1990s Mollywood music with this semi-classical light-music song. Vasudev Krishna, Nithya Mammen, and Shankara Narayanan are the lead vocalists, with lyrics by  Kaithapram Damodaran Namboothiri and the music composition and production by Berny and Tansen.Nithya Mammen delivers a sweet, sultry performance that soaks you in her honey-dripped vocals. All the keyboard programming is by Glady V Abraham, and the assistant music director is Keerthan Berny. Vasudev’s voice is like the feeling of divinity you feel when you enter the temple premises. Anurag Rajeev Nayan is bristling with his basslines, and he handles the whole guitar department. The interlude is an absolute joy with the influx of the pacy Mridangam and the whistling flute solo by Rajesh Cherthala. Is there some Raag Kanada? But two clues help me realize it's actually Raag Darbari. The opening line is of a famous song, “Govardhana Giridhara,” which is set in Raag Darbari, and there is also a phrase in the second charanam that menti

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 1st November 20251. Thalaivan OruvanPerformed by : Santhosh Narayanan, OfRo, SVDP, The Indian Choral EnsembleComposed, arranged, and produced by Santhosh NarayananLyrics: Vivek, SVDPAdd. Programming & Backing Vocals: Karthik ManickavasakamLanguage: TamilGenre: Alternative/ ExperimentalMood: EnergeticIt is here finally, as Coke Studio Bharat gets an artist we all deserve, need, and have waited for. Santhosh Narayanan , to me, is at India’s pinnacle of musical greatness, especially in this generation. This is an anthem, something like a hero-elevation track that we all would have heard of in many of our movies, but when Sandthosh gets on board, it is glorified and not just elevated. There is none like him to explore all the major genres of music in India, and there is so much command and authenticity when he fuses these styles. Here it is the time to get Hip-hop, some mild folk, and orchestrated harmonies of the Gospel kind. The moment the track starts, you are lifted and placed into a higher orbit thanks to the scintillating harmonies by The Indian Choral Ensemble. The next time this 40-piece choral group performs in a city near you, make a visit and listen to them perform live. You will feel like the hand of God just touched you. Within seconds of the choral showers and heavy synths, 808Krshna gives you doses of adrenaline with the funky electronic elements. The production is epic, and the sound design tells you it is of a global benchmark and nothing short of that. TICE choir performers singing the title line, and it feels like the perfect way to welcome the leader among us, “thalaivan oruvan”. Karthik Manickavasakam, who co-founded TICE with Kalyani Nair, is the man behind all the choir arrangements and conducting. He also handles additional programming duties for this bazooka of a track. Vivek, who has collaborated so many times in Kollywood with Santhosh, knows exactly how to write such a song, and he perfectly brings the ingredients to convey the message “ a true leader rises for purpose, not power.” Santhosh performs the verse with his usual rawness, and that is the main attraction of his voice with his line “kakka vandha raana, vetta satham dhana”. A huge round of applause to the singers of the choir, with Yazhini, Nidhi, Rajeevi, Rutuja, Sushmita, Samanvitha, Sivaranjini, Asvitha, Amritha, Fathima, Bavathayini as Sopranos, Ananya, Geethu, Nayansee, Shri Badhra, Srimukhee, Varsha, Kaaviya, Megha, Sumathi, Prasanthi, Shruthy, Carola as Altos, Advaith, Akash, Arshith, Manikandan, Shivsundar, Shridhar, Sudharsan, Shibi, Manoj, Vivin as Tenors, and Prashanth,Shyam,Cyril and Neeraj as Basses. There is not a moment of reprieve, and the choir is relentlessly egging you on with their bravado and poise as singers. Can we get a Santhosh special without a brass section ? His brass section arrangements are always like Gold, and kudos to the performers, Babu, Viji, Ben, Karthick on Trumpets, and Maxi,Dominic,M. Balavignesh on the Trombone. My favourite line by Vivek is “Vetri tholvi ellam naame oothi bootham aakiyathu,” and this melody and arrangement remind me of another amazing Snathosh song, “ Nellu Vaasam” from the album ‘Vellai Yaanai’.  Can you feel your body levitate when TICE performs “aagayam neet thaan, adayalam nee than”?. In the interlude, a very unique portion is Santhosh’s vocalization “ danga dang, danga dang,” and these are so crafty and clever, something that we have seen him do with songs like “Maya Visai” and “Nayadikal”. OfRo is better known for some fantastic hip-hop work in the indie and movie space, and here he delivers his best yet with the high-pitched vocals. You will never be able to believe that the same guy who performed “10000 Pax” sang these lines, “Oru aruvikku ethu ellai, neyum modhi paaru kallai kallai”. The frequent use of “Aagayam nee than” by TICE intervening is a great element and works quite well. When great performers come one after another, the audience just feels an endless joy, and that is what happens when SVDP comes on to spread the fire. How does he write these lines, “ yeah, 40 days nights spent in silence solo, separating the soul from what they see in those photos, developed in a  dark room”?, with that “Hold on” in the background, Phew! The vision and his energy, SVDP, are something else! TICE keeps elevating at every instance with the vocalization, and Karthik needs all the love and appreciation for arranging and conducting this act. The mesmerising video is directed by Amith Krishnan. The tracks are mixed by Santhosh at  Future Tense Studios, Chennai, and Rupendar Venkatesh does the additional mix and master. @ofrooooo @musicsanthosh @karthikmanickavasakam @theindianchoralensemble @cokestudiobharat @shan.vincent.de.paul @chillybeef @808krshna @devsanyal @lyricist_vivek @sajidmaklai @seharkaur @universalmusicindia 2. TumComposed and Sung by - Raghav KaushikLyrics by - Amrita SalujaMusic Producer - Nakul ChughLanguage: HindiGenre: PopMood: Pathos/EnergeticSome names can always be trusted because these musicians are committed, self-critical, and passionate, and if these are ingrained, their output will always bear the stamp of quality. Ragha is not only a savvy composer, but his singing and evocative powers of the voice are top-notch. You can feel it when he utters the very first word, “Tum”. Ishan Das plays the rhythm guitar as the sole accompaniment in the verse. “Muskaan mein chupi adaa ho tum, Khamoshi ko meri jo samje woh zubaan ho tum, jo poori na huyi woh dua ho tum” are the spectacular lines penned by Amrita Saluja. You don't need further explanation about the message, intent, and emotions running through the protagonist’s mind. As the verse starts again, we have a beautifully layered harmony section with backing vocalists of super abilities like Shreya Jain, Shriya Pareek, and Nakul Chugh. The song is produced adeptly by Nakul, and the video playing draws you in as well, thanks to Devika Mahajan, who has written and directed it. Raghav sings with such desperation as he says “ meri aakhri din ki saza ho tum” and it is time for Nakul to make some valiant changes to the song’s energy. Ishan powers up on the lead guitar, and the drums engage. Are you feeling the pain? You must be when Amrita a

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 25th October 20251. Aadu PaampeConcept, Music, Vocals: Shahabaz AmaznProduced by Rex VijayanLanguage: MalayalamGenre: Folk FusionMood: ImmersiveThis is the second song from Shahbaz Aman’s “Guru Meets Mastan” series, where Shahabaz brings together the poetic works of Sri Narayana Guru and Icha Abdulkhadar Mastan, and it is one more instance where the listener is entirely captivated by the aura of Shahbaz’s vocals and Rex Vijayan’s arrangements. It is all about VV Suijith’s mandolin and rhythm guitars that lay the framework beautifully. Shahabaz begins to sing “Aadu Pampe” and if a snake were to listen to this (though they hear differently from humans), it would be stunned and mesmerised at this beauty. The Sargams start to flow in with backing vocalists Lal Krishna, Bharath Sajikumar, Amal C Ajith, and Amithav Suresh. The constant guitars and mandolin make the background feel like a bed of flowers one can just lie down on. The heavy percussions support the sargams in the interlude, giving the song some impetus and energy. The melody continues to make us speechless, and the best way to enjoy the melody is through silence and focused listening. I believe there are strains of Sivaranjani Ragam in the melody, and it automatically brings in a tinge of pathos. The electric guitar, along with the humming, is a nice addition just towards the end of the charanam. The stroke of genius is in the lead guitar solo in the interlude that exemplifies the style and work of Rex Vijayan. The layers of guitars are outstanding with lead, acoustic, bass, and maybe even a hint of a slide guitar. This is where the folkish chorus segment uplifts and makes it sound like an inspiring/devotional anthem. The sound engineers are Sai Prakash and Ajay Joy. @shahabazaman5 @rex_vijayan 2. Taare  BindigeyaSong Performed & Composed by: Sanjith HegdeMusic Produced By: Sunny MR, Gautham Hebbar, Sanjith Hegde, and ZiaLyrics by: Dhananjay RanjanLanguage: KannadaGenre: PopMood: ImmersiveSanjith Hegde is a model Indian musician who will alternate between all the movie album opportunities and strike a blow in the indie scene as well, with even greater force. This is something that many aspire to and dream of, but Sanjith achieves it with ease. This stunning creation is an amalgamation of amazing ideas originating from great minds. It doesn't just end with a great song, the music production, the arrangements, the writing, the video, the story behind all these are inspiring and thought-provoking. So thank you, Sanjith, for all the enlightenment. The video is shot in black and white and is an engaging depiction of the art of miming. Somehow, when it is this art form, I have always thought of Paris and France,but never knew that Jogesh Dutta was a pioneer with multiple awards and credentials to his name.The song starts off with Sanjith’s incredible voice and high-pitched lines, and he is a rare commodity who can do a dual job of calming your nerves and also stoking your emotions into a high, all with his tone and delivery. The melody is composed by Sanjith, and the music is produced by stalwarts like Sunny MR, Gautham Hebbar, Zia, and Sanjith himself. The keys, rhythms, and synths are energizing and adding those textures, making the heart swell in joy. The melody itself has strains of Khamas Ragam, according to me, and when The Indian Choral Ensemble is present in the background with those choral humming bits, the only way forward for a music lover is total surrender. The deep and meaningful lyrics are penned by Dhananjay Ranjan.The rhythms vanish as we get to the chorus segment “Taare Bindigeya” sung by Sanjith and followed by the TICE, and the harmonies are specifically performed by  Rutuja Pande, Nidhi Saraogi, Yazhini, Rajeevi Ganesh, and Nayansee Sharma. I love the vocal intervention by Sanjith, which feels like a mini dedication to the King of Pop, Michael Jackson. All the choir parts are arranged and recorded by Karthik Manickavasakam. Aman Mahajan is playing the guitar, and the percussion is by Karthik Vamsi. The Piano is flowy and a steady accompaniment in that pacy  bridge section. The title line is inspired by Purandara Dasar’s 15th-century poem. The thumping, multi-layered folkish percussion is one unforgettable highlight in this song. The harmonies also come in two parts, with one singing the lines along with Sanjith and another group just humming. The song is masterfully produced, so well done too these stunning artists, and when it comes to the video, the director and editor is Bijoy Shetty, Maan Madan as associate editor. Mezarushi Studios is the Production House. The tracks are mixed and mastered by Sunny MR at Chordfather studios, Mumbai. Nikhil Mathew is the recording engineer. @sanjithhegde @whatsabijoy @warnermusicindia @jackieramchandani @sunnymr @ziamuzik @gautham.hebbar @dhananjayranjan @mezurashi.casting @outofthewwoods @uttupiii @theindianchoralensemble @rutujapandeofficial @karthikmanickavasakam @nidhisaraogi @yazhs0007 @rajeevi.ganeshofficial @nayansee_sharma @everythingwedoismusic @karthikvamsivr3. Yaar Mera

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 18th October 20251. Rekka RekkaSong Composed, Arranged, and Programmed by Nivas K PrasannaSingers : Arivu, VedanLyrics : Mari Selvaraj & ArivuLanguage: TamilGenre: Alt Hip-HopMood: EnergeticThis is the second song from the album that I am featuring, and I am super excited to witness the movie in theatres this week. Keba Jeremiah plays that motif on the electric guitar, and the hyper rhythms, thanks to Nivas and Hevin Booster, become the hunting ground, all set and ready for the lead to come and perform. Rakesh MS is the man playing the Trumpets, Trombone, and Horns, and nothing inspires like the horn section in a sports drama song. Nivas K Prasanna is the composer, arranger, and programmer with lyrics by Arivu and Mari Selvaraj. Nikhil Mathew’s whistle works effectively along with the male chorus like a soundtrack in a spaghetti Western movie. The singers in the chorus are Shenbagaraj, Aravind Srinivas, Narayanan Ravishankar, Shridhar Ramesh, Sudharshan Ram, Sugandh Sekar, Abhijith Rao, and Prasanna Adisesha.Vikram’s rhythms and percussions with Keba’s basslines are smooth, stylish, and invigorating. Vedan, an artist I admire and respect, comes on board and brings his own inimitable style and energy, making me believe in the words “kannukku therivathu thadai illada”. The casual, lackadaisical, and cool delivery of “kelambu da, ini kalangadha, paayu du, ini pathungatha” reminds me of ‘Kodi Parakkudha’ sung by Dhanush and composed by Santhosh Narayanan. If one wasn't enough, Arivu follows Vedan, and the song gets a booster. The interlude with the male chorus and the horn section together is a fine anthemic piece that will give anyone goosebumps. The Mediterranean-style ethnic strings and percussion are interesting, and then we get a raw and throbbing folk percussive segment. This is a song that keeps giving and rising as well in intensity, and Nivas uses a nice melody, and his way of getting teh male chorus involved in the charanam is just worthy of appreciation. The intervention on horns and harmonies in between “kaatu yaani kku oru paadhai” and “kaalkal thedattum oudhu paadhai” is reminiscent of some of the works of Maestro Ilaiyaraja. Alex Samuel Jenito & Hevin Booster arrange and conduct the horns section, with rhythms, harmonies arranged and conducted by Alex. Akkarsh N Kashyap plays the violin, and the music supervisors are Hevin Booster, Alex Samuel Jenito & K.A.Surya Srihari. The tracks are mixed and mastered by KS Maniratnam at The Mystic’s Room, Chennai. The recording engineers are Aswin Krishna & Thanushree. @nivas.k.prasanna @mariselvaraj84 @dhruv.vikram @therukural @neelamstudiosoffl @applausesocial @vedanwithword @kebajer @alexsamueljenito @hevinbooster @mani_the_ratnam @k.a.surya_srihari @_.thanushree._2. KanmaniyaeMusic & Composition: Cliffy ChrisVocals: Kapil KapilanLyrics: Saleem R BaadshahLanguage: TamilGenre: PopMood: Romantic3 notes on the acoustic guitar by Chris Jason, and he has all my attention. This song has a list of some outstanding musicians who have made a mark in the Indie and movie music space, especially if you come from the south of India, and I am thrilled to hear the quality of this output when a team of A-listers combine. Kapil Kapilan rocks you away to a state of utopia with his opening line, “kanmaniyae.” How can your partner resist this if you sing this and dedicate it to him/her? Beautiful words are penned by Saleem R Baadshah as Kapil sings “ponmaniye perazhage, konjidava ponsirippae...azhage”.Cliffy Chris is the composer and producer of this enticing romantic single, and the additional programming is done by Anderson and Kevin Jason. Derick McArthur’s bass intervention steals the thunder from time to time while Chris uses the Ukulele to great effect, too. The song forges ahead into a faster tempo with the anupallavi section, as this is where the Ukulele plays a key role. “Uyirellam un vaasam velagaade ponmaniyae” is where the finely arranged harmonies kick in. A master soloist, Manoj Kumar plays that heart-rending violin in the interlude, and this is where I heard some strains of Yamunakalyani Ragam. I look forward to teh rest of the music from this movie album “Yellow”, featuring lead actress Poornima Ravi. Vasanth David on rhythm programming makes your head nod right through the song, and her aptly goes silent during the ceremonious interlude. I am reminded of Darbuka Siva’s songs from “Enna Nokki Payum Thotta” when I hear this song, thanks to the tone, instrumental arrangements, rich melody, etc. I love the fact that Cliffy allows Kapil to explore the lower end of his vocal range, while most composers write melodies and make him perform at a higher pitch. Vishnu Raj (2bq Studios), Prabhu Immanuel Raj (Oasis Recording Studio) and Ashwin Krishna (Reengara Studios), and Lokesh Chandrasekar (Classic Studios) are the recording engineers. The mixing is by  Abin Pushpakaran @ Blu Academy with mix assistants Rohit Oscar and Sims Marichami. @clifychris @yellowmovie25 @saregamatamil @poornima_ravii @kapilkapilanmusic @anandkashinath @saleem_r_baadshah @abinpushpakaran @hari.mahadevan2211 @namita.krishnamurthy @covai_film_factory 3. Baanaache Ello 

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 11th October 20251. Jhoom JhoomSinger - Shekhar RavjianiComposed, Arranged & Produced by Meghdeep BoseLyrics - Manoj YadavLanguage: HindiGenre: Semi-classical PopMood: ImmersiveHere comes a combination that has given some nice gems in the indie space, and my heart immediately starts feeling that rush of blood knowing that Meghdeep Bose and Shekhar Ravijani are involved. Megha Rawoot, this talented young soloist, plays the Sitar along with Hardik Verma and the heavy and impactful  chorus in the background. The Sitar plays the riff, and with the enchanting voice of Shekhar, all we can do is close our eyes and allow our minds to be transported to another place. Is there some Raag Brindavani Sarang? Maybe, because I am reminded of this famous South Indian classical Kriti called “Ranga puravi hara”. But , apparently upon further reserach and understanding , I realize tht it is Raag Megh. The melody draws you in and gives you a tantalising feeling, but it is also the production that makes this an immersive experience. The song is composed, arranged, and produced by Meghdeep with lyrics penned with care by Manoj Yadav. We also get a whiff of the Zither or the Swarmandal by Mangesh Jagtap and the Esraj by Arshad Khan. Megha and Hardik steal the show with that stunning interlude on the SItar, with a solid execution of the melody crafted with such finesse by Meghdeep. Instrumental interludes are a rare occurrence these days, and when it happens like this, one listening to it should be grateful and blessed. Esraj joins the party, and his solo intervention brings melancholy back to the table. Shekhar’s voice is beaming in the Antara, and the song just dives deep into a classical zone as he zings with some mild harkatein “bahut vyakul yeh praan hai”. The modern and western sounds are strewn all over to our delight, thanks to Meghdeep’s acoustic guitar, bass, and modular synths. Meghdeep gets creative with his melody writing towards the end of the Antara, and all the coming together of the guitars, bass, and synths is stunning, making this one of the best indie singles in recent months. The tracks are mixed by Prasad Maha at Boomerang Studios, Mumbai, with mastering by Christian Wright at Abbey Road Studios, London, UK. @meghdeep_bose @megharawoot @prasad_loud @aabhaas.tomar @shekharravijani @andrewtmackay @manastakle @abbeyroadstudios @santoormangesh @esrajarshadkhan @manojyadavwrites @taginstitute @pinkykipanchayat @christianabbeyrd 2. SukoonMusic Composed & Produced by: Salim SulaimanSinger: Arijit SinghLyrics: Shraddha PanditMusic Co-Produced by: Raj Pandit, Anshuman SharmaLanguage: HindiGenre: Semi-classical PopMood: ImmersiveThis one is special, and it indeed offers Sukoon in plenty. I recently saw someone post that this is probably Arijit’s best outing as a vocalist, and that is a true mark of the abilities and vision of the composers Salim-Sulaiman. To be honest, there have been innumerable songs with Arijit in the lead that lack feeling, are emotionally weak, technically deficient and melodically stunted, and repetitive. But Salim and Sulaiman are a different breed, and they bring on their A  game in writing this melody, “Aur kismat ne sajaye the meri nigahon me, jaane ab kahaan milega, kahaan chupa hoga , mil jaata toh rakh leta main” is a classic example of some fine notes, apt writing, and delicious vocals. The lyrics are penned with such style by Shraddha Pandit, and the song is composed and produced by Salim-Sulaiman. Anshuman Sharma and Raj Pandit work as co-producers, so credit to them, too. Salim plays the mild Piano, and we can feel the brazen bass guitar by Ralph Menezes. An electric guitar riff by Ishan Das appears here, and I am reminded of the interlude that comes just before the final bridge in Coldplay’s ‘Fix You’. Darshan Doshi breaks the barrier of silence with the emphatic drums. What follows is one of the finest moments of the song as The Indian Choral Ensemble shines on harmonies singing “Sukoon”. I cannot be happier than this as I see this blistering ensemble make inroads into the Hindi Indie space, and Salim-Sulaiman live up to the name of spotting and promoting great Indian musical talent. The Sargams that subsequently come after harmonies are another delight. The singers are Yazhini, Alisha Mathew Thayil, Nidhi Saraogi, Rajeevi Ganesh, Bavathayini Nagarajan, Rutuja Pande as Sopranos, Sushmita Narasimhan, Fathima Henna, Nayansee Sharma, Varsha R Mallya, Sivaranjini Chandramouli as Altos, Shridhar Ramesh, Chirag Shetty, Vivin Richards, Manikandan Chembai, Shivsundar R as Tenors, and Shyam Krishna, Prashanth Mohanasundaram, Cyril Simon as Basses. The choir is arranged and conducted  by Kalyani Nair. The melody has fragments of Raag Charukeshi in the antara, and it flows like a perennial stream. As he sings “doobega” we are drowned in the goodness of this melody, which also shows influences of Raag Maand in certain places. The recording engineers are Abin Ponnachan, Biju James, Karthik Manickavasakam, Sukanto Singha, Om Vyas, Aslam Khan, Benvin Fernandes, Raj Pandit, and Tejus Srivastava. Arijit once again makes a killing in the outing as he improvises and delivers teh Sargams, with TICE in terrific form. The tracks are mixed and mastered by Aftab Khan at Headroom Studio, with mix assistants Tejus Srivastava and Vatsal Chevli. @arijitsingh @shraddhapandit @salimsulaimanmusic @perinmalde @merchant_records @thereelexplorer @mishalsingh  @bhoomi_salimsulaiman @theindianchoralensemble @kalyaninair86 @karthikmanickavasakam @rajpandit17 @darshandoshiofficial @i

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 5th October 20251. Hollow Vocals, Composition, Lyrics: Anoushka MaskeyMusic Produced by: SudanLanguage: EnglishGenre: PopMood: DreamyThe only way I can think of the word ‘hollow’  in my life is if I stopped listening to such music and a vocalist like Anoushka Maskey stopped to exist. Please do stream this album called ‘ Epilogue One’, and enjoy some of the finest English Indie music of the year. The acoustic guitar is played by Anoushka with a constant rhythm. As soon as she ends the first verse “But Today a drink will suffice,” her humming and improvisation that follows is the intoxicating drink for me. The rhythms start to flow, and I can hear the sound of a double bass at the rock bottom layer. Kudos to you, Anoushka, for writing such heavy words, but your music and singing make the heart feel lighter. Listen to these words “ I been breathing in a freedom  begged and borrowed, there's no ownership in my tomorrow, guess I'll give into the game, where my mind’s easier to tame”. This is superlative in the choice of words and emotive expression. Sudan has been picky and choosy in the arrangements so far, going for subtle over sizable. But the magic is due from him too and he sets the audio ablaze as soon as Anoushka sings “ Guess I’m just restless today”. The violins at first, and the string quartet, begin to attack every cell of our body. Musically, I have been overpowered, and I surrender here!Leave it to Anoushka to be spontaneous with her vocalisation, and that is precisely what she does in the interlude before the bridge section. The lead guitar is incisive here as the rest of the arrangements go silent. That silence is temporary and we get an outpouring shower of the violin, viola, and cello. 2. Kaadhal PonmaanComposed, Produced & Arranged By Yakzan Gary Pereira & Neha Nair Singers : Neha S Nair & Vishnu VijayLyricist : VinayaksasikumarLanguage: MalayalamGenre: Light MusicMood: RomanticSandeep Mohan’s guitar riffs are like waves, and the humming in the intro coincides with that to create a ripple effect in my head. I am already swaying and nodding it as a response. Neha S Nair heightens the glamour quotient with her stylish Alto voice.  Every time she says “ smile, eh, dream eh” , and “spark eh”, I feel teh power of those words thanks to her folkish vibrato and delivery as well. Sajith Padmanabhan impresses with that tinge of a Thavil during the pause in the melody. Don't take my word for it, tell me after hearing yourself, if you felt butterflies in your tummy when you hear “Nee Paarkkum Pothu, Melaake Thilakkanu, Butterflies, Keezhvaithil Parannu”? Sandeep plays the classical guitar/nylon guitar so eloquently, intervening with poise and precision.  Yakzan Gary Pereira and Neha S Nair compose the melody and handle all the arrangements and music production. Balu Varghese is constantly providing the rhythmic support on the subtle Cajon. The chorus segment, as well as the Nadaswaram interlude, has backing vocal support, most likely by composer/flautist Vishnu Vijay. Trivandrum K Rajkumar is playing the Nadaswaram, and I was reminded of the Maestro Ilaiyaraja’s melody that comes in ‘Karagattakaran’ when the Dance troupe enters the town to perform. The guitars sizzle in Latin Pop style, continuing the beautiful interlude. Vishnu Vijay makes the foray in the charanam with a couple of lines, and Neha stuns you with this line “Raakolam podunna Thingal vettathil thaniye kananam”. Vnayak Sasikumar gives us these beautiful words of love and passion. The tracks are mixed and mastered by Vivek Thomas. @nnehanair @yakzangp @meenakshi_unnikrishnan_ @m_noufal_abdullah @tseriessouthofficial @vishnuvijay01 @nightridersmovie 3. WastedWritten and performed by TLF GangVocals: Kumar Hardik NarayanComposed by  Kumar Hardik Narayan & Soumyadeep MajumderLyrics : Kumar Hardik Narayan & Prantik DeyMusic Production: Kumar Hardik Narayan & Duktshen Lama

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 14th September 20251. TheekkoluthiSong Composed, Arranged, and Programmed by Nivas K PrasannaSinger : Nivas K PrasannaLyrics : Mari SelvarajLanguage: TamilGenre: FolkMood: Dance/EnergeticI am eager and delighted that Mari Selvaraj has picked Nivas K Prasanna for the music composition duties of his next film, ‘Bison Kaalamaadan’. Since 2019, as I began my journey in music journalism, this guy has been creating beautiful original music and has focused on writing ravishing melodies. Working with Mari will be his toughest and most prestigious assignment yet, and when this first single was released, I became confident that hw will deliver. I was reminded of the style of music we heard back in the 1990s and 2000s. After that melancholic intro sung by Nivas, the female chorus involving Padmaja Sreenivasan, Aparna Harikumar, V U M Ayshwarya & Sivaranjini Chandramouli  feels like a Tribute to legends like Ilaiyaraja and Deva. The bombastic sound of the rhythms and percussion infuses adrenaline, and all that amazing sound is created by Shurthiraj, Kaviraj, Derick, and David.Alex Samuel Jenito handles major departments like conducting the rhythms and harmonies. Nivas weaves the main melody, which feels like Keeravani Ragam at times, and he is also the arranger and programmer. Navin’s flute whistles past us like a breeze in the bamboo forest. Nivas does a fantastic job singing the high-pitched lines sunk deep in emotions, “adiye podi , nee podi, unna thedi , enna thedi, en usuro oduthu odambo veguthu”. The percussion is outstanding and feels elevating after teh chorus/title “Theekkoluthi”, almost like a raging fire that is moving wild and fast now. Reshma Shyam can be heard in the background as the backing vocalist, and Aalap Raju is breathing fire with the bassline. “En aasai vedikkuthadi, Un pasam eriyuthadi” sounds beautiful thanks to such amazing words by the man himself, Mari Selvaraj. All the additional programming is by KA Surya Srihari. This is probably the best interlude I have heard in 2025. Take a bow, Nivas and Navin, for that ‘breathless’ flute solo that rises in intensity and pitch. Like light at the end of the tunnel, we have the reverberating percussion in the end, otherwise I would have drowned in this melodious bit. The combination of the bass guitars, the harmonies, the heavy percussion, and the flute is divine, and in fact, I have tears at the edge of my eyelids. Well done, Nivas and the whole team deserve an ovation for this beauty, like his music supervisors, Hevin Booster and Alex Samuel Jenito. “Poomudichu nee pogayile, theepudichu naan saavirane”, how better can one describe the pain and agony of love? The recording engineers are K S Maniratnam, Manoj Kumar, Ashwin Krishna & Thanushree, and the tracks are mixed and mastered by K S Maniratnam at The Mystic’s Room, Chennai. @thinkmusicofficial @nivas.k.prasanna @happyhippiegurl @aditianand @devnidhib @ranjithoa @applausesocial @sameern @mariselvaraj84 @alexsamueljenito @hevinbooster @sivaranjinichandramouli @aparnaharikumarh @padmaja.07 @k.a.surya_srihari @singer_reshmashyam @aalapraju @mani_the_rathnam @_.thanushree._ 2. Meetha KhaaraConceptualized & Composed by Siddharth Amit Bhavsar Vocalists: Aditya Gadhvi, Madhubanti Bagchi, Thanu Khan Lyricist: Bhargav Purohit Music Arranged & Produced by Siddharth Amit Bhavsar & Mir Desai Language: RajasthaniMood: Dance-EnergeticGenre: Folk-PopWe have the Jodia Pawa, a folkish double-flute , used in Sidgh, Kutchh, Rajasthan, primarily, which is played by Noor Mohammad. We hear the neregtic vocals of Thanu Khan, a young folk singer, and the boy delivers a fine performance, high on charm and quality. Listen to him sizzle on the harkatein and the high-pitched delivery. ID Rao and Robin Fargose are two outstanding instrumentalists, and they take care of the horn section. Aditya Gadhvi joins, and the chorus segment becomes this folk-jazz-pop segment that just brings you on to dance. Madhubanti Bagchi has this gifted voice, and it is songs (unlike generic dance songs) like these that allow her to showcase all the abilities in her possession. Ishan Das plays the strokes and guitars while the energy is kept zingy by Pappu and Gulab on percussion. The music is composed by Siddharth Amit Bhavsar, and the music is produced by Siddharth and Mir Desai. The horns and keys elevate the song beautifully when we get to the line “ have dhola dhola lage, mane mola mola lage”. Daana Bharma plays the folkish percussion Ghado Gamelo, Lkha is on the stringed instrument called Lakha. This song finally feels like the latest season of Coke Studio Bhahart has arrived. Bhagirath Bhatt plays the Sitar, and the segment that follows is just incredibly suave with “Toote Toote toote na, Na toote maari haam”. The song moves deliciously into the pop-jazz style, and kudos to all involved in giving us something original and infectious. The House Band consists of Dan Thomas on drums, Ashton Colaco on Sax, Dishakan Baruah on electric guitar, and Bhargav Purohit on the Vajon. The lyrics are written by Bhargav, and the tracks are mixed and mastered by Abhishek Ghatak. The sound engineers who have worked on this are Sanket Tole, Dharav Bhavsar, Nirmal Rathod, Ajasra, Tarush Saxena, and Aryan Desai@cokestudiobharat @adityagadhviofficial @bagchi_mb @musicwaala @mirdesai16 @baxkhan @khan.thanu @salimmerchant @gunsarfolkmusic @bhargav_purohit @theghatak @ishandas_666 @idrao_official @trumpetrobin @bhagirath.bhatt @danthomasdrums @senorashton @dishankanbaruah @compassboxstudio @sanket.s.tole @nimrmal_rathod_12 @ajasra__ @tarushsaxena_ @styleitwithniki

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 7th September 20251. KaalameComposer, Vocalist: Maalavika SundarLyricist: Viji VishwanathanLanguage: TamilGenre: PopMood: RomanticA talented vocalist, Maalavika Sundar is quite good when it comes to her indie songwriting as well. This too is another fantastic example of a stunning track with Maalavika on vocals and composition with lyrics by Viji Vishwanathan. Akshay Yesodharan plays the guitar right at the intro, with Krishna Raj on the solo violin, teasing us mildly. She sings with that semi-classical flair, “ Kaalame ennai ariyamal” with the accompanying bass guitars sounding cool. The writing by Viji gets very interesting, and that intensity only spreads like wildfire with the vocals and melody. Take these lines, for example, “ vaan illathu megham yethu? Nan indri Nee ennum soll yethu? Thee illathu theepam yethu , nee illathu naan ennum soll yethu?”. The chord progression, especially the phrase that takes Maalavika to the higher-pitched notes, is worth listening to again and again. Kuberan is the drummer, and Ashwin Iyer is on keys. This is some stunning Pop music, and the highlight is the Violin solo interlude by Krishna Raj, with an elaborate melody written . We are led into a magical charanam, and are these fragments of Abheri Ragam? “Theera thedal dhaan naadal aanadho”, with that ghamaka, and the words get even deeper, making me fully empathize with the protagonist’s wait for her companion. “Kaana Kadhal dhaan paadal aanadho” is one such beautiful line, and it is made magnificent with Maalavika’s delivery and emotional aptness. The heart is fully conquered by that Rock-pop embellishment as we get to the landing notes at the end of the charanam “neeyum naanum serum neram pozhiyum”. Kuberan gets into scintillating mode with his drumming towards the outro , and Krishna Raj is equally impressive with the violin solo in the background. Let us not forget how incredible the ghamakas grow into, and Maalavika deserves a round of applause for writing the melody and executing it with such finesse.  Livingston is on percussion, Reshwin is the uber-cool bassist, and Toby does all the mixing and mastering. @ashwiniyer_ @vijivishwanathanofficial  @tobsgarage @reshwin_nishy_nishith @krishnarajviolin @fathima_hakkim @lawrence_soundengineer @kuberan_drums @akshay.yesodharan_ @down__trodden @lishachinnu @livingston06 @harshitha_pragathi 2. Vidiyatha IravondruMusic Composer: Achu RajamaniSinger: Achu RajamaniLyrics: Balaji VenugopalLanguage: TamilGenre: Pop BalladMood: Mild PathosAchu Rajamani’s songs always tend to captivate the listener in some way or another. A good melody , delivered by an able singer, is the norm and Achu follows that pattern in this beautiful track. He composes the melody and is also the lead vocalist with Balaji Venugopal’s touching and relevant words. The Piano starts to play, and the accompaniment is mild, and all our attention is on the vocals, melody, and striking lyrics “valayamal nadhi endrum kadal servathillai , vilakatha thirai indri kalai ethum illai”. Take a bow, and for those who cannot follow Tamil, the lyrics say, “ there is no way a river can reach the sea without bending ,there is no art without a curtain being raised”.The humming that follows is pure magic, and the guitar notes that hit you in the pause by Bruce Lee feel cathartic. Chennai Strings Orchestra can be heard playing the string section. Is there some Raag Desh in the melody? Maybe. The interlude has this female harmony by Sruthy Sivadas and her team. The melody written here lifts your spirit, and isn't that exactly what you look for when you listen to music? The charanam is where the things get feisty with some tantalising Choral arrangements when Achu sings “ Naan alaiyin nilaipol oruvan,  Nee malaiayin nizhal pol oruvan” , specifically on “naan” and “nee” notes. The Choir team is El Fe Choir with Roshni Vincent in the lead. The way Achu writes the melody and gets such fantastic support from Balaji on the lyrics is a treat to our ears as the charanam progresses into “ Nee thaan Manidhan, maara pundihan, thavarai ninaithene, indha pethai siruvan” with the choral support. I am so excited to watch this movie purely thanks to the way the song reveals and hides details in the lyrics. Achu does all the programming, and the tracks are recorded by Ijaz Ahmed. The recording was done by Joshua Fernandez at Sounds Modified, Chennai, with assistant sound engineer Tanushree. The guitars and bass by Bruce Lee feel like his namesake's martial arts punches. When I hear the song again and again, I begin to think if there is some Harikambhoji or Khamas Ragam in the melody!@achu_rajamani @bvfeelgood @payal_radhakrishna @venusinfotainment @koteeswarjaiganesh @kavitha50 @saindhaviofficial @crazyfingers.bruce @sruthy_sivadaas @elfechoir 3. Thani Lokah Murakkari

If you are a musician wanting your  new release to be reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 31st August 20251. KavavaBand - Masala CoffeeVocals - Abhijith Anilkumar Keyboards & Additional Programming - Pranav KSLanguage: TamilGenre: Classical rock FusionMood: DevotionalMasala Coffee is unstoppable, and their brand, style of music is more coffee-like, stimulating with a tinge of masala.  Abhijit Anilkumar has been teh driving force with the semi-classical vocals. This Classical Rock fusion is dedicated to Lord Muruga with the traditional devotional melody set in Ragam Varali. The mind travels to a deep place of spirituality with ‘Velavan’ ruling our hearts. I am always drawn to the idea of Lord Subramanian, having grown up in Tamil Nadu, and this song does evoke extreme piety for the ‘Mayilavagan’ as they call him. Surya Bharadwaj raises the temperature with the electric guitar riffs, and Daya Sankar plays the demonstrative drums. Masala Coffee gives us the perfect blend of these two different styles of music, and the ultimate impact on us humans is mesmerism. Abhijith is close to perfection on the ghamakas “kandha vaa vaa kavava velava,” he sings to stun my senses. Amal Sivan comes on board with that solo on the violin, and I can only extend my arms as a way of surrendering to the epic creation here. The charanam allows the vocals and classical nature of the song to come forth. Varun Sunil plays the Ghatam, with only Pranav’s keys accompanying. He also does all the additional programming here. “Valli Thevayanai Manavala” sings Abhijith, and we get to hear a vocal tutorial/masterclass. After a mild pause, the dose of heavy metal gets infused with Paul’s bass and Surya's guitars. Varun Sunil and Razik Mujawar are the backing vocalists. There might be many amongst us who recall songs by bands Agam, Thaikkudam Bridge, and the famous ‘Varaha Roopam’ too. This genre is unlikely to fail, and Abhijith might have just delivered one of the best vocal performances of the year. The recording, mixing, and mastering is by Jayakrishnan Nalinkumar at Tag Institute. @masalacoffeeband @varun.sunil @razikmujawar20 @abhijithanilkumar @amalsivan_official @bassmanpaulie @suryabharadwaj.music @jk_theaudioguy2. Oora Paaka PorenComposed, Arranged, Produced, and Sung by VijaynarainLyrics: Super Subu Language: TamilGenre: Folk-PopMood: ChirpyI love how Vijaynarain focuses on quality over quantity. He has these indie releases amid the movie forays, but not a single indie track falls short of the high bar he has set. Take a bow for this fine melody, and when you hear it, you can visualise yourself taking a ride towards home, through the lush fields and serene landscapes. That is the power of a relevant and effective melody where the tune takes care of the message even without the lyrics. The song is composed, arranged, produced, and performed by Vijaynarain. But this is not going to allow Super Subu to take it easy. The director/lyricist gives a blow with these witty and interesting lines, and all that is left to complete the touches are the excellent live instrumentals.We hear the guitars straightaway and not one, but 3 outstanding instrumentalists pluck these strings, viz. Aditya Ravindran, Akshay Yesodharan, and Vijaynarain himself. Can you imagine yourself by the river when he sings “Kaveri Karaiayinile”? . The arrangements are beautiful and well-thought-out, with timely pauses and counterpoints on the guitar. This happens when Vijaynarain sings “ Kaala vela gadigaram illa, seval ezhuppum adi”, and Super Subu lives up to his name with lines like “ Kaadu undu Sim-card illa”. The melody moves into something so heartwarming with the subsequent line “kadavulum kaathum karuppum Kadai Kamaingalum koopuda,” and this chord progression is my favourite from the song. Here is a standing ovation for Super Subu for giving us a fantastic phrase of all ‘K’ letter words, something we would call alliteration in English. Naveen Napier is eloquent as always on bass, tagging along right through with his funky interventions. The chorus segment is the source of amazing tranquility as we hear this, and our mind instantly travels to our hometowns. This is where I also felt a strain of Maand Ragam in the melody. “odai kooda oda poren, ooran paaka poren”. The rhythm and lead guitars, along with the bass, form the delightful interlude. The charanam is a worded description of what all one can witness in the rural parts of TN, and with every line , we are able to form visuals in our minds, so that is some fantastic visual storytelling. “Kadhai pesa lezhavinga” is where Vijaynarain weaves some valiant vibrato. And once we get to the end of the charanam, Super Subu strikes again with another set of words now “ Kolvaiyum koothum kolamum kayal kathazhaiyum koopuda”. The tracks are mixed and mastered by Toby Joseph with recording engineers Hariharan at 20db Studios , Manirathnam at The Mystics Room, Chennai, and Pranav Muniraj at Future Tense. The bridge section is beautiful with words like “Manmabzhathu vandoda” taking us back to the famous “Mambazhathu Vandu” by Viswanathan -Ramamurthy. I love the mild strings arranged in the background here. Notice that stunning bassline by Naveen Napier in that pause after “seval ezhuppumadi”, so even if the Rooster doesn't, Naveen’s bass will wake you from your slumber. “Kalappaiyum Keppa Kaliyum Karunkannjaadayum Koopuda”, take it one more time, says Super Subu in the outro. The people responsible for the amazing video are Vishwanath, Aashik, and Vigneshwar. @vijaynarain @soupersubu @adityaravindran95 @akshay.yesodharan @__hari__ @napier_naveen @tobsgarage @20dbsoundstudios @pranavbalu @mani_the_ratnam @mysticsroom @rec709.films @ashik.99 @vigneshwaran_kn 3. Goodbye SongSinger: Shagun SodhiMusic: M.M. Keeravaani Lyrics: Kausar MunirLanguage: HindiGenre: PopMood: ChirpyThe man’s class shows up here , and MM Keeravani takes just a few seconds to grab your attention. The intro riff on the guitar is nothing spectacular, but it sets the stage for what rolls out later. Shuagun Sodhi is the lead vocalist, and the way she transitions from Hindi to English is admirable. Interestingly, her singing is flat while on Hindi, but the moment she starts singing “Here I go”, the improvisation, vibrato are all super impressive. Kausar Munir is the lyricist, and she writes these heartfelt lines. MM Keeravani’s arrangements and production stand out, and you can feel the impact of the stylish saxophone combining with the swift string section in the interludes that follow. I am yet to listen to the other songs in this album, “Tanvi The Great,” a movie directed by Anupham Kher.The heart simply skips a beat, more than once, as we are listening to the melody that plays, entirely with the violins, after the 2nd minute, with the Cello at the end. The writing by Kausar gives you a smile and makes your heart bloom just like the roses she is referring to with lines like, “roye roses, gaaye chorus,” and we get backing vocalists singing in chorus. If all this wasn't impressive yet for you, get blown away by the French horns and Bugles , along with that solo violin in the subsequent interlude and the rhythms, keys that elevate the mood. Kudos to Keeravani for the dedication to creating good music. The song’s purpose and impact are captured in this one “ acche cheezein socho, lovely lagegi yeh duniya”. @shagunsodhimusic @mmkeeravani @kausarmunir @ndfcindia @excelmovies @aafilms.official 4. NerungattaComposed, Arranged, and Programmed By : Aditya Ravindran Singer: Aditya RavindranLyrics : Karthik ManickavasakamAdditional Vocals : Sanjith HegdeLanguage: TamilGenre: PopMood: RomanticExciting times are always around when some talented musicians make their debut as music composers. Aditya Ravindran is definitely one of the names that I was so eager to listen to, and here is his first single from the upcoming album “Couple Friendly”. An intro that stings you with the basslines by Aditya himself. Isn't this funky already within the first 10 seconds? Aditya composes, arranges, produces, and performs the lead vocals, and he doesn't stop there. The guitars and bass are played by this all-rounder and multi-instrumentalist. “Mounamaay Pesinaay” writes Karthik Manickavasakam, another partner in crime for so many film compositions along with Santhosh Narayanan, just like Aditya, impresses with his words. “Nerungatta Vilangatta” with the accompanying bass and pauses just keeps playing in your mind all the time.The setting of the song is perfectly amplified by the music and lyrics, which show all the passion and dilemma that teh couple is experiencing. The pauses feel like how the heart races but suddenly also skips a beat or two when teh person you desire is near you. The Keys and mild rhythms are so catchy, especially the interlude piece on the keyboard is infecting you with addiction. The landing line is where I love teh chord progression as well as teh writing “Maruthalum Sirithome tholainthum inainthome” along with Sanjith Hegde’s backing vocals. After writing this,  I am going to listen to the Telugu version “Naalo Nenu” sung by Sanjith. The magic is here when he sings “Kaigal Pinnum” and then “Kangal Thallum” with the bass guitar notes playing on two different octaves after each phrase. The tracks are mixed and mastered by Nitin Muralikrishna. @adityravindran95 @karthikmanickavasakam @adityamusicindia @vrglobalmedia @sanjithhegde @manasa5varanasi @santhoshsoban5. You’re U ThoComposed and written by Karan Aujla, IkkyVocals: Karan AujlaMusic produced by Ikky & MilanoLanguage: PunjabiGenre: Synth PopMood: EnergeticI was absolutely thrilled when I heard the new Album called ‘P-Pop Culture’,  with more than three songs being very enjoyable, upbeat in writing and vocals, while being scintillating in production. Karan Aujla has always been quite impressive, and he, along with Ikwinder Sahota (Ikky), has written the melody and lyrics. This is my favourite on the album, and we get a brazen synth-pop wave hitting us in the intro with Milan D’Agostini (Milano) on synths, guitars, bass, and keyboard programming. The energy is built up within the first few seconds, and Karan uses his delivery to instill that oomph in us.It is one heck of a ride all the way, thanks to the superlative music production by Ikky and Mlano, with the former handling the drums and rhythm programming. The lyrics are “Tu Par Tu Hai” although we have an English equivalent in the title. The guitars are eclectic along with the stylish bass, and this is a lesson for all those Punjabi musicians who want to make some fresh and original music. The carefree singing by Karan makes it such a lovable track, and where the producers turn on the magic is with elements like the harmonies that come on past the 2nd minute. There are moments when teh drums and rhythms take a pause, but the enchantment never fades away. The tracks are mixed by Josh Gudwin and mastered by Chris Gehringer. Pls do check out two more amazing tracks, “I Really Do...” and “For A Reason” in this album @karanaujla @musicbymilano @ikky.music @jamaleurope @zachstuckeymusic @kirkgrange @sandyschiwsberg @joshgudwin @studioratz @chrisgehringer 6. DuppatawaaliMusic composed, arranged, and produced by Justin VargheseSingers : Sanjith Hegde, Anila RajeevLyrics : Suhail KoyaMusic Producers : Joe Anton and Justin VargheseLanguage: MalayalamGenre: Light Music/PopMood: Romantic       ‘Exciting’ is the word I thought of when I saw these names and rightly so, the fantastic array of musicians have delivered a super song. Justin Varghese has composed and arranged the music, and we have two gifted singers in Anila Rajeev and Sanjith Hegde. The intro feels like a Kazoo, and

If you are a musician wanting your  new release to be reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending    24th August 20251. Ek Baar Phir Singer and Composer: Monali ThakurLyricist: Kunaal VermaaMusic Producer: Keshav TyoharLanguage: HindiGenre: PopMood: RomanticMonali Thakur comes along and gives this fantastic song, and when i least expected because in all these years I have only known her as a performer with a unqiue and gifted voice. But here she composes a melody that stuns you with its intricate writing, and the chord progression is fresh and also keeps you guessing. Kunaal Vermaa is the lyricist, and Keshav Tyohar is the music producer. Her singing in the line with the pauses and the accompanying Piano feels pristine when we hear “Jan Tum guzre, galiyon se mere” and I would have never expected the subsequent lines “Bikhre huye..Dil ko mere..Mehka gaye..Mausam tere”. Keshav brings on the Retro feeling with the live percussion that gets introduced in the chorus segment. Is there some influence of Raag Bihag, or maybe anything in the Bilawal Thaat? Maybe. I am enamored and feeling full in my heart when I hear the amazing chorus segment composed by Monali, “ Aaya hai kisi pe yaaron dil ..Haan ji haan.. Aa gaya hai dil..Ek baar...Ek baar phir”. The song has the old-world charm with its structure now following a mukda-antara pattern, and Keshav aids by keeping the production to a minimal effect. The choice of live percussion, played by Arun Solanki,  is apt to give us that feeling of nostalgia. “Neend aa gayi, Aaye nazar Jab aap khwabon ko liye” shows how convincing and beautiful Monali can sound in the higher pitch. She never settles for making just a couple of good lines in the melody, and the effort to give a completely stunning track is evident in the way the notes land from the antara to the mukda, for example.. “Is marz mein Sab theek hai..Dava ise na deejiye”.  Kunaal must be appreciated for writing these heartfelt lines of love. The tracks are mixed and mastered by Pankaj Borah at Neo Sound. @monalithalur03 @kunaalvermaa @arunperc @pankajborahb @keshavtyphar2. Tum Jo Ho YahaanWritten, composed, and performed by Prateeksha SrivastavaMusic produced and arranged by Akarsh Shetty Language: HindiGenre: PopMood: PathosOne of those artists who is loaded with talent, Prateeksha Srivastava, is about to release her new EP, and I cannot wait to hear the whole thing. Until then, we have to keep ourselves satiated with these singles like this excellent one, which is composed, written, and performed by Prateeksha. Austin Furtado’s rhythm guitar delightfully makes it feel like a tranquil love song in the intro. He also does all the guitar arrangements for the song. The voice is mesmerising and her mild improvisations add sprinkles of love like “jab se neenden poori hone lagi, jaane kya sukkon ka mazaa”.It is not just her singing, which is, anyway, top-notch, but what conquers the music listener's mind is Prateeksha’s melody, and the proof of that comes about in the chords that belong to the pre-chorus lines “parayi, parayi, haan kyun na lage tum mujhe parayi kabhi”. Akarsh Shetty is the music producer, and he handles all the adequate arrangements for the song. The humming that follows the title line is a sweet lullaby, and her vocals calm you down. We get Austin playing the guitar with some finesse in the interlude, and what follows is just Prateekha’s exhibition of her talents as a singer and composer. The delicate lyrics and the slow and soothing melody gradually soak in some meaningful melancholy. Akarsh adds the layer of strings in the background when we start hearing “ tu mila, chal pada,” which adds some gravity. The mild harmonies that embolden the lines “jagaye jagaye jo soye hue” are another example of all the perfect elements added by AKarsh as an arranger and producer. Aren't you simply haunted by this girl's ability to sing with poise? Listening to “Jaan liya Maan Liya” brings out the tears in me. Akarsh Shetty plays the e; electric guitars and is also the mixing and mastering engineer. The inclusion of the drums in the outro feels like fresh bursts of energy that prepare us for the ending of the amazing song. The video is shot by Priya Mishra. @officialprateeksha @akarshshettymusic @austin.furtado.3 @iishanchaturvedi @pri.mi @shradha17_makeupartist @firstwav @allbyplay 3. Baarish Mein PhirPerformed by : SaahelLyrics/composer : SaahelProduced by: SaahelLanguage: HindiGenre: Pop

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    17th August 20251. Honey WordsWritten and performed by Perfect Strangers Producer: Raag Sethi Lyricist: Ananya RajaLanguage: EnglishGenre: JazzMood: GroovyPerfect Strangers, they are called, but quite the opposite when it comes to making absorbing music. This is the brand of music that is rich, evocative and mesmerising. The lyrics are penned by the band's lead singer, Ananya Raja, and Raag Sethi handles the music production. Do I need to say more? The intrigue is just building with every release of this act and I cannot wait to see them perform live. The stylish intro, featuring bass, guitars, and drums, takes you back to the 1970s. Pranay Gulvady plays the Sax solo to create a buzz right at the start. Joshua is the keyboardist, Debjeet on guitars, Pranav on vocals and the energy oozing from Preran's drums. It is an instrumental joyride initially, and Ananya then pulverises with her singing. She exhibits amazing control, chutzpah, variety and style in her delivery, and one knows she is a born performer. The way she twists and improvises on the last word in "don't u worry now, he was gentle, he only stabbed me in my heart". The chorus segment is my favourite as she sings and torments us with her unbelievable vocal prowess, going " you might call me crazy, but I'm drowning in his Honey Words" The chord progression here is fresh and inspiring, around the chorus segment, and when we hear the Sax and harmonies, we know that it has Raag. Wow, the improvisation on the word "comprehend" by Ananya, and these are moments that can lift a song multifold. The keyboard solo in the interlude is where you feel such extravagant style, and the song is just a perfect example of the quality in the indie space here. The outro on drums is still reverberating in my ears. The tracks are mixed by Protyay and mastered by Raag. @pranavdm @cosmic_roach @ananyarajaa @preran.pramod @debjeetguitar @joe_keys_jazz @perfectstrangersindia @virtualtapesproduction @raagsethi 2. Aagasa Veeran Composed, Arranged, Programmed by Santhosh Narayanan Lyrics: Vivek Singers: Pradeep Kumar, Dhee Language: TamilGenre: Folk-PopMood: RomanticThis was a solid album by, who else but, Santhosh Narayanan, with 3 brilliant songs and some stunning BGM tracks also. Having featured the other two songs already, this is the 3rd song and one that is important to many Ta mil music fans for one reason, the union of Pradeep Kumar and Santhosh Narayanan as the singer-composer duo who we have missed for 8 whole years. Aditya Ravindran's acoustic guitar starts playing the riff, but what dominates the intro and background sonically is Pradeep's Ukulele. This paints all kinds of shades of the colours of love. It is not every kind of song that suits Dhee's vocal tone, but Santhosh knows the song type, genre and style that will not only fit perfectly for Dhee, but also ensure the output is elevated multiple levels by this astonishing singer's abilities. I don't know many vocalists who can make every note and every word and every phrase sound like a symphony. Look at her sing " Hey naan sikkum erumba, ullala oru minnal narambaga" and u feel the pain of that ant and that nerve that she is referring to.I love the interludal humming that first has Dhee and then is backed by Santhosh another time, going "hey hey hey". Once the master Pradeep Kumar starts singing, we are walking in the green paddy fields of Tamil Nadu as this man's ease of singing these aalaps and improvised vocalisation bits a folkish heaven. The writing is fantastic as you would expect from Vivek, and with Pradeep's singing, the message of love is beamed across like a laser light, sharp and effective "pakkadha vannathula nee thaane ennathula, thakkadhe theyyal vizhiye". Karthik Manickavasakam accompanies with his electric guitar interventions, adding some style. "Maipoosi inneram azhikkama kannoram, kanakkaga vechene unakkaga thaan", and whenever Dhee sings this line, every living soul who understands the words will go back to their school or college days, where they couldn't take their eyes off their lover. Isn't this what music is all about? A Heartfelt melody with perfectly elevating arrangements, lyrics and singing that deliver a message that was intended. The last 90 seconds are about some upbeat rhythms, Pradeep's improvisations and the accompanying guitars and ukulele all coming together. The tracks are recorded, mixed and mastered by Santhosh at Future Tense Studios, Chennai. The music supervisor is Santhosh Kumar, with music management handled by Meenakshi Santhosh and Jabaraj as Studio Assistant. 

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    3rd August 20251. Nothing NewWritten and Composed by Anoushka MaskeyVocals: Anoushka MaskeyProduced by Sudan Language: EnglishGenre: PopMood: ImmersiveThere is nothing new here! Anoushka Maskey comes along and serenades you with her voice and stupifies you with the abilities she possesses as a vocalist to improvise and add vibrato. All I am saying is that if you have been listening to this amazing artist, you know what she is capable of, so there is nothing new. The vocalisation, the scat-singing as they say, is beautiful in the intro and you are drawn immediately by the charm in her voice. Her writing is fantastic and has so much to say, mean and hint at with lines like "I'm sorry I hate you, but I don't really, you're just where trauma resides". Listen to the tremble and vocal improvisation when she utters the word "hide" in the line " like you've nothing to hide" as she hides so much vocal prowess just within that one word. Sudan is the producer and he keeps the riffs going on the Keys, but introduces the sound of the marching drums in the pre-chorus segment. The chorus segment ends and we get to a loaded interlude with Anoushla's humming and some nice rhythms and bass. We get a beautifully arranged Accordion here that replicates the notes of the humming.As we get to the second verse, the writing, singing, and arrangements get an elevation effect as well. The riddled writing deserves appreciation, and it is never mundane like how most songwriters do. Look at the beautiful lines "Don't it feel like the end of a movie, your favourite is dead, it's just like they said". Her improvisation reaches a pinnacle with the subtle, soft but succulent touches at the end of the line, "the plot's not the point of the story". Sudan gets the Organ Piano effect at the end of this verse, and the rhythms and keys combine to create a mesmerising effect. The tempo drops slowly, and we are treated to a breezy electric guitar solo, and the bridge section comes to make one final mark. The pauses create such awe as well, and as you can hear her sing " cause I'll want to go where the winds blow", there is no stopping Anoushka. @anoushkamaskey @notsudan @maan_boruah @sharkandink @tunecore.ind @vedikasood 2. IVAL Music Composed and Produced by Harish Venkat & Prashanth Techno Vocals: Pradeep Kumar Lyrics: Harish Venkat & Johnny D’Souza Language: TamilGenre: Light Music/ SymphonyMood: ImmersivePrashant Techno and Harish Venkat call themselves 'Madley Blues' and I have loved their work whenever it gets released. The last time these guys delivered a sumptuous album was called "Story Of Things' released on Sony Liv. Please do check out this fantastic work before you listen to this song so that you get an idea about their capabilities. This song is from a new movie album, "Cninnadha Oru Padam", and they rope in the mesmerising Pradeep Kuma to lend his golden vocals. Josh Mark Raj plays the rhythm guitar, and with John Praveen's basslines, we hear Pradeep serenading us with 'Ival'. Pradeep's song from a few years ago is globally a super hit and was called Aval, meaning 'that girl'(composed by Santhosh Narayanan). I am certain that this song, too, which means 'this girl', will captivate everyone's hearts. The duo of Harish and Prashanth get the motifs going on keys and those ravishing strings decorate the background sound. FAME's Studio Orchestra play the strings with the legendary Andrew T Mackay on Orchestra Coordination. I love the writing "Senthamizh Kavidhai Ival, Uyir sernthidum kaditham ival" with the string arrangements rising and falling like waves of altering amplitude. B Prasanna waves some of his magic, preparing the score, and this is a crucial element that elevates this song multifold. Things are always kept minimal in terms of the sound design and production, and that allows the listener to feel Harish and Johnny DSouza's words and Pradeep's singing. Like he sings " Ival mugam malarnthidum", the arrangements bloom rather than explode.The song, with its melody and tone, does remind me of AR Rahman's 'Thoda Thoda" from the album 'Indira', and maybe that is why I sense some Shankarabharanam Raga influences. The solo violin in the interlude is followed by woodwinds, and this interlude has all the makings of musical geniuses at work. All the string arrangements enter an exhilarating phase towards the outro, leaving us wanting more. The recording, mixing and mastering is handled by Navneeth Balachanderan at DBounce Studios. @harish_harz @b_prasanna @joshmarkraj @2bqstudios @johnnydsouzas @johnpraveenjp @bohemiajunction @famesproject @pradeep_kumar1123 @divomusicofficial @navneethbalachanderan @prashanthtechno @lakshmipriyaachandramouli 3. Santhatha Sakhiye