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 

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    27th July 20251. CarcassesWritten and Performed by: KitanuLanguage: EnglishGenre: RockMood: Immersive There is a certain amount of expectation built in when I see some names and hear certain artists. Kitanu is one such band, and taking a bet on them is relatively easy. Their latest release is called 'Carcasses', and maybe it is named that way, referring to our inner chaos and the rotting of our souls like carcasses. Thankfully, Kitanu cleanses itself with such musical expression, and when you and I listen to such good quality music, our chaos and confusion vanish, too. The Sarod is stunning in sound, and its similarity to the Dobro (Resonator Guitar) is uncanny. That is why it probably works brilliantly in the rock genre like how Kitanu creates. This is a breathtaking ride, high on adrenaline with Rohan Prasanna's Sarod and Omkar's lead guitars battling it out from the get-go. Siddhanth Sarkar explodes onto the scene with his evocative vocals, but the showstealer is the humming elevated by backing vocals and the constant riffs on the Sarod and guitar. Pranav Wahi is the bassist. Rijul Victor who is the band's music producer, blasts away on drums as well. I love how Rohan performs with freedom as he creates the counterpoints in the background on the Sarod. It looks like a song that is speeding with no control, and we are headed for utter obliteration. Just then, a pause presents itself, and we are led into a zone of tranquillity. It feels like we are walking into a mystery room in a James Bond or a Pink Panther movie. Siddhant sings " Pretty lady, gently sleep, I'm walking out the door". And now we get the whole picture for the shift in tempo and tonality. Siddhant is improvising and exploring his range on vocals with consummate ease. The interlude on the Sarod that comes later is where Rohan shows style and class, almost like a very free-flowing, no-holds-barred Jazzy performance. Come for the vocals and stay for the instrumental exhibition. @siddhanthsrkr front @_pranavwahi bass @corridormusic @anu.draws @rohanprasanna @omkar_raghupatruni guit @kitanumusic2. PorukaateComposer: Afzal YusuffLyrics: Yusuf Ali KecheriVocals: Shreya Ghoshal and Quincy ChettMusic Producer: Sabu FrancisLanguage: MalayalamGenre: Light MusicMood: RomanticAfzal Yusuff is one of those composers who tirelessly create original and soothing melodies, and at a pretty impressive run rate, too. He ropes in the nightingale, Shreya Ghoshal and then the song gets a treatment of immense quality and authenticity. The latter stems from Shreya's ability to sing in Malayalam with the fluency of a native speaker of the language. We have close to 50 seconds of an intro, and that itself doesn't happen too often these days. Josy's woodwinds and Mohammed Maqbool Mansoor's vocals lay the groundwork before Shreya makes the foray. The lyrics are penned by Yusuf Ali Kecheri, and the music production is done with class by Sabu Francis. The diction is so perfect that it makes every playback singer feel awe and respect for what this singer is capable of. Sumesh Parameswar is present constantly with his guitar. The ghamaks are strewn all over, and Shreya uses them generously to captivate us. The Violin solo by Francis Xavier and the flute solo in the interlude make way for the stunning voice of Quinchy Chett to lead us into the charanam. Quincy has this tenor that makes the listener feel safe and secure, like a lover in the partner's arms, as we listen to him singing. The second interlude carries this European flavour with the Accordion. The song's heart and core lie in the amazingly beautiful charanam. Emmanuel P. Varggees is the mixing and mastering engineer.All along, I did feel some resemblances to "Nalam Vazha" by Maestro Ilaiyaraja, and Afzal tells me that there are primarily Thodi Ragam (Carnatic) influences in the melody. @shreyaghoshal @afzalyusuff @quincychett @parameswarsumesh @square.ft @josy_alappuzha 3. Piya AayeMusic & Lyrics: Shubhankar Singer: Kirti Killedar Language: Hindi (Traditional)Genre: Contemporary classical

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    20th July 20251. Sella KolareyComposed, Arranged, Programmed by Santhosh Narayanan Lyrics: Vivek Singer: Kuruji Language: TamilGenre: Light MusicMood: RomanticAnother outstanding song comes from Santhosh Narayanan, and he seems to be conquering new peaks, leaving 95 % of composers down in the wayward slopes. After 'Pottala Muttaye' that topped the weekly lists a few weeks ago, here is another blinder. I was surprised to read he name of Kuruji, as the lead vocalist, as I have never heard him before. This is an indie singer, rapper and flautist based in the UK with Sri Lankan Tamil pedigree, and what delighted me was the commitment of Santhosh to open up his doors to young talented indie musicians, which has always been talked about as a goal by him.Kuruji is splendid on vocals, and his slightly nasal tone and subtle ghamakas enrich the song's listening experience. Telfie lays the groundwork with his rhythm guitar in the intro, and then it is all about Santhosh's melody and Kuruji's delivery. Is there some Raag Keeravani in the melody? Maybe. I feel some sprinkles of similarities with Santhosh's 'Kannadi Poove' released earlier this year. When Kuruji sings "Ponga Paalare, En Pon Thaere" I'm bowled over. "Uyir Sikkuthe, Manam Thikkuthe" wow brilliant writing by Vivek as expected, and right about here, Ganapathy's Tabla is making my heart jump and dance.After this, it is the exciting and creative interlude with Manoj's sleight of hand on the Violin. He is not only playing the lead melody on the violin, but also a faint counterpoint by plucking the strings of the violin. Just don't forget to be struck by awe with Naveen's constant and sizzling basslines, all the way through this interlude and beyond. The charanam starts, and there is silence, other than Kuruji's heartfelt high-pitched singing. The Keys are providing a background soundscape with a single note, and then listen to the playful Tabla intervention right after "Kan Thoongum podhu kannoda maana", and once again after "nee thaavi pora ennoda nenjoda". Hands down, Santhosh is our best composer for his melodies, and superlative work on production as well. Is the energy and joy back with the pacy Tabla and guitars as he sings " Innaikke naan neeya vazhalama". The song's greatest highlight is yet to come as the landing notes from the charanam to the pallavi "kotha mutha sitha pitha setha ava mugam theriyudhu" show us we are in the presence of greatness with Santhosh and Vivek's writing. What a fantastic debut this is for this singer, Kuruji? I hope he rises higher in the coming months. Manoj plays alongside Kuruji as his solo violin simply works like a Mother's irreplaceable lullaby. The tracks are recorded, mixed and mastered by Santhosh Narayanan. @kuruji_official @musicsanthosh @lyricist_vivek @thinkmusicofficial @meenakshi_santhoshnarayanan @manojviolinist @napier_naveen @2. ShinyaComposed and Performed by Yawar Abdal Music Producer: Akash Gupta & Lakshay Sharma Vocals: Yawar Abdal Written by: Rahim Sob Sopori & Allama Iqbal Language: KashmiriGenre: Folk-RockMood: Mild PathosYawar Abdal, I wish so many more people would start listening to his music, outside Kashmir and others who stay with Bollywood's mediocre content. This is his new single and probably another track from an upcoming album called 'Soz' , and when it comes to his songs, the listener has to give in fully and let mind, body and soul engage. The opening lines have these Kashmiri lines along with the guitars and heavy drums, and it feels emphatic, and I can feel my body levitating. The melody is composed by Yawar, with lyrics by Rahim Sob Sopori & Allama Iqbal. Yawar's voice gives you wings, and you'd better soar with every note he utters. Lakshay Sharma is the guitarist, and Akash Gupta is the drummer. These two guys are responsible for the fantastic sound design, arrangements and music production so the scintillating rock flavours deserve your appreciation. I feel the presence of stylish bass guitars by Manash Saikia and the string section in the background. Dimple Saikia handles the orchestration and arrangements of the strings, and she plays the solo violin. The violin intensifies in the interlude, and the pathos is eloquent with Dimple's suave execution. Is there a Khamaj Thaat influence in the melody? Maybe. The acoustic guitar notes in the interlude are bringing in some hope and joy against the overall pathos of the song. When Yawar decides to sing in a higher pitch, we feel like our hearts are pulled by strings beyond our control. The production is maintained at a level that does not ever overpower the vocals, and that works beautifully. Akash and Lakshay handle all the synths and additional programming. The interlude with the brisk riffs on the guitars and the violin riffs combines like an uplifting segment. Yawar's humming and the strain of the electric guitar lead us into the bridge section. Let us celebrate this talented artist as you hear him sing "aashiyaan aur bhi hai, sitaaron se aage jahaan aur bhi hai". The arrangements are like a lattice bridge of interconnected levers of significance thanks to the violin, drums, electric guitars and bass. The tracks are mixed and mastered by Laksh Sharma, and kudos to all involved, viz. Taha Firdouz Shah, Harry Thakur, Syed Amir and Xulkarnain Dev, who have worked on animations, editing and translations.

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending    13th July 20251. Jiyaa Naahi LaageComposer: Prajakta Shukre Lyricist: Himani KapoorVocals: Pratibha Singh BaghelProduced by Swapnomoy Chowdhury, Nataraj Kshetricha, Kamal BhartiLanguage: HindiGenre: Contemporary ClassicalMood: ImmersiveThis is part of a new album called "Raagaanis", which I featured and loved. It has 5 fantastic songs composed by singer/composer Prajakta Shukre and written by singer Himani Kapoor. I found this to be my absolute favourite from the album, and you know when Pratibha Singh performs, you will be stunned into silence and cast a spell of wizardry. When she sings the line "Piya Bin mora" your heart becomes heavy in the sadness of the melody and vocals and Prajakta probably has composed this in the Dharmavati/Madhuvanti scale. We have the song being produced by Swapnomoy Chowdhury, Nataraj Kshetricha, Kamal Bharti and their method of keeping everything to a minimum works beautifully. A melody like this, set to some emotionally apt writing and delivered with such poignance, hardly needs any excesses and frills. The keyboard programming, with some mild rhythms, leads the way and when we get to the interlude, Varad Kathapurkar comes on and gives us a breathtaking melody on the flute solo. There are layers of the flute, and with Prajakta's notes and the vision of the arrangers, we get a scintillating segment here. The melancholy continues in the Antara, and it does not make you go away but pulls you deeper as she sings "aas milan ki jaage, naa maane jiyara". The drums are introduced here, it feels like the sound of your heart beating heavily. The flute, electric guitars (played by Swapnomoy), drums, and keys combine once we get to the sthayi, and this time Pratibha unleashes more power with these silky, smooth harkatein. The improvisation by Pratibha with just a single phrase, "Jiya Naahi Laage", is a fitting end to the soulful song. Himanchu Shirlekar is the mixing and mastering engineer. @kamalbharti_ @nataraj_kshetricha @kapoorhimani @sufiscore @prajasktashukre @iampratibhasingh @swapnomoymusic @namyohostudios @varadflute_official 2. Krishnudukentho Music Composed and produced by - Judah Sandhy Lyricist - Kalyan Chakaravarthy Vocals - Haricharan Language: TeluguGenre: PopMood: Romantic              Judah Sandhy is one of those composers/producers who knows how to intertwine a heartwarming melody with exhilarating sound and production. This array of strings along with the humming feels ecstatic straight away in the intro. Haricharan gets a song that allows him to show his range and capabilities and one has to thank Judah for this. The intro strings sort of reminded me of the antara lines 'Neeche Ishq hai, Upar Rab hai" of "Ishq Bina" by AR Rahman from the album 'Taal'. The melody is here to make you feel love in every note that Hari sings " Kadhipinadha kadhilinadha". Kalyan Chakravarthy writes the lyrics. The strings are played by Bangalore String Ensemble and the catchy rhythms by George Thomas, making the interlude blossom as Haricharan sings in a higher pitch. The arrangements come out with such style and effervescence in the 2nd minute with layers of strings playing one behind the other. The line "Onta pattesi pothe yemcheyne" is pure magic to the ears and Hari follows it up with a fine aalap. Maybe there is some Bilwala Thaat in the melody because I hear Raag Bilawal as well as some Raag Bihag. The title reminds me of Raag Shanmukhapriya. The thumping percussion and drums all along are played by Jared Sandhy with guitars by Eric Gerald, woodwinds by Thilak Ram and Bhutto on the flute. Nikshep Gowda has worked on the song's pre-mix. @judahsandhy @jaredandjudah @haricharanmusic @nikshep_music @ericgeraldmusic @samgtrhythm 3. Saiyyan Na Maane

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending    6th July 20251. Bangle BangariLead vocals: Anthony Daasan Lyrics: Nagarjun Sharma Composed, Arranged and Produced by Charan RajLanguage: KannadaGenre: Folk-PopMood: DanceAnthony Dasan is a gifted singer who gives you goosebumps, but all that depends on the kind of song he is offered. This is why people like Charan Raj must be celebrated, because they make a song come alive with their well-crafted melodies and the perfect choice of lead vocalists and tones, which make the song truly memorable. The lyrics are by Nararjun Sharma and the song's melody, arrangements and programming work is handled by the brilliant Charan Raj. Karthik Vamsi raises the energy with the thumping percussion and Kalyan is in charge of all additional rhythm programming. The entire backing vocal setup feels like a grand celebration, and the singers involved are Devu Mathew, Indu Sanath, Shreya Krishbushya, Gayathri, Shenbagaraj, Saisharan, Narayanan Ravishankar, and Aravind Srinivas. The accompanying Piano is majestic and elevates the melody that begins with "Devare". The melody is so beautiful here, and it makes my heart swell. The song that comes to mind is "Ayya Veedu Therandhuthan" by Maestro Ilaiyaraja from the album 'Kadhalukku Mariyadhai'. The title line is just something that will fit perfectly in our hearts like a set of Bangles on a woman's wrists. Sunil Sylvester's guitars and bass add style to the proceedings. The layers of harmonies are excellent in the arrangements and it is heartening to see this man Charan compose two varied melodies for the two charanams, and it only shows his capabilities. Sr S Ballesh intervenes on the Shehnai in the 2nd charanam and the outro as well and Dr Subhani plays the ethnic strings. This is going to be one perfect marriage dance number this year. Vihsnuraj MR is the recording engineer at 2BarQ studios Chennai. The tracks are mixed and mastered by Aniket Mohanty at Audiokraft Studios, Bangalore.@charanraj27185 @anthony.daasan @nagarjun_sharma @ekkathefilm @sanjanaa_anand @sampaada1 @yuva_rajkumar @aanandaaudio @sunil_silvester @singer_narayanravishankar @shenbagarajg @shreya_krish_music @devumathew @indu.sanath 2. En VaanileVocals: Shweta MohanLyrics: Uma DeviComposed, Produced by Pravin SaiviLanguage: TamilGenre: Light MusicMood: RomanticI recently reviewed this movie album DNA a week ago and it has some fine songs by multiple composers. This one too was one of my favourites and what stood out was its unique treatment. The melody was rich but the arrangements especially the use of choral layers were outstanding. This is the first time I am featuring Pravin Saivi on a movie album song. I have reviewed many of his indie projects.Shweta Mohan as always takes on this entrancing intro with just her saccharine-laden vocals. The harmonies begin thanks to backing vocalists Sridhar Ramesh, Ramya Ram C, Alisha Mathew, Fathima and Shivsundar. It is uplifting to hear the lines "Tunaiyagave Varuvai" with all the resonating harmonies and the heart swells with joy as we hear "inneram ippodu pothum" Uma Devi is the lyricist and Pravin Saivi gives us something precious with these arrangements. The pallavi is sung again with these delightful harmonies and it takes me back to Maestro Ilaiyaraja days and even reminds me of the stunning harmonies of "thendral Vandhu theendum pothu" in the intro. Naveen Samson plays the acoustic guitar and Naveen Napier is the bassist and we get a simple but heartening interlude that also has a male humming portion. The charanam is gorgeous and I believe it has strains of Gourimanohari Ragam when Shweta sings "Poovile Yaazhisai ketkuthe vaa". I am reminded of gems like "Bhoopalam Isaikkum " from the album 'Thooral Ninnu Pochu' and "Kanna Varuvaya" from 'Manathil Uruthi Vendum'. This portion is exquisite and gets even better with harmonies added to "Thuli Thuli ya nanainthidava". I now think to myself is there some of Srothaswini scale in the melody because there are so many similarities to these spellbinding tracks "Oh Vasantha Raja" and "Sindhiya Venmani" also by Maestro Ilaiyaraja. I can only say that Pravin has smashed it out of the park and when some composes music that reminds me of Ilaiyaraja there can be no bigger compliment in the world of music. Naveen Samson and Naveen Napier are in blistering form. The tracks are recorded by Vishnuraj MR, Anish Mohan and Pravin, and Sujith Sreedhar is the mixing and mastering engineer. @pravinsaivi @umadevikauppan @_shwetamohan_ @fathima_henna._ @alishamathewthayil @sujithsreedhar @nelsonvenkatesan @vishnuraj.m.r @_naveensamson @napier_naveen 3. Bana Le Tera

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending    29th June 20251. Chal Re Mana JauMusic Composed And Produced By Gulraj Singh Lyrics By Manoj Yadav Singers - Nihira Joshi Deshpande, Gulraj Singh Language: MarathiGenre: Light MusicMood: RomanticIs this going to be the best song of 2025? Wow, just 6 months done, and could this be true or am I exaggerating? Don't take my word for it, just listen to the song and you tell me, readers. I just finished reviewing this album called 'Ata Thambaycha Naay' by Gulraj Singh and Saurabh Bhalerao, and this one is the song of the album. A sensational melody that kind of reminds me of 'Aye Hairathe' in its tonality, tempo and sound design, but this one is a testament to Gulraj's talent. The melody probably ahs fragments of Raag Shuddh Kalyan. The lead vocals are by Nihira Joshi Deshpande and towards the end, Gulraj joins in. Nihira is stunning in her delivery, the way she starts off with that high-pitched alaap is good enough to drag you into this melody. Her ability to perform the harkatein and mild vibrato is mesmerising. When she gets to the title line the second time, we have exhilarating accompaniments, like the backing vocals, Tabla and Keys. The magic comes in at the interlude with Live Erhu played by Abhijit Mazumdar. I have been introduced to this Chinese bowed instrument with 2 strings before, but where Gulraj takes it to another level, is the captivating melody that he writes for Erhu solo (with layers of it in the background). Abhijit responds by playing with finesse. The melody is like drops of honey and Nihira heightens the pleasure with her vocals. We have a beautiful intervention on the harp and Gulraj joins in in the closing stage of the Antara. Get knocked over now by Nihira's "chal re mana jau" loaded with complex vibrato in the outro. The recording engineers are Gulraj and Vincent Joseph at GS Studios, with mixing and mastering by Ashish Saksena At Purple Haze Studios. Manoj Yadav writes these touching lyrics in Marathi. @manojyadavwrites @abhijitviolin @nihiramusic @gulraj_singh @kittumyakal @vincent.joseph.96 @audiomechanic2. BirhaVocals: Shaurya Saxena, Prateeksha SrivastavaLyrics, Composition: Pin Drop MusicProduced by Pin Drop MusicLanguage: HindiGenre: Classical Pop fusionMood: Immersive/EnergeticPin Drop Music, as they call themselves has some bubbling talents viz. Shaurya Saxena, Nishad, Darshan Desai, Sudipto Biswas and Mihir Thatte. I had a chance to listen to this track long before its release and it was downright impressive. The smashing Prateeksha is like the trump card that the band unleashes on us and who in their right minds can resist this lady's sensational singing? The melody has two very popular scales used to create the mukhda and the antara and the way the two segments are intertwined is magical and seamless. The way she delivers the harkatein on 'Birha', shows exactly why she is the name to remember folks. As the melody unravelled I was tempted to think, is it Raag Kirwani? But I believe there is an influence of Raag Sindhu Bhairavi in this opening segment. The heavy electronic music accompaniments are engaging, and I like that they don't take anything away from the mesmerism that Prateeksha puts us through. You can feel her pain as she sings " khabar na aayi thori, saare saari raat ve". The thumping rhythms and synths engage and now our total attention is on the song. A drop in tempo, a change in scale and the background music vanishes, here emerges Shaurya in the antara and delivers this romantic melody written in a scale belonging to the Khamaj Thaat. The Tabla is eh perfect comapnion here as he too decorates the melody with his improvisations in "barse yeh badraa hai, rimjhim saawan ki boondoon se". I sensed resemblances to Harikambhoji Ragam here. Gradually the rhythm production starts adding to the energy build up and when finally Prateeksha and Shaurya combine in "Tore bina mai kaise khelun hori tere bin" it feels like an union of long-lost lovers. The tracks are mixed and mastered by the amazing Aman Mornoey. Shaurya's display of the ghamakas as he sings "saawal mod mohara" is so endearing that you never want this outro to end@officialprateeksha @pindrop.music @shauryasaxenaa @nishad.music @mihir.pindrop @darshan.pindrop @sudipto.pindrop @jcmuse97 @aman_moroney @sojaonaman @reversepective 

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending    22nd June 20251. Golpo Holo Shuru Singer: Arijit Singh, Shreya Ghoshal, Armaan Rashid Khan Music direction and design: Indraadip Dasgupta Lyrics: Prasen Music Production: Shamik Chakravarty Language: BanglaGenre: Semi-classical/orchestralMood: Pathos-RomanceThis one, designed and arranged by Indraadip Dasgupta, sounds beautiful thanks to the elaborate string section arrangements. The melody has traces of Raag Yaman and I also am reminded of this song from Bollywood called ' Sochenge Tumhe Pyaar'. Prasen is the lyricist for the song, and the amazing arrangements and music production are by Shamik Chakravarthy.The live strings are by Chennai Strings Orchestra comprising violinists Murali, Sasikumar, Hemanth Raj, Selvaraj, Mohan Rao, Basker, Prabhu George, Chandrasekhar, Murali, Sasikumar, Hemanth Raj, Selvaraj, Mohan Rao, Basker, Prabhu George, Chandrasekhar Viola players Gopinath sett, Jayachandar, Anita Francis and Samson, Cellists Srinivas and Vijandran, and on Double Bass we have Bidhu Kayal, with B Yensone as the conductor. Pratik Srivastava's solo on the Sarod joins along and plays the Yaman-laden melody. The Pianos are terrific as Arijit sings the Antara, "Shudhu Shonde", along with the Sarod, bass guitars and double bass. This line is so impactful, especially with the arrangements and Arijit's delivery. Mainak Bumpy Nag Chowdhury is the bassist. We get Armaan Rashid Khan, son of Lt. Ustad Rashid Khan to perform the Hindi lines "Piya Tora Kaisa Bhimaan", for which the original melody credits are given to Debajyoti Mishra and Rituparno Ghosh for the lyrics, from the album Raincoat. Armaan brings such a fresh perspective and all his classical Hindustani prowess comes to the fore. Shreya Ghoshal devastates the heart with that high-pitched Soprano-style singing and the strings and Piano accompany it. Pratik plays the counterpoint on the Sitar, and although I hear Kalyani Ragam all through, the end of the Antara makes me wonder if there is some Purvikalyani Ragam here. Sukhanta Singh, Amey Londhe and M Sundar Raj are the recording engineers. Subhadeep Mitra is the mixing and mastering engineer. @indradeep @armaankhanrk @subhashreeganguly @svfmusic @sangeetbanglaofficial @amey.music @sarodpratik @shamzmuzik @2. If I Die TodayVocals and Lyrics - Lyla Music Composition and Production - Surel Ingale Language:Genre: JazzMood: GroovyThis combination had me ensnared a couple of months ago with a song called 'Pomegaranet Lips,' and once again, Surel Ingale and Lyla make me feel love and tenderness and mesmerise me with their jazzy single. The trumpets call straight away, and they tell you, 'Please don't die, live another day'. Sambhav Pratap Singh is killing it with that Latin-dance-styled rhythm guitar display. The song carries more of a Latin Jazz tone with the trumpets playing that motif repetitively. Lyla is terrific form singing with such virtuoso and her confidence and attitude is communicable. She has penned lyrics that are so intriguing and thought-provoking with lines like " If I die today, would the kids go to school, and learn of human pain, of wars, love, of broken rules and history's cruel refrain?". The interlude on the trumpet is sensational and it feels free and calming to hear this bit. The music production is quite interesting with sounds of the door-knock, cash register etc all mixed at the perfect places to give the song more life. Surel is the composer and producer and the tracks are mixed and mastered by Onkar Tarkase. Sambha's guitar interventions are flawless and they keep the listener hooked all along. Lyla takes you on a wild ride in the outro with her improvisation and the guitars, trumpets and harmonies all follow suit. The director of the video is Akshita Agarwal, with DOP Mihir Patel. @lyla_la_vida @surelmusic @bread_andsam @onkartarkase @akshita_speaking @karnghvi @anson_dsouza @mihir_patel.mp43. Mudhal Mazhaithuli