Top Indian Songs of the week 14th September 2025

1. Theekkoluthi

Song Composed, Arranged, and Programmed by Nivas K Prasanna

Singer : Nivas K Prasanna

Lyrics : Mari Selvaraj

Language: Tamil

Genre: Folk

Mood: Dance/Energetic

I 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 Khaara

Conceptualized & 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: Rajasthani

Mood: Dance-Energetic

Genre: Folk-Pop

We 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

3. Oorum Blood

Music Composed, Sung, and Produced by Sai Abhyankkar

Lyrics: Paal Dabba 

Rap: Paal Dabba 

Female Vocals: Deepthi Suresh, Bhumi

Language: Tamil

Genre: Latin-Pop

Mood: Eneregtic/Dance

Here comes the floodwaters, and the dam is going to open up! Sai Abhyankkar will be one of the busiest composers in India over the next couple of years, as close to 8 projects are due in Tamil and Malayalam put together. I believe in appreciating true talent, and catching them young is necessary, so that way, I am very happy for this young composer/singer/producer.

The simultaneously released Malayalam song “Jalakkari” is not something that appealed to me, but this one from ‘Dude’ was worth the appreciation and hype. It is composed, produced, and performed by Sai, with the female lead vocals by Deepthi Suresh and Bhumi. Bhumi is one young indie singer/songwriter I featured a couple of months ago for a very nice EP in Tamil. Do check out the EP “Uyir Ponaalum”. Keba’s brisk classical guitar takes us into the flamenco zone, and the backing vocalists only heighten the expectations of a Latin dance pop number. We have Kavitha Ilango, Surabhi Vimala, Lavanya Jayamohan, Gayathry Rajiv, D. Charumathi, and Devu Mathew  play the role of backing vocalists. Peter and John Kuruvilla play the enchanting horns section, and the rhythm programming becomes impossible to avoid. 

Sai Abhyankkar gives it a whirl with his falsetto, almost like a wolf howling, with the line “allallae alla dude”. It is a wise call to go with Pal Dabba, who has not only written his rap section, but also written the whole lyrics. These are quite interesting lines “ Dude’ u unna minjinavan yaarum illa, senjiru vechi, just another personnnu partha, ilichavanellam histiry a ketta”. It is a great lesson for rappers in the country to take inspiration from Paal Dabba and appreciate these creative ideas just flowing easily. Another example to cite is “ rajadhi rajan naan, raw vaana raavana”. The melody that follows is what keeps expectations sky high for this youngster, Sai Abhyankkar, “en moochavan pechavan, per sollum azhagavan” sung with great vibrato and style by Deepthi and Bhumi. All the vocal production is by Jishnu Vijayan.

Sai Abhyankkar also delivers beautifully when he sings his segment of the charanam “ or alayava kalaiyava azhagiya nilavava”. Vignesh plays the solo violin with such repertoire in the interlude, and all the electric and acoustic guitar support is by Robin Sebastian. When Paal Dabba comes on board with his rap segment, he infuses some fantastic energy. Nikhil Ram is on the flute, and Sai Abhyankkar plays the Keys, synths, and bass. Kudos to Rudh for all the additional programming and Sachinlal, the music supervisor. The recording engineers are Rajesh Kannan, with assistants Sankeerth Shaji and Augustine Premkumar, and Sai Abhyankkar does the mixing. Rupendar Venkatesh does the mastering at Sai Dhwani Studios. 

@abhyankkar  @deepthisureshofficial @paaldabba.iam @mamitha_baiju @thinkmusicofficial @keerthiswarann @robinsebastianmusic @kebajer @vlnvicky @gayathryrajiv @iluvbhumi @kavitha__ilango @devumathew @jishnuvijayanmusical @surabhi_vimala @rudhprakash @rupendar_venkatesh @nikhilramtp

4. Majhi Baygo

Composer: Sanket Sane

Producer: Ankur Ghosh & Sanket Sane

Lyricist: Swanand Kirkire

Vocals: Nakash Aziz

Rap written and performed by Waking Grunt.

Language: Marathi/Konkani

Genre: Disco/Hip-Hop

Mood: Dance

Sanket Sane is another man of promise and potential in the Marathi music industry, and after last year's “Gharat Ganapati” , he does a fine job in this 2-track movie album “Inspector Zende” on Netflix. Swanand Kirkire pens the lyrics for Sanket’s melody, while the rapper Waking Grunt writes and performs in Konkani. This song is Retro, Disco, and Hip-hop all fused into one. Nakash Aziz gives a fine vocal performance, something that is always expected from this energetic singer. Yadhunandan Nagaraj is emphatic right from the start on drums, and he breathes fire throughout, essentially keeping our feet tapping. Robin Fargose makes you feel a chill with his hair-raising horns, and Sanjoy Das is cool and groovy on bass. 

The harmonies on “Baygo” feel fresh thanks to all the amazing singers, viz. Brecilla Dsouza, Kavya Nair, Sanket Sane, Pranav Kamat, and Ananya Sharma. This also adds a Cabaret flavor with the effect of the chorus singers. Now this is how you infuse even more brazen coolness into a song, as Waking Grunt blows you away with his rap section. This segment acts like a small interlude, and what follows is a high-pitched antara where Nakash shines. Take a moment and feel the value of all the vocal arrangements by Brecilla D’Souza and Paranav Kamat, the amazing indie musicians who also worked with Sanket in ‘Gharat Ganpathi’. The Latin percussions are played by Sumukh Ravishankar, and towards the end. 

I love the heavy Piano in the background, reminded of Maestro Ilaiyaraja’s “Rum Bum Bum Arambam”. The outro is a mad segment where Robin, Nakash, Yadhunandan, Sanjoy, and Sumukh go berserk. The recording engineers are Vinayak Pawar at Sound Ideaz Studio and Anupam Sathe at The Audio Guys Institute. The mixing and mastering engineer is Vijay Dalal. 

@sanket.sane @swanandkirkire @nakash_aziz @wakinggrunt @brecilladsouza @pranavkmt @drummachari @ananyasharmamusic @sanjoygtr @trumpetrobin @mayrainmusic 

5. Ek Chathur Naar

Music: Vayu X Sharan Rawat

Lyrics: Vayu

Singer: Kailash Kher

Production: Sharan Rawat

Language: Hindi

Genre: Folk-Pop

Mood: Dance

Creativity is an essential element in art, and for that alone, this song beats all odds and comes on top. This song has the same title as an old Supreme hit sung by Kishore Kumar, Manna Dey, and Mehmood. So if you ask me where I felt creative juices running high, is that genre of the song and the singer chosen for it. For as long as I can remember, Kailash Kher, thanks to his tone, has been handed these powerful, emotional, melancholic songs that demand him to stay on a high pitch for long. This, however, was a fun song with dance flavors, and I enjoyed every second of Kailash’s energetic performance. The melody is composed by Vayu and Sharan Rawat, with the former writing some witty lines and the latter producing the song.

To hear Kailash Kher singing “kaisi adhbuth low maintenance thinking haay” in that baritone voice gives me goosebumps.  Vayu has raised the bar, with this kind of writing as Kailash sings “ ek chatur naar, raising the bar”. It feels nice to see the brilliant vocalist having some fun here. Dipesh Varma’s percussions and woodwind-like interventions make it a funky dance track. The Sitar solo in the interlude gives teh song a very affable and polished semi-classical vibe. Kudos to Sharan for all these fine arrangements. The prolific use of the Table is wonderful when we get to the Antara, and that, with other mild production in the background, allows the listener to focus on Kailash’s vocals and Vayu’s words. The tracks are mixed and mastered by Rahul M Sharma with recording engineers Niraj Singh, Franco Bhalla & Sameer Chaurasia  at Kailasa Studios and Rahul at Studio 504. 

@vayurus @kailashkher @tseriesfilms @sharanrawat @chhaya.kadam.75 @heli_daruwala @rosesardana08 

6. Shringaar

Music Composed & Produced by: Salim Sulaiman

Singer: Shankar Mahadevan

Lyrics: Shraddha Pandit

Music Co-Produced by: Raj Pandit

Language: Hindi

Genre: Contemporary Classical

Mood: Immersive

That's two in a row, and here is nothing to feel surprised about ! Bhoomi 2025 is marching forward in great style. The words uttered are “without love , without music, and without harmony we are nothing”. But I firmly believe that if love were toxic or if music were mediocre, it would only make our lives worse. Shankar Mahadevan is the vocalist, and with Shraddha Pandit’s lines, we have Salim-Sulaiman on composition and production. Ralph Menezes on bass makes his bold statement with Shankar’s konnakol in the intro. Salim is the keyboardist and handles the synths, with Raj Pandit on the additional keys; he's also co-produced the music. The arrangements of live instruments are all beautification techniques like glitter and makeup, but the true beauty comes from the melody, the lyrics, and the vocals.

The heavy keys, synths, and rhythms are groovy and invoke feelings of awe, and just then, the brilliant soloist, Purbayan, brings in a dash of divinity with his Sitar intervention in the interlude. In  terms of the melody, I love the line “taras dikhaake kaahe satay” and this is where I felt a strong influence of Raag maand. But otherwise, I also did feel some strains of Bilawal Thaat. Rhythm Shaw plays the guitars, and once again towards the end of the Antara, Shankar sizzles with his harkatein, sargams, and Konakkol displays. The harp is accompanied by the Tabla, played by Ojas Adhiya, and Rhythm’s stylish lead guitar interventions. This combination of the guitar, Tabla, Sitar, and the Sargams is magical. Prithvi Gandharv does all the additional vocal arrangements and handles additional composition. 

Darshan Doshi is the drummer on duty, and the recording engineers are Raj Pandit and Tejus Srivastava at Blue Productions. The tracks are mixed and mastered by Aftab Khan at Headroom Studio with mix assistants Tejus Srivastava and Vatsal Chevli. 

@bhoomi_salimsulaiman @salimsulaimanmusic @shankar.mahadevan @shraddhapandit @tusharmahajanofficial @miltonhomeware @rajpandit17 @ralphmenezs @shivansh.j @purbayanch @ojasadhiya @prithvigandharv @merchant_records @rhythm_shaw @tejussrivastavaa @mixedbyaftab @darshandoshiofficial 

7. Don’t even text

Composed, Written, and Performed by: Tsumyoki, Gini

Music Produced by: Tsumyoki

Language: English

Genre: Pop 

Mood: Groovy

Sometimes when people say that the young generation cannot be trusted, well, that is a whole lot of bogus and generalization. I began this journey of music journalism to specifically quash such baseless arguments. Both Tsumyoki and Gini have been excellent artists releasing very delectable singles on their own, and when the two combine, a bomb is set to explode. The song is written, composed, and performed in equal parts by Gini and Tsumyoki, with the latter handling all the music production. The opening guitar riffs with the acappella-styled harmonies “dum dum dum dum” immediately grab the attention of the listener. 

The delivery is cool, and that has always been one of his biggest assets. “ Sometimes you don't even text, I know you play hard to get eh?”. The rhythms start punching in the middle of the verse, and then things just get way too catchy after all this. Darren Saldanha’s rhythm guitar is crucial to keep the track romantic and soft. If you thought Tsumypoi was cool, wait for Gini, as she comes and slays it with her falsetto. Teh difference is so beautifully established by these able singers, with Tsumyoki singing to put the blame on the female protagonist, but when Gini sings, the same words are sung with a sense of sadness and helplessness. The bridge section in Hindi is an exhibition of Gini’s wide vocal range, and Tsumkoyi perfectly blends it all in, and just like I said, his words, “I'm looking for somebody I can blame”, portray a feeling of self-realization. 

Hanish Taneja is the mixing and mastering engineer. Dilpreet Kaur is the artwork photographer, and the creative direction is by Sasta Acid and Sunay Bhandare. 

@tsumyoki @this.is.gini @mixedbyhanish @sasta_acid @gullygangindia 

8. Rangpooja

Singer - Ajay Gogavale

Song composed, arranged, produced, and mixed by AV Prafullachandra.

Lyrics - Guru Thakur

Language: Marathi

Genre: Folk

Mood: Pathos/Devotional

What happens when an industry’s two stalwarts come together? Here is an example as Ajay Gogavale sings for AV Prafullachandra. Ajay’s rustic voice feels so earthy and leads us towards devotion when we hear him sing these words penned by Guru Thakur. It feels like the Ektara or some ethnic plucked instrument that is playing in the background like a rhythm guitar, and the melody reminds me of Raag Bhairavi. The melody is composed by AV Prafullachandra, and he also does all the arrangements and produced this song from the new album “Dashavatar”. So you can definitely expect a roller-coaster ride from the man. Ajay brings in some melancholy with his delivery, and his harkaetin feels blissful at every twist and turn. 

The backing vocalists provide the extra serenity achieved through the humming. The vocalists are Vivek Naik, Santosh Bote, Mangesh Shirke, Shishir Saple, Janardan Dhatrak, and Umesh Joshi. The song moves from a simple folkish start to a folktronic style with the keys and synths piling on. The backing vocalists singing the bass register feels like a demonic presence and hence haunting. The folk percussions kick in, and one can feel the energy rising as we head to the closing stages of the song. AV Prafullchandra and Ajay Gogagavle together take us to a world of theatre and plays by playing with my imagination and the impact of sound. The recording engineers are Vinayak Pawar at Soundideaz studio, Mumbai, Rahul Sharma, and Samir Dharap at Studio 504, Mumbai. The tracks are mixed by AV Prafullachandra and mastered by Shadab Rayeen at Newedge Studio, Mumbai. Choreography is by Sonia Atul Parchure, along with Nakul Ghanekar

and Aditya Kadam. 

@zeestudiosofficial @avprafullachandra @ajayatulofficial @guruthakurofficial @soniaparchure @soundideazstudio @subodhkhanolkar 

9. Lighthouse in the sea

Lyrics, vocals, and production: Vindhya Adapa

Language: English

Genre: Pop Ballad

Mood: Immersive

Kudos to Vindhya Adapa for pursuing a dream and passion, relentlessly, despite being professionally inclined to something diametrically opposite. This lawyer from Washington, DC, is also a trained musician with a forte in Western Classical vocals, and she puts that to great use in this single. This piano-led single is named “Lighthouse in the Sea,” and true to that title, this could be like a lighthouse guiding young indie musicians facing the rough and violent seas of the music industry. I like the writing, which has deep questions like “They say the best things in life are free, then why is my freedom costing me?”

The mild production is something that appeals to me because it allows the listener to pay attention to the grand vocals and the touching words. The melody starts to arouse more interest when she sings “ I was waiting for someone to save me, when I realized no one’s coming”. This part took me to this famous Madonna single called ‘Las Isla Bonita’ and the line “Last night I dreamt of San Pedro”. The vocals are flamboyant, and you get to feel all her vocal training and prowess as she performs “Courage is the key, I'm a lighthouse in the sea”. In the second verse, you can feel the singing is now showing more affirmation and confidence, like a woman who has discovered her courage.

Emotive singing too is dealt with well as Vindhya shows that melancholy in her voice, singing “I was waiting for someone to save me”. Her vocal improvisation in teh outro is something to listen to, again and again, and cherish. Vindhya has quite a lot of potential and is someone  to track. The tracks are mixed and mastered by Ravi Lad, with Pratham Solanki on editing and coloring. 

@vindymusic @itsraviray @prathamsolankii

10. Hoshil Na

Singer - Aanandi Joshi

Music Composed And Produced By Gulraj Singh

Lyrics By Manoj Yadav

Backing Vocals - Gulraj Singh

Language: Marathi

Genre: Pop Ballad

Mood: Immersive

Gulraj Singh is one of our finest, and his consistent good work will keep getting him rich dividends. I am eagerly waiting to see the movie ‘Aar Paar’  and also listen to the full movie album. Gulraj has carved a name for himself in the Marathi music industry, and such beautiful music brings a smile to anyone , ‘iss paar ya uss paar’. The flowy Piano starts things off , and then Aanandi Joshi’s voice is like drops of rain that create a wave of positive energy floating all around. The song’s antara floats into a zone of beauty, and Anandi’s high-pitched vocals strike a chord with your heart. Gulraj doubles down with the instrumental arrangement that follows. Varad Kathapurkar plays the flute solo and the same chord progression as the line performed by Aanandi.                                                                                                                                                                           

I can feel the lead guitars by Shon Pinto adding some sparkle in the background. The main title/chorus segment gets a lovely tone thanks to the combined vocals of Aanandi and Gulraj. Now I feel like banging my head in approval as the rhythms kick in and we get the ravishing string section in the background. Towards the outro, the harmonies, keys, and the flute all make it a dreamy soundscape. The recording engineer is Vincent Joseph, and the tracks are mixed  by Vincent and mastered by Ashish Saksena (Purple Haze Studios). The lyrics are penned by Manoj Yadav. 

@gulraj_singh @aanandijoshi @hruta12 @gau_rava @hrutaa_ @zeemusicmarathi @shonpinto1 @manojyadavwrites @varadflute_official @vincent.joseph.96 @audiomechanic

11. Aadha Adhoora

Composed and sung by - Shreya Jain

Lyrics by - Anurag Mishra

Produced by - Nakul Chugh

backing vocals by - Nakul Chugh, Shreya Jain

Language: Hindi

Genre: Synth Pop

Mood: Romantic

Nakul Chugh takes us back to the brilliant era of the 1990s with this fantastically produced synth pop song. The intro is like a magnet that pulls you deep from whatever mood you are in or state of mind that envelops you. The heavy rhythms, keys, and synths create the perfect stage for Shreya Jain to launch into her vocals. She has composed the melody, and Anurag Mishra has penned the words of love and pain. Shreya, being an excellent singer, modifies her tone to suit this pop presentation, and her vibrato is like sparks of flourish, which you can hear in the line “kaise main tujhse chupaoon”. 

The writing by Anurag is thought-provoking and relatable, and with Shreya’s tune and vocals delivering the words, we feel the message with even more meaning. “jaane khud ko kaise haari main tujh mein, jeeta koi hai kya iss mein.” The backing vocals are performed by Shreya and Nakul. I love that pause between “Tera Mera” and “Na Tha” at the 1:50 mark. Nakul tries something in the last 30 seconds with a slowed-down synth and rhythm combo, and it sounds interesting. The tracks are mixed and mastered by Hanish Taneja.  The video is directed by Shreya and Ray Mudafare. 

@shreyajainmusic @nakulchughh @mixedbyhanish @anuragmishramusic @ishasawant_ @raymudafare @awal_india @aydee___ @sushiii.shreshtha @kritimundra02 @thevalhallaproductions @pushyamitrapm 

12. Boondon Mein Ghar

Singer: Hansika Pareek

Composer: Pritom Gohain

Music Producer: Anubhav Gogoi

Lyricist: Swaraj Priyo

Language: Hindi

Genre: Jazz-Pop

Mood: calming

Jazzy Pop has got a new name, “Bhoondon Mein Ghar” with Hansika Pareek’s fantastic vocals. Pritom Gohain plays the acoustic guitar in the intro, and with Hansika’s improvised humming, the mood is set. Anubhav Gogoi is playing the delicate Piano, and Biswajit Chakraborty is the bassist. Hansika keeps things so mild and mellifluous with the “lekar chale dil se kahayal”. Swaraj Priyo is the lyricist, and the melody is composed by Pritom. The heart feels lighter, and you are forced to close your eyes and enjoy the acoustic guitar solo by Pritom in the interlude with such smooth fingers. 

I love this line in the antara that goes “ sawarne ko na razi dil, lo jhoom utha” with some high-pitched notes delivered exquisitely by Hansika. Anubhav does a good job on the music production, picking subtlety over excessive sound. The song eases into oblivion with the humming and sounds of the guitar fading away. The mixing and mastering is by Trihangku Lahkar, and the recording engineer is Nishant P Das at Euphony Studio, Mumbai. 

@lifeofpritomgohain @preetiwooman @kesav.b @hansikapareek @trihangkulahkar @biswajitchakroborty_bass @anubhav.gogoi