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

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

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

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

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

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

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

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

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

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