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