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

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

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

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

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

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

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

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

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

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