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

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

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

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

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

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

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

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 30th June 20241. Theme of KalkiSong composed, orchestrated and programmed by Santhosh NarayananSingers: Gowtham Bharadwaj, ChorusLyrics: KumaarRhythm Production: Pranav MunirajLanguage: HindiGenre: Anthem/Symphony OrchestraMood: InspirationalI am bowing down to this magnificent composer, as he proves time and time again that Santhosh Narayanan is India's numero uno! This song is an absolute masterpiece as it perfectly fits the name given to it "Theme of Kalki". Much too often these days we get a theme music or song for movies, but the final output looks rehashed or incredibly loud and bizarre. This is easily the best song released in India this week, and for all you know, it could be Bollywood's best record for 2024. Though the song was released in Hindi, Telugu and Tamil, I found the song most appealing in Hindi for 2 reasons. The lyrics by Kumaar fit the melody in terms of the metering perfectly and secondly, this is the only version where the lead singer's voice stands out in the bridge section. A few months ago I wished my friend Gowtham that he get an opportunity to sing in Santhosh's Kalki 2898 AD, and I am elated to see that it turned out to be true. The song is a soaring anthem with ground-breaking orchestration, arrangements and production and Santhosh delivers what a movie of this scale demands.The intro is when the song settles all doubts about its quality with the chorus performance by Santosh Hariharan, Sreekanth Hariharan, Mayank Kapri, Sudharsan HemaRam, Manikandan Chembai, Shenbagaraj, Jithin Raj, Sarath Santosh, Narayanan Ravishankar and Sarthak Kalyani, The heavy percussion leads the way like the beginning of the battle and itis thanks to Pranav Muniraj's rhythm production. In the background, you can hear multiple voices performing at different vocal registers. It is one Choir group that can perform at this level in the nation today and it is The Indian Choral Ensemble. We have Kalyani Nair and Karthik Manickavasakam for the ideation and development of this concept. After the intro we have the magnificent Brass section with the thumping percussion, playing like an interlude. It is here that I found some inspiration from Hans Zimmer's 'Man of Steel' OST. But upon listening closely I concluded that this record is superior to the former. The layers and arrangements are diverse and more engrossing. Another crucial element when Santhosh does one better than most is the quality of the melody written here. Accompanying the sensational chorus are the brass section and rhythms. Manoj Kumar who has been in red hot form, especially for Santhosh's projects, makes a heart-rending solo on the Violin. Do pay attention to the choir singing "sa sa sa sa", and elements like this add such beauty. Gowtham sings the bridge line " Dardon se paar tu kare" and ends with a crescendo, to be then joined by the chorus. The subsequent lines that we hear are so rich as a melody and when you hear them, the heartthrobs and the muscles shake. "Tere Kisi avatar mein aaoge, kya prabhu?", I tear up! We get the verse again, but towards the end, there is the magical solo by Rajesh Vaidya on the Veena, as he simply performs at a decimating level. Why did Santhosh want the Veena to be played here, why that instrument? Does it have anything to do with it being the instrument of the Gods, like Shiva, Ravana and Saraswati? Questions aside, play this on full blast and enjoy and celebrate that we have such amazing musicians in India today. Aditya Ravindran plays the electric guitar, and it probably sounds more evocative and powerful in the movie's BGM when the 'Theme of Kalki' appears. The recording engineers are Rupendar Venkatesh, Pranav Muniraj, Joshua D. Fernandez, Santhosh Narayanan and Karthik Manickavasakam at Future Tense Studios, Chennai. The musicians' co-ordinator is Meenakshi Santhosh and Jabaraj is the Studio Assistant. The tracks are mixed and mastered by Santhosh, with an additional mix by Rupendar VenkateshA big round of applause to the amazing vocalists of The Indian Choral Ensemble and they are Aparna Harikumar, Alisha Mathew Thayil, Sushmita Narasimhan, Nidhi Saraogi, Vani Nandhini, Rutuja Pande, Shwetha Sugathan, Yazhini, Samanvitha Sasidaran and Amritha Rajesh Chelat as Sopranos, Nayansee Sharma, Geethu Nirmala, Fathima Henna, Megha Salila, Shruthi Parthasarathy, Shri Bhadra, Varsha R Mallya, Ananya A, Pavithra Chari and Kaaviya S as Altos, Akash V H, Sudarshan HemaRam, Keshav Vinod, Shivsundar R, Shridhar Ramesh, Manoj Krishna, Shibi Srinivas, Dhiyanathiru, Nikhilchandran D S, Arshith Kurian, Chirag Shetty, Manikandan Chembai, Joseph George, Ebenezer as Tenors, Regis Tony, Shyam Krishna, Prashanth Mohanasundaram, Cyril Solomon, Neeraj Selvaganapathy and Soloman Ravindar as basses. @kalki2898ad @musicsanthosh @pranavbalu @rupendar_vankatesh @gowthambharadwaj @kumaarofficial @manojviolinist @kalyaninair86 @karthikmanickavasakam @theindianchoralensemble @adityaravindran95 @meenakshi_santhoshnarayanan @sarathsantoshofficial @sreekanthhariharan @santoshhariharanlive @pahadisingshere @shenbagarajg @jithinrajofficial @sarthak_kalyani @manikandanl @vaidhya_rajesh2. Open SkiesComposed by Parikrama, Sharat Chandra Srivastava, Suhail Ali KhanNitin Malik - Vocals Language: InstrumentalGenre: Rock FusionMood: EnergeticThis premier Indian rock band has of late given us some amazing records to cherish and take inspiration from, and this is a new song that follows the same footsteps into stardom and excellence. This is a predominantly instrumental record with Nitin Malik having to do very little as the lead vocalist. Suhail Ali Khan hits you with all the emotional highs on the electric violin as he plays the slow and pathos-inducing solo in the intro. The Gentle Keys by Subir Malik accompany you in the background and you can feel the presence of the massive crowd cheering in this Live performance, back in 2022.  Soon enough Suhail moves into captivate us playing some amazing notes stitched into a heartwarming melody. Saurabh Chaudhury and Abhishek Mittal are the leading guitars and Gaurav Balani is t

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 23rd June 20241. Bhairava AnthemSingers: Vijaynarain, Diljit DosanjhLyrics: KumaarMusic: Santhosh NarayananAdditional Music Production: 6091Language: HindiGenre: Folk-EDMMood: DanceIt has been a very exciting time for music fans with the release date of Kalki 2898AD fast approaching. When this article had been published, the movie would have been released and I would have seen it too. The songs and scores by Santhosh Narayanan are the primary reasons for me to watch in the theatre on the very first day. The Bujji Theme was a terrific piece of synth Pop, Alt-Hip hop and a crafty violin solo. This is the Bhairava Theme and it is Punjabi Folk infused with EDM to energize every sinew and bone in our body. Of the many versions released, I loved the lyrical metering and singing in Hindi the most. The common thread between all versions is the Diljith DOsanj lines in Punjabi, but Vijaynarain throws a belter here as the lead vocalist. Kumaar writes the lyrics and I love the lines " Matlab ki duniya hai saari, main kyun loon kisi ki zimmedhari" which aptly tells the motto of the Prabhas' character Bhairava in the movie, and this is evident from the Trailer released 10 days ago. Vijayrarain has sung some terrific songs for Santhosh in Tamil, but this is a solid delivery in Hindi. The song has all the trademark traits of Santhosh;'s music like the heavy Brass section, the Siren, and some fantastic chorus lines. Babu, Ben and Vijay handle the Brass section and Karthik Vamsi ups the ante on the Indian percussions. This applies in the outro where the Punjabi folk percussions create the aura. One can feel the pulsating effect the singing and lines have like " Dil Yeh Mera aah, Befikra aa" with the ending grunts. Santhosh keeps things interesting and creative when the line repeats "Dil Yeh mera, Mast Maula", with the notes sounding different this time around. Ok, wait for it then comes the line " Punjabi aaye oye" and Diljith makes his entry in phenomenal style. The singing is energetic with loads of oomph as expected from the singer. Santhosh and Aditya Ravindran accompany in the additional vocals. The production by Santhosh is mindblowing and he is assisted by the talented indie producer 6091 on additional production. The chorus singers are Santosh Hariharan, Sreekanth Hariharan, Mayank Kapri, Sudharsan HemaRam and Manikandan Chembai, with the kids chorus comprising Sukhi, Rhea, Dhanya, Augustus, Ahana, Mithran, Krishaang, Shakti, Tara, Dhvani, Keerthana and Prarthana. The humming is another sensational bit that lifts spirits like an anthem and towards the outro Santhosh gets crazy and wild with the " tur tur tur" cries and rising brass section. The sessions are recorded by Karthik Manickavasakam, Santhosh, Rupendar Venkatesh, Joshua D. Fernandez and Rohit Shyam at Future Tense Studios, Chennai. @musicsanthosh @vijaynarain @diljithdosanjh @saregama_official @kalki2898ad @archanaaakhilrao @kumaarofficial @karthikmanickavasakam @rupendar_venkatesh @6091music @adityaravindran95 @sreekanthhariharan @santoshhariharanlive @pahadisingshere 2.  Aasa KoodaMusic Composed and Produced by Sai AbhyankkarSingers : Sai Abhyankkar, Sai Smriti Lyrics by Sathyan IlankoLanguage:Genre: PopMood: Romantic2024's best Tamil song so far is 'Katchi Sera' composed, produced and performed by Sai Abhyankkar. I loved it and featured it on my website showering the artist and others involved with loads of praise. However, there was always a doubt at the back of my mind if Sai Abhyankkar would deliver another song of this quality or if he would end up being a one-hit writer. Those doubts and fears have vanished and it looks like this talented musician is making his mark. Within a few seconds, the song creates butterflies in my stomach and that is actually what the video depicts too, a butterfly in flight. Sai Abhyankkar is not just a skilled composer, it seems he has the knack to produce a song effectively and that is evident with the vocal harmonies in the intro. Srinidhi Premkumar, Faik, Shiva and Elisa are the backing vocalists and we are treated to 43 seconds of intro music that just grows and brightens the day. Keba Jeremiah and Robin Sebastian play the electric guitars, while Keba is the bassist as well. I was blown away by the Clarinet and Sax interventions in the intro played by Ashish. Viswas Hari plays the Mandolin. The verse starts and we have Sai Smriti and Sai Abhyankkar in solid form taking up lead vocal responsibilities. The baritone style of delivery by Smriti is exciting to hear and she adds a few Carnatic-styled ghamakas too in between. The catchy chorus segment that goes " Nee pesa lighta aasa kooda, vaasam veesum" is a very infectious melody written brilliantly by Sai Abhyankkar. He proves the simplest adage that for a good song , the most important element is the melody. The song has a very beautiful and hummable melody and that is why I feel this song wins hearts again.The interlude is a Jugalbandhi between the Sax and the Clarinet and things do get quite Jaazy and funky in this segment. The stanza continues to showcase a fine melody and there are influences of Shanmukhapriya Ragam according to me. Towards the end when we get to the chorus segment, there is the Nadaswaram by Parthiban and Trumpets by John, Henry Park, H. Warner & Ben. Sathyan Ilanko, the lyricist mixes fun and romance in apt words. 

If you are a musician submit your new music here.Here are the best songs released in India across languages and genres for the week ending 16th June 20241.  Main Deewana HuaSinger - Sanam Marvi Music & Lyrics - Imran KhanMusic Arranged by Samarpit Golani Language: HindiGenre: Ghazal FusionMood: PathosI have already featured a song from the album 'Song Craft Season 1', and that had the brilliant Pratibha Singh Baghel. Here we have another terrific Sanam Marvi, who is exhilarating at the top of her voice. The melody sounds like there are influences of Raag Khamaj. Imran Khan makes the delightful and impressive tune and he also writes the lyrics. Abhilash Phukan is playing the guitars and Akashdeep Gogoi is the bassist, along with drums by Lindsay Demello. Sanam's vocals have been recorded in Lahore, thanks to engineer Sonu Aali at the Rahill Mirza Studios. Along with the guitars, we can also hear the ethnic strings like the Rabab, Tar and Strokes by Tapas Roy. The chorus segment sounds magnificent thanks to the combined voices of Samarpit Golani, Aswini Shrinivasan, Sneha Singh, Simran Sharma, Sonu Ishteyak Khan and Azmat Khan. The interlude has the Sarangi by Sabir Sultan Khan and the impounding percussions by Arun Solanki with the traditional Dholak played by Ishteyak Khan and Mustak Khan. Sharafat Khan plays the Tabla.This song is of supreme quality, something that could match up to what we hear in Coke Studio Pakistan, every season. Out of the blue, comes this solo on the Shehnai by Durgesh Bhosle, and that ability to surprise the listener is why I love Samarpit's arrangements. The second verse after the Shehnai sounds like Raag Charukeshi with all the engrossing pathos. The tracks are mixed by Ishit Kuberkar and mastered by Gethin John, with recording engineers Jayakrishnan Nalinkumar, Shashank Sahu and Anupam Sathe@sanammarvimusic @music.samarpit @imrankmusic @smriti.s16 @ishteyakkhanofficial @dilshhadkhan @music.samarpit @akashdeep_gogoi_music @dmellolindsay @abhilash.phukan.921 @taginstitute @arunpercs @snehaa_sings @aswini96 @simransharmaa_music @ishitk86 @sabirsultankhan @sourabh2108 @mandolintapas @jk_theaudioguy @sharafat.hussain.13 @bhosle.durgesh2. SochoMusic: Siddharth PanditLyrics: Rev ShergillVocals: Rev Shergill, Akanksha Sethi, Pooja Tiwari, Shriya PareekComposed & Arranged by Siddharth PanditLanguage: HindiGenre: Blues PopMood: ContemplativeSiddharth Pandit making this a habit, and here comes the 4th song from this album, getting featured and reviewed, rightly so! The combination of REV Shergill and Siddharth Pandit has been a hit ever since I heard them first for this movie album called "Yaara". The partnership continues to shine. The Piano and the rhythms are gentle to give the mild Blues colouring to the song's tune. REV SHergill makes his way, matching up to the same energy of the song, singing in a tepid and casual tone in his voice.I can hear the double bass too in the background and despite such wonderful arrangements and production by Siddharth, this song's writing is so amusing and it catches my attention. "Jeetega kaise woh, jo kabhi haara nahin hai, Tairega kaise woh, joh kabhi dhooba nahin hai", with the notes requiring REV to head into the higher pitch towards the end. This has to be my favourite segment as this line is followed by the chorus of amazing singers saying " Kyun nahi hai". We have amazing vocalists Akanksha Sethi, Shriya Pareek and Pooja Tiwari on backing vocals and if I am not wrong there is also the innovative mouth-trumpet accompanying them and making it interesting. The song's lyrics are written by REV Shergill, with Siddharth on composition, arrangements and production. The interlude with the Piano, and the violins in the background is mysterious and suddenly the heavy lead, bass guitars and drums make this song bleed with heavy adrenaline. The harmonies make a comeback with the catchy " Kyun kyun kyun.. kyun nahi hi hi hi hi hain" interjection. Pure Genius is all I can say! The tracks are mixed and mastered by Siddharth. @panditjeeee @akankshasethimusic @shaandaarshriya @poojatiwari_official @revshergill 3. SymmetriesPerformed by Frizzell D'souzaWritten by Frizzell D'souza