Santhosh Narayanan’s Minimalist Music Wraps Itself Around The Lyrics

Santhosh Narayanan makes use of minimal sounds to create a selected soundscape for Mari Selvaraj’s second movie Karnan. In ‘Kandaa Vara Sollunga’ you solely hear two voices, the rhythm, and an ever-present synth within the background. You’re feeling you’re in an unlimited house the place hushed whispers would echo just like the coughing of giants, the place you hear the singer’s voice and the placing of the beat as clearly as you hear the echoes. It virtually begins like a devotional track, nevertheless it’s truly an SOS name to Karnan

Kidakkuzhi Mariyammal’s expansive voice calls out “Kandaa vara sollunga, karnan-a kaiyoda kooti vaarunga (ask him to come back should you see him, carry Karnan together with you).”

It intensifies a plea to merely invite Karnan with an much more pressing one to carry him alongside straightaway. However it’s not a name of hope. It, in any case, begins with an ‘if’.

The music mirrors this ambiguity by establishing a everlasting dissonance within the background. Mariyammal, too, by no means lands the final observe of her traces; she leaves it balancing on a rope bridge between adjoining notes. She strikes on to the following line, as you proceed to listen to the trailing echo of that unsure observe. 

You may think about that her voice would journey miles by way of the air looking for Karnan. The ‘Kandaa Vara Sollunga’ chorus can be repeated by growling male voices (credited to Santhosh Narayanan) that sound just like the cry is now rumbling by way of the earth. This primary sample—a feminine voice adopted by male voices that sing the chorus—is repeated (with variations) all through the track. Mari Selvaraj, the lyricist, makes use of this repetition to step by step reveal Karnan and his relationship to the singer.

First, we hear of Karnan’s beginning. We then hear the chorus ‘Kandaa vara sollunga (ask him to come back should you see him). You suppose, perhaps, this can be a relative or a buddy (who else would possibly know of somebody’s beginning?) who merely needs to satisfy Karnan once more. By the point the sample is repeated the fourth time (every time with completely different lyrics, after all) and also you hear ‘Kandaa Vara Sollunga’ for the ultimate time, your view of each Karnan and the singer are modified. 

This isn’t the mythological Karnan. He didn’t have a divine beginning. He’s the one hope, due to his valour, of those that have been deserted even by the gods. Music and lyrics collectively don’t simply introduce the hero by giving us details about him. They trace at particular photos, too. 

The ultimate time ‘Kandaa vara sollunga’ is repeated the rhythm sounds prefer it was produced by thrilling a herd of bulls to run over a area of drums. It doesn’t sound just like the lighter strike of horses’ hooves, however just like the heavier thud of bulls. The track doesn’t convey simply musical concepts, but in addition provides us a way of the world through which the music exists. 

Pandarathi Puranam’ is an oppari track: it begins as an elegy and chokes (actually) right into a lament. You’re starved for concord; there’s simply Deva’s voice and a beat. When concord lastly comes, it intensifies the pathos as a result of we hear that the lady of the track has died on account of cholera. At this level all of the artistry of the track apparently breaks down. The percussion has stopped enjoying.

The common sample of the lyrics (by Yugabharathi) is damaged in simply that one line that talks about cholera (simply the phrase ‘cholera’ in context, sounds so unmusical). The track troopers on, once more.


The songs in Karnan are additionally accessible, and ‘Thattaan Thattaan’ is particularly so. Sung by Dhanush, it seems like a romantic track. However lyrics by Yugabharathi discuss additionally about generational injustices and likewise a name for victory. Just like the rhythms in ‘Kandaa Vara Sollunga’ the phrases in ‘Thattaan Thattaan’ are grounded in rural Tamil milieu and keep away from abstractions even when once they takes a flight of fancy: sokkappanai melae ninnu adhichaa soora kaaththaattom.

These traces are nearly untranslatable except you’ve witnessed the raging fireplace that could be a ‘sokkappanai’ and sprinted away from it in your life because it bellowed warmth. You probably have, then you definately’d get it when somebody very particularly in contrast his beloved to the “stormwind over a sokkappanai.’

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