The following review is by a user and is not IndiaGlitz's take towards anyone or anything. Written by Ramesh Ganapathy
Mugamoodi Music Review - Promise at first sight
Mugamoodi will make an attempt at bringing the Tamil audience to see superhero movies. Directed by Mysskin, one can expect a lot from the movie and the soundtrack to have very few songs. Going down the same path, Mugamoodi has 4 songs and 7 instrumentals. One surprising thing that's missing is an item using, in which Mysskin usually features a damsel clad in a yellow-saree.
A closer look at the soundtrack goes a long way in revealing a few aspects of the movie. Does the music have enough credibility to help take off a superhero movie? Let's have a look.
Vaayamoodi Summa Iru Da
Singers: Aalap Raju
Lyrics: Madhan Karky
Standing out from the rest of the album, this one has a lot of stuff going right about it. K cleverly uses the Guitar and Violin to give the track a very smooth and dreamy feel. If you pay attention, you will be able to notice that at one point you are hearing the lead along with some guitar chords, and right after it switches over to a chorus backed up by some really melodious violin pieces. Although some of the same chords are found throughout the song, you must appreciate K mixing things up.
Aalap Raju has come up with a lot of melodies for Harris Jayaraj and is looking set to become the next Harish Raghavendra. His voice holds the entire song together and his low notes are as gorgeous as always. Madhan Karky, who has penned for just two songs in Mugamoodi, has given it the modern-day love lines. While it isn't radically new, you can compare it to the duets from the 80s and realize how much more focus is on the feelings of the singer (instead of praising the beauty, the nature and what not of the obviously pretty heroine)
Vaayamoodi Summa Iru Da - Guitar Version
Singers: Aalap Raju
Lyrics: Madhan Karky
Once you have heard the original song, you probably got content with it and decided that it was the song of the album. But before you write off the track with the same name, you must understand that it is not a remix. In fact, it is almost the same song except some subtle changes. Take out all of the violin bits from the original track; add more guitar pieces and what you get is a slightly better version.
Lyrics: Madhan Karky
K reminds us of the music he composed for Yuddham Sei with Mayaavi, a composition as dark and perhaps having some as enigmatic as the sequences we have seen in typical Mysskin movies from the past. His orchestration of the song, the use of percussion and especially the strings reminds you Ilayaraja's work from the 90s. The piano appears every now and then amidst the beats and adds more depth to the track. The interlude after the first stanza stands out in the entire song.
Chinmayi lends her voice for this one and comes out of her usual winning ways of singing super-hit duets. A solo, yet alone one packed with a lot of percussion and desperation is very different indeed. Karky's lyrics mark a lot of seriousness and sorrow in the song. Looks like the heroine is going to have trouble winning over her superhero.
Kudi Vazhthu - The Bar Anthem
I am not a big fan of songs sung by the drunk. Honestly, in recent times, a lot of directors (and some music directors) have come up numerous such songs. First, all of them shape up because a girl has messed up with the hero's life. Second, the hero is always sad or angry while singing (sometimes both). Sometimes, even one or two friends of the hero team up with him and share his sorrow (God knows for that dumb reason).
Fortunately, Mysskin's portrayal of drunkards is rather unique. For starters, there is no sadness involved like we saw with "Kannadhasan Karakudi". With Kudi Vazhthu, his voice is no longer low but still, the alcohol's wisdom resonates all over. In a celebration of "bodhai", Mysskin has come up with another track that has a lot of promise, just because of the lyrics. The violin comes to the rescue of K and keeps things in check.
Instrumentals and Themes (Sorted by track length - longer to shorter)
Don't Drive Your Car With This Music On - Weird name, so is the music. It starts off in a certain pace and even through the entire track retains the same beat, the urgency is lost with each passing second. Trumpets, trombones, the electronic piano, violin and even some flute interludes have been spilled all over it. Come Let's Fall in Love - Same as Vaayamoodi Summa Iru Da. A lot has been spoken about this composition already. Here, the lead voice has been replaced with a soft piano. Funny how things never seemed as romantic when it had that funny name all over it.
Mayaavi Instrumental - Same desperation seen in the original track, but a bit more appealing thanks to the Flute, which has been used throughout. Retains most of the same instrument work, but this one appears to be a lot more of a cry. More likely to be used in the film.
Cape Of Good Hope - We can see some retro-ish compositions blend with a few modern day ideologies in this one. Orchestrations do a good job of reminding you of the music of yesteryears and some flanges and phase-outs bring in some modernity to the track. Very limited use of percussion and probably the most unique track in the album.
Lullaby for Loss - The only track among the instrumentals that comes close to stirring you when listened to in a silent room (I am playing it for the third time in a row, sitting alone in a dark room). Playback with the piano, some touches with the clarinet (maybe the trumpet too?) are scattered across the entire piece.
Hell, Heaven and The Ladder - A track which starts slowly with a single string background which eventually has many other musical notes superimposing on top of each other. Continues to run out with the same tempo in the same soft manner.
Blue Panther On the Prowl - Bond-style techno chase beat that reminds you of some of the compositions from other superhero movies. The trumpet takes the lead as the base plays in the background. Might be too short for a chase sequence.
The instrumentals will do a good job of blending into the movie. I can see each of them matching a scenario in a movie where the hero wears a cape. They certainly do a good job of maintaining Mysskin's brand. Dark, subtle and turning your focus onto the screen, they may play a big role in Mugamoodi.
K has been handed a similar job again after Yuddham Sei with a lot more of the focus obviously on the screenplay. But with the little room that he had through the three standard film songs, he has shown that he also does a good job when aske