After the huge success of Vishal's Thimuru, expectations are high from Sivapathikaaram, which pairs the actor with Mamta. The film's music is by Vidyasagar, the National Award winning composer who has also enjoyed great commercial success with films like Parthiban Kanavu and Chandramukhi.
While this album might not take Tamil cinema by storm, Vidyasagar's music is certainly not mundane.
Where the composer really scores is in the orchestration. Little wonder, considering he was a child prodigy who had mastered various instruments at a very young age. He has utilised a string of singers -- some familiar, some not -- and the lyrics by Yugabharathi and Pa Vijay work well with the music, mostly set against a village backdrop. The finest melody he has invariably reserved for his all time favourite Madhu Balakrishnan, paired here with Sujatha.
The first song Mannarkudi kalakalakka is a fast number full of funny rustic imagery. It is rendered by Manicka Vinayagam, Rajalakshmi and Chinnaponnu, originally a therukoothu (street theatre) artist.
Vidyasagar always mixes it up, so next comes Kalluri salai, depicting a rosy picture of college life which opens up new vistas to the young. The singing (Karthik) and instrumentation is in a western style, interspersed with soft strains. One felt the mixing could have been better.
Kolaivalinai edada features poet Bharathidasan's lines set to a marching tune. The full-throated rendering by Rahul and Kathir makes it sound like a war-cry, and conveys the full meaning of the lyrics.
Next comes Chithirayil enna, starting with an invocation by Malaiamma. It's an easy-flowing soft melody, with an undercurrent of folk, and soothing like a lullaby. This is one of the commendable pieces in the album. Karthik and Swarnalatha have done full justice to Yugabharathi's meaningful lyrics.
Poranthirichu kalam is a downright folk song, rousing nostalgic memories of village life portrayed in old Sivaji-MGR films --the harvest dance, a bullock cart ride, village damsels carrying food for their men working in the fields, etc. The background score is embellished with rustic sounds to create a pastoral atmosphere.
Adi Chandira suriyane is also a typically folk number. The silent interludes and sudden pitchforking into different tones and rhythm after each interlude add a mystic quality to the number.
The following track Mari magamayi amma is a pooja song. You can visualise village belles in colourful clothes and flower-decked hair standing in a circle clapping to the rhythm and singing in praise of their deity.
Finally, Atrai thingal is the best of this Vidyasagar spread, sung by Madhu Balakrishnan and Sujatha. The mellow warbling by the singers evokes a picture of young lovers enveloped in moonlight and the giddy scent of fresh flowers. The song is pleasant, yet sensuous and washes over you. Both singers should be complimented for excellent voice modulation. The number is a connoisseur's delight.
In short, this is an album with repeat value.
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