OK Kanmani is one of the most anticipated releases this season with the legendary combination of Mani Ratnam, A.R.Rahman and P.C.Sreeram hitting the screens after long time. The film stars two extremely talented Malayalam actors Dulquer Salman and Nitya Menon in lead roles.
The album starts off with the familiar ‘Kaara Attakkara’ which has already created quite a buzz. The entire track speaks of freshness in brilliant style. The recurring hip-hop beats and rap section add an extra tinge of fun. Flawless chord progression and impactful chorus are the other assets.
An extremely laid back trance like number with the ever sweet sounding Karthik, redefines the word modern classiness! The mild guitar strums, piano touches and timely bass work just add the icing on the cake in Rahman’s style.
A funky number with Reggae rhythm and mellowed bass section. Extremely casual singing that creates an impact. A clever blend of Indian melody and chill out lounge music, it is Chennai meets a remote island in Cuba, in terms of music!
The heart and soul of the album, with unpretentious vocals of A.R.Rahman and Jonita. The pumping rhythm section provides tremendous energy. Rahman and Mani collaborate for the first time on lyrics to create some magic.
A breathtaking fusion sung by Shashaa Tirupati. After ages, Rahman explores the amazing Carnatic Raaga Kaanada (Darbari Kaanada as Hindustani counterpart) used in Roja for Puthu Vellai Mazhai. The rhythm section is replete with sequencing as well as mridangam strokes.
It is time to shift gears and strike a new balance between feel good melody and trendiness. Rightfully, ‘Theera Ulaa’ has everything one can ask for- electronic vocals with a tinge of classicism and never say die chord progression! The master stroke arrives in the form of carnatic rendition in the midst of digital sequencing!
The most effervescent track of the lot, sung by the supremely talented Jonita Gandhi in her own unique style. While Rahman is high voltage, Jonita explores the melodious dimension to perfection.
The album arrives to a fitting and deserving pre-finale with a classical song by the legendary Chitra. Vintage flute which was so common in Rahman’s compositions back in the 90s. A very special mention for Vairamuthu’s poetic lyrics as well. Interesting to see a mild flavor of Raag Maand – a personal favorite of Rahman himself!
A traditional Islamic composition with the innocence of A.R.Ameen. A relaxing little presentation with neat bass work and breezy chorus.