Substance Matching up to Style Music Review of Komram Puli (Cannot comment on lyrics and placement of them since I don't know Telugu. I am fully aware that the lyrics and the use of them have been a huge sore point of the album in others reviews.)
In my opinion, Rahman composing for a hardcore commercial flick had yielded mixed results going by history, but falling more on the positive side of the fence. Commercial flicks can offer a somewhat safe canvas for Rahman to let his hair really loose and experiment like the mad musical scientist that he is, but often depends on the director's musical taste and film scope. With SJ Surya at the helm of this Telugu flick, would Rahman burst through or remain uninspired? One observation to made about ARR's Indian soundtracks since his Oscar recognition and having Western doors more wide open for him is that the attempt to "internationalize" the music is evident to me, since the spotlight on Oscar winning AR Rahman was on. Of course, Rahman's albums always had the international/world influences, but somehow, post Oscars, the intentionality of this seemed more focused. But, this intention did not come without much cost when you look at soundtracks like VTV and Raavan, both featuring world influences, but retaining a core Indian-ness to the music. What a tricky balance and tightrope act that Rahman managed to achieve ..widening the universal appeal scope of the music for more diverse ears throughout the world while still needing to satisfy the aum junta in the local domain! Did Rahman walk the tightrope without tipping in Puli? Well, a pretty fine start if you ask me as the thumping beats of Power Star blast their way into a high octane, adrenaline pumping track with a solid raag Bhairavi based melody sung spiritedly and spritefully by Tanvi and Vijay Prakash. This tune is totally energizing and becomes ablaze with an electronic fire with splashes of folk. The part where Tanvi sings "Power Star" sounds a bit too cheesy for my taste and is the only drawback in an otherwise excellent track. During the antara, Rahman has used the same techno synth sound sample that he used in the song Kannkul Kannai from VTV and has used it very tastefully. Did you also notice a bit of operatic singing at the end of the first interlude following the brass solo? A mélange of sonic colors define this hot track and I only feel like dancing to it like crazy when I listen! My oh my, what do we have here in track 2? What a beautiful start with only techno drums and plucked strings setting the minimalistic backdrop for what is to become one of the most genius tracks from ARR. Totally unconventional in structure, it's a track where the singing in double time is punctuated by one of the most frequent and wild chord changes in one song I've ever heard, not to mention how the various raagas used in the main melody seemingly shifting with each second! Only a genius legend like ARR can pull this off so brilliantly! Total drama and surging emotions cast a plucky hue to this scintillating number that is bound to become a favorite by many who appreciate the wild and freakish side to ARR, and freakish in a good way! Rahman is playing and having fun in this track!!! I also love how ARR has used the flourishing symphonic based interludes so tastefully that only add class to an already refined juggernaut of a track. Parts of the song do sound a bit cluttered and mildly noisy arrangement wise at times, but that is entirely forgiven by me given the complete brilliance showcased here! Warning: This track is not for the conventionally and traditionally minded .you need to really open your ears and mind to enjoy this one! And the brilliance only continues in track 3 with a patriotic surge voiced by the one and only What a beautiful symphonic and epic soundscape that AR has used for this intensely passionate track that is full of courage and gusto. The beautiful brass interludes add a uniquely dimensional sonic texture to an already richly laden, multilayered power track alongside the soothing "Mannipaya" like choral interludes, once again full of aestheticism and refinement. The thumping drum beats and the backdrop tanpura throughout the song add even more depth and beauty. This song somewhat reminds of the same passion and style of the song "Ellapazhugam" from ATM. The intensity backs off a bit in the fourth track, but not the quality! A paced track full of attitude, certainty and spirit, the symphonic strings and patient electronic accents give an all around beauty to this punchy number. Both male and female voices alternate between the heavy and lighter styles, adding a nice vocal balance, but with conviction! Possibly my least favorite track on the album, but that is only a relative dislike ..it's still a solid number! We suddenly shift gears in the fifth track as the Gangsta Blues template appears, but with a sweet melody! A very sexy and seductive sounding number to me, this track scores and how!! ARR goes into sonic experimentation mode more minimalistically this time with light techno, crafty and sweet acoustic guitar, spacious electro sound effects, and accordion type sound. This track breathes slowly and patiently with breaks! The melody in the antara is the sweetest part of the song as Shreya croons the high notes with incredible ease with her sweet as honey voice. A beautifully crafted melody that only has one asking for more! A very unique track by ARR, despite using the Gangsta Blues rhythm and style template. The final track is my favorite. So what if it somewhat sounds like Rahman's previous devotional numbers? The melody is still unique, despite using similar ragas and the musical arrangements are incredibly refined, harkening back also to the Roshan Hua from Sapnay days with the Arabic sounding mandolin like splashes. Oh, and Rahman has used the acoustic guitar here so beautifully and delicately throughout the song and with such softness adding just the right feel to this incredibly moving and spiritual number. I love the intro and first interlude use of the solo oboe followed by very moving strings shifting to a major scale temporarily. Oh, and did you notice the short flute insertion at the 3'17" mark, that is so perfectly timed and placed to reflect the emotion of the moment? PURE MAGIC! The second interlude has Chitra doing her usual alaap best along with a loopy clarinet like sounding insertion before the low octave tuned tablas come in with a time signature that is really hard to figure out! I hope everyone noticed the nice bass guitar throughout the song adding only depth to an already deep number. Rahman has used raagas Charukeshi, Asawari, Pilu in various avatars so beautifully with a slow, drawn out melody that squeezes out every drop of emotion. This devotional track totally takes me to the clouds and has me floating on air. What a masterpiece! So, there you have it. This is an album full of stylistic panache only to be matched and even subdued by the substance that Rahman has poured into each and every track. The fact that the songs remind one of ARR's earlier works doesn't bother me one bit and I never get hung up by such things, because there is way more uniqueness and innovation in each track than similarities to previous tracks, as there usually is in an ARR album! When listening to an ARR album, there are certain core features of his music that I pay attention to like sonic range, innovation, emotion, passion, intensity, melody, orchestration, depth of arrangements. The surprise for me was the level of musical intensity and highly refined and sweet sounding sonic range and orchestration and arrangements, which I did not expect for an album for this type of movie under this director. This album has gotten a strong hold on me and I keep wanting to go back to it, signifying another test passed for an ARR album. So, yes, an inspired soundtrack with Rahman walking the tightrope with great élan, once again showcasing why he is one of the greatest composers ever with a musical versatility, depth, and range that is in a league of his own. If I had to give a numeric judgement: Comparing to other ARR albums, 7/10, and comparing to contemporary Indian film albums in general, 9/10. (This review or any part of it may not be reproduced without the expressed consent of this writer. Copyright 2010 by ichord)
