Agni Natchathiram Hd Video Songs Download

It's the onset of agni natchatiram [the height of summer]. It stars slowly and reaches a peak with the sun, and then it cools down. The visual seems very simple because it's just the sun coming out, but we actually had to time it and measure the length of the shot. We went one day, P.C. Sreeram and I, with a stopwatch. Unlike now, when we ramp the shot to the length we need, we had to shoot it to the length that we required, and we had to ensure that the start-to-finish had that escalation.

The music is being handled by the great music director Ilaiyaraaja, and the cinematography is being handled by P.C.Sreeram. The Lyrics is penned by the Legendary Lyricist Vaali, whose magical words has put souls into the songs.

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Music- Raja Rajadhi Raja and Ninnukori Varnam were the major blockbusters of the music industry of that time. Vaali was appraised by the critics for his lyrics. Ilaiyaraaja has once again shown his magic with these songs.

The second half of the 1980s, a new kind of electronic music radiating from Kollywood reverberated into the soundscapes of India. Ushered in by Ilaiyaraaja, it was hypermodern without being soulless, and futuristic without being anaemic. Through the use of computers, sequencers, synthesizers, and drum machines, he reinvented Tamil film songs into what we can call Tamil electro synth-pop.

Mani Ratnam appears to have gone with electronic music in the background score. This was a conscious aesthetic decision to "push the envelope in terms of style" and energize Agni Natchathiram.5 The film's songs also brought "the sounds of electronic funk and synthetic pop" directly to the Tamil listener. The chartbuster 'Raaja Raajathi Raajan Indha Raaja,' in particular, fuses synth-pop with jazz interludes pumped up by drum machine beats played by Ilaiyaraaja's drummer the late R. Purusothaman. Picturised as a boys' night out in town, the song's aesthetic on film also takes the disco to the streets.

While there were various Kollywood songs set in a discotheque, none are as campy in all its neon-lit glory as 'Hey Unnai Thane' from Kadhal Parisu (1987). The outlandish dcor in the song includes a 12-foot high silver head described as a cross between "Greco-Buddhist kitsch" and "creatures from science fiction films." The gaudy disco backdrop was characteristic of opulent sets that sprung up in the studios of Bombay, Madras, and Hyderabad in the second half of the 1980s. This shift to mega-budget spectacle cinema was an attempt to stave off the threat from television soap operas and the video onslaught.

Sonic explorers looking for localized interpretations of the global disco craze would find a goldmine in songs like 'Pavala Malligai' from Manthira Punnagai (1986), 'Oru Raaja' from Thendral Sudum (1989), 'Rani Mangamma' in Poruthathu Pothum (1989), 'Unnaithaan Nitham' from Mappillai (1989), and 'Poongatre Ithu Pothum' from Padicha Pulla (1989).

Kollywood also responded to the fitness dance craze taking India and the world by storm at that time. Modern dance studios and gymnasiums, virtually unseen before this period on screen, now featured as a fact of urban life in India. If anyone wondered whether the dance musical and aerobics craze was a global phenomenon, they only had to look at some popular Tamil electro synth-pop songs.

Two synth-pop songs in Punnagai Mannan stand out for their contemporaneity. The first is 'One Two' rendered fully in English as though to say, 'Who needs to import English music when we can make our own?' The other is the 80s electronica 'Love Theme on Computer' played on synthesizer by Rahman, which has been described as "a beautiful lovechild of Kraftwerk and Koji Kondo." Ilaiyaraaja's composition can thus be considered spiritual kin to Kraftwerk's 'Computer Love.'

Electronic music came in handy to convey a sense of suspense and intrigue in 'cloak and dagger'-type situations. With its industrial sounds, the programmed beats of synthesizer music were ideal for Kollywood's adaptation of film genres and tropes from the west like the espionage film and the femme fatale, respectively. It helped to set the mood for fantasies and nightmares about techno-digital modernity. Filmmakers also chose to stage these songs in glamorous, and extravagant locale to foreground the conspicuous consumption of its characters. This was consistent with the trend towards visually spectacular productions at that time.

Thematically similar is 'Uthama Puthiri Naanu' from Guru Sishyan (1988) featuring another femme fatale. This time she's working for the good guys. It ramps up the spectacle by setting it at the magnificent Lalitha Mahal Palace in Mysore. The song itself is sensual synth-pop with matching sultry vocals, and unmissable digitized drum beats. It is worth segueing to say that the second-half of Guru Sishyan goes from comedy caper to an Indiana Jones-style adventure, borrowing heavily from Hollywood's Raiders of the Lost Ark (1981).

Arguably one of Ilaiyaraaja's finest compositions, the timeless romantic duet 'Valai Osai' from Sathya (1988) is sweet synth-pop with an Indian touch. It foregrounds the synthesizer and drum machine while syncretising with interludes in flute and violin. There are other love songs like 'Raja Raja Cholan' from Rettai Vaal Kuruvi (1987), 'Paaramal Partha Nenjam' from Poonthotta Kaavalkaran (1988) and 'Nethu Oruthara' from Puthu Paatu (1990), both of which richly experiment with the fusion of Carnatic instruments with electronic funk.

Though less popular relative to its upbeat counterparts in this playlist, electro synth-pop also provides a vehicle for pathos songs too. For instance, 'Pattu Inge' from Poovizhi Vasalile (1987) shows that desolation and tragedy had a place alongside sublime synthesizer and guitar riffs. Likewise, 'Nadapathu Nadakattum' from Bramma (1991) is alcohol-fuelled bravado to distract from the searing loss of a loved one. In contrast, 'I want to tell you something' from Anand (1987), with chorus entirely in English, showcases heart-wrenching emotion as S.P. Balasubrahmanyam's vocals tremble with ache from heartbreak.

Kollywood's popularization of Tamil electro synth-pop in the second half of the 1980s lay at the intersection of the computer revolution and the video boom. Besides the digital transformation that allowed for musical programming, on screen these songs brought the world into cinema. Evidencing proto-globalization, prior to economic reforms of 1991, they absorbed a range of foreign influences like disco, aerobics, and the Hollywood spectacle. 17dc91bb1f