Kshanakathu (Malayalam Album) was released in 1990. It was the second venture of the daringly innovative director T. K. Rajeevkumar. The music was composed by Sarath. Many of you readers might not know Sarath. A disciple of the renowned Dr. Balamuralikrishna, he went on to score music for mega projects such as ''The Bible''.
At first, when the music of Kshanakathu was released, people were a bit taken aback by the unconventionality. If you hear these songs now, we may not know how they were against the tradition. I will explain as we go track by track. Sarath also limited the use of Tabla in his songs. This was a huge transition (something like a paradigm shift) for the highly-conservative Kerala Music industry. He used Cello, Violins, Xylophone, Congo drums, e-beats, Flute, acoustic guitar, e-guitar, Khatam, & Mrudangam, almost like a genius mathematician playing with numbers. Enough said, let's visit a forgotten masterpiece.
Before you read this review, let me warn you that I went into some of the fine details of the tracks. This was my humble attempt to convince you, dear readers that this was in fact one of the turning points in Malayalam Film Music.
Probably, the most publicly acclaimed song in this album was its first track ''Akaasadeepam''. The song starts with a flute playing the same tune as the first line, with xylophone (or keyboards) providing the backdrop. Violins, Cello, Veena & Santoor follow one by one, again playing bits and pieces of the tune. Within 10 seconds, 6 types of instruments were used. The vocals start with the magical voice of Dr. K.J.Yesudas. The initial rhythm is simple played with a triple drum for the first few lines. The song is a conversation between two teenage lovers. If you thought that the first few lines were the most complex compositions, you are wrong. Those readers who have traditionally liked Ilayaraaja's symphony style compositions should definitely hear the first interlude. Flute introduces three notes, Cellos follow. This cycle is repeated few times. The second time, a mild rhythm starts.
A solo violin takes it over and takes us to the full orchestra. Flute comes in again, assisted by cellos, and then Veena leads us right into the anupallavi. While Yesudas and Chitra sing the Anupallavi, support is again provided by a plethora of instruments, namely, Mrudangam, Khatam, triple-drum, Santoor, Violins, Cello & Flute. The second music interlude is equally rich and cleverly composed. It starts with two flutes in chord, and then the violins take over. This is again followed by a low-pitched flute, violins, cellos and finally an intelligently coordinated played with keyboards and Veena. I still am a bit perplexed by the fact that a person can imagine the final product with such complexly blended individual components.
The next track ''Aa Raagam'' was also a hit. I really don't know how to classify this number. The vocals are obsessively carnatic based (Raag: Hamsadhwani), with no effort to soften the hardcore carnatic usage. For example, the first line ?Aa Raagam? incorporates the five notes of Hamsadhwani (Sa, Re, Ga, Pa, & Ne). However, the background, percussion & interludes are tuned in the western-classical style. Saxophone makes its appearance in this track, probably the first time (as I remember) in a Malayalam song. Again, for those readers who are not a big fan of hardcore classical music, should hear the musical interludes.
A good sax solo is followed by a small percussion (only) piece, followed Veena. The anupallavi again has strictly carnatic vocals with a classical western backdrop. The second interlude is intensely complex, probably can only be composed by someone who can think so creatively that he can hear the final composition before it is made. Another contribution that Sarath has made is the sound of keyboards playing the raag in an accelerated manner. To hear this, hear the lines ''Aaa Raagam'' closely. Towards the latter end you will hear the keyboards played swiftly. It sounds good because it is only playing the five notes of Raag Hamsadwani (Mentioned earlier), and hence the typical song feel. This can also be heard during the anupallavi, after KJY sings ''Ponchilamboli......Thaalam''.
While the previous numbers were relatively slow and classical, Sarath gives an imaginative twist to his next number ''Tham Thaka''. Again, Sarath uses fascinating percussion. Hear closely as the song starts. The percussion consists of at least 4 distinct parts played in four different sounds, together to produce a unique effect. The sax notes might remind you of the IR-Number ''Rakkamma'' of Dalapathi. It looks like this album was released before Dalapathi, so, I don't know whether their paths crossed at all. When the vocals come in, I challenge you to find the percussion, it is almost imperceptibly merged. Another interesting part is the second music interlude. Towards the latter half, percussionist is given his special time, alone, with an interesting combination of beats between electronic and simple drums.
The anupallavi flows smoothly with simple percussion which changes to accommodate the crescendo (The 7th/8th percussion-transition in this song). The song appears to be in Raag Madhyamavati (Not sure, but sounded like it!). A couple of words on Yesudas's handling of this song. I would like to draw your attention to the lines: ''Chethovikaarangal Maadhavangalaay'' The word ''Maadhavangalaay'' is sung with amazing softness, almost completely masking the note slides (at least 4 of them) hidden inside the word, now we know why KJY is a legend. Let's move on.
The starting of the next track ''Sallaapam '' is similar to the first one (Flute and xylophone-sounding notes). Again, Sarath does not use Tabla, or Mrudangam, but uses simple keyboard notes and electronic percussion without disturbing KJY's vocals. His vocals are supported by a full orchestra, and a solo flute. Again, I would need one more review just to explain the number of instruments he has used in his music interludes. Flute seems to be the main instrument in this song (compared to Sax in the previous two numbers). Again, a must hear for people with strong interest in symphonic music compositions in general.
The track ?Mangalangalarulum? is a special song, especially if you watched the movie. The song is grounded in a tune that is in the heroine?s wrist-watch. The song is about the pain of separation, sadness and romance. Again, I wonder how I can review this song. The percussion has two parts, an e-beat, followed by the high-pitched tap on the Mrudangam. Again, Cellos, Violins, Xylophone, Flute, Sarangi and saxophones are used with perfect coordination and precision. Saxophones have been played together with Sarangi in the anupallavi. There are two versions, sung by both KJY and K.S. Chitra.
Once I was speaking to my classmate in college, who was a brilliant but part time keyboard player. I asked him about the strongest quality in a composer. His answer was simple: A composer should be able to visualize the composition, hours, days or weeks before it is completed. In other words, the MD should be able to feel the final product, in his or her mind, and he added that it was very rare among today?s musicians. I believe that Sarath is one of the few music directors who has that rare gift. I remember that I had mentioned about these qualities in other MDs in my previous reviews. While I wish success for some of the current MDs with this ability, I am also hoping that Sarath will not be easily forgotten. Well, now, should I wonder why this album prompted me to write a review?
