If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs releasxed in India across languages and genres for the week ending 8th February 20261. Baanancha DaatiComposer/Singer/Music Producer - Narayan SharmaLanguage: KannadaGenre: Light Music/Pop/ Semi-classicalMood: Calming/RomanceI trust Narayan Sharma to deliver something that always speaks directly to the heart, not through letters but through notes. That is why my inability to fully understand Kannada is not a problem at all. His melody, the poetic and poised arrangements, with a galaxy of celebrated instrumentalists, all come together, and in 4 minutes approximately, even a disturbed and dejected heart is given a spark of joy, the joy of living and feeling the intricacies of music. I commend this man as Narayan composes the melody, produces the music and sings the lines written by the talented Sumedh K. Advait Pattanaik, who teases you with the guitar intro as he plays the acoustic and nylon guitar.You get a folkish flavour, rustic an drooted thanks to the one-man show on strings from the inimitable Rithu Vysakh. His range extends from the cello, giving that soothing texture, but he also plays teh Viola and Violin solos to strike you with their incisive pathos. The sound of Narayan singing ‘Baanancha Daati’ feels like the fresh smell of coffee to me, invigorating. The phrase means “beyond the horizon”, and it does make me travel to a fairy land far away. The instruments are present, distant, and they slowly start rising in intensity. Is there some fragmented piece of Bihag Ragam, because I am taken to Maestro’s “Un Parvaiyil Orayiram”, and there is also a devotional song from Thiruppavai in Tamil called “Oruthi Maganai Pirandhu” and maybe that is why I sense this Ragam’s influence. Santosh Jayaram makes you gasp for breath with that Veena solo in the interlude, and when that combines with the sizzling bassline by Naveen Napier, you already feel like seeing the best of both worlds. The charanam continues to grow fonder in your hearts, and this is where Narayan showcases his vocal range as well as his abilities as the string arranger. I love how the notes end up giving me a surprise “Karmodada usire”, after the way the phrase “pade pade hosa dani” starts. This is what I look for and get intrigued by, because Narayan doesn't settle for the mundane and expected, and with the phrase ”ade ade hale dhani”, that circle of merriment is complete. It is like Rithu’s strings are pulling the melody together and conjoining the various phrases. When you watch the amazing video along with the song, anyone will fall in love with love itself. He uses the anupallavi to land back on the main verse at the end of the charanam. The video is directed by Sucheth Ramprasad with Karthik Kamath and Pranam SK as DOPs. The recording engineer is Vishnuraj MR at 2bQ Studios. The mixing and mastering is done by Aniket Mohanty at Audiokraft Studios, Bangalore.@narayan_sharma227 @advaitpattanaik @santoshjram @rithuvysakh @awwwwwwwwwniket @sreesang_mpse @hypocr8 @audiokraftstudio @vishnuraj.m.r @sumedhk119 @karthiikk.k @ms._.shree @beyondhues.co 2. Yaad Sajan Ki AayeMusic: Shekhar Ravjiani Lyrics: Anvita DuttSinger : Rohit RautProduced by Abhijit Nalani Language: HindiGenre: Semi-classical/ PopMood: CalmingShekhar Ravijani’s journey in the indie space is something of an inspiration, not just because of the quality of work that gets produced, but also the frequency and the fact that Vishal-Shekhar were one of the most original and pathbreaking in Bollywood as well. This is at least the 10th single by Shekhar that I have featured in the last couple of years, maybe, and I must confess that this one here is probably the most profound yet. I listened to teh song wearing my headphones, performing a very laborious and mundane chore at home, but the song completely turned my mood around, giving me a new lease of energy and life to my spirits. So before I start writing anything else, I must say thank you to Shekhar and this super team. I remember Rohit Raut because his song Naar was, in my opinion, one of the best in NEXA S3, and I rated it pretty high, expecting him to be one of the winners chosen by AR Rahman. I am very glad that Shekhar has presented this opportunity to the talented musician, and it looks like Rohit has already paid back with his top-notch singing. A stroke of style with Rhythm Shaw’s lead guitar lifts the curtain up, and when Rohit starts singing, you will feel a rush of blood to the head and a few goosebumps all over your arms, because he loads up the lines with such juicy vibrato and improvisations. A point in example is “Kisse kahein tere bin na hain”, and then the chorus line drops with the ever bankable Gino Banks on drums. The chorus segment takes me back to Pritam’s “Aaoge Jab Tum” from ‘Jab We Met’, while the verse has some similarities with the ‘Taare Zameen Par’ title track composed and performed by Shankar Mahadevan. The most striking arrangements follow as Rohit embeliishes the “ Yaad Sajan Ki Aaye” line with such beautiful harkatein, thanks to Sheldon D’Souza on bass, Rhythm on guitars and Sanjeev Sen on the Tabla. Teh mild string arrangements are as stunning as the sight of string pearls with Abhijit Nalani handling all the music production. Anvitta Dutta gets into your mind with these tender words. How does one focus , if not he/she were a multitasker because the interlude offers so much on a lead guitar phrase and some slick basslines and rhythms arranged by Raju Sardar. This segment may be some strains of Raag Maand. When teh Antara begins, and the notes start heading up higher in the register, “De Dhoongi usko, tooti si duaayen”, Rohit does sound like Arijit Singh , especially when you hear the phras e” dukh hua meri chaar guna”. The recording engineer is Dileep Nair, and Abhishek Khandelwal does the mixing and mastering. This video is directed by Shruti Merchant, with Diptesh Das on VFX & Edit, and Aniket Mishra on the visualiser. 

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs releasxed in India across languages and genres for the week ending 1st February 20261. Yetho YethoMusic composed, arranged, and produced by AR Rahman.Lyrics:  Pa VijayVocals : Amina Rafiq and Shridhar RameshLanguage: TamilGenre: PopMood: RomanceOne touch of a live instrument and the sound of that could invoke so many fantastic emotions, and here, when I heard the Santoor by Sathyendra Singh Solanki, that was 5 seconds of proof that AR Rahman has still some semblance of magic left in his head. How else could he have stayed at the top of the game in a very competitive and demanding space for more than 3 decades? Looking at all his accolades, fame, and achievements, it might not be surprising that he came up with a delicious track like this in the new album “Gandhi Talks”. But for someone like me who has seen the quality of work decline, especially in the last few years, this comes off as a stroke of promise and hope. I pray that AR Rahman stays away from mass cinema and big banner production houses, which are only keen to use his name and not allow the legend to write music with his heart. This movie is a silent film, and has the song released in 5 languages with a total of 10 different playback singers. I am choosing Tamil as that is my mother tongue, and I can feel the words and energy through my bloodstream. As the Santoor ends, we get a classical phrase on the Piano, and a solo violin intervention by Vignesh that reaches for the stars. A pause ensues, and the song’s impeccable quality oozes out with Amina Rafiq’s hauntingly romantic voice. I also need to tell you that her tone sounded the most unique of the 5 female lead singers. Is there some Raag Bihag in the melody because my mind goes to AR Rahman’s masterpiece called “Malargal Ketten”? The guitar notes are like blows to my heart as they keep coming whenever Amina pauses, “Yetho Yetho Ulle Arumbugindradhe.”The song’s brilliance lies in a few things, like minimal production, great lyrics, etc., at the top of that list being the melody, which throws enough surprises and googlies at you. When I kept listening and practising the lines, I knew the song’s anupallavi would kind of separate the pros from the amateurs thanks to the tough notes that follow “Neenda dhooram Nizhal Thedum Paravai”. I felt like I, too, was searching for the exact notes, unable to hit them exactly, just like the bird searching for some shade to rest. AR Rahman subsequently ups the ante with another tougher phrase, “Iman Oram Meendum Ilai Para Vendum”, and then he proudly smiles with a brilliant landing line “, Enna solla manadhin Mozhi Neeyo”. As this line comes to a halt, the flute keeps playing, reminding me of Maestro Ilaiyaraja’s “Sundari Kannal Enna”. Kudos to the lyricist Pa. Vijay for picking words that fit and also complement the amazing melody, not to forget Amina’s stunning delivery. Every single female lead singer cracks it with ease and grace, so kudos to Hinanaaz Bali, Nayansee Sharma, Aanandi Joshi and Sivaangi Krishnakumar. The Piano starts off by playing the melody of the charanam (Sanchari) and then drifts away, and you will recognise the similarity in the phrase “ Pogum Vazhi Engum Putham Pudhu Mutkal”. The charanam is simple with just a couple of lines, but here too Shridhar Ramesh gives that assurance with his delivery and stability, and Amina provides splendour with that mild vibrato at “ Koodam Kai Pidithu Naanum Nadakkiyil” especially on the word “Naanum”. It feels like this woman protagonist, Aditi Rao Hydari, is going to lead the main man Vijay Sethupathi into love and glory, and that is precisely what I feel even Shridhar Ramesh does, following the lead of Amina and doing a few ghamakas of his own in ” Ninaivulla Varai, Nenjil Ganapathu”. The brief yet interesting charanam ends with AR Rahman taking us back to the anupallavi (Antara) notes this time with the male singing “ Yezhudhadha Padal Yar Kaiyil Serum”. The highlight is when the singers unite in harmony, singing such meaningful words “pirivenbadhe sera thaane anbe”. It has been a long time in Indian cinema music since we got a song with two stanzas and two interludes. Kamalakar plays the flute, and the sun shines brightly with the strings played by the Sunshine Orchestra. Jerry Vincent conducts the session here.  The additional programming is by Shubham Bhat, and the tracks are mixed by Suresh Permal and Pradeep Menon. Gun to my head, I would want to go on and rate my preferences from all the 5 versions, and for me, my top pick would be the glorious version in Marathi performed by Aanandi Joshi and Abhay Jodhpurkar, because the lyrics fit so well, and these two stalwarts are cranking it up with their pitch-perfect and poised singing, also maybe bacuse my mind travels to “Moongil Thottam”. Nayansee and Shibi Srinivasan were in terrific form once again, with Telugu lyrics fitting well and the sweet nectar in Nayansee’s voice pulling in one direction and Shibi’s soothing texture in the other. Sivaangi is finally getting the deserved eyeballs , and she proves that she is worth this chance in the Malayalam version. Yadu Krishnan’s delivery is probably my favourite male version of this song. I think being a South Indian, listening to all of AR Rahman's greatest years of music, Hindi was the most distant for me , also because I understood the words much less. But I was elated to see two more worthy performers give this song their heart and soul, so kudos to Faiz Mustafa and Hinanaaz Bali. 2. Ini OndraaiComposed, Arranged, and Produced by Nishad GLyrics: Suthan BalaVocals: VijaynarainLanguage: TamilGenre: Folk-PopMood: UpliftingNishad G is one committed and talented musician who knows the whole 9 yards of composition, arrangements, and production, and he consistently raises the bar with some stunning music. The time of the year when he doesn't release his own music, I keep listening to his breakdown of some of the timeless classics of Tamil cinema music. Here we have a song that begins like the first rays of sunlight, thanks to Rijul’s nimble Piano and the chirping of the birds, transports us to the meadows of peace. A transformation happens, and we are no longer just in serenity, as the energy levels spring up with Chris Jason’s guitar strumming. The verse begins with Vijaynarain’s folkishly soothing voice and the line “Nee pazhaiyathai pazhaiyathi veesi” with the fantastic percussion in the background by Martin is where my heart started to grow fonder.

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs releasxed in India across languages and genres for the week ending 18th January 20261. AraginiyeSinger: Kapil Kapilan & Saanvi SudeepLyricist: Dhananjay RanjanComposed, Arranged and produced by Charan RajMusic producers: Charanraj and Sujith Sreedhar Language: KannadaGenre: PopMood: RomanticExpect nothing less from this guy! Charan Raj, after a solid 2025, is back with a mindblowing sensual romantic single here, and everything about this song is tempting, arousing. I urge you to dedicate this to your loved one when things are about to turn hot and heavy. The tempo is what I loved the most, in this day of hyper-fast and noisy music. The mild Piano and rhythms with Saanvi Sudeep’s alto tone set the perfect pallavi, as the majestic voice of Kapil Kapilan soars in the high pitch when we get to the anupallavi. Kalyani Nair is instrumental in arranging and conducting the soothing strings in the background played by Chennai Strings and Cochin Strings. Keba Jeremihahs guitars and Keith Peters’ bass accompany, while the chorus line is uplifting, making a permanent mark in your mind. Just when you feel like you have been stung by the melody, Saanvi’s English lines, “ Your touch feels like home, your breath blends with mine” , and all I can do is stand up, give an ovation and thank Charan Raj for this. He is not just the composer; Charan also handles the arrangements and co-produces with Sujith Sreedhar. Saanvi is someone I am hearing for teh first time, but she belts this one out of the park into a different orbit. The tone and the mood of this song take me back to Elton John’s “Believe”. The string arrangements are present all through the charanam, and kudos to Kalyani and Charan for giving us a whiff of what the past sounded like. Maestro Ilaiyaraja's numbers like “Oru Poonga Vanam” come to mind. The melody during the closing stage of the charanam is where I felt some influences of Raag Abheri. The temperature rises with Saanvi’s “Ee Rathriya Ranjisutha”, and Keith follows up with a stunning bassline intervention. Sanjay Romauld and Raghothama NS are the additional programmers. Keba hits you with a lead guitar solo, and Saanvi perfectly describes it as “So Divine”. The recording engineers are Aniket Mohanty, Amal Mithu, Biju James, Sanjay Romauld and Sreerag. Sujith Sreedhar is the mixing and mastering engineer at Masterhouse, 2 Bar Q Studios (Chennai). Dhananjay Ranjan is the lyricist. @charanraj27185 @saregama_kannada @kapilkapilanmusic @kaajalkunder @hamsa_narayanaswamy @sanvisudeepofficial @supriyanvipicstudio @sujithsreedhar @kebajer @cochinstrings @kalyaninair86 @sanjay_romauld2. Jil JilSong produced, composed, arranged and performed by Amrit RamnathSong Written by SanjkayyLanguage: TamilGenre: PopMood: RomanticAmrit is destined for big things, and that is evident from his indie projects that prove to be outstanding every single time. I am a little delayed, but that can never take me away from finding the best out there. Amrit performs this beautiful track, and he goes almost solo with the melody, arrangements and music production. The lyrics are written by this bright and talented actress, Sanjana AK (remember her from Lubber Pandhu?). Interestingly, the music video was also directed by this artist. Somehow, the opening lines with the string presence of the Mouth Organ (played by Ramnath VP) feel like AR Rahman’s ‘Kun Faya Kun’, and that is intended to be a ravishing compliment on the impact of the musicality of the intro. We wait patiently as Amrit sings Sanjana’s stunning lines in appreciation of the woman’s beauty and nature. Just when we hit the chorus line “Jil Jil ena mana pookirathe”, the heart truly blossoms thanks to Rithu Vysakh’s one-man show on the Violin, Viola and Cello. How can a woman say no to Amrit’s request “Ennodu Va Rathiye” along with the choral vocals by The Indian Choral Ensemble and the soul-stirring violins in the background. The humming gives me goosebumps, and we only get rocked and swayed away into oblivion with the interlude by Rithu. The violas take the lead with teh violins and Cellos adorning the background. When we get back to the chorus , this time the lines “Jil Jil ena “ and “Sol Sol ena” are performed with such grace by Nidhi Saraogi, Rajeevi Ganesh, Fathima Henna and Yazhini, with Karthik Manickavasakam conducting the session for the chorus. The song has additional music production by Nitin Muralikirshna, who is also the mixing/mastering engineer (assisted by Sanjana Shah). The recording engineers are Vishnu Namboothiri at Mystics Room and Hari at 20dB Sound Studio. K Shyamkrishnan handles the cinematography, and the dance direction is by Shakthivel at The Dancers Club. @amritramnath @sanjkayy @tdc.thedancersclub @deekshitanikkam @palindromamusic @rithuvysakh @karthikmanickavasakam @theindianchoralensemble @shakthivel.iam 

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 11th January 20261. KunnikkuruMusic: CrishnaLyrics: Bharath Krishnan TRLanguage: MalayalamGenre: Folk RockMood: EnergeticThe elements for a rock single are all in place the moment we hear the electric guitar playing the lead, accompanied by the bass and exuberant drums. Crishna draws your attention not just because of that unique ‘C’ in his name but also his vocal presence and dominance as we start progressing. The song is composed and performed by Crishna as he also plays the lead guitar along with Gowtham. Brian Philip Fernandez is the bassist, and Mohamed Mufeed is the drummer. The guitar riffs are enlightening, and with the pause, Crishna makes a foray singing these Malayalam lines and giving the authentic folk rock feeling. The verse comes again, and this time the superb harmonies are enchanting, and this happens with the drums fading into a milder presence. I am tempted to believe that the melody has strains of Abheri Ragam, if I am not wrong. A highlight reel for me is when Crishna, along with some backing vocal support, sings “Aayiram Aayiram Aayiram Aayiram Aayiram Aayiram Kunnikkuru”. He might have said the word “Aayiram” 6 times, but I'll listen to this a thousand (Aayiram) times for its splendor and the way the notes ascend vertically. The words by Bharath Krishnan TR take us back to a time of innocence, and after that solo on the electric guitar in the interlude, the bridge section too is heartening. We get a whiff of the keys that add pop sensibilities and the aalap in the high pitch with some flawless ghamakas is an exhibition o Crishna’s talent. The tracks are mixed and mastered by the master Rex Vijayan. @rex_vijayan @mhd_mufeed_j @bassheart_bp @slowbharath @gowtham_sreenivasan_ @crishnajk 2. Keep YouComposed, Written, and performed by Shrestha DLanguage: EnglishGenre: Synth PopMood: HypnoticThe song begins, and it felt like the lick of a time machine that threw me back into the most cherished period as a music lover, viz., the 1990s. We have some flourishing lead guitars by Hiten Mukherjee, and Gaurab Chatterjee as the  drummer, to make us gleefully  enjoy the great Synth Pop of that golden period. The Keys come in and electrify the nerves in our body, and I feel like I was just stung by ‘Sting’. Mainak Nag Chowdhury oozes such exhilarating style on bass, but the champion is yet to make a mark here. Shrestha D comes on board with her scintillating vocals. Her alto tone is stylish and sultry, and every note she sings “Ohhh Ohh I don't have to touch you to feel you” is mesmerising with all her humming, vocalization, and improvisation. The harmonies are finely executed and arranged as well. My mind is racing, reminding me of the great works of Phil Collins, Elton John, A-Ha, and so many more exquisite artists of yesteryear. Sudipto Paul plays the Keys and his 4-note intervention at times took me to Elton John’s “Sacrifice”. This is a great start to 2026 with such an extraordinary display, and I wanna definitely want to keep artists like Shrestha on my radar of music love. We get a scintillating solo on the lead guitar by Hiten, and then the bridge section with her evocative high-pitched singing is another phase of magic in this track.@dasshrestha @hitenmukherjee @sudipto_paul_keys @bassbumpy @gaurabchatterjee19823. AazmaatiWritten & Performed by Akash KaushalMusic Producer: BharathAdditional Production: Akash KaushalBacking Vocals: Akash Kaushal, Bharath, Ashutosh AnandLanguage: HindiGenre: PopMood: MovingAkash Kaushal is hit

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 4th January 20261. NeelothiSingers: Sooraj Santhosh, Chinmayi SripadaLyrics: SarathiComposed And Arranged By Justin PrabhakaranLanguage: TamilGenre: Light MusicMood: RomanticWhen a movie like ‘Sirai’ gets excellent reviews, especially when it is from a regional language  like Tamil, there is an expectation that the music album too will be good. Of late, a lot of Masala-rich Tamil movies have disappointed with mediocre and loud music, but some good news is Just In, and the composer for the album is Justin Prabhakaran. Just about a couple of weeks ago, I featured a fantastic single from the album called ‘Mannichiru’, and now we have a song that, for me, scores even better. The moment Sooraj Santhosh starts singing, I am drawn, mortified by the brilliance. P Vijay Anant plays the flute solo to leave an indelible mark, and the melody probably has shades of Raag Keeravani. The similarity of tones between Sooraj and Pradeep Kumar is uncanny, both being super playback singers. As I hear the song’s charanam, with the Fretless bass guitar in the background by Keith Peters, I felt like I was listening to a Maestro Ilaiyaraja melody. Can there be a bigger compliment to a musician? Once Sooraj finishes his line, we get drowned in the pathos by Chinmayi’s stunning voice, and that masterstroke is the introduction of the Tabla by Shruthiraj. This mesmerising number, which could easily end up being one of the best Indian songs of 2026, is composed and arranged by Justin, with Sebastian Sathish handling all the additional programming. The Tabla and Flute in the interlude remind me of Santhosh Narayayan’s ‘Manam ENgum Maya Oonjal’, another solid melody that will stand the test of time. The string section can be heard mildly as we have the Budapest Scoring Orchestra playing. The heart feels full, and cheered when I hear Sooraj singing “ Ennam pol vazhkai, mabikkai poi vaa” with the astounding TICE (The Indian Choral Ensemble) performing the harmonies. Don't blame me if I have a tear or two in my eyes; the blame is squarely on Sooraj, Chinmayi, Justin and lyricist Sarathi, but I console myself as he sings “ Naan Varuven Naan Varuven athuvara ninappula kalangaathey”. The amazing choral singers are Kalyani Nair, Aparna Harikumar, Sushmita Narasimhan, Nayansee Sharma, Shibi Srinivasan, Shivsundar R, Neeraj M Selva and Cyril Simon, with Kalyani Nair and Karthik Manickavasakam at the helm. Kalyani is also the brains behind all the profound choir and string arrangements. Abinandan R David is playing the acoustic and electric guitars with a delectable touch. I love the way Sooraj and Chinmayi sing in unison, and the lines make me feel so inspired and hopeful for a great year ahead. “Ellarayum pola, Nallarippom Nala, Neethi Tharum Sethi Varum, Namakkundu Azhagiya ethirkalam”. The tracks are mixed by Balu Thankachan, assisted by Paul Daniel and Sreenivasa Sharma, with Shadab Rayeen on mastering duty. The recording engineers are Vishnu Raj M R (2Barq), Senthil Prasad (Vanaj Kesav Digi Audio Waves), Arjun B Nair (Sonic Island Studio, Kochi) and Aswin George John (Sounds Right). @prabhakaranjustin @soorajsanthosh @chinmayisripaada @anishma_anilkumar__ @keithpeters_bassman @theindianchoralensemble @abinandan_r @thebaluthankachan @sushmita_narasimhan @kalyaninair86 @karthikmanickavasakam @aparnaharikumarh @nayansee__sharma @shibisrinivasan @shivsundar2001 @cyril_simon_ @neeraj_msg2. Theher JaComposition: Garvit - Priyansh Lyrics: Aniket Shukla, Priyansh Srivastava Vocals - Garvit Soni, Priyansh Srivastava Language: HindiGenre: Light Music/ PopMood: CalmingGarvit-Priyansh make your heart skip a beat, more than one too, when they come along, write and perform this semi-classical styled pop. The melody begins, and it immediately reminds me of the stunning evergreen “Kabhi Na Jaao Chodkar,” and maybe that is why this Yaman-based melody also has a similar message: “Chodke Jaane Ki Baatein Kiya Na Karo.” Lucky Sharma teases with the rhythm guitar, and the singing is lighting sparks with these harkatein by both Garvit Soni and Priyansh Srivastava. The melody just becomes incredibly mellifluous as it takes a turn for “khamoshiyon mein bhi alfaaz tu chun lena”. By the time we come to the song’s chorus segment, the heart blossoms, and how can we move away from this enriching experience when we hear “ Yen aankhen meri kehti hain ki tu theher ja, adhoora sa yeh ghar lagega tere bina”. This is where the melody starts showing colours of Raag Bihag or Bilawal, maybe. The lyrics are written so charmingly by Aniket Shukla and Priyansh, with Garvit taking over music production duties. The interlude plays the chorus again on the Piano ever so gently. A fact that can never be debated against is that the core of a song is its melody, and that is why Garvit-Priyansh stay on top. They value a good melody and showcase that with their extended composition, proof of that being heard in the song’s antara like “ kehne ko kitna bacha, kaise karoon main bayaan”. The tracks are mixed by Garvit with mastering by Lucky and Garvit. @garvitxpriyansh @startistmanagement @luckyrsharma @tseries.official @garvitsoni_

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 28th December 20251. Shuru ShuruVocals: Sanjith Hegde, Punya SelvaLyrics: Jayanth KaikiniComposed, Arranged, and Produced by Santhosh NarayananLanguage: KannadaGenre: Light Music/PopMood: RomanticThis is going to be a glorious debut for Santhosh Narayanan in Kannada, and I am indeed excited for the album to release. For now, let us celebrate this stunning romantic single from the upcoming movie “ Balaramana Dinagalu”. In an industry that is already doing well musically, thanks to some fine composers, I hope Santhosh stays here to raise the bar, and this track exemplifies that feeling and hope. The moment Sanjith Hegde starts singing, and after the moving Piano, he does a falsetto vocalisation that sends shivers down the spine. The greatness of this song lies in the composition, with so many segments and elaborate writing, the sequence of notes, and the progression of chords. The line “Shuru Shuru” is just the beginning of this great song, and probably Santhosh’s great innings in Kannada. The amazing strings section begins to mesmerise, and this is omnipresent in this track. Karthik Manickavasagam is the man behind the string arrangements. The line that goes “ Helalu Hodare” is where we start feeling that grounded emotion, surrendering all our pride to the beauty of music. The man, Jayanth Kaikini, who has written numerous songs for the amazing Charan Raj, writes this too for Santhosh. The anupallavi is long and elaborate in times when the whole segment has gone missing in movie songs these days. “Usire Helide..Bisiyada Suddiya.. Heegeke Nannali.. Eedaha Omele..Idakintha Hattira..Neeninnu Bandare..Nanagantu Gotilla..Aamele” is a 25-second segment that serves as a launch pad for the song’s most beautiful melodical patch that numbs you for good. “Mella Bali Seladu” Sanjith starts singing with the continued string arrangements, and the heavy periodic rhythms, and the sweetest part of this melodic segment is “Helu Idu Nijave NIjave Nijave”. Santhosh is a rare gem who gives music lovers like us 2 minutes and 10 seconds with just the intro, pallavi, and anupallavi, in a world where songs last less than 2 minutes, making millions of views. The interlude has the string section in full flow, but what struck me even more were the basslines by Naveen Napier that played the same notes as the strings, but the finesse and style of the bass guitar made an even bigger impact. The charanam is about to begin, and the music lover in me is waiting eagerly, and that pause after “Nee” gives away all the sense of the song’s direction as the string arrangements act like a guiding stick for the lines that follow, like “Hoovina Peteya Mohaka Thangaali”. Listen to the harmonies that taunt you at the end of this phrase in true Santhosh style. Punya Selva joins so late but plays a perfect cameo with some blessed lines “Ee Mounave Thumba Mohaka Manase Maathanu Aadiduvaag”, and I couldn't have expected or predicted the progression of the melody in this entire phrase, whihc is what makes Santhosh the best that he is. That haunting humming by Punya in the background is one final kiss of goodbye from her in this track with the phrase “Naguve Naguve”. Santhosh, like I say endlessly, stands out as a composer because he is not looking for shortcuts. This phrase, “Chalisade Ninthirali Heege Ee Kshanavu,” is never heard anywhere else in the song, and yet Santhosh digs deep and writes a phrase at the end of the song for it to appear just once. Wait a minute, this whole phrase does appear in the interlude on the violins. That seems to be Santhosh’s unique style, and he did this with a song called “Pottala Muttaye” from ‘Thalaivan Thalaivi’. The outro strings are like a winning home run with time running out. A signature ending by the greatest of this generation! Thank you, Santhosh Narayanan. @musicsanthosh @priyawajanand @km.chaitanya @meenakshi_santhoshnarayanan @vinodprabhaakar_official @karthikmanickavasakam @punyasworld @sanjithhegde @napier_naveen 2. Noodhana NoodhanaVocals: Kapil Kapilan & Srinisha JayaseelanLyrics: P. VijayMusic composed by D. ImmanLanguage: TamilGenre: PopMood: RomanticIt is nice to hear how D. Imman still does a good job with his compositions, without letting the external trends and environment corrupt his style. This song comes from a new album called “Niram” and the song, despite its likable melody, gets the ultimate boost thanks to the two phenomenal lead vocalists Kapil Kapilan and Srinisha Jayaseelan. I love the line “Yaarenna sonnalum ketkala,” taking me back to Maestro’s “Pottu Vecha Malligamottu.” Imman composed, arranged, and produced this, bringing in some electronic pop elements onto the table, especially the keyboard and rhythm programming. As we head into the charanam, we get to hear some savvy vocals with both Srinisha and Kapil excelling in the high-pitched vibratos. The soundscape reminds one of Imman’s work in recent years, like the album “Teddy”. “Adi Adi Noodhana Noodhan, Unnai Vittu engum povana” is filled with all of Kapil’s great improvisation, and when Srinisha sings “Mayamo,” one will feel like a Maya surrounding us with a blanket. The combination of the Thavil and Nadaswaram in the outro gives the song a very traditional wedding style end. @srinisha_jayaseelan @immancomposer @kapilkapilanmusic

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 14th December 20251. Kaarmoda Karagi Maleye ShuruvaagideComposed, Arranged, and Programmed by Charan RajLyricist: Pramod MaravantheSingers - Kapil Kapilan, Sindhuri VishalMusic Produced by Charanraj, Sujith Sreedhar, Sanjay RomauldLanguage: KannadaGenre: Light MusicMood: RomanticI love how people get involved in IG comments, and recently, when I posted my weekly picks of India's best music, someone asked me why I hadn't featured “Kaarmoda Karagi Maleye Shuruvaagide”. I end up having a few delays and lags because of teh sheer volume of songs I listen to every week alone. But thanks to that comment, my faith in Indian music got restored, both from a consumer and creator standpoint. So here is my review, 2 weeks later, and what a fine song by the magnificent Charan Raj we have here. One can add this song to the short list of songs that mesmerise and have the ritualistic phrase “Mangalyam Thanthunanena.” The melody begins with such grace as Kapil Kapilan delivers the line. The influences of Raag Hamsanadham are apparent, and one song that immediately comes to my mind is Vidyasagar’s “Poo Vasam Purappadum” from the album “Anbe Sivam”, thanks to the tone, sound design, the Piano, and tempo. Pramod Maravanthe pens the words, and the song generates even more awe and wonder when Sidhuri Vishal sings her line in her astonishingly beautiful voice and delivery style.  Feel that seductive flute by Vishnu Vijayan intervening, along with Keba Jeremiah’s guitars. The power of Charan’s composition comes alive when he surprises you with the phrase “ Ninna Sero Nadiyaade naa”. The man is a magician, and he knows how to deliver a semi-classical melody on a platter of modern sounds like the electronic pop here. The backing vocalists Kavitha, Kamalaja, Abhijit Rao, and Sanjay Romauld sing the “Thanams” with the energising keys and rhythms, and we are in the midst of musical bliss. The interlude with the humming by the lead singers is followed by a fine melodic phrase on the flute and then the nadaswarm by Adyar D.Balasubramaniam. Charan tells me that there are also glimpses of Raag Saraswathi, and I do find those tonal similarities with the interlude of AR Rahman’s. “Malargale Malargale”. The song is composed, programmed, and arranged by Charan Raj, with Sujith Sreedhar, Sanjay Romauld, and Charan producing this breathtaking track. The charanam starts with a pleasant and mild phrase sung by Sindhuri, with minimal additional instrumental support, but the energy zips through when Kapil sings “Olave nannolave”. Pay attention to Vishnu’s flute interventions here. Raghothama NS is in charge of additional programming. The counterpoints on teh flute are fantastic as we can keep hearing it at the end of the charanam and the pallavi when it plays again.  I am taken back to Maestro’s “Sorgame Endralum,” which is also set in the Hamsanadham ragam. Kapil and Sindhuri sing the lines with such finesse, adding the mild ghamakas. The recording engineers are Amal Mithu, Sanjay Romauld, with mixing, mastering by Sujith Sreedhar. @pramodmaravanthelyricist @charanraj27185 @chaithra.j.achar @varsha_v_acharya @sonugowda @shilpanishanth_ @vishnuvijay01 @kaplkapilanmusic @singersinduri @sanjay_romauld @kebajer @2. ChakorComposed by Ashwin Iyer & Mayank SainiVocals by Aaditya LaddhaLyrics by Mayank SainiProduced by Ashwin IyerLanguage: HindiGenre: PopMood: PeppyAshwin Iyer and Mayank Saini have hit this one out of the park. The very first time I heard this song, I had a mix of emotions, like pure bliss from the melody, and then the arrangements and production gave off a peppy vibe as well. It is Aaditya Laddha’s affable voice and his casual delivery that set the initial spark, but soon, we get a barrage of factors that make this a very deeply resonating track, like the Mandolin in the intro and the stunning bass guitar, both played by Manash Saikia. If you see the video, the song begins after a disappointing cast call experience, and the Mandolin perfectly creates the change of mood to positivity. My favourite line in the melody is “Mann mein na bair, na lalach koi, chaand hai tu, chaand se preet hoi”, for some fine notes and the way it surprises me. So well done, Mayank and Ashwin.The harmonies, thanks to Maya Bajaj on background vocals, are a great way to add more juice to the song, and it works brilliantly. Ashwin Iyer, who is also the keyboardist, adds the icing on this cake with his music production duties. Sharodiya Chowdhury makes your heart stop multiple times with her cuteness and impeccable grace as the lead girl. Aaditya’s voice and style remind me of the great Mohit Chauhan. The interlude is where Manash shines further with that solo on the Duitara and Mandolin. In fact, the sound of the Harmonica that follows makes me think of “Masakkali” by AR Rahman, which was also performed by Mohit. There is a drop in tempo, and the production turns mild with the pathos in the song’s tone, which is a very bold but witty take on the movie industry called Bollywood. 

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 7th December 20251. Thaenkoodey Composed, Arranged and Produced by Pranav Muniraj Singers: Sean Roldan, SublahshiniLyrics: Surya Bharathi A ALanguage: TamilGenre: PopMood: RomanticPranav Muniraj’s debut for ‘Middle Class’, the Tamil movie, speaks to me through his musical choices, and the sound design and songwriting give me confidence that he is here to stay. The song here is my favourite from the album, and it is composed, arranged and produced by Pranav, with lyrics written exquisitely by Surya Bharathi A A. The intro is like an indelible mark on my mind as we hear the Solo Violin by Anirudh Kashyap, and the accompanying rhythms on the Ukulele and acoustic guitar. That whistle (Vijay Krishnan) that comes in the wind reminds me of Sushin Shyam’s ‘Kannil’ from the album “Kappela”. The tone, the overall vibe of the song and its arrangements also generate that feeling of similarity between these tracks. Vijay Krishnan and Simeon Telfer are the guitarists (Simeon also plays bass), with the Mandolin and Ukulele played by Simeon. Everything comes to a standstill when Sean Roldan sings “Ponanbe Poongatre Naan Setha Thaekoodey”, and that is the impact this man creates with his inimitable voice. The Keys are alive and well with some beautifully arranged harmonies. The solo violin that comes like an interludal piece is stunning, and the swelling of the heart is unavoidable with the Ukulele tickling away. I love how Pranav has knitted this melody by giving surprises and twists in teh chord progression, and you will feel a high when you hear “ Bhoomi mele vandhu aadum santhosha moochu kaatre oh oho oh”. You cannot keep this star Sublahshini away from action, as she rides the wave along with Sean, but makes her presence felt on the additional vocals. The joy is endless when we hear the innocent and cherubic voices of the kids' chorus singers Tanu Shree, Divya Shree, and S.Nidra. Sublahshini is terrific singing the line “Ponanbe poongatre, naa setha thaekooday”, with a slight lag. The tracks are mixed by Josh Bourbon and mastered by Rupendar Venkatesh. The recording engineers are Pranav Muniraj at PM Studios, Aswin George John at Sounds Right Studios and Srinath at 2 Bar Q Studios. Ajay Sivashankar is the music supervisor, and the musician co-ordinator is Victor. @pranavbalu @rseanroldan @sublahshini @milirkal @kishoremuthuramalingam @kvdurai @trendmusicsouth @goodshowofficial @simeontelfer 2. Aalapikkey UmmakComposed / Arranged / Programmed by Santhosh NarayananLyrics: KelitheeSingers: Kelithee, Santhosh NarayananLanguage: TamilGenre: Gana-Pop fusionMood: DanceWho else can you trust when you need a funky Gana song fused wth synth Pop and heavy Brass section? One man - Santhosh Narayanan is the answer. A small snippet of this song’s melody and arrangements was known when the “Vaa Vaathiyaar” teaser was shown a few months ago, and when I heard this as a full-length song, things started getting groovy and upbeat. Kelithee is the writer and lead vocalist who lets you know what he is going to achieve with her very first word “Maame”. This guy impressed me a few months ago with a single along with OfRo, and that devotional fusion pop was produced by Santhosh called “Vetrivel”.The percussion is on, and we get the combined effect of the Keys and the Clarinet. Santhosh composes the melody and does all the arrangements and programming, while also joining as the additional vocalist. He sings that opening intro line “Variya ah ah Variya, Thariya ah ah Neriya, Varane eh eh Magane, Tharane eh eh Tharane”, which sets the ball rolling. I love the fact that this melody portion never gets repeated in the whole song again, and that makes it intriguing. We get a beautiful interlude on the Accordion (if I am not wrong, it does sound like one), and what follows is the strong point of Santhosh. A super funky line “Skipidi kippidi a, Mattuna Semmadi a” with some powerfully addictive synths. The writing is so witty, and when we hear the first stanza “Annan Judge kke Lawyeru, City la Mayoru, Church la paduvan Choiru, ellarum gatheru, vantaru thootharu, buddharu, sittharu, fatheru” followed by teh cionic voice of Karthi saying “yenda”, one can imagine how this song will play on the big screen, inviting the whole crowd for a celebratory dance. The highlight is that snazzy solo violin by Manoj, and these are elements which put Santhosh above all his competition, to have the vision to incorporate a classical instrument like this in a Gana-pop song. Naveen Napier is killing on bass, adding to the song’s originality and funkiness. A line that truly made me smile was “aatathula Ronaldinho, koopudunga veladino”, making me trust this songwriter Kelithee’s abilities. Aditya Ravindran is on electric guitar, and all the additional arrangements are by Karthik Manickavasagam. The tracks are mixed by Santhosh at  Future Tense Studios, Chennai, with additional mixing by Akash Shravan. The sound designer is Vijay Rathinam MPSE, with sound mixing engineer AM Mohammed Rahmathulla. All additional mixing and mastering are by Rupendar Venkatesh @ MixMagic Records. The recording engineers are Karthik, Santhosh and Rupendar Venkatesh. @keli.thee @vaavaathiyaarmovie @musicsanthosh @nehagnanavelraja @napier_naveen @karthikmanickavasakam @adityaravindran95 @ak

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 30th November 20251. I love You SolladaComposed, Arranged and Sung by Shweta MohanLyrics - Madhan KarkyLanguage: TamilGenre: PopMood: RomanticIt was just a matter of time before this fabulous singer turned a new leaf and wrote songs! Shweta Mohan marks her debut as a songwriter (If I am not wrong), and this feels like a dream debut to me. Shweta not only shines as a composer who gives moments of unexpected surprises in the notations and chord progression, but also gives us some inspiring and uplifting phases, thanks to her arrangements. Madhan Karky loads up on the romance with his immaculate writing as she sings “ Ethai Sonnai Nee Arivay, Ethai Seythal Nee Unarvai”.  Bhuvanesh Narayanan is present at every nook and corner, and you can hear him delicately creating some wonderment on the Keys. Aalap Raju gives us the whole 1980s Ilaiyaraja vibe with his basslines, and one phrase I love is just around the chorus segment “ I Love You Sollada Nanba, Un Ulle Nanangal Yenada”, especially the notes on the last word of this phrase “yenada”. On Vocals, Shweta is a champion who is singing this like a walk in the clouds, and the harmonies are executed and arranged to thrill. Look at her give that vibrato at the end of this line “pazhagiyaval kannai kandu, nee unmai sollvaya”. Bhuvanesh spices it up on the keys  in teh interlude with a tectonic shift from Pop to Jazz, with Josephn Vijay on lead guitars and Siddharth Nagarajan on drums accompanying. The melody continues to sizzle, and Shweta shows immense potential here as a composer. When I listen to the line “Nedunal mayakkam etharko thayakkam, natpai thaandi vaaray”, the last phrase comes as a pleasant surprise. As a music lover, the song is like a box of chocolates as I don't know what amazing thing is coming up next, and I feel the energy, and mesmerism with these stylish pauses, on the whole segment after the “Kalathai Veenakkamal” with the savvy “ippo..the..sonn...naal...enn...naa”. Shweta ends the verse flamboyantly with her vocal improvisation.  The tracks are mixed by Abin Pushpakaran and mastered by Jehovahson Alghar and Roopash Tiwari at Divine Labs. The recording engineers are Abin Pushpakaran and Lijesh Kumar. @_shwetamohan_ @madhankarky @abinpushpakaran @supervijayoffl @aalaapraju @bhvanesh_keys @lijeshkumartk @roopash.tiwari_ @jehovahsonalghar @drumssiddharth @2. Jaane KahaanComposition: Nirmit & LothikaLyrics: Lothika & NirmitVocals: LothikaArrangement & Production: Nirmit ShahLanguage: HindiGenre: PopMood: Immersive Dreamy and immersive right from the very note, with that keyboard and this falsetto voice. Love the way she delivers the notes on the phrase “Jaane Kahaan Chalein, Hai Hum”. Lothika is outstanding as the vocalist, giving the song such amazing core strength and goodness. I have featured her in some amazing songs like one in the ‘Gehraiyaan’ album by OAFF and Savera. Wow, just as she finishes the phrase “ek khwaab sa”, the bass guitar is just sparkling away, and from there on, the fire is ignited in the melody and production. The song’s melody and lyrics are written by Nirmit and Lothika, with Nirmit handling all the scintillating arrangements and production. “Khaali Khaali Sa man, Dundhliyaan” is where the Keys, bass start giving off some feverishly good vibes. Let us not forget the impact of the stirring strings by Ajay Jayanthi and the lead guitar solo by Harshvardhan Gadhvi. Ajay goes on to sow even more seeds of melancholy with that solo violin in the interlude. Lothika is in fiery mode here, and you can feel the melting heat when she sings “dguan raha, jahaan aag tha”. Harsh and Ajay are operating with utmost creativity as they intervene, creating beautiful counterpoints in the background. This is one easily one of the best-produced songs in November, and kudos to Nirmit for that.The outro continues to shine with that solo violin and the Piano proceeding relentlessly. The tracks are mixed and mastered by Prathmesh Dudhane, with Praneeth Kumar as mix assistant. The video is directed by Karthika Muraleedharan & Lothika Jha. The artwork is handled by Lothika Jha, Karthika Muraleedharan, Shivani Javeri, and Riddhi Goenka. @nirmit.music @prathmeshdudhane @luceamma @riddhigoenka @ajayjayanthi @firstwav @aneri108 @sanjanakamra @harshreality91 @karthikahp @taroonishw @praneeethkumar 3.  Bekhudi Ishq Ki

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.Here are the best songs released in India across languages and genres for the week ending 23rd November 20251. Aawaara AngaaraSong Composed, Produced, and Arranged by A.R. RahmanVocals - Faheem AbdullahLyrics - Irshad KamilMusic Supervisor and Editor - Hiral ViradiaLanguage: HindiGenre: FolkMood: PathosI think this is the first time I am featuring an AR Rahman song in my weeklies in more than a year. Some think that I am being biased against the great composer, but when something is beautiful and immersive like this, one cannot deny or belittle its impact. I did enjoy the album ‘Tere Ishk Mein’, and the full album review is up on my Instagram page. Kamalakar opens with the Duduk, a haunting woodwind instrument that captivates you in an instant. Renin Raphael is playing the classical guitar with such dexterity, and the introduction of the Duff, played by Hariprasad TS, takes u back to the olden Bollywood era of the 1970s when tshi was heavily used in most slow and sad songs. The intro also reminds me of AR Rahman’s “Ae Ajnabi” from the album ‘Dil Se’. I couldn't be happier for Faheem Abdullah who is making great strides as a playback singer after the huge success of “Saiyaara”. AR Rahman does a fine job by picking him and entrusting this man with a slow pathos number, because until now, we have probably only heard him in heavy-duty passionate folkish Rock songs. He adds a tinge of inebriation to his delivery, and maybe that is the voice of a man in pain and under the influence of alcohol. Faheem pulls you in with “Aawaara Aawaara, Aawaara Angaara”, and the chorus singers add a layer of harmonies that feels like a sharp object piercing your heart. The backing vocalists are Pooja Tiwari, Nikitha Venkatesh, Shifa Ruby, Harshil Pathak, Nitesh Aher, Omkar Bhat, Padmaja Sreenivasan, Deepthi Suresh, and Sushmita Narasimhan.The highlight reel is the line “Jaane Toota Kyun, Main Sheesha Na Taara”, with only the strings, guitar accompanying. Faheem is at his best in this line, emoting to perfection and giving the song its soul. Kudos to the Sunshine Orchestra for performing the ravishing string section. AR Rahman, take a bow for this composition, arrangements and music production. Shubham Bhat handles the additional programming, Hiral Viradia is the music supervisor, and Arjun Chandy has arranged the chorus. The heavy use of the Cello and savvy guitars is a nice interludal melody, and this part reminds me of “Satrangi Re” tonally. The antara is another beautiful segment, however short it may be, and it feels like AR Rahman truly sat down and wrote this melody, pouring his heart into it. Whether it is the Duduk or the string section, the arrangements stand out and call for an ovation. This is the song of teh album for me, even though the title track is making records on YT. The engineers are  Suresh Permal and Karthik Sekaran. The recording engineers are Pradeep Menon, Sharan, and Sachin. All the orchestration is done by Nipun Bhatnagar, with Jerry Vincent conducting the session. The tracks are mixed and mastered by Nitish R Kumar. The song ends with just Faheem’s voice and the suave strumming on the classical guitar!@arrahman @kebajer @ginobanksofficial @reninraphael12 @nikitha_venkatesh @sreekanthhariharan @marisakthi @sarathsanthosh @faheemabdullahworld @padmaja.07 @sushmita_narasaimhan @hiral_viradia @aparnaharikumarh @omkarbhat_music @irshadkamilofficial @mrchandyman 2. Dard Dil KeVocals: Muheet BhartiMusic composed and produced by Sanah MoiduttyLyrics: Mahendra Dhirajlal KamdarLanguage: HindiGenre:  Sufi (Ghazal)Mood: Immersive I have realised over the last few years that Muheet Bharti is one of our finest performers and musicians here. He delivers in a style that is tailor-made for him, Sufi(Ghazal). The song is composed by Sanah Moidutty and exquisitely produced by Prasanna Suresh. It begins with that pathos-inducing Sarangi. I am not able to hide my feelings here of mesmerism, pain, and whatnot as Mjuheet sings “Dard dil ke yeh chupaye toh chupaye kaise” with the incoming Tabla. The Harp and the mild woodwinds do the honours in the interlude before this endearing antara. The sadness is deep and affects the listener with the line “pal vo ham waqt se chheen ke le ke aayen kaise”. Kudos to Mahendra Dhirajlal Kamdar for conveying all these emotions beautifully and effectively through his words. I am trying to wrap my head around the melody and figure out whether there is Raag Patdeep or Raag Madhuvanti. The aalaap on the word “armaan” is where Muheet had tears rolling. All you need is a view of the setting sun, and when you hear this song, you will be moved and even shattered by the singing and the melodic beauty. The outro with the pacy Tabla, the Harmonium, and the Sarangi is the icing on this incredibly delicious cake. @sanah_moidutty @muheet_bharti @officialprasannasuresh3. Kunjikkavil Meghame