One memorable note, though: there's a whole list of all the 10 avatars of Lord Vishnu, in catchy one-liners, which add colour to the song. Refrains of Seetharam and Jai jai Ram flit through intervals, and there's a sudden interlude of flutes that feels like you're in the middle of a Rajasthani folk song. Here again, there's little of a South Indian flavour: it feels more like a bhajan on Santoshi Matha, translated to accommodate Lord Krishna. The beautiful strains of a veena open the doors to a musical treat, with Mukundha Mukundha, sung in the ever-youthful voice of Sadhana Sargam, and penned by Vaali, who's known for his penchant for such epic themed verses.
The tune is dance-worthy, but has nothing new to offer you've heard songs like this a thousand times. Bhangra beats interrupt the song, while Mahalakshmi Iyer's rather shrill voice joins the proceedings at a later stage, making a good potpourri of it. Penned by Vairamuthu, the lyrics are uplifting, and a passing mention of Kadavulum Kandasamiyum - one of writer Pudhumaippittan's classic stories - brings a smile to your face. Oh Ho Sanam, sung in Kamal Haasan's trademark mournful voice, begins on a sorrowful note, which gradually escalates from slow beats to a steady rhythm and high-pitched shouts. This song obviously has more going for it than just the words and tunes, and deserves a wait until the picturisation. A sense of urgency, sorrow and resolution add poignancy to the piece. Conch and trumpet notes add authenticity to this song, giving it a temple feel, while Rajalakshmi-Srinivasan, Kamal Haasan's parents, find mention. Vaali's words shift from questioning firm beliefs to re-enforcing the strength of mankind, and a strong resolution to win against some undefined enemy, touching the Saivite-Vaishnavite conflict.
The repeat of Pallandu, however, is quite jarring. The tune weaves through Arabic notes, making you wonder if this song deals with the 11 th century part of the film. To a certain extent, it doesn't disappoint. When you listen to Hariharan's Kallai Mattum Kandal, written by Vaali, which begins with a melodious Om, and segues into Vaishnavite Saint Periyaazhawar's Pallaandu, you expect something different. One of the likeliest dance-away numbers of the collection, though it sounds sickly sweet when you hear it the first time. Yes, it's catchy, even if it's borrowed stuff. Scottish bag-pipes and violins morph into traditional music in the end, while Vineeth's voice flits in and out in an effort to blend the old and the new. The chorus is backed with music that reminds you of Lipps Inc's Funky Town, after which it switches to violins that carry a distinct Northern flavour, very familiar and oft-heard.