Vikram Theme Music Download _HOT_
Yves Pottenburgh
Lokiverse serves as the Theme music for the franchise. It has 2 versions. Original version was featured in Vikram (2022),[34][35] while the second version was featured in Leo (2023).[36] The second version titled "Lokiverse 2.0" connected the elements of the franchise between the first three installments: Kaithi (2019), Vikram (2022) and Leo (2023).[37]
Vikram Bgm Ringtones Kamal vikram BGM Ringtone Download Vikram Anirudh BGM Title Teaser Tamil Ringtones Kamal Haasan Instrumental Bgm Dialogue tamil HQ BGM Download Kamal Cop Entry Bgm for more details Vikram.
In November last year, Kamal Haasan launched his upcoming film Vikram with a title track that retained parts of a song from the 1986 film of the same name. For 2021, these sounds by Anirudh Ravichander might be rousing, but no one would call it innovative. Yet, the programmed electronic beats at the end of the track were cutting edge when they were first heard. Thirty-five years ago, when film composer 'Maestro' Ilaiyaraaja composed the original, he launched a quiet revolution that continues to influence Tamil film music to this day.
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.
Ilaiyaraaja experimented with electronic funk and synthesizer pop. At times, he did so by fusing them with Indian classical and folk music forms. South India thus opened another node in the global cultural flows of electronic music just as synth-pop in the west entered a period of relative decline. In the process, he also ushered in a digital revolution in music technology in India.
Tamil electro synth-pop emerged sometime after Ilaiyaraaja's visit to Singapore in 1985 for a course on the Yamaha CX5M music computer. He followed this up by purchasing a music computer, which even attracted media attention. An India Today report from 1986 claimed that with the new device, "instead of drumming on the mridangam or strumming on the veena, [Ilaiyaraaja] types out notations on the keyboard of a computer, which records these tunes and 'mixes' them precisely with the vocals." A year later, the same magazine called it symptomatic of the quiet computer revolution sweeping through India.
Director Mani Ratnam encountered this digital revolution first hand during the simultaneous production of his period gangster epic Nayakan (1987), and the musical crime drama Agni Natchathiram (1988). The latter film prominently used electro synth-pop tunes. In Ratnam's words: "With Ilaiyaraaja, we used to record in the mornings for Nayakan, and in the afternoons for Agni. In the morning sessions, the studios would be filled with period instruments and the orchestra, and in the afternoons, there'd just be electronic equipment."1
Ilaiyaraaja's explorations with programming commenced proper a little earlier on the soundtrack of the spy flick Vikram (1986). According to industry insider and film composer Taj Noor, the title track of Vikram was the first time that digital music was used in Tamil cinema. But it was officially inaugurated on the soundtrack of the romantic drama Punnagai Mannan (1986), which marketed specific tracks on the cassette and vinyl as 'computer music.' The back of Punnagai Mannan's vinyl even features a black-and-white photograph of Ilaiyaraaja with the Yamaha CX5M, and the Yamaha DX7 and Roland Jupiter 8 synthesizers. If you are wondering what other equipment allowed Ilaiyaraaja to create his ethereal compositions, record producer Andy Votel suggests that we could also add the E-mu Drumulator and Roland R-8 drum machines to the list.
That Oscar-winner A.R.Rahman operated the music sequencer for Ilaiyaraaja's 'computer music' in Punnagai Mannan uncredited is a slice of pop history.2 Rahman also played the synthesizer for the soundtrack besides programming the musical computer. He would later go solo as a film composer himself after years in Ilaiyaraaja's shadow as part of his troupe. Known as "Mr Synthesizer" and "talked about primarily for his use of 'computer music'" when he first broke through in Kollywood, Rahman would go on to extend the horizons of electronic music technology in India.
While MTV from the US would officially arrive in India only in 1994, Agni Natchathiram (1988) was proof that music television stylistically percolated into Indian cinema much earlier than that. It has been characterised as a "music video-type fantasy with rapid cutting, hazy images, and flared lights."3 Film critic Baradwaj Rangan, who considers Agni Natchathiram to be the defining film for Tamil urban middle-class youth at that time, describes its aesthetic as "flashy, MTV-era cinematography." At the same time, it might also be the definitive Tamil film of the late 1980s for its ability to absorb a range of global influences. Music television was just one such stimuli.
Agni Natchathiram reveals the influence of western media on Mani Ratnam. Easy access to foreign films and music videos, despite import duties, was a result of the video cassette invasion in India since the early 1980s. With this came the video libraries. Ratnam reportedly often patronised one such prominent music library in Madras. He has also revealed that prior to Agni Natchathiram, he wanted to make a sleek Hollywood-style urban action film. Beverly Hills Cop (1984) was one of his key inspirations.4 Harold Faltermeyer's synth classic 'Axel F' from Beverly Hills Cop even plays in the background in a scene in Agni Natchathiram.
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.
Nothing is quite as evocative of retro Kollywood as the disco dance item. In the late 1970s and early 1980s, psychedelic rock and psychedelic funk were the predominant sounds of Tamil disco. Take for instance, 'Sorgam Maduvile' from Sattam En Kaiyil (1978), 'Disco Sound' from Dharma Yuddham (1979), or 'Solla Solla' from Ellam Inba Mayam (1981). Record label Finders Keepers have compiled two volumes of Ilaiyaraaja's early electronic music output entitled Solla Solla.
Ilaiyaraaja's 'Aththi Marakkili' from Paattukku Naan Adimai (1990) is fascinating because it fictionally takes Tamil disco right to the capital of global disco culture. In the film, a talented folk singer Panneer's heroic journey takes him from the village to Madras where his band wins an East-West music competition at a 'World Music Festival'. He then earns a chance to perform in the US. The song itself is set in (what is meant to represent) a New York nightclub. In there, a Caucasian audience grooves to euphoric Tamil electronic pop from synthesizers on overdrive augmented by electronic guitars and violin interludes.
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.
Following the trail of Ilaiyaraaja's electronic music output, leads inevitably to Punnagai Mannan. Made after the release of Hollywood's Flashdance (1983), Staying Alive (1983), and Footloose (1984), Punnagai Mannan evidently capitalises on the wave of popularity of modern dance musicals. Besides utilizing the song-and-dance interludes inherent in the medium, it also provides ample scope for its lead actor Kamal Haasan to display his nimble-footedness on the dance studio. He plays a moody no-nonsense dance instructor Sethu who is recovering from PTSD caused by a botched couple suicide that killed only his lover.
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.
You would not associate electronic music with populist violence, but the title song of Ithu Engal Neethi (1988) manages to do just that. Despite the hip bouncy tunes, this theme song deals with some edgy subject matter. It serves as the revolutionary anthem of a band of three working-class heroes who by night turn into angry machine gun-wielding vigilantes to exterminate the scum of society. The theme song plays each time these social bandits set off on their missions.
dafc88bca6