Latest news with #Carnatic
The Hindu
2 days ago
- Entertainment
- The Hindu
‘Chenda Yakshi Pattu', a Malayalam song in spook rock genre, is about a yakshi who loves the chenda
A bloodthirsty female ghost out to take revenge—that is the popular representation of yakshi in folklore, literature, films, etc. The single, 'Chenda Yakshi Pattu' is yet another take on this popular belief, visualised in a lyric video using AI and animated visuals. The song falls into spook rock genre, that blends rock music with horror themes, says Sreenesh L Prabhu, composer of the track. The song is about a yakshi residing in a dilapidated temple. She loves the beats of the chenda, a percussion instrument, and the sound awakens her from her slumber. But she preys on the person who plays it. The track narrates one such story, through some impressive AI and animated visuals. Sreenesh, who belongs to Alappuzha and currently working as assistant manager with Dhanalakshmy Bank in Thrissur, says that the work was inspired by a poem written by Suresh Narayanan, a writer, working with Kallambalam branch of the same bank. 'Since it was rhyming like a poem, he changed it into the lyrical format. The theme was the same,' says Sreenesh, who has so far released 25 songs. He adds, 'This project is different from my previous works in that all the others were based on socially-relevant themes.' The track seamlessly blends chenda beats with a Western soundscape. 'I have composed the song with varying rhythms to express the yakshi's anger. Even though the Western score is used in the background, the melody is rooted in Carnatic ragas Thodi, Kanakaangi and bits of Punaagavaraali,' Sreenesh says, making a special mention of audio engineer Vineeth Esthappan who has done the mixing. Vladimir Tommin, a digital creator, has tapped into the immense possibilities of AI to capture the bewitching beauty and power of the yakshi. He has also done the storyboard with Sreenesh. Sopanam singer Akhil Yashwanth has sung the track. Sreenesh's first work to come out was on the floods of 2018. Other videos include 'Amma', a Tamil track devoted to mothers sung by Sudeep Kumar, 'Hatha Kunjaram', a Sanskrit song that addresses deforestation, and 'White Dove & Black Berries', an English song against racism. 'Hatha Kunjaram', which used animation, was picked by WWW India for a campaign. 'Aramathilile Koonanurumbu' was a fun track sung by Jassie Gift that was released during the pandemic. His songs have also touched upon issues such as drug abuse, organ mafia and gender equality. Last year he released 'Soundman Anthem', which celebrated the life and career of sound designer Resul Pookkutty. A self-taught musician, Sreenesh says that composing for films has never been his objective. 'I have always preferred to use my music to address a social issue. I want to continue doing that. Once an idea strikes me, I work on the music, mostly during my travels. That is how I balance my passion and profession.' 'Chenda Yakshi Pattu' is streaming on the YouTube channel MC Audios Nadanpattukal.
News18
2 days ago
- Entertainment
- News18
Shankar Mahadevan And Sons To Honour Armed Forces At IPL 2025 Final Ceremony
Last Updated: Shankar Mahadevan and his sons will pay tribute to the Indian Armed Forces with a musical performance at the IPL 2025 closing ceremony at Narendra Modi Stadium. Renowned musician Shankar Mahadevan is gearing up to pay a musical tribute to the Indian armed forces at the IPL 2025 closing ceremony. On Tuesday, Shankar, along with his sons Siddharth and Shivam, will deliver a special performance at the Narendra Modi Stadium in Ahmedabad before the RCB vs PBKS match. Shivam expressed his excitement on Instagram, saying, 'See you at the FINAL tomorrow (red heart emoji)What an honour this is !!!! #IPLFINAL #TRIBUTE #SSSLIVE #IPL." Due to the tensions between India and Pakistan, the IPL 2025 was suspended for a week. Matches resumed on May 17 across six venues, and the final was rescheduled from May 25 to June 3. This year's IPL guarantees a new champion. The final will see Royal Challengers Bengaluru (RCB) face Punjab Kings (PBKS) on June 3 at the Narendra Modi Stadium in Ahmedabad. Operation Sindoor was India's decisive military response to the April 22 Pahalgam terror attack. Launched on May 7, this operation resulted in the deaths of over 100 terrorists linked to groups like Jaish-e-Mohammed, Lashkar-e-Taiba, and Hizbul Mujahideen. Following the attack, Pakistan responded with cross-border shelling across the Line of Control and Jammu and Kashmir, along with attempted drone attacks along the border regions. In retaliation, India launched a coordinated attack, damaging radar infrastructure, communication centers, and airfields across 11 airbases in Pakistan. Subsequently, on May 10, an understanding to cease hostilities between India and Pakistan was reached. Meanwhile, Shankar Mahadevan is a singer and composer who is part of the Shankar–Ehsaan–Loy trio that writes music for Indian films. In 2023, he was awarded an honorary doctorate by Birmingham City University. Shankar Mahadevan was born in Chembur, Mumbai, into a Tamil family with roots in Palakkad, Kerala. His musical journey began early, he started learning Hindustani and Carnatic classical music as a child and picked up the veena at just five years old, training under Shri Lalitha Venkataraman. He later continued his musical education under the guidance of renowned maestros Pandit Shrinivas Khale and T.R. Balamani. Shankar Mahadevan rose to early fame as an Indipop sensation, known for his unique fusion of Carnatic, Hindustani, and Jazz styles. His breakthrough came with the non-film album Breathless in 1998, which topped the Indian music charts. First Published:
The Hindu
2 days ago
- Entertainment
- The Hindu
Formation Day celebrations: Telangana salutes its heroes and heritage
Marking 11 years since its hard-won Statehood, Telangana celebrated its Formation Day on Monday with ceremonies that honoured the past and showcased the State's spirit. Chief Minister A. Revanth Reddy led the tributes, laying flowers at the Martyrs' Memorial in Gun Park, Hyderabad, in memory of those who sacrificed their lives for the cause of a separate State. He later presided over the official celebrations at Parade Ground in Secunderabad, which reflected the pride, resilience and cultural vibrancy of Telangana and its people. Telangana Pradesh Congress Committee president and MLC B. Mahesh Kumar Goud also paid homage at the Martyrs' Memorial in Gun Park, urging the youth to draw inspiration from the ideals of martyrs. He said their sacrifices should continue to serve as a beacon for future generations. Leaders from various political parties and organisations also flocked to the memorial to pay their respects. At Raj Bhavan, Governor Jishnu Deva Verma led the Telangana Formation Day celebrations by honouring individuals for their exceptional contributions to literature, culture and the arts. Among those felicitated were renowned Chindu Yakshagana artist Gaddam Sammaiah, poet Antaadupula Nagaraju, the celebrated Carnatic duo Hyderabad Brothers Raghavachari and and D. Seshachari, folk art conservator Chintapalli Vasundhara Reddy, senior painter CV Ambaji, and Mamidi Harikrishna — a senior government official, poet, and documentary filmmaker.
Time of India
2 days ago
- Politics
- Time of India
Tamil back on AIR after backlash over Hindi programmes
Trichy: All India Radio's (AIR) Trichy FM station 102.1 has withdrawn its recently introduced Hindi programmes during night hours following public and political backlash, restoring Tamil content instead. The move has come as a relief to the station's traditional listener base, many of whom urged AIR not to make unilateral language changes in the future. AIR sources said since August 2024, the Trichy station had been relaying Tamil programmes at night (11 pm to 5.45 am) via Chennai FM 101.4. However, from April 9, the station began airing Hindi content during those hours—reportedly under instructions from national headquarters. The sudden switch prompted petitions from listeners, who demanded the return of Tamil programming. The issue also drew the attention of Trichy MP Durai Vaiko, who condemned the language change and urged AIR to restore Tamil broadcasts. "Following public opposition and the MP's representation, we resumed the Tamil relay through Chennai FM from May 31," a Trichy AIR official told TOI. As a majority of the local audience is not fluent in Hindi, listeners insisted that night broadcasts should remain in Tamil or feature Carnatic music. "We need a permanent directive to ensure AIR stations in Tamil Nadu prioritise Tamil programming," said N Periyasamy, a long-time listener from KK Nagar.
The Hindu
2 days ago
- Entertainment
- The Hindu
Vidya Kalyanaraman and Brindha Manickavasakan's musical tribute to Syama Sastri
With collaborations and thematic presentations increasingly shaping the Carnatic concert scene, musicians are steadily moving beyond convention in pursuit of novelty and artistic synergy. Vocalists Vidya Kalyanaraman and Brindha Manickavasakan are among those who exemplify this evolving trend. The two joined forces to present a soulful recital of exclusive Syama Sastri kritis for Madhuradhwani at Arkay Convention Center. Such ventures, though, entail their own challenges, like reconciling patantaram variations, managing sruti alignment, sharing of musical space between co-leads and ensuring seamless melodic flow. It is to the duo's credit that it succeeded in navigating these with aplomb, ably supported by Madan Mohan (violin), Poongulam Subramanian (mridangam) and Sai Subramaniam (morsing). Syama Sastri, the quintessential Devi upasaka, infused his kritis with musical gravitas and lyrical candour. It is believed that he deviated from his central devotional focus (the goddess) only on two occasions: one in praise of Kanchi Varadaraja ('Samini rammanave' in Anandabhairavi) and the other for Muthukumara Swami of Vaidheeswaran Kovil ('Sami ninne nammiti' in Begada). Typically set in chowka kaalam (slow tempo), his compositions eschew abstract philosophical overtures and exude meditative depth, with heartfelt supplications to the divine mother. Sprightly rendition It made musical sense that Vidya and Brindha began with a varnam, given the composer's languid tempo in kritis. A bright 'Dayanidhe' in Begada set the tone, lifted further by sprightly kalpanaswaras. With 'Brovavamma' in Maanji, the artistes tapped into the composer's anguish and soulful plea for succour. The layers of sangatis, sung in the unhurried cadence of Misra Chapu, offered an immersive experience. Kalyani was the first raga taken up for elaboration, with Brindha setting the stage with a measured delineation that tracked its classic contours before soaring smoothly into the tara sthayi. Vidya followed suit, her traversal of the upper octave dotted with delicate phrases. Madan's reflective response on the violin embraced the raga's grandeur with restraint. 'Himadrisuthe pahimaam' in Rupakam was a popular choice, and the niraval and swara exchanges at 'Syamakrishna sodhari gowri' in the charanam underscored the ensemble's spirited engagement. The rendition of the Yadukulakamboji swarajathi — a crown jewel in Sastri's oeuvre — was dignified in pace and emotive in appeal. Mridangist Subramanian's deftness in gap-filling was well complemented by Sai Subramaniam's crisp plucks on the morsing. The briskness of 'Triloka maatha' in Paras cut through like a flash of lightning in the calm of a moonlit sky. Meditative Thodi Thodi featured as the mainstay of the evening. Vidya initiated the alapana with an introspective tone, and Brindha expanded it with finesse, both balancing imagination and restraint. They also did well to stay rooted in the raga's meditative spirit so very essential to Sastri's compositions, not getting carried away by Thodi's regal sweep and expansive scope. Madan replied with tonal purity and melodic sweetness. There were no surprises in terms of choices of kritis until then, and a rare one was due. As if on cue, the duo obliged with the rendition of 'Emani migula varnintu', imbued with bhava and visranti. The duo skipped the niraval, but the swara sequence in the keezh kaalam was particularly striking. The tani avartanam saw Subramanian weave a rhythmic tapestry with a blend of supple touches and bold strokes on the mridangam, while Sai Subramaniam added vitality to the percussive dialogue through his animated interplay on the morsing. 'Kanakasaila viharini' in Punnagavarali, another ode to Kamakshi by the composer, was rendered evocatively, before the recital wound up with 'Bruhannayaki' in Madhyamavati.
