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 2nd August 20261. Roshni Composed & produced by Rishabh ShahVocals: Melissa SrivastavaLyrics: Soham MajumdarLanguage: HindiGenre: PopMood: Immersive  Melissa Srivastava kills this one like a star, and I was genuinely elated to discover this song. Vinayak Salbi on the rhythm guitar lays the brickworks but it is the sizzling bassline by Himangshu Borah and that mild humming that keep us hooked and intrigued. But wait for it, because you have heard nothing like her all this month. I guarantee. My god the tone and the contralto voice singing “Nayi hogi subah woh” and within seconds she explodes into a higher vocal register showcasing her wide range. The way she evokes passion and sings “Toota tha jo kal, aaj phir jod lena, aansoon bhi tu hi rok lena”, for all its vocal excellence, melodic magic and lyrical lushness is my favorite part of the song. This according to me is one of the most outstanding vocal performances by an artist this year. Melissa sure sounds like a Diva who has the whole world to conquer.  The melody is written by Rishabh Shah, and he combines all that richness with some effective and elevating music production too. The Piano gently plays a few notes and the humming by Melissa is the clincher that feels like an uplifting segment to glorify this track even more. All along I have been enamored by the sensation Himangsu with his ballistic bass, and what follows is a bridge section that further allows Melissa to establish her supremacy on vocals. All I can tell that artists is her own lines “Umeedon ka ho jahaan chhule naya aasmaan, sitaron mein tu Kahin rakh de apna nishaan”. This is a melody that is the same as the humming notes. You wish this never ends. The recording engineer is Pranjal Borah at Neo Sound, and the tracks are mixed and mastered by Ajinkya Dhapare. @melissa_srivastava_ @lyricssoham @rishabhshamusic @salvivinayak @bassswithhim @ajinkyadhapare  2. Miskeen Lyrics: Ameer KhusrauSung and Composed by Yawar AbdalMusic Produced by AkashLanguage: KashmiriGenre: Soft RockMood: Immersive If there was a list of artists I consistently feature, rate highly and admire, Yawar Abdal would be one among the very few in that list. He is a magician with blessed vocals and that alone isn’t his trump card, it is his musicality in the compositions and that sensibility int delivering the song too. Vicky Hajeri delightfully opens with his intro lead guitar and the mild drums by Akash make way for the opening verse. He sings with that subtle melancholy, words that I don’t follow, but I can feel the music, I can feel the tranquility as his voice seeps through my system. It is Manash Saikia, playing the stylish bass guitar but he also does some interventions on the solo violin that captivate us. Akash is the man on sound design and music production and he perfectly lets these live instrumental elements play freely, improvise without ever stealing Yawar’s vocal and Ameer Khusrau’s lyrical thunder. Vicky and Manash are having a ball playing these beautiful, and poignant solo phrases on the electric guitar and violin. There is clearly an Raag Khamaj influences in the melody and that elevates the richness of the song further. Yawar’s ability to alternate between subtle shifts in his mood and then explore the higher end of his vocal range is all evident here and it only makes this song that perfect companion for your solitude and peace. That interlude with Vicky’s solo on the lead guitar is a phase that feed in such bliss. The bridge section that follows is another exhibition of Yawar’s command and control as a performer. The tracks are mixed and mastered by Tejus Srivastava with Jay Rana as the recording engineer.@yawarabdal @akashdrums @manash_inf @vicky.hajeri44 @tejussrivastava @xulkarnain @itsjayrana @ferriswheelstudios 

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 26th July 20261. DarmiyaanMusic composed by Raghav KaushikLyrics: Amrita SalujaVocals: Rekha Bhardwaj & Raghav KaushikMusic Produced by Nakul ChughLanguage: HindiGenre: PopMood: Romance/PathosThe voice of Rekha Ji comes on and she makes you feel the pain and pathos with that tone, as we hear only the mild keys in the background. This whole album of “Musafir Café” has been a fine one with some excellent music from Raghav Kaushik, Neel Adhikari and Garvit-Priyansh and I recently posted a review on IG praising the artists. This is easily one of my favourites from the album. If you thought Rekha ji could serenade you, wait for “Hum, tere hote toh zakhm sabhi sile hote toh” sung by the magnetic Raghav Kaushik and you will end up giving everything you own to this man.How does he manage to tempt you with his voice, and also instil the beauty of classical-styled harkatein and showcase all his vast potential? “haaa..Tum mere hote toh”, with that extended vocalisation on “mere” is creating goosebumps. Nakul Chugh is the brains behind all the terrific music production as he introduces those mild harmonies and that faint electric guitar too in the background without taking attention away from the vocals and the melody. The music doesn’t just tempt you as it did in the verse, as we now head into the chorus segment and the lines “kyun, mere tere darmiyaan” with a mild pause before, and the heavy lead guitars, drums and backing vocalists combining is like the downpour of a shower, much longed for.Shudhi Ramani, Udit Kattar and Abhiruchi Singh are the backing vocalists that elevate the lines. One can never appreciate Mayank Raina enough for this glorious solo on the flute, as he takes matters into his own hands and makes your heartbeat so hard in joy, appreciation and admiration, during a time when instrumental interludes are slowly vanishing from our songs. My favourite line in the Antara is where I was stunned by the chord progression was “Ki hum, khwaabon mein hi doondhe marham” , with Rekha ji’s poise shining through. Bhushan Chitnis is that star on the guitars constantly. We get an unexpected but valiant bridge section performed in the higher vocal register only to keep the intrigue quite high all the way till the end.This is easily one of the songs of the year with a fully equipped package of terrific composition, heartwarming lyrics, by Amrita, devastatingly good vocals and invigorating music production. The tracks are mixed and mastered by Abhishek Ghatak. This song will leave a lasting impact like “Endless Love” by Diana Ross & Lionel Richie, and George Benson’s “Nothings Gonna Change My love for you”.2. Ishq Seekh LoWritten and composed by Abhin JoshiVocals: Abhin JoshiBacking vocals: Saishruti KotianLanguage:Genre: Soft RockMood: ImmersiveBasslines hit hard, lead guitar stuns you and that is the gauge of a savvy intro. Jeet handles the former and Varun Agnihotri is here to electrify is on lead guitars. This track is a ferocious piece from start to finish and rightly as it called ‘Ishq Seekh Lo’, I think this song is telling us to love music a bit more. This is the brainchild of Abhin Joshi who I have featured before, and he writes the melody, the lyrics and performs the lead vocals too. I love the tempo, as the song hits you on the right groove with Sanket Pahurkar being slick and suave in this start-stop style.Never take your focus away from the brilliance of Abhin on vocals, interjecting some very classy harkatein in between. The chorus line is an absolute riot as the temperature rises with a layer of harmonies now joining the fray and Gautam David blowing us all away with his Sax solo, listening to “bheege thoda hum, thoda bheeg lo tum, khud se itna hare, khud se thoda jeet lo tum”. Bravo Abhin, for these lines, that soar melodically and lyrically too. The uplifting harmonies is all thanks to vocal contributions by Abhin, Jeet, Varun, Pratyush and Nidhi Vaja.I love how when the title lines comes on we hear not just Abhin but also Saishruti in union, “Ishq Thoda Seekh Lo Tum” as though love is a two-way street and both parties need to learn to love. Feel the power and sensuality of these guitar arpeggios as Varun demonstrates such excellence. This is the musicality that we need, maybe not what we deserve. The interlude is about to end and then the way the sax accompanies on the ending notes is throbbing with goodness. Abhin continues to impress with the melodic phrases that follow. And finally everyone sings together “yeh Ishq thoda seekh lo tum, with Gautam’s sax improvisation and Sanket’s creative juice flowing on drums is breathtaking. That outro on the lead guitar is a little extra , maybe the cherry on top for the music lover. Saishruti is in charge of all the choir arrangements , Hersh Desai is the mixing and mastering engineer.@sanket_paruhar @varun_agnihotri @bass_ki_aawaz_kesi_hot_hai @gautam.david

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 12th July 20261. Viraha VamanamLyrics: ShiyazWritten, composed, and performed by Radio LegsLanguage: MalayalamGenre: RockMood: EnergeticI am listening to this rock act from Kerala for the very first time, and I have nothing but words of praise . This is Radio Legs, and the 6-member band is ripping it apart in this energetic rock exhibition, but the main attraction is the melody that is composed. The vocalists are Abhi Thankachan, Sachin Lal and Hafiz Najum, with lyrics penned by Shiyaz. Emil Antony Saz is the keyboardist, Amal Raj is the drummer, and Abel John is the lead guitarist. They waste no time, as the tone is set right at the beginning with the brilliant union of lead guitar, drums, and keys. That voice is getting into your bloodstream: “neelan pathakal, neenga gathakal  vaahana vyuham pole njan thangi pathiyil” is something so pacifying, and just when we hit the chorus segment, we get a layer of backing vocals, and the song just elevates into something extraordinary. The way the vocalists perform the second phrase of the chorus segment “paazh kireedam njaan” with an extended vocal improvisation on “njan” is breathtakingly good. The drummer, lead guitarist, and keyboardist are not here to accompany, but you can hear them exploring so much with creative alterations. Emil Antony is killing it on keys, and you can hear this when the verse begins “indhanamilla jeevanai changala pole.” The way we get a vocal humming to replace the song’s melody in the chorus. During the bridge that follows, we get to feel all the drums and lead guitar fade away, with some acoustic guitar support, leaving “vaal thaarangal” alone. This is why this song is superlative: not only are the melody, vocals, and live instrumentals shining, but it also has terrific production. A moment of magic that still blows my mind is the chord progression when we come to the line “thaapathil theera maruvaai”, with the background sounding incredibly fresh. Also pay attention to the vibrato on “maruvaai” with a very classical Carnatic touch. Feel that pulsating solo on the electric guitar when we hear “viraha vimanam njan” towards the outro. @radio_legs @thankachan_abhi @sachin_lal @hafiz_najum @__abeljohn @amal_raj_b_s @emil_antony_saz @deepaksrproduction 2. IttefaqWritten and composed by Deepika Seth, Sagar VermaMusic Produced by Rohan Upadeo Vocals: Deepika SethLanguage: HindiGenre: Baroque PopMood: ImmersiveThe song has one superstar: Deepika Seth on vocals. From the very first note, as she sings “ Kya Ye Ittefaq Hai,” she sizzles and stuns, and this delivery and vocal expression are of the highest order. Every phrase comes across as something that is being performed by someone with immense abilities and skills in the Western vocals discipline. The vibrato and vocalization are just top-draw stuff, and you can hear it for yourself in the phrase “ jo tum aa gaye ho”. The melody and lyrics are co-written by Sagar Verma and Deepika, and we have Sambhav Pratap Singh on guitar, accompanying throughout.This is all we hear up until now , just the rhythm guitar playing in the background, but Rohan Upadeo, as the music producer , perfectly times the introduction of strings (by Protyay Chakraborty) and the Jazzy drums , with the expansive high-hat and cymbals. Sambhav plays some nice, intriguing arpeggios, then subsequently we get a melancholic solo violin by Protyay, as the double bass never stops hitting you deep and hard in the background. The melody stands out because Deepika and Sagar give us something beautiful, elaborate, and poignant. Listen to this phrase, for example, as she sings “ Raaz Khol rahi ho puraane”. The violins play alongside, and the intensity of the pathos works very effectively here. I am in awe of what Deepika is doing here, as the Antara is all about her classical Indian style vocalization , or harkatein as we say. “Mil gaye aur milne ke bahaane” is a case in point. If there is another standout hero in this song, it has to be Protyay with his constant intervention on strings. The tracks are mixed and mastered by Prathmesh Dudhane. @deepikasethmusic @rohanupadeo @sagarvermamusic @sarahhhbadarrr3. Midnight Train

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 5th July 20261. PrateekshakalWritten and performed by Gowry LekshmiComposed by Gowry LekshmiMusic Produced by Ganesh VenkataramaniLanguage: MalayalamGenre: Folk-RockMood: EnergeticThe OG, a relentless force to reckon with, that is Gowry Lekshmi in the Indie space, and you better get that straight to your head. I have featured her countless times throughout this journey in music journalism, and I regret the years before when I missed out. Listen to the way she haunts you with her contralto singing “ Thantha Thaayar Nattar Veetar ellame” with the lead guitars accompanying. The lead guitar starts to take hold with more gravitas as we go past the verse towards the chorus. Suddenly she is off to deliver with such rapturous intensity, singing the chorus line, and the electric guitar and drums are fiery now. Gowry is unparalleled when it comes to writing these excellent melodies and delivering every note with. The lead guitar arpeggios are sensational, adding more fuel to this conflagration of a song. Who else but this master, Durwin Dsouza, could generate all this passion and poetry on the guitar? Ganesh Venkataramani, who is the usual suspect when it comes to creating all the majestic soundscapes for Gowry, is teh man behind all the frenzied arrangements, music production, and drum production as well. During this second verse, we can hear so many things happening on keys, guitars, and the marching drums. This chorus line is to die for, with all its intensity and impact. If you can just try to pay attention to all the guitar counterpoints and devastating drums without focusing on Gowry’s vocals in the outro. Kalesh Govindan handles all the amazing album art. @gowrylekshmih @ganhitsthings @durwin_dsouza2. QaraarVocals: Kavita Seth and Kanishk SethComposed by Kavita SethMusic Produced by Kanishk SethLyrics: Dipti MishraLanguage: HindiGenre: Tumri-PopMood: ImmersiveThis is one of the best yet from the mother-son duo of Kavita and Kanishk, and the melody in Raag Yaman is as soothing as things can get. The melody is composed by Kavita Seth, with lyrics by Dipti Mishra. Kanishk comes on board with lead vocals as well as giving this traditional classical song a very lush electronic pop. “Qaraar deke mujhe aur bekarar kar diya” feels ethereal with some keys and synth work in the background. Not many voices can match up to the reverence of Kavita ji , and after Kanishk’s introduction in the verse, the guitar, keys and rhythms in the interlude, but the divinity quotient lands in as soon as Adwait Kashikar plays the solo flute. This segment is extremely catchy thanks to the keys and rhythms, but the flute solo elevates the experience altogether. “Woh ek shaksh jisse meri” and here you can hear Devashri Manohar accompany as the backing vocalist. Kanishk doesn't stop here; he gets the Sarangi to come and intervene beautifully, and when the Antara ends, we head back into the chorus line; the combined effect of the flute, sarangi, rhythms and keys is nothing short of magical. When Kanishk comes and performs teh second Antara, he explores the higher end of his vocal range. The Antara's melody is short, but that doesn't make this beautiful song any less impressive. If you thought it’s all over, we get an absolute treat with the sargams by Devashri and the flute by Adwait accompanying right through. This song just needs to be experienced in solitude, and I can only stand up and give an ovation for the solo flute exhibition by Adwait. The tracks are mixed and mastered by Prathmesh Dudhane. @seth_kanishk @prathmeshdudhane @devashrimanohar @kashikar_adwait @misra_dipti3. Zarb E JeenaVocals: Vibha SarafL

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 June 20261. Nee EnbatheyVocals: Pravin Saivi & Maalavika SundarLyrics: Ahamed Shyam and Pravin SaiviComposed, Arranged and Produced by Pravin SaiviLanguage: TamilGenre: Soul/PopMood: RomanceI have written about some music compositions by Pravin Saivi and, just like my expectations, within seconds of this song’s intro, I know this is high-quality stuff. Pravin and Maalavika Sundar start singing in harmony but at different pitches, making it sound like I am standing on the ground and soaring in the air at the same time. Vocal arrangements and production like this immediately tell you volumes about the musician’s abilities. Pravin sings, composes, arranges, and produces this stunning song, and when you have teh right teammate in Maalavika, half the job is already done. How does Maalavika hit these notes with such grace and efficiency, singing in Alto-Contralto style? We have Pravin’s rhythm guitar following along, but the ears keep looking for some amazing nuances where the two amazing vocalists shift Octaves as Pravin goes for the lower register and Maalavika goes high , in between the verse. “Munjenmame thodarum naatkale“ is one phrase, and roles reverse at “Mudhale Mudive”. We get a beautiful and light interlude on the acoustic guitar by Pravin, making the feelings of romance intensify like how a Maestro Ilaiyaraja guitar interlude would say in millions of his songs. “Kaalai megamo Saaalai oramo thevadhai veedhiyil pogumo,” written by Ahamed Shyam and Pravin, paints a wholesome picture, and the vocals and notes bring that scene to life. The vocals have a new twist in arrangement now, as Maalavika moves from harmonising to singing with a lag “karaiyai vilagiye” and then soon joins Pravin back to sing “alaigal theyadhanbe” together. These are terrific experiments that work brilliantly.The melody has a seismic shift, “adiye amudhe unai naan yendhave,” with Malaavika digressing and going into a Carnatic aalap mode, which is giving me goosebumps. Derick McArthur is the bassist, and we can hear Ramya Ram singing as a backing vocalist towards the end. Pravin interjects with a brief and sultry lead guitar solo, also playing some counterpoints towards the outro.  My mind quickly travels to the earth- shattering number “My Endless Love” by Luther Vandross and Mariah Carey. The tracks are mixed and mastered by Roshan Sebastian. @supernovarecords @roshansebastian @ahamedshyam @ramyaramofficial @parvinsaivi @sundarmaalavika @derickmcarthur 2. …Vinara VinaraMusic composed, arranged and produced by Devi Sri Prasad.Lyrics: SreemaniVocals: Sinduri VishalLanguage: TeluguMood: InspiringGenre: Folk-PopThis is probably Devi Sri Prasad’s (DSP)best song in years. The intro on keys feels like the faint sound of a violin or, even better, a Kottankuchi, but that nice melody apart, we get small packets of magic when the Piano hits you, and these intermittent chords are elevating. KP is the keyboardist, and he deserves an ovation, but let's not forget the man in charge, DSP, who has created a cracker of a song. Singeetham Sreenivasa Rao has for decades collaborated with Maestro Ilaiyaraja, so I am happy that DSP has internalised his hero’s musical sensibilities into this one. The gentle but folkish beats, thanks to Kalyan, take us back into the rural hinterlands of the Deccan region. Sinduri Vishal is unstoppable with her raw tone, and it looks like the song is tailor-made for her. Where she excels is in the way she can alter gears and sound sweet and innocent as well, and that is precisely what she does in the song’s Anupallavi. My favourite line is “Maa Manchi Kureti Devathaa, Shailajam Mari Kadaa”, and I would just stand up and bow to DSP for this melodic phrase. It literally gave me goosebumps. It took me to some masterpiece like “Sriranga Ranganathin” by Maestro Ilaiyaraja. Sinduri’s voice and execution of these high-pitched notes are just breathtaking. Maybe that is why the melody has traces of Hamsadwani Ragam.The melody continues to mesmerise in the charanam “ Mattilona Pasidipaina Vaadi Kannepaddadi Aa Velana”, but DSP springs a dramatic surprise in the subsequent phrase as the melody turns into something suspenseful, energetic and mysterious, unlike anything we have heard so far in the song. This kind of experimental shift need not work, but here it somehow does, and kudos to DSP for trying it and landing it nice and soft. “Nelane Ammalaga Nammi Neekemi Laabham”, with backing vocalists in harmony, is the line I am talking about. @singersinduri @thisisdsp @nag_ashwin @singeethamsrinivasa @nivethapethuraj @vyjayanthimusic @divomusicofficial @shreelyricist 3. Thoduvaanathil

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 21st June 20261. Tere Paas MainVocals: Vipin Aneja, Deepali SahayLyrics: Irshad KhamilMusic composed and arranged by A. R. RahmanLanguage: HindiGenre: Light MusicMood: SereneJust when you think of writing AR Rahman off, he comes up with something good and heartfelt, like this album ‘Main Vaapas Aaunga’, almost like these are the words of AR Rahman to his doubters like me. It feels like Arnold in Terminator, saying, “I'll be back, trust me”. After a couple of below-average albums, this one did impress, and this particular song, ‘Tere Paas Main’, is so tender, and it starts to kindle feelings of love from deep within our hearts. The song has two versions, and they are both beautifully sung, the female version  by Deepali Sahay and the male version by Vipin Aneja. The strings section by the Philharmonic Orchestra, Prague, is followed by a mild and mellifluous clarinet, and the melody of this song by now is already etched in your heart. “Jaise Tu Hai Paas Mere”, with his fresh and splendid voice, Vipin only takes a few nights to make a mark. There is an element of innocence in his tone, and that works for protagonists like the one in this love story. The melody is beautiful, but it is not entirely unheard of, as we are reminded of this gem by Shankar-Jaikishan, “Hum Tere Pyaar Mein Sara Aalam Kho Baithe”, sung like an unforgettable dream by Lata Mangeshkar. The strings continue to play in the background, with minimal production. The interlude is when I realise there may be some influences of Raag Desh. From time to time, the melody also reminded me of “Agar Tum Saath Ho” from ‘Tamasha’Sai Shravanam gives a masterclass on the Tabla as we head into the Antara, and when Vipin evocatively sings “ Jhoot hai yeh dooriyan”, these notes remind me of another soulful melody “, Sara Pyaar Tumhara” sung by Asha Bhonsle and Kishore Kumar, composed by Shyamal Mitra. The lines from the Antara of that old masterpiece “Dekh ke teri Surat, Mitt Jaati Hai EK Hi Pal Main” are what I keep going back to listening to this Antara by AR Rahman and Vipin. His singing is calm and makes no attempt to add frills, and that is what shines through in this song, just like the great Kishore Da. The instrumental arrangements are more diverse and stunning in the female version, with Naveen’s flute solo, the unmistakable piano and guitar arpeggios by Shrey Gupta. Deepali Sahay reaches right into your heart, and she almost brings tears with her solo aalap in the interlude. Here harkatein on the chorus line is stunning. We get a fine interlude by the amazing Rohan Prasanna on the Sarod, once again rendering those influences of Raag Desh. This version also stands out for its second Antara, which has a modified melody “chahe bada lo, chahe ghata lo, kaajal nahin main, gaalon ka til hoon, mittha nahin main, kitna mita lo” feels so pure and pristine thanks to Irshad’s words and Deepali’s playful, teasing delivery. Shubham Bhat and Marisakthi are the additional programmers, with Hiral Viradia as the music supervisor. The engineers on board are Karthik Sekaran and Suresh Permal. @arrahman @saishravanam @vipinanejaofficial @deepalisahay @rohanprasanna @irsdhaskamilofficial @shubham_bhat07 @marisakthi @praguephilharmonic @thatfingerstyleguitarist @hiral_viradia @sureshpermal @sekarankarthik 2. I can get HungryComposed, Arranged and Produced by Santhosh NarayananRap written and performed by RANJTelugu lyrics: Rehmanvocals: Punya SelvaBacking vocals: Aparna Harikumar, Padmaja SreenivasanGenre: Alt Hip HopMood: EnergeticI watched the movie ‘Maa INti Bangaram’, and even if you know that the composer is Santhosh Naryanan and his iconic BGM tracks will come and pulverise you, he always leaves you surprised and shocked because a few tracks hit you hard,  thanks to sheer sound, scoring prowess and impact that this composer creates. It has happened in countless movies by him, and here, when Samantha climbs onto a bus full of thugs, I knew a belligerent fight sequence was on; little did I know that I would have goosebumps listening to the background music. This rising star RANJ, is the voice behind that intro and prolonged Rap segment, and I can only say, remember her name. Santhosh uses the piano as the only sound, along with this mesmerising style of vocals that RANJ employs. “Ooh, a wounded woman is a weapon, end you every generation, even after she just had you screaming’ truce’. Go back, boys, with your tail between your legs, is my advice to any thugs if they hear this. We get into some hardcore electronic and techno sounds to accompany and elevate the energy of the fight, but even now, I am still stunned from the intro vocals a

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 June 20261. YegandhiVocals: Sathyaprakash & Aparna HarikumarMusic composed, arranged and produced by Sam CSLyrics: Karthik NethaLanguage: TamilGenre: PopMood: RomanceA beautiful song doesn't wait for long; it hits you with the first note. The strumming of the guitars by Godfray Immanuel is so mellifluous, and it feels like a moment in paradise. It reminds me very vividly of the intro guitars of Coldplay’s “Sparks”. A flute solo comes on and breathes fire into the proceedings, and is there some Hamsadhwani Ragam I am hearing in the melody? Maybe. The tempo, the melody and arrangements are all so refreshing considering how noisy, loud and preposterous songs have become these days. I love how Sam CS has composed the melody and done these enticingly romantic arrangements.Listen to the mild Piano and harmonies “Yedhedho Nee thedi vaadathe Yegaandhi” as the counterpoints on the Piano and Clarinet, by Nathan,give off a very Jazz style here. Sathyaparakash is in terrific form here, singing these lines with tenderness. Karthik Netha writes the lyrics, and this song can completely take over your mind when you sit alone and listen to it. Vignesh plays the solo violin in the interlude, as he teases and tantalises with that quirky style. “Settril pookkum siru poovam vaasam alli veesum”, writes Karthik Netha to evoke all the strong emotions of love. Nathan comes and plays the flute solo, and it has been ages since a film song has had two variant interludes, so thank you, Sam CS, for that. One of our finest playback singers, Aparna Harikumar, comes on very late, but what a cameo it is. She sings “ Yaarag Nee aana pothum”, and she wins my heart. 2. LihaazComposed by Abhijeet SrivastavaLyrics: Shayra ApoorvaVocals: Samyak PrasanaMusic Production: Karasama BeatsLanguage: HindiGenre: PopMood: RomanceHere is a composer who has always been creating something hummable and catchy, and that is why Abhijeet Srivastava generates a certain amount of expectation and hype surrounding his indie releases. Here, he introduces a young, talented vocalist, Samyak Prasana, with composition duties handled by Abhijeet. The usual suspect, Shayra Apoorva, comes on as the lyricist, and the music production is by Karasama Beats. The soundscape is recognisable that it belongs to an Abhijeet discography, and when the lines begin, you start paying attention to Samyak’s vocals. The catchiest segment is the pre-chorus, where we get a pause, and then, with some delightful rhythms, we get launched, as Samyak sings “Milta ab jo sukon hai teri baahon mein, aisa pehle kahin na mila. Everything here is top-notch with Samyak’s dream vocals, Shauras intense romantic lines, the melody that swoons you and some simmering production by Karasama beats. “isi lihaaz se hum aapse yeh kehna chaahte hoye na juda kabhi, ho aisa raabta” is the icing on the cake. The Sarangi in the interlude feels like a bit of Raag Darbari to me, with some strains of the Sitar as well. I must give an ovation to Samyak, because his tone, his gleaming voice with perfectly strewn vibrato, is something that makes my heart grow fonder. The line in the Antara “hum to nahin tere kaabil huye phir bhi tumne chodi na yen baahen meri” is a case in point. I like how the song’s intensity zooms up with the introduction of drums, and it feels like an infusion of some rock flavours that work perfectly. @gibsonbha @shayra22 @samyakprasana @karasama_beats @vedaant.music @believemusicindia @unboundrecordz @abhijeetmusic 3. BloomComposed, arranged, and programmed by Barath DhanasekarLyrics: FatinVocals: Abhijih Anilkumar and Meghna Vijay

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 June 20261. Sattendru Marudhu VaanilaiMusic composed, arranged, and produced by Girishh Gopalakrishnan.Lyrics by SnehanVocals by Shreya Ghoshal and MS KrsnaLanguage: TamilGenre: Light Music/PopMood: RomanticI loved this album, “Sattendru Maarudhu Vaanilai,” and gave it a good rating of 3.5/5, with two outstanding songs. This title song was one of those favourites as Girishh shows his capabilities as always. The lead vocalist is Shreya Ghoshal, and it is, in my opinion, one of the best by Shreya in recent years, demanding her to sound beautiful without gimmicks. It is a deeply engaging romantic song , with Shreya expressing some vulnerability as well. The rousing nadaswaram solo by D Balasubramani in the intro is outstanding, especially to hear the shift in Octaves. The moment the last melodic phrase on the Nadaswaram comes, it reminds me of something similar , the violin interlude in “Aagaya Vennilaave”, by Maestro Ilaiyaraja. This is why I was certain that the song’s melody has influences of Raag Darbari. Medha Ramaswamy accompanies on backing vocals, singing the same melody, and after that, the pallavi is mesmerising with the song's rhythm guitar,  by MS Krsna, Shreya’s sultry singing as well. The anupallavi with “Seendal Ilai, Theendal Illai” with MS Krsna’s additional vocal layers and the stylish rhythms take the cake. Shreya and M Krsna singing in harmony works like magic, especially since this is a romantic single. Snehan is the lyricist, and he does quite an impressive job throughout. Sayee Rakshith makes you want to weep with that seductive and melancholic violin solo in the interlude. Kudos to Girishh for writing this interlude so beautifully. Shreya is killing it with the line” Nee illamale ennul unai parkirene” in that contralto register. The subtle but succulent vibrato on “ bodhai kolven” and “enna velven” are examples of how brilliant Shreya has been in this song. Another stunning piece of magic is the landing phrase that leads up to the pallavi, “ nee illai endraale naan enge povathu,” with faster guitar strumming. The Nadaswaram can be heard in the background playing some fine counterpoints in the outro. The recording engineers are Amey Londhe and AR Subbaiah, with the amazing Sai Shravanam on mixing and mastering. @girishhgopal @shreyaghoshal @medhamelodies16 @kavignarsnekan @tseriessouthofficial @meenakshigovindharajan_ @mskrsnamusic @sayee.rakshith @2. O Meri JaanComposed and Produced by Sanyanth NarothLyrics and Vocals Anurag MishraLanguage: HindiMood: RomanticGenre: PopThe sound of the Guitarlele, by Rohit Lalwani,  feels like the sound of water flowing in a stream amidst all the silence of a thick forest. The lead guitar starts to take control with Sharad Rao in charge, and the catchy rhythms slowly ramp up the ante and tempo. The sound design feels like I am about to listen to “Chura Liya Hai Tumne Jo Dilko”, and the humming by Sanyanth only does things to mesmerise our senses. The song is composed and produced by Sanyanth Naroth, with lyrics by Anurag Mishra. Who better to deliver the vocals than Anurag Mishra, who possesses a certain magnetism in his voice?  Sanyanth plays the rhythm guitar, and Sharad is the bassist. The song is reflective of a simpler time that had some great music, as it feels like something from the 70s. “Na Parwah Koi Bhi…….Ude Dil, Kahin Bhi” is my favourite line, and the intermittent guitars and rhythms keep us engaged and moving our heads in utter delight. The core beauty of any song lies in its melody, and Sanyanth proves that with the subsequent line, which throws a few surprises in terms of the notes and chord progression in “Woh yaadon mein hum , hamare siva na koi”. The lead guitars are a terrific component of this song, and they spark up such electrifying beauty in just 6 notes, filling in the pauses between “woh karwaan” and “ab hain kahan”. Ashish Kujur is on keyboard programming, and the song’s one more unstoppable force is the continuous backing vocal layer that comes and stays in the verse, chorus, and bridge. “Par har jagah lage pehchani mujhe, yaad teri jahan bhi keeche mujhe, tujo mila laga woh” is probably the song’s bridge, but instead of being placed just before the outro, it comes ahead of the second verse, and I love the melodic phrases written here by Sanyanth. “Hamari Kahani , kisi Ko na sunaani” is so enchanting to hear, as Anurag sings it with such dreamy exuberance, and he uses such gentle falsettos to impress as well. Sharad Rao is determined to pulverise your heart and kidnap your senses to a faraway place with his lead guitar solo in the outro. The recording engineer is Tejas Ratnaparkhi, mixing is by Nitin Muralikrishna, and mastering is by Ronak Runwal. 3. Subah

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 31st May 20261. Tamil KadavulMusic composed, arranged, and programmed by Sanjay Manickam.Vocals Sanjay ManickamLyrics: Jegan KavirajLanguage:Genre: Semi-classical FusionMood: DevotionalThe opening conversation between two men in the song’s intro brought a wide smile to my face because 1. it is true what he says about who rules Tamil Nadu, and 2. it is one of my favourite moments from my all-time favourite indian film “Kadaisi Vivasayi”. I must thank Sanjay Manickam for giving me a fantastic new song that glorifies my favourite deity , Tamil kadavul, Lord Muruga. The song starts with a chorus led line “Vaa en kandhane, veladhi velane vaa en kandhane vaa”, after a peacock call perfectly capturing the common sounds of Tamil Nadu with heavily populated peacock and peahen species, especially around hills that have the Lord Murgan temples. I love how Sanjay has interjected that opening line with a sample of the voice of TM Soundarajan singing “Muruga”.The backing vocalists are singing with all that passion and devotion, and we have Shibi Srinivasan, Govind Prasad, Sanjay, Shobika MS, Rubashree S and Mihitha Rajavenkatesh. The heavy rhythms pump up the adrenaline thanks to Sanjay’s programming. Mambalam Sivakunar is on the solo Nadaswaram, and we have Hrday Sunil on guitars and bass. The lyrics by Jegan Kaviraj are laden with innocence and admiration as we get this beautiful line, “ Maratha thozhane, un thuna podhume”. I must agree that Sanjay’s voice sounds fresh, and he offers whatever this kind of energetic devotional song needs. The way he alternates between poise, subtlety, and evocative celebration by changing his delivery and tone is worthy of praise. Pay attention to how things change in a few seconds between “ ennalum vazha ennoda va va muruga “ and “vel muruga va va, perazhaga va va”. The fact that Sanjay Manickam opts to compose this melody along the lines of Karaharapriya Ragam instead of the usual Shanmukhapriya Ragam is itself a valiant and creatively satisfying choice. A solo on teh Nadaswaram comes in the interlude, and I am almost in tears, with that emotion of surrendering to the Lord’s greatness accentuated by this bridge section “ Thaai Thandaikkum nyayathai sonnaye, nee athanaale malai melai amarthaaye”, with some fantastic harmonies and a counterpoint running on the Nadaswaram. The absence of rhythms here enhances the effect of the melody, and harmonies and kuros to all the backing vocalists and Sanjay for nailing this segment. This has to be one of my all-time favourite songs on Lord Muruga, I can only close my eyes and say “ Vetrivel Murugannu Arogara”. The female folkish harmonies with TMS singing “ Muruga Nee Vara vendum” is pure magic. The tracks are mixed by Midhun Manoj at Soundtown Studios and Blu Academy, the recording engineers are Sankeerth Shaji at Soundtown, Hrday and Sanjay at Unison Recording Co. The tracks are mastered by Vivek Thomas at VTP Studios@sanjayyy.music @mihitha_warbler_ @sbk_ms @shreeeesings @mambalam_sivakumar @midhunmanojj @adityaravikumar @bluacademy.in @vivekthomasproductions @hrday_sunil @shibi_srinivasan @govindprasad93 @m_jegan_kaviraj 2. Sajna veWritten, composed, and sung by Prateeksha SrivastavaMusic Produced by Priyanshu SoniLanguage: HindiGenre: Pop Mood: RomanticShe is the real deal, one of the handful of Hindie Indie artists that I'll bet my bottom dollar on. Prateeksha Srivastava is a stunning vocalist, and she is a rare breed that can write a song, compose a melody, too, and make it all look like a walk in the park. A breezy romantic pop single is here with Prateeksha donning all the hats of singing and songwriting, and the music production duties fall on Priyanshu Soni. Akarsh Shetty joins the band as the additional music producer, and collectively, we are offered a song that feels refreshing and joyful to hum. We get Bhibhash Buragohain on guitars as he strums the acoustic guitar and tickles you with oodles of romance. Prateeksha opens up with a nice hum, and the moment she starts singing, we are filled with love, and our hearts swell. Now that is what a saccharine voice with great potential and training can do to you. Priyanshu Soni adds glitter with a mild Harmonium and some fancy trumpets. The chorus segment is where the rhythm ups the ante. She is so committed here to write a melody that sounds fresh and not just follow the usual trajectory of a Bollywood number. Perceive the variations in “ Ankhon se… aankhon se apne keh dosapno mein aake mujhe na sataye”. Prateeksha makes the heart sway and beat faster with graceful improvisations and subtle vibrato. The male chorus, in that tempo and rhythm production, just feels foot-tapping good. Ishan Krishan, Priyanshu, and Akarsh are the male chorus singers. Just stop reading right now and make sure you close your eyes and hear her pulverise you with the phrase” Hey, Ada Teri,” adding so many layers of vocalising techniques, and you will feel goosebumps at the end of it all. I love the keyboard programming in the background, which is the only accompaniment during this phase.Bring on some funky basslines, some woodwinds, catchy rhythms, and you get a hypnotic track that is bound to make you go nuts for a whole day. The tracks are mixed and mastered by Hanish Taneja. @officialprateeksha @priyanshu_music @akarshshettymusic @billy_birdie @pankhurirjn @tichkistudios @arjun_deswal

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 17th May 20261. ReligiousWritten and performed by RANJMusic Produced by Raj and ClifrLanguage: EnglishGenre: R&B/Hip-HopMood: GroovyThis is my favourite track in the mammoth 27 track Mixtape released recently by RANJ, and you can go check out my full-length review of this massive list of Hip-Hop, R&B, Tamil folk music on my IG page. Please do go and listen, and this is easily the best of 2026 I have heard yet. RANJ takes over all the writing duties, and she delivers a masterclass in songwriting. The opening pianos and basslines are succulent in this track, and we have her ususal collaborator Clifr, a master of his own game, on music production as well as Raj. The rhythms kick in some Calypso, Reggae style and the Cello, by Adiel Massar, help in infusing some pathos and gravity. The sound of Maracas as the percussion instrument, with some vocal intervention by Raj, brings us to the end of the intro and the magical voice of RANJShe is an A-lister when it comes to hip-hop. and the associated energies of that style, but here RANJ is simply decimating all doubts and showcasing some fantastic singing. The attitude, the falsettos, and the improvisation all are top-notch and let us remember her writing and words are the unique selling points. The harmonies add on when she sings “ I gotta say, you make me feel like maybe I'm religious” , as a music lover, you start feeling religious too, if this woman was a vocal Goddess. That hint of woodwinds, by Louk, in the background with the bass guitars, by Raj, simply lifts my spirits. Here comes the champion rapper in RANJ, and when I hear her say “growing up i thought there might be an answer, Life is like a rhythm and truth is a dance,” I feel like I'm sitting in a lecture series on the philosophies of life and truth. This is what writing should be like, for music lovers to sit with their ears open and words that can transform and teach and inspire us. How does she envision these and write words that jump off the black-and-white screens and go into our grey cells? Wow , looks liek her writing has inpsired me too. She says, “And I don't believe there's a way up. Heaven only exists on paper, and if they preach to you ‘bout the maker, tell ‘e, to pay up”. Is this Religious or the Sacrilegious? Who cares when it is the truth and it sounds like this in this voice? I love how Louk teases and plays that flute solo and a big round of applause needs to be directed at the song’s primary producer Raj. There are so many elements with the flowy pianos, seductive basslines, sumptuous woodwinds and the foot-tapping rhythms. The tracks are mixed and mastered by Vivek Thomas.@ranjaniramdoss @louk_around_you @rajkanwarsodhi @clifr_ @weneedasecretlife @speedysahana @ranjxclifr 2. BewakoofComposed and Arranged by Sreekesh MenonLyrics: Anshita MenonVocals: Kalika MathurMusic Produced by Nikhil SebastianLanguage: HindiGenre: Ghazal/PopMood: RomanticJust like the name suggests, don't be a Bewakoof and miss out on this beautiful track that feels like the evening wind. The chirping of the birds wakes you up from the slumber, and that whiff of the electric violin throws you into the ring, ready to face the music, literally. Sreekesh Menon has composed the melody and done all the arrangements, with lyrics by Anshita Menon and the sparkling vocals of Kalika Mathur. The string arrangements are generous, and this feels like a Ghazal with all its melodic and poetic quality. “Hum Tumse Ishq kar bhaite hain”, and that is all I need to hear to travel back in time and hold my lover’s hand for the very first time. Is there some Bilawal Thaat influence in the melody?. Maybe.The Tabla flows on, and Kalika serenades me, with my heart becoming heavy and a few tears down my cheek. How have I not heard this singer before? “ Isi liye Humein Shikwa nahin, aur tere pyaar ka ehsaas”. The Keys, strings and rhythms combine so effectively, and yet they never intrude with the sanctity of the melody and the magic of the vocals. Nikhil Sebastian is the man who handles all music production and sound design, as well as mixing and mastering. Being called a fool has never sounded so peaceful and beautiful “Bewakoof ho tum. jo tumhe mohabbat ka matlab na pata”. I recall the charanam portion of  this glorious love song by Maestro Ilaiyaraja, “ Un parvaiyil” set in Raag Bihag (Bilawal Thaat).We get layers of the acoustic guitar, violin, and woodwinds in the interlude, and what transpires in the Antara feels heavenly, and credit goes to Sreekesh's composition. “Agar humse pyaar karte toh” depicts simple words of love, but the melody and Kalika’s harkatein are nothing short of heavenly. The artwork is by Solaman Joseph. @sreekesh.menon @its_kalikamathur @tbhansh @soularts_ @nikplaysbass 3. Entho Annu De