The Goat Life
Over the span of the last 32 years, AR Rahman has given us musical treasures spanning various genres and cultures, serving as a poignant representation of their respective heritages, sometimes cutting to the roots of the same or sometimes spreading them superficially in layers with the latter not for lacking knowledge but more for aesthetic purposes. Within his illustrious discography, Rahman’s creative flair has manifested in diverse forms. From albums where he unleashes his artistic freedom by letting loose to those where he remains deeply rooted in Indian classical traditions, Rahman’s versatility knows no bounds. He has masterfully blended elements from different genres, crafting compositions that are both innovative and unforgettable.
However, in this The Goat Life: Aadujeevitham, Rahman adopts a very restrained approach, mirroring the narrative’s depiction of a protagonist confined by external forces, namely his oppressive employer (from the book). Rather than incorporating an array of musical styles, Rahman opts for a heartfelt expression in each song, which feels like are straight from the core emotions of the protagonist. In this album, Rahman’s focus remains unwavering, allowing the listener to delve deep into the essence of the story and the character’s journey.
In this album, AR Rahman has paved a trail of contemplation in each song. Each song evokes emotions and narratives so deeply that they transcend the act of mere listening and become an exploration of the human experience.
So, Is this Rahman’s best album yet? Generally, I do not like to rate artwork and Rahman has given us many such great albums in the past. So I will not get euphoric by declaring this album as his best work yet.
But the fact that I have decided to write about this album tells me that AR Rahman’s music in this album has touched me in ways, that are not just auditory. So, to me, The Goat Life: Aadujeevitham, is not just an album; it’s a portal to another world, steering me through a range of feelings with each note spun into an experential masterpiece. My experience listening to this musical opus has been nothing short of mesmerizing, and hence I am sharing a detailed insight into each track, hoping it will resonate with the souls of similar music lovers.
Omane
The album kicks off (if I even can call that, given the chaotic cataloguing of the album on streaming platforms) with a duet , Omane, harmonized in the ethereal voices of Chinmayi and Vijay Yesudas. Setting the stage with a blossoming love, this track encapsulates the vibrancy of new-found emotions. The intricate layering of a celestial intro followed by a sweeping and smooth melody with the classical touch of a mapilla-style qawwali is not just an auditory delight but a cross-genre fusion that spells innovation, which we fans don’t get surprised by anymore, when it comes from Rahman’s stable. Special shoutout to Chinmayi for her rendition. She nails the distinct charm and emotion the song needs with each note, while Vijay Yesudas and Rakshita Suresh complement Chinmayi beautifully, making Omane a celebration of romance that cannot be missed.
Periyone
Periyone transcends into soul-stirring melancholy with its poignant lyrics and haunting melody. The song is an invocation, a cry to the almighty (Periyone lierally means “Oh! Mighty Almighty!” to the best of my Malayalam knowledge), veiled in intense despair, resonating as a universal plea of the human spirit. AR Rahman’s vision for this piece is clear; to craft a tune that echoes the depths of human soul-searching, and the result is a profound musical exposition. One could call it simple or one could call it deep. But one can’t refute the fact that with devotional essence that is permeating through every inflection and note, “Periyone” stands as a testimony to Rahman’s ability to weave spirituality into the very fabric of his compositions, connecting the listener to realms beyond the mundane.
Benevolent Breeze
The instrumental variant of Periyone, aptly titled Benevolent Breeze, is a tranquil sojourn. The absence of lyrics intensifies the communication of emotions, allowing the melody to speak directly to the heart. Navin’s prowess with the flute takes center stage here, emoting with such dexterity that every crescendo and diminuendo become a part of the soul’s narrative. The rest of the arrangement does more than serve as a mere accompaniment; it breathes life into the silence, guiding the listener through a soundscape that is as cathartic as it is calming.
Istighfar
Istighfar literally is the act of seeking forgiveness of the God of Islam. So, it’s no surprise that this song stands as a testament to Rahman’s boundless well of inspiration, where faith and devotion are distilled into music. From the first second, you are engulfed in the serene, meditative enchantment of this composition. And as the traditional Islamic ‘dua’ unfolds, you feel how this song is suffused with an ineffable aura of spirituality that even non-believers can’t dust off nonchalantly. Whether it is through the aching resonance of the vocalist’s plea or the harmonious chorus that rises with pious sanctity, Istighfar echoes the essence of seeking divine forgiveness, engrossing the listener in a spiritual transcendence that is quintessential Rahman.
Badaweih
Badaweih is an enigma. And it’s my pick of the album. I do not know Arabic (or Palestinian Arabic for that matter). Not a word. But Badaweih, which is supposedly a rearranged version of a traditional Palestinian folk song, resounds as an ode to the uncharted territories of the day that lies ahead. The melody is a marvel in its singularity. It’s only Sana Moussa’s voice you hear throughout the song. To me the song has a certain inexplicable call to purpose. It may be wrapped in cultural mystique, but it is as relevant to a global audience as it is compelling. Again, I say all that without knowing the meaning of a single word.
This song, which has become my new wake-up anthem of sorts, does not pump me up in the morning. Not in a “You are so awesome and you can do anything. Go seize the day!” way, but instead it gently caresses me and whispers in my ears, “Wake up. You have another day to prove your worth. Remember your insignificant place in this vast and beautiful world, but cherish the chance you have now to make a difference in someone’s life today. Embrace it!.
More of a deeper imperative to acknowledge our place in the grand design of life and make each moment count. AR Rahman’s almost invisible and yet captivating arrangement, is just what this song needs.
Hope Song
The Hope Song embodies a familiar Rahman-esque template, one that I earnestly hope Rahman will venture beyond in the near future. It’s a composition that radiates positivity, delivering a hopeful message through a blend of motivational and unifying lyrics set against lively music. I mean, I find nothing wrong with the idea itself. And the song is neither terrible nor a bad listen. While Hope Song is not inherently lacking in its hope to find a place in the album, to me, this song stands out as somewhat of an outlier.
AR Rahman’s The Goat Life: Aadujeevitham is a sterling example of how a musical album can be a narrative in itself, a companion, and an emotional archive for its listeners. Beyond melody and lyrics, Rahman’s compositions carry a message, an atmosphere, and an experience that lingers in the mind long after the last note fades away. And I am certain, I will be drawn back to the album multiple times after I get to watch the movie.
For those who seek a richer connection with not just music, but the stories it tells, The Goat Life: Aadujeevitham is a musical expedition that cannot be missed.
Listen to the songs here:
