Amidst enormous expectations, news about action prince Vishal's six pack and police-approved crew cut, and Nayanthara's sizzling poses, GK Film Corporation's Tamil movie Satyam [Get Quote] has certainly roused our interest. Also adding to the curiosity factor is Harris Jeyaraj's music and as this is his 25^thfilm, you can't help but eagerly wait for his latest offering.

Let's see what Satyam's music has to offer:

First up we have Ada Gada Gada, rendered by Premgi Amaren. This number starts on a steady note, with the singer tapping out a tune, accompanied by languid beats. Harris Jeyaraj's Dhaam Dhoom hangover seems to persist, as random female voices and synthesised music takes over. Pa Vijay's lyrics seem to celebrate everything -- heroine, baddies and even the great goddess -- at varying points of time. The western chorus certainly seems to indicate the last. Steady rapping rhythm follows, interspersed with feminine laughter and Premgi's voice, which seems to travel the whole aural spectrum. It's typical Harris Jeyaraj, but not terribly interesting, unless it is going to be accompanied by fantastic visuals.

Interesting guitar pieces sets off En Anbe in Sadhana Sargam's voice. The tune is soft, making you sway to the familiar rhythm. Instead of descending into chaos, the melodious tune continues with Benny Dayal pitching in. This romantic number isn't exactly the kind of music that makes you sit up and listen, and it contains the composer's staple of unrecognizable words. But even if it's not of the scintillating variety, Yugabharathi's words and the soothing music does work, sometimes.

Aaradi Kathe, which begins with Hariharan's [Images] voice at high pitch, is plainly a song that idolises the hero and his marvellous doings -- Pa Vijay's lyrics leave you in no doubt about that. The rhythm follows a brisker pace than the previous two numbers. The interlude is vintage Harris Jeyaraj, which gives us a brief peek of his magic before we're back to the choruses and a rapid-fire burst of percussion and violins. A rather nifty number that ends in a burst of drums. Though not exhilarating, this number makes is pleasant.

Bombay Jeyashree is back again as the staple of Harris's romantic numbers crooning Chellame Chellame, accompanied by Sunita Sarathy and Balram, to Yugabharathy's lyrics. The format resembles Partha Mudhal Naale � flowing along a docile beat. Violins provide an interesting reprieve, and Harris's mastery over this number is enough that you can still hear haunting echoes of yearning and love in it. More bizarre words, yes but the singer's fluttery voice really works, as it ends with a flurry of piano notes. This one has the makings of a possible romantic winner.

Pal Pappaali begins with an enthusiastic rural beat and you aren't disappointed when Kapilan's lyrics branch off into what seems to be a list of vegetables destined for lunch, but are in fact allusions to you-know-what. Together Naveen and Mahathi perform a duet, the general tone of which is quite familiar, complete with nadaswarams, and more emphasis towards the front-benchers.

So what's the verdict?

For one thing, this is a Vishal movie, after all, which means that a composer has to work within certain restraints, and though Harris Jeyaraj has tried to fashion it with his own music sense, the strain shows. Some flashes of the genius that created Vaseegara peek at you uncertainly, but all said and done, this hardly is Harris Jeyaraj's best effort.  

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