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Bijibal
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Bijibal Maniyil is an Indian music composer and playback singer who works predominantly in Malayalam films. In a career spanning more than twenty years, he has composed for more than 150 feature films, several television commercials and a few documentaries.His work on the movie Kaliyachan earned him the National film award in 2012.[1]
Key Information
Career
[edit]Bijibal entered the film industry as a composer in 2007, with the satirical drama film Arabikatha directed by Lal Jose.
In 2013, he won the National Film Award for Best Background Score and Kerala State Film Award for the film Kaliyachan. He has also composed for several non-film Malayalam albums including Vasco Da Gama. He has also often composed for short films besides directing the short titled Sundari and also composing its score. He also composed the music for the door-opening and door-closing notification system in Kochi Metro trains which continues to be in use to this date.
The notable feature films for which Bijibal has composed include Arabikatha, Pathemari, Loudspeaker, Munnariyippu, 101 Chodyangal, Vellimoonga, Balyakalasakhi, Maheshinte Prathikaaram, Thondimuthalum Driksakshiyum, Rakshadhikari Baiju Oppu, Aby, Android Kunjappan Version 5.25, Carbon and Vellam: The Essential Drink and Thankam among others.
Personal life
[edit]Bijibal started composing during his college days at St. Albert's College, Ernakulam. He was married to Santhi, who was a dancer by profession. Their marriage was held on 21 June 2002, after a brief relationship and long before Bijibal even entered the film industry. They have two children, Devadutt and Daya. Santhi, who was a post graduate in Bharatanatyam and was doing her research in Mohiniyattam died after a stroke on 29 August 2017, aged just 36. Their children Devadutt and Daya sang for films, and Daya is more popular for singing and appearing in the video of Onam Vannallo, a rhyme made as a part of the Onam festival in 2014.[citation needed]
Discography
[edit]| † | Denotes film or TV productions that have not yet been released |
Awards
[edit]References
[edit]- ^ "അംഗീകാരത്തിന്റെ 'പശ്ചാത്തല'ത്തില്..., Interview - Mathrubhumi Movies". Archived from the original on 17 December 2013. Retrieved 14 December 2013.
- ^ Ramachandran, Arjun (26 March 2023). "Nila review: This well-intentioned movie from director Indu Lakshmi celebrates womanhood". The South First.
- ^ "Aju Varghese starrer 'Swargam' first look poster out". English.Mathrubhumi. 17 August 2024. Retrieved 8 November 2024.
- ^ "Sudhi Anna's Malayalam Film Poyyamozhi To Premiere At Cannes". News18. Retrieved 6 April 2025.
- ^ Santhosh, Vivek (12 February 2025). "KSFDC production Ariku gets a release date". Cinema Express. Retrieved 27 February 2025.
- ^ Santhosh, Vivek (28 February 2025). "Asif Ali's Abhyanthara Kuttavali confirms release date, teaser out". Cinema Express. Retrieved 28 February 2025.
- ^ "A dream debut for Bijibal". The Hindu. 19 September 2008. Archived from the original on 5 December 2010. Retrieved 7 December 2009.
External links
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| Artists | |
Bijibal
View on Grokipediafrom Grokipedia
Early life and education
Birth and family
Bijibal Maniyil was born on May 21, 1973, in Ernakulam, Kerala, India.[1][8] He grew up in a typical Kerala household, where his parents, both trained musicians, fostered an environment rich in artistic influences from the region's cultural traditions.[9] This background provided a nurturing space amid Kerala's vibrant heritage of performing arts, though specific details about his parents' professions remain limited to their musical training. During his early years in Ernakulam, Bijibal was exposed to local music and arts, including traditional forms such as Kathakali, which shaped his initial cultural environment and sparked an enduring interest in melody and rhythm.[9] Bijibal began learning the violin at the age of nine under the guidance of maestro Harihara Iyer, training for over 25 years, which formed the basis of his musical proficiency.[10][11] This foundational exposure in the lush, artistically inclined setting of Kerala laid the groundwork for his later musical development.College years and musical start
Bijibal attended St. Albert's College in Ernakulam for his higher education, spanning seven years from pre-degree through to a Master's degree in Commerce.[12][10] This academic focus in commerce did not deter his growing interest in music, as the college environment allowed him to nurture his artistic talents alongside his studies.[12] It was during these college years that Bijibal initiated his musical experiments, beginning to compose original songs and perform them by singing at youth festivals.[11] These performances represented his early personal projects, where he first realized his potential to create music independently. This phase also saw him delving into the aesthetics of music, exploring its profound meanings and undergoing significant artistic evolution.[13] His upbringing in a musically inclined family in Ernakulam offered a supportive foundation that encouraged these student-era pursuits, including budding interests in playback singing and keyboard proficiency.[11][10]Career
Debut and breakthrough films
Bijibal transitioned into feature film composition after years of working on television commercials, corporate films, short films, and documentaries, where he honed his skills through jingles and devotional albums produced in a home studio he co-founded during his post-college years. His entry into the Malayalam film industry came organically when he composed an advertisement jingle that led to a collaboration with director Lal Jose on the 2007 satirical drama Arabikatha, marking his debut as a full-fledged music director.[10][11] In Arabikatha, Bijibal's compositions blended fresh melodies with the film's narrative tone, featuring standout tracks like "Thirike njan varumenna" sung by K. J. Yesudas and "Choraveena" rendered by Kalabhavan Mani, which were praised for their soulful simplicity and innovative use of ragas. The album's songs were immediately embraced by audiences, particularly Malayalis in the Gulf, and gained widespread popularity over time, establishing Bijibal as a promising new voice in Malayalam music despite the tracks' departure from conventional film song formulas. This debut success, with each song being "lapped up by music lovers," provided a strong foundation for his film career.[11][14] Bijibal's early feature films from 2009 onward further showcased his versatility. In Loudspeaker, directed by Jayaraj, he composed a nostalgic soundtrack that included highlights like the folk-inspired "Kattarinu Thorathoru" by P. Jayachandran and the ensemble track "Changazhi Muthumayi" featuring Mammootty, evoking rural Kerala life and earning notice for reviving classic melodic elements alongside a remake of the iconic "Alliyambal." By 2012, his work on Kaliyachan, a debut directorial venture by Farook Abdulrahiman, brought critical acclaim for its background score, described as a stellar integration of classical percussion instruments like the chenda and maddalam with folk motifs inspired by Theyyam rituals and P. Kunjiraman Nair's poetry, perfectly syncing with the film's poetic and cultural depth. This period from 2007 to 2012 solidified Bijibal's reputation through these breakthrough projects, blending emotional resonance with experimental sounds.[15][16]Established career and notable collaborations
During the mid-2010s, Bijibal solidified his position as a prominent composer in Malayalam cinema, contributing to a series of critically acclaimed films that showcased his ability to blend emotional depth with narrative subtlety. His work on Pathemari (2015), directed by Salim Ahamed, featured soulful compositions that underscored the film's themes of migration and familial sacrifice, with the title song, rendered by Shahabaz Aman, earning praise for its evocative melody that captured the hardships of Gulf expatriates.[17][18] Similarly, in Munnariyippu (2014), a psychological thriller helmed by Venu, Bijibal's background score provided tense, minimalist undertones that heightened the suspense surrounding the protagonist's enigmatic past, emphasizing restraint over overt orchestration to mirror the story's introspective tone.[19][20] Bijibal's collaborations with director Dileesh Pothan marked a significant evolution in his style, beginning with Maheshinte Prathikaaram (2016), where his breezy soundtrack, including the folk-infused "Idukki," complemented the film's light-hearted revenge comedy set in rural Kerala, integrating local rhythms to enhance character-driven humor.[21][22] This partnership continued in Thondi Muthalum Driksakshiyum (2017), another Pothan directorial, where Bijibal crafted subtle songs like "Kannile Poika" and a restrained background score that amplified the crime drama's exploration of community and justice, using acoustic elements to evoke everyday realism.[23][24] These joint efforts influenced Bijibal's project selections by prioritizing scripts with strong character arcs, allowing his music to serve as an integral narrative voice rather than mere accompaniment, as reflected in his approach to realistic sound design.[13] Further collaborations, such as with Salim Ahamed on Pathemari and Venu on Munnariyippu, expanded Bijibal's repertoire across genres, from period dramas to thrillers, fostering a reputation for thematic versatility that guided his involvement in story-centric cinema.[13] His work with Shahi Kabir, including contributions to projects like Thondi Muthalum Driksakshiyum where Kabir served as assistant director, reinforced this focus on collaborative storytelling.[25] By the end of the decade, Bijibal had composed for over 150 feature films, alongside numerous television commercials and documentaries, demonstrating his broad influence in Malayalam media while maintaining a commitment to authentic, context-driven compositions.[8][13]Recent projects
In the post-pandemic era, Bijibal adapted to the Malayalam film industry's shifts toward digital releases and streaming platforms, with his soundtracks for films like Halal Love Story (2020) and Uma Maheswara Ugra Roopasya (2020) gaining prominence on services such as Spotify and Apple Music.[26][27] These projects marked a transition to more intimate, narrative-driven scores that emphasized emotional depth amid production challenges, including COVID-19 delays and virtual collaborations.[28] By 2023, Bijibal's work in Thankam showcased an evolution toward suspenseful, immersive background music that seamlessly integrated with the film's exploration of human relationships and loss, earning praise for its subtle guidance through narrative tension without overpowering the dialogue.[29][30] The soundtrack, featuring tracks like "Devi Neeye" and "Mayile Kuyile," blended folk influences with contemporary orchestration, reflecting themes of resilience in everyday struggles.[27] Similarly, in Neelavelicham (2023), he collaborated with Rex Vijayan to reimagine M.S. Baburaj's classic compositions from Bhargavi Nilayam, infusing modern arrangements into songs such as "Anuraga Madhuchashakam" while preserving the ethereal, haunting essence of unrequited love and supernatural elements.[28][31] This project highlighted his skill in bridging generational musical legacies, though it sparked debate over fidelity to originals.[32] Moving into 2024, Bijibal's score for Aaro incorporated traditional percussion like chenda drums in tracks such as "Ee Chenda Kalakkan Chenda," underscoring themes of rural life and familial bonds with rhythmic vitality that evoked Kerala's cultural rhythms.[33] In Nila (2023), his compositions leaned toward poetic introspection, as seen in "Njanaam Nadhi," where acoustic guitar and soulful vocals explored motifs of self-discovery and nature's flow, aligning with the film's contemplative narrative.[34] These works demonstrated an ongoing shift toward minimalist, theme-centric sound design that amplified character introspection over grand orchestration. Looking ahead to 2025, Bijibal has several upcoming projects, including Pariwar, focusing on familial dynamics; Aabhyanthara Kuttavaali, anticipated to delve into introspective drama; Lovely, a fantasy film; and Ariku.[35] By this point in his career, spanning over two decades, Bijibal has composed for more than 150 feature films, solidifying his role in evolving Malayalam cinema's sonic landscape through adaptive, platform-agnostic releases.[26]Musical style and contributions
Composition approach and influences
Bijibal's composition approach centers on creating "genuine music" that emerges organically from personal interactions and emotional authenticity, rather than rigid planning or external pressures. He views the process as a natural extension of his inner world, often composing tunes in under 15 minutes without extensive preparation, allowing melodies to flow intuitively while aligning with a film's narrative character.[11] Central to this philosophy is the belief that a tune represents a musician's unadulterated personal statement, which should remain unaltered to preserve its integrity; Bijibal sings the pallavi plainly during initial creation, refining only for perfection without embellishments or compromises.[13] He emphasizes the importance of lyrics as a foundational element, sometimes composing to them for relaxation or generating words to ensure singability, while prioritizing literary depth from collaborators like poet Rafeeq Ahamed.[13][10] In blending genres, Bijibal draws deeply from Kerala's cultural roots, incorporating folk traditions, archaic tunes, and elements inspired by Kathakali—such as rhythmic and melodic structures influenced by performers like Kalamandalam Hyder Ali—into his work for Malayalam cinema.[11][9] He fuses these with electronic, fusion, and global sounds, experimenting with rare ragas and Western influences like the works of Abba, Boney M, and Bob Marley to create fresh, situation-specific compositions that transcend conventional boundaries.[10][9] This approach extends to advocating for Carnatic music's integration with international styles, such as Carnatic rock, to maintain purity while broadening appeal, often using brief director briefings rather than full scripts to infuse music with emotional pauses and dramatic logic.[13] His influences stem from both personal bonds and broader artistic traditions, including early violin training under maestro Harihara Iyer starting at age nine, which instilled technical discipline alongside emotional expression.[10] Family exposure to radio shows like Ranjini and Alleppey Ranganath's folk music, combined with interactions with directors and artists like music director Sharreth, shape his intuitive style, where music serves as an emotional exercise prioritizing heart over technique.[11][10] Experiences of personal loss have also transformed into creative energy, reinforcing his commitment to original work over remixes, as he believes tweaking established creations diminishes authenticity.[13][9]Innovations in background scores
Bijibal's approach to background scores marked a significant departure in Malayalam cinema through his pioneering use of minimalistic and atmospheric elements, particularly evident in Kaliyachan (2012). In this film, completed in 2012 and released in 2015, set in a period context, he skillfully fused native ensembles and percussions with subtle modern electronic textures to create an immersive soundscape that enhanced the narrative's emotional layers without dominating the dialogue.[36] This technique allowed for sparse instrumentation and strategic silences—such as brief one-second pauses—to build tension and depth, ensuring the score supported rather than overshadowed the storytelling.[13] The background score for Kaliyachan earned Bijibal the National Film Award for Best Music Direction at the 60th National Film Awards, with the jury noting that the fusion of native ensembles and percussions in a period setting was a challenge well met by the background score.[36] By prioritizing emotional resonance over overt orchestration, Bijibal demonstrated how restrained scoring could amplify subtle character moments, a method he described as more demanding than song composition due to stringent time constraints and the need for precise alignment with directorial vision. Over his career, Bijibal evolved these fusion styles, experimenting with rare ragas and regional sounds integrated into electronic frameworks to heighten narrative immersion across more than 150 feature films.[8] This progression is seen in works like Idukki Gold (2013), where he blended local Idukki-inspired motifs with modern rhythms to mirror the film's rustic yet dynamic tone, contributing to a broader shift toward atmospheric scores that prioritize conceptual subtlety and cultural specificity in Malayalam cinema.[13]Personal life
Marriage and family
Bijibal married Santhi Mohandas, a professional classical dancer, on June 21, 2002, following their engagement earlier that year after meeting at a youth festival in Kochi in 2000.[37] The couple's shared artistic backgrounds—Santhi's expertise in dance and Bijibal's in music—fostered a harmonious partnership from the outset.[37] They have two sons, Devadutt and Daya.[38] Devadutt has followed in his father's footsteps, engaging in music production and composition, including credits on tracks like "Kai Pidichu" and various YouTube projects.[39][40] The family played a supportive role in Bijibal's career, with Santhi providing encouragement and understanding of the demands of his work in the music industry, often granting him the freedom to focus on compositions despite limited family time.[37] Her dance background influenced artistic collaborations, such as choreographing and performing a classical piece for Bijibal's original Sanskrit composition "Sakaladeva nuthe," which highlighted their blended creative talents.[41]Life after loss
Santhi Bijibal, a professional Bharatanatyam and Mohiniyattam dancer, died on August 29, 2017, at the age of 36 following a cerebral hemorrhage after a week of treatment in a Kochi hospital.[42][43] Her sudden death left a profound void in the family, with Bijibal Maniyil navigating the challenges of single parenthood amid deep personal grief.[44] The loss prompted tributes from their children, Devadutt and Daya, who released a heartfelt video song titled "Kai Pidichu" in October 2017 as a dedication to their mother, highlighting the family's shared emotional journey.[45] Bijibal has maintained a low public profile regarding his grief, channeling it through private gestures of remembrance, such as inking a tattoo of Santhi's portrait on his arm shortly after her passing, captioned with a line from one of her favorite songs.[46] In a Facebook post, he reflected on their enduring bond, stating, "There is no ‘I’, its still ‘us’. Santhi is peace, but she never rests," underscoring a sense of continued partnership despite the tragedy.[46] He has also shared occasional social media posts featuring archival videos of Santhi teaching dance to Daya, emphasizing familial continuity and resilience in the face of loss.[47] As a single parent, Bijibal has focused on nurturing Devadutt and Daya, both of whom have shown early aptitude in music, mirroring their parents' artistic legacies. Devadutt, in particular, has emerged in the industry with production credits on films such as Thanneermathan Dinangal (2019) and Johny Johny Yes Appa (2018), alongside his own compositions and performances.[48] The family has sustained a close-knit dynamic, with the children participating in musical tributes and collaborative projects that foster healing and creative expression.[49] This period has highlighted Bijibal's commitment to providing stability, allowing the children to pursue their talents while honoring Santhi's memory through everyday resilience.[46]Discography
Selected film scores
Bijibal has composed background scores and soundtracks for over 170 Malayalam feature films as of 2025, demonstrating his versatility across genres from folk dramas to thrillers.[35] His selected works, curated here for their critical acclaim, awards, and cultural resonance, are grouped by decade to illustrate his stylistic progression from earthy, folk-infused compositions in the 2000s to more introspective and narrative-driven scores in later years.2000s
Arabikatha (2007) marked Bijibal's breakthrough as a composer, with its soundtrack blending traditional Malayalam folk elements and melodic ballads like "Thirike Njan" (sung by K.J. Yesudas) and "Thaaraka Malarukal" (featuring Vineeth Sreenivasan and Sujatha Mohan), which were praised for their authenticity and emotional resonance, helping to refresh the industry's musical landscape.[10][50] The score's rustic charm complemented the film's satirical take on labor migration, earning widespread listener appreciation and establishing Bijibal's reputation for genuine, story-aligned music.[10]2010s
In the 2010s, Bijibal's scores gained recognition for their subtlety and genre adaptability. For Vikramadithyan (2014), tracks like the soothing "Mazhanila Kulirumai" captured the film's adventurous spirit with light, breezy orchestration that enhanced its youthful energy and received acclaim for evoking nostalgia.[51] Similarly, Vellimoonga (2014)'s sweet ballad "Punchiri Chelulla" highlighted his knack for feel-good, melodic tunes that amplified the political satire's humor and warmth, contributing to the film's commercial success.[51] Pathemari (2015) earned Bijibal the Kerala State Film Award for Best Music Director (Score), with its poignant score underscoring the Gulf migration drama's themes of loss and resilience through layered instrumental cues that evoked deep emotional impact.[52] Kaliyachan (2015) followed with the National Film Award for Best Music Direction (Background Score), where the intense, minimalist composition amplified the child-centric narrative's tension and pathos, marking a high point in his background scoring expertise.[9][52] Maheshinte Prathikaaram (2016) featured a rustic soundtrack with tracks like "Idukki," blending local folk rhythms and acoustic elements to mirror the film's small-town revenge tale, garnering positive reception for its organic integration with the visuals and boosting the movie's cult following.[53] Aami (2018) secured another Kerala State Film Award for Best Music Director (Score), with its evocative, classical-influenced motifs providing a biographical depth to Kamala Das's life story, noted for their poetic subtlety and cultural significance.[52] Android Kunjappan Version 5.25 (2019) included the heartfelt "Pularaan Neram" (sung by Sooraj Santhosh), a melodic piece with gentle percussion that explored themes of aging and technology, resonating culturally as a poignant family drama anthem.[54]2020s
Bijibal's recent scores emphasize restraint and atmospheric tension. In Thankam (2023), the understated background score built suspense through subtle electronic and orchestral layers, praised for heightening the crime thriller's procedural intrigue and meditative undertones without overpowering the narrative, thus enhancing its gripping reception as a modern Malayalam standout.[55][56][57] Vadakkan (2025) features a chilling score blending folk and suspense elements, enhancing the paranormal thriller's eerie atmosphere and earning praise for its innovative sound design in contemporary Malayalam horror.[58]Playback singing credits
Bijibal has made significant contributions as a playback singer in Malayalam cinema, often lending his voice to tracks he composed, infusing them with a raw, emotive quality that aligns with his folk-inspired style. His singing debut came in the early 2010s, and he has since appeared in numerous film songs, frequently collaborating with established vocalists to enhance the narrative depth of the music. These performances span self-composed pieces from films produced between 2012 and 2024, showcasing his versatility in both solo and duet formats. One of his most iconic playback renditions is "Idukki" from the 2016 film Maheshinte Prathikaaram, directed by Dileesh Pothan, where Bijibal's vocals evoke the serene hill station's tranquility through simple, repetitive folk motifs with chorus backing. The song, penned by Syam Pushkaran, became a chart-topper and is celebrated for its cultural resonance. In Vellam (2021), Bijibal provided vocals for the poignant "Akashamayavale," a duet alongside Shahabaz Aman and Nidheesh Naderi, with lyrics by Nidheesh Naderi. The track, part of the film's introspective score, highlights his ability to blend harmonious layers in a ballad about longing and ethereal beauty.[59] Bijibal's collaboration with Soumya Ramakrishnan is evident in several works, including "Manitha" from Thankam (2023), directed by Saiju S.S., where he joined her and Jayaprakash Sharma for a folk-tinged piece composed by himself. This short, evocative song underscores themes of human connection in the film's rustic setting. A more recent duet with Ramakrishnan is "Janaliloode" from the anthology Manorathangal (2024), directed by multiple filmmakers including Priyadarshan, with lyrics by Santhosh Varma; it features a melodic exploration of longing through window imagery.[60][61] Other notable credits include "Aakaashathinu Thazhe" from the 2022 film of the same name, directed by Sunil Karayar, where Bijibal sang alongside B.K. Harinarayanan, delivering a reflective track on life's undercurrents with lyrics by the latter. Earlier, in 22 Female Kottayam (2012), he sang "Neeyo," a tense, atmospheric number that complements the film's thriller tone.[62][63] Bijibal's family plays a key role in his musical endeavors, with instances of collaborative singing involving his children. His son, Devadutt Bijibal, has provided vocals in tracks like "Varu Pokaam Parakkaam" from Rani Padmini (2015), a lively ensemble piece featuring Swetha Menon and Lola, composed by Bijibal himself. Such family involvements add a personal layer to his playback work, bridging generations in Malayalam music.| Song Title | Film | Year | Other Singers | Lyricist | Notes |
|---|---|---|---|---|---|
| Idukki | Maheshinte Prathikaaram | 2016 | Chorus | Syam Pushkaran | Lead solo; folk-inspired hit evoking regional landscapes. |
| Neeyo | 22 Female Kottayam | 2012 | Neha S. Nair | Rafeeq Ahamed | Debut playback; atmospheric thriller track.[63] |
| Akashamayavale | Vellam | 2021 | Shahabaz Aman, Nidheesh Naderi | Nidheesh Naderi | Soulful duet on longing.[59] |
| Aakaashathinu Thazhe | Aakaashathinu Thazhe | 2022 | B.K. Harinarayanan | B.K. Harinarayanan | Reflective ballad on introspection.[62] |
| Manitha | Thankam | 2023 | Soumya Ramakrishnan, Jayaprakash Sharma | Jayaprakash Sharma | Folk duet emphasizing human bonds.[60] |
| Janaliloode | Manorathangal | 2024 | Soumya Ramakrishnan | Santhosh Varma | Melodic exploration of emotion.[61] |
Awards and nominations
National awards
Bijibal received his sole National Film Award in 2013, recognizing his contributions to Indian cinema at the prestigious 60th National Film Awards ceremony held on May 3 in New Delhi.[64] He won the Best Background Score category for his work on the Malayalam film Kaliyachan (2012), directed by Farook Abdul Rahiman, earning a Silver Lotus (Rajat Kamal) and a cash prize of ₹50,000.[36][65] This accolade highlighted Bijibal's innovative use of subtle, evocative soundscapes that enhanced the film's emotional depth without overpowering its narrative, marking a pivotal moment that elevated his profile beyond regional cinema.[66] The award underscored Bijibal's growing influence in background scoring, contributing to a career trajectory that saw increased opportunities in feature films and documentaries. No further national-level wins or nominations have been recorded for Bijibal as of 2025.[52]State and other awards
Bijibal has garnered significant recognition through the Kerala State Film Awards, the highest honor bestowed by the Government of Kerala for achievements in Malayalam cinema. He holds the distinction of winning the Best Music Director (Background Score) category a record five times, highlighting his innovative and impactful work in film scoring.[26]| Year | Film(s) | Award |
|---|---|---|
| 2013 | Kaliyachan and Ozhimuri | Best Background Music[67] |
| 2014 | Balyakalasakhi | Best Music Director (Background Score)[68] |
| 2015 | My Life Partner | Best Background Music Director[69] |
| 2016 | Pathemari and Nee-Na | Best Background Music[70] |
| 2019 | Aami | Best Music Director (Score)[71] |
Nominations
Bijibal has received several nominations for his work, including:- Filmfare Awards South 2017: Best Male Playback Singer – Malayalam for "Punchiri" from Maheshinte Prathikaram[77]
- Filmfare Awards South 2018: Best Music Album – Malayalam for Thondi Muthalum Driksakshiyum[78]