Showing posts with label Joi Barua. Show all posts
Showing posts with label Joi Barua. Show all posts
Bollywood is increasingly hiring indie musicians for its soundtracks
8:36 AM
Kasmin Fernandes (MID-DAY; July 17, 2016)
M Cream, which will hit Indian theatres after doing the rounds of various film festivals, has an indie slant in more ways than one. Srijan Mahajan and Arsh Sharma of eclectic duo FuzzCulture have co-composed the music for M Cream with fellow indie musician Nikhil Malik. It has a rock song (Woh Parinda) and two English tracks (the rock- jazz Man With A Million Drugs and the guitar-heavy Wayfaring Stranger). “The process of creating the music for M Cream was great and honestly really free. We had some amazing contributions from artists such as Shubha Mudgal, IP Singh, Susmit Bose, Suhail Yusuf Khan and Shantanu Pandit,” says Arsh, who is otherwise a regular performer at music festivals as part of Fuzzculture. The six-track album is one of the many Bollywood soundtracks to feature vocalists and musicians from the indie music space of the subcontinent that loosely includes the rock, folk, electronica and acoustic genres.
A familiar face in the Indian EDM scenario, Delhi-based Nucleya, aka Udayan Sagar, made his Bollywood debut with party song Let’s Nacho from Kapoor & Sons, which was out earlier this year. Composed by Nucleya, the song had Kumaar and Christopher Pradeep as lyricists, and featured Alia Bhatt, Sidharth Malhotra and Fawad Afzal Khan kicking up a storm in a club. It’s a restyling of Nucleya’s original hit Tamil Fever (with Dayal) — that had South Indian elements and dhol — with the addition of rapper Badshah’s verse. “They heard the song and thought it would fit in nicely in a film if reworked,” he says.
Khel Khel Main, arguably the best song of Amitabh Bachchan-Farhan Akhtar-starrer Wazir, came from indie band Advaita and had the voice of The Big B himself. Assamese rocker Joi Barua recreated his original Dusokute for Kalki Koechlin-starrer Margarita With A Straw. Metal band Goddess Gagged frontman Siddharth Basrur has sung Neend Na Mujhko Aaye (Shaandaar) and Meri Zid (Bangistan).
Desi rock ’n’ roll band Faridkot is behind the compositions for last year’s Sharafat Gayi Tel Lene. The soundtrack of the critically acclaimed Masaan was helmed by rock pioneers Indian Ocean, which was one of the first rock bands in the country to delve into film territory with Black Friday back in 2007. The director was norm challenger Anurag Kashyap, of course. Interestingly, Rahul Ram of Indian Ocean considers ‘non- Bollywood, non-traditional’ a better term than ‘indie’ for the music they make.
A younger set of well-travelled directors exposed to traditionally non-Bollywood sounds, a growing base of teens who vouch for indie acts like Raghu Dixit Project and Advaita and music composers willing to experiment with unusual voices has given rise to this trend. With soundtracks featuring multiple composers, the territory is wide open for newer sounds. They are bringing jazz, electronica, folk and world music into the realm, genres that the average filmgoer might not be exposed to. The non-Bollywood musicians bring with them a newer sensibility, instruments you wouldn’t otherwise hear in a Bollywood gaana — like the sax heard prominently in Shamitabh — and vocals styles that make you sit up and listen. “This bodes well for Bollywood music. It’s no longer filmi per se,” says Barua, who is currently composing the entire soundtrack for a film.
While some artistes have a go at film music when the situation arises, others like Pentagram frontman Vishal Dadlani of Kholgade, Saba Azad (one half of the duo Madboy Mink), Nikhil D’Souza, Shefali Alvares and composer Mikey McCleary have become an intrinsic part of the mainstream filmi music scene.
Adds Barua, “Bollywood changed life for me. From being known to a niche segment of rock fans in some parts of the country, my music became something the rickshaw guy was playing on his stereo, something I wouldn’t have imagined.” It happens only in indie-ah.
M Cream, which will hit Indian theatres after doing the rounds of various film festivals, has an indie slant in more ways than one. Srijan Mahajan and Arsh Sharma of eclectic duo FuzzCulture have co-composed the music for M Cream with fellow indie musician Nikhil Malik. It has a rock song (Woh Parinda) and two English tracks (the rock- jazz Man With A Million Drugs and the guitar-heavy Wayfaring Stranger). “The process of creating the music for M Cream was great and honestly really free. We had some amazing contributions from artists such as Shubha Mudgal, IP Singh, Susmit Bose, Suhail Yusuf Khan and Shantanu Pandit,” says Arsh, who is otherwise a regular performer at music festivals as part of Fuzzculture. The six-track album is one of the many Bollywood soundtracks to feature vocalists and musicians from the indie music space of the subcontinent that loosely includes the rock, folk, electronica and acoustic genres.
A familiar face in the Indian EDM scenario, Delhi-based Nucleya, aka Udayan Sagar, made his Bollywood debut with party song Let’s Nacho from Kapoor & Sons, which was out earlier this year. Composed by Nucleya, the song had Kumaar and Christopher Pradeep as lyricists, and featured Alia Bhatt, Sidharth Malhotra and Fawad Afzal Khan kicking up a storm in a club. It’s a restyling of Nucleya’s original hit Tamil Fever (with Dayal) — that had South Indian elements and dhol — with the addition of rapper Badshah’s verse. “They heard the song and thought it would fit in nicely in a film if reworked,” he says.
Khel Khel Main, arguably the best song of Amitabh Bachchan-Farhan Akhtar-starrer Wazir, came from indie band Advaita and had the voice of The Big B himself. Assamese rocker Joi Barua recreated his original Dusokute for Kalki Koechlin-starrer Margarita With A Straw. Metal band Goddess Gagged frontman Siddharth Basrur has sung Neend Na Mujhko Aaye (Shaandaar) and Meri Zid (Bangistan).
Desi rock ’n’ roll band Faridkot is behind the compositions for last year’s Sharafat Gayi Tel Lene. The soundtrack of the critically acclaimed Masaan was helmed by rock pioneers Indian Ocean, which was one of the first rock bands in the country to delve into film territory with Black Friday back in 2007. The director was norm challenger Anurag Kashyap, of course. Interestingly, Rahul Ram of Indian Ocean considers ‘non- Bollywood, non-traditional’ a better term than ‘indie’ for the music they make.
A younger set of well-travelled directors exposed to traditionally non-Bollywood sounds, a growing base of teens who vouch for indie acts like Raghu Dixit Project and Advaita and music composers willing to experiment with unusual voices has given rise to this trend. With soundtracks featuring multiple composers, the territory is wide open for newer sounds. They are bringing jazz, electronica, folk and world music into the realm, genres that the average filmgoer might not be exposed to. The non-Bollywood musicians bring with them a newer sensibility, instruments you wouldn’t otherwise hear in a Bollywood gaana — like the sax heard prominently in Shamitabh — and vocals styles that make you sit up and listen. “This bodes well for Bollywood music. It’s no longer filmi per se,” says Barua, who is currently composing the entire soundtrack for a film.
While some artistes have a go at film music when the situation arises, others like Pentagram frontman Vishal Dadlani of Kholgade, Saba Azad (one half of the duo Madboy Mink), Nikhil D’Souza, Shefali Alvares and composer Mikey McCleary have become an intrinsic part of the mainstream filmi music scene.
Adds Barua, “Bollywood changed life for me. From being known to a niche segment of rock fans in some parts of the country, my music became something the rickshaw guy was playing on his stereo, something I wouldn’t have imagined.” It happens only in indie-ah.
If I start composing as well, there will have to be two Shrutis-Shruti Haasan
7:47 AM
Shruti Haasan on singing Stereophonic Sannata in Shamitabh
Lakshmi V (BOMBAY TIMES; February 13, 2015)
Stereophonic Sannata must be
very special for you, given that you've sung for Ilaiyaraaja. Also,
your sister Akshara Haasan debuted with the film. How did you land the
offer?
It's indeed a special song for me.(Director) Balki sir called me up and said that he and Raaja sir wanted me to sing for the film. This happened months ago when I was shooting in Mumbai. So, I immediately went to Chennai to record it. I sung the track at Raaja sir's studio.
The song is based on one of Ilaiyaraaja's Tamil hits, Aasaya Kaathula Thoothu Vittu, which incidentally featured Rajinikanth.
I wasn't looking at it that way. For me, the Tamil song is an iconic one, a number which I love listening to. I felt honoured to be a part of its Hindi version.
How was the experience of recording this Hinglish number?
I'm glad they chose me for this number. I was amazed with the fact that the same composer who came out with the Tamil original years ago could redo the song so effectively to cater to today's listeners. And Raaja sir has made this new version equally successful, which, obviously, is because of his brilliance. I'm happy to add whatever flavour I could to this song.
Did you have inputs?
Not at all. Not to Raaja sir.
Did he have anything to say to you after the recording?
As long as he doesn't say something is wrong with the way I've sung, I'm happy (smiles).
You started your music career with Ilaiyaraaja when you sang for him in Thevar Magan. From then to now, do you find any difference in his style of working and music?
Honestly, I am in no position to comment on his method of working or music. It was an honour for me to start my career with him and sing for him today. I'm not in any position to analyse his style. I can just say he is a genius.
You've had two releases this year already - Joganiyan (Tevar) and Stereophonic Sannata. How do you strike a balance between acting and singing?
Both are my passion, and I could do it, all thanks to time management. I know I can't have a full-time career in music when I'm acting. I have a slew of releases lined up for this year alone. So, I'm happy I am able to at least dabble with playback singing.
Does it leave you with any time for composing?
Nope. Not at all. I am doing seven films this year and it's difficult to manage them alone. If I have to start composing as well, then there will have to be two Shrutis!
You have collaborated with artistes like David Kushner of Velvet Revolver fame and Assamese composer Joi Barua. What do you think of the non-film music scene in India?
It has grown and improved in the last few decades. In the 90s, alternative music was hugely popular and so many such albums had released. And these days, there are more venues for musicians to play and people to listen to such kinds of music. Then there's the influence of the digital media. It's a huge platform where people freely share music, leading to its increasing popularity.
Has international music influenced Indian films?
Ours is a globalised country and there's great mix of what we hear and like from other countries. Indian music is deep, rich and comprehensive. So, the influence of world music is finely balanced.
Do you have plans of dabbling with classical music on screen?
I haven't thought about it till now.I'm trained in classical music. So, at some point, I hope to try my hand at it.
It's indeed a special song for me.(Director) Balki sir called me up and said that he and Raaja sir wanted me to sing for the film. This happened months ago when I was shooting in Mumbai. So, I immediately went to Chennai to record it. I sung the track at Raaja sir's studio.
The song is based on one of Ilaiyaraaja's Tamil hits, Aasaya Kaathula Thoothu Vittu, which incidentally featured Rajinikanth.
I wasn't looking at it that way. For me, the Tamil song is an iconic one, a number which I love listening to. I felt honoured to be a part of its Hindi version.
How was the experience of recording this Hinglish number?
I'm glad they chose me for this number. I was amazed with the fact that the same composer who came out with the Tamil original years ago could redo the song so effectively to cater to today's listeners. And Raaja sir has made this new version equally successful, which, obviously, is because of his brilliance. I'm happy to add whatever flavour I could to this song.
Did you have inputs?
Not at all. Not to Raaja sir.
Did he have anything to say to you after the recording?
As long as he doesn't say something is wrong with the way I've sung, I'm happy (smiles).
You started your music career with Ilaiyaraaja when you sang for him in Thevar Magan. From then to now, do you find any difference in his style of working and music?
Honestly, I am in no position to comment on his method of working or music. It was an honour for me to start my career with him and sing for him today. I'm not in any position to analyse his style. I can just say he is a genius.
You've had two releases this year already - Joganiyan (Tevar) and Stereophonic Sannata. How do you strike a balance between acting and singing?
Both are my passion, and I could do it, all thanks to time management. I know I can't have a full-time career in music when I'm acting. I have a slew of releases lined up for this year alone. So, I'm happy I am able to at least dabble with playback singing.
Does it leave you with any time for composing?
Nope. Not at all. I am doing seven films this year and it's difficult to manage them alone. If I have to start composing as well, then there will have to be two Shrutis!
You have collaborated with artistes like David Kushner of Velvet Revolver fame and Assamese composer Joi Barua. What do you think of the non-film music scene in India?
It has grown and improved in the last few decades. In the 90s, alternative music was hugely popular and so many such albums had released. And these days, there are more venues for musicians to play and people to listen to such kinds of music. Then there's the influence of the digital media. It's a huge platform where people freely share music, leading to its increasing popularity.
Has international music influenced Indian films?
Ours is a globalised country and there's great mix of what we hear and like from other countries. Indian music is deep, rich and comprehensive. So, the influence of world music is finely balanced.
Do you have plans of dabbling with classical music on screen?
I haven't thought about it till now.I'm trained in classical music. So, at some point, I hope to try my hand at it.
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