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.

Shruti Haasan made her playback debut at the age of five, singing an Ilaiyaraaja composition in her father Kamal Haasan's film, Thevar Magan. The maestro also scored her first Hindi song, a duet with her father for Chachi 420. She went on to record Hindi and Tamil versions of Rama Rama with Kamal for his bilingual period drama, Hey Ram and the Ilaiyaraaja score won her lots of praise.

“Raja sir was very encouraging, telling my parents, 'The girl can sing',“ reminisces Shruti, who turned 29 yesterday and once again collaborated with the legendary composer for Shamitabh's Sannata.

“This time my father was not involved but Rajini sir was. The tune is a remixed version of a '80s track, Asaiya kathula composed by Raja sir for Johnny which starred Rajini sir in a double role opposite Sridevi. The song was a huge hit back then and it felt special recreating such an iconic song from Tamil cinema 35 years later, for a Hindi film. The tune has been restructured for today by making it more robust and layered,“ says Shruti.

The song has been picturised on her sister Akshara who is making her debut opposite Dhanush in the film directed by R Balki. “I wasn't thinking of Dhanush or her or even Mr Bachchan (Amitabh) during the recording. I have yet to see the film. Like everybody else, I've only seen the trailer. Akshara looks amazing and since Balki sir is a phenomenal director, I'm sure it'll be a superb debut,“ she says confidently.

Meanwhile, lyricist, Swanand Kirkire who's a friend of her mother, Sarika, and has seen Shruti grow up, is all praise for her. “Shruti is a fantastic singer and it's just a coincidence that she's Akshara's sister. She has the throw and the range and the way she pronounces Sannata is fabulous. No other singer could have pulled off this song, Raja sir was categorical that this was the voice he wanted,“ he says.

The recording was just half a day's work at Ilaiyaraaja's sprawling studio in Chennai which has a series of booths but also a huge hall where you can record with a string quartet. “After recording in matchbox size cubicles, it was wonderful to go back to this old school studio in Chennai and record a song under the baton of my first composer,“ Shruti smiles.

And unlike her earlier song for Tevar, Joganiyan, Sannata was a song right up her alley. “They wanted me to sound like myself. The pitch was high, but within my range. I just had to ensure that I was able to translate Raja sir's vision musically,“ she says.

She's equally gung-ho about Swanand's quirky lyrics. “It's not your usual pyaar kiya hai kind of a song. I like the way he has incorporated different kinds of sounds and different genres and a sprinkling of singers and lyricists whom we cannot do without, and that includes him too,“ she laughs.

Swanand points out that you don't need singers and song writer when the hero is mute and his song is silence... Sannata. “It was great fun jamming with Balki and Raja sir who I have worked with earlier in Paa. He's an institution in himself who pays minute attention to words, nuances and tonality. I came up with Piddly because of him. I had started out with the word Alam Ara but he insisted he wanted something small and threw me some Tamil words, one of which was idli from which Piddly came about,“ informs Swanand. “Fortunatelym in this case we already had Sannata. The word has different connotations, from terror to danger, but in this case we've brought in an element of humour.“

Quiz Shruti on what sannata means to her and she quips, “It's a necessity at a time when thanks to all the over-thinking, our head is buzzing with noise and chaos. It's essential to enjoy the silence too.“