How Charan Raj is changing Kannada film music

Charan Raj burst into the Kannada film music scene when the young music lovers were hungry for freshness. His poignant music in ‘Godhi Banna Sadharana Mykattu’ (2016) has gained a cult status while his electrifying songs in ‘Tagaru’ and ‘Popcorn Monkey Tiger’ are irresistible.

There is an air of excitement around his projects courtesy his ability to produce something new. The gifted composer spoke to Showtime about how he has cemented his film career in a short span. Excerpts:

Your journey before you entered the cinema...

I started learning classical music when I was 6-7. Since I come from Coorg, I was also exposed to a lot of Malayalam and Tamil music. A R Rahman’s ‘Roja’ album had an impact on me. My schooling in Sri Ramakrishna Vidyashala, Mysore, exposed me to Hindustani, Bhajans and very Kolkata-influenced music. During my mechanical engineering, Job Kurian and I formed our band. We were also exposed to a lot of rock music then.

In 2006-07, we composed an album called Thaalam in Malayalam and it did very well. I learnt the skills of music production and programming. I then started producing for music directors in Kerala and Bombay. Composing jingles for ads was also very helpful. I really look up to Rickey Kej. I started doing independent music in 2012 and met several filmmakers.

What kind of music was popular when you entered KFI? What void did you fill?

I don’t think there was a void as such. Every decade, the sound changes. The sensibility of the audience also changes. I think we resonated with the current audience. We have had really good composers. They did so well and we learnt so much from them.

How did you get the taste and sensibility of the audience?

We only assume the pulse, whereas, in reality, we don’t really know it. We work on what the story requires. I listen to music that is running successfully in the hour. I learn from it and incorporate them in my work, adding my touch. Ultimately, you may do a great piece of music but if it does not serve the scene, it is of no use. Your music should enhance a scene. You will get that through experience. You need to strike a balance between giving your best expression and meeting the commercial demands.

‘Godhi Banna Sadharana Mykattu’ album is hailed as a classic...

Hemanth’s (director) narration inspired me. There was a hunger to do something new. But at the same time, we didn’t want to go completely offbeat as well. Since I was doing independent music, I tried to bring in the influence of band music.

Talk about your working process?

The director and I first try to understand the genres we like and discuss our common interests. But once you have already worked with that director, you know him so well that he does not have to narrate the story also. Just the idea is enough to know what he is thinking. I usually take a lot of time to finish a project. Even before showing the director a scratch, I do ten different pieces and select one and show it.

When you are working on various things, it is not easy. The mood of each project is different. Initially, when I sit, I am empty. What happens next, is out of my hands. What we have learnt are just tools. What follows is something beyond. Sometimes the song just flows in two minutes and sometimes we wait for it for 2-3 months. The day when nothing is flowing in my mind, I take a break, listen to music and learn something new. While doing that, I might find some sounds interesting and from that, I might do a song.

Lot of youngsters have collaborated with you like Ananya Bhat, Varijashree Venugopal, Siddhartha Belmannu, Sanjith Hegde. What impresses you about them?

All of them are superb artistes. I let them improvise and do whatever they want. I try to get to know them better. Every time Sanjith is free, he comes here (studio) and we learn together and try something new and show it to someone. It may get approved also. Varijashree is doing brilliant work. Even Ananya, her shows, her texture of voice... Siddhartha Belmannu does so much of classical music which we require in this generation.

You form a great team with directors Hemanth M Rao and Soori...

Hemanth is someone I resonate very well with. He is brilliant. The conversations and insights Soori sir gives impacts not just my art but my life as well. His approach towards life and his visualisation skills are very fascinating.

Hemanth and you are back again for ‘Saptha Sagaradaache Yello’. What can we expect?

It is a very intense and interesting love story. The film is very well written. No matter how well we do, the visuals also play a key role. The treatment of the song changes based on how the director visualises the song. We are working on the soundtracks now. I am trying to reinvent myself. For me, my soundtrack should surprise me. I first see if I would download the song. Only if the answer is yes, will I feel like I can put it out.

Fusion is one of the highlights of your music. But does it come with the danger of burying the lyrics?

Music and lyrics both have an equal role to play. Some people relate to music and then lyrics and others vice versa. Lyrics take you to whole other imagination. If it is a vocal song, the vocals are very important. It is vocal-driven. It should not disturb the main lines. In the background score, music is very important. It depends on your approach and sensibility

How do you fight repetitiveness?

First I have to accept the fact that I can be repetitive. It will happen. My music could repeat but how you present it without making it sound repetitive is important. Once you have worked on a certain genre, you have to take a break. Then you can reinvent the genre and bring it back in style. I don’t listen to my work at least for a year after it is completed because I do not want to get influenced by it.

Why don’t you sing more often?

Singing requires another level of fineness in the studio. I sing, yes. But for my track to shine, I require much better singers to express it. I have sung ‘Baana Thoredu Neeli’, and I like it. But when Siddhartha sings, it is magic to me. It is his form of expression. It requires practice. For me production is practice. My interest lies in it. Only if the director likes it and I feel my voice is suiting, I have retained my voice.