‘It’s im­por­tant to have a bal­ance of orig­i­nals and remixes’

Lead­ing com­poser Amaal Mal­lik on the direc­tion he seeks for Bol­ly­wood mu­sic this year

DNA Sunday (Mumbai) - - SECOND FRONT PAGE -

Amaal Mal­lik be­lieves in evolv­ing with the ever-chang­ing trends in mu­sic. To begin with, the shift that he hopes to see the most this year is clearly-vis­i­ble men­tions of the orig­i­nal cre­ators of remixes or re­makes. He states that it’s a cler­i­cal change that no­body pays at­ten­tion to. “Orig­i­nal mak­ers are cred­ited in the most un­read and ir­rel­e­vant sec­tions of a song de­scrip­tion on so­cial plat­forms like YouTube. It seems new­bies want to grab all the lime­light when what they’re tech­ni­cally do­ing is feed­ing off a song made by some­one else,” he ob­serves. “I’d like to see this move­ment of prompt ac­knowl­edge­ment. It’s the responsibility and duty of new com­posers who are part of this trend,” he adds.

Ad­mit­ting that sound en­gi­neers al­ways come up aces in the sound­scape, Amaal ac­knowl­edges the pres­ence of apps and ser­vices such as vo­cal pro­cess­ing plugin Vocoder and voice sam­plers, which are mak­ing their way into film song pro­duc­tions. “In a way, I hope to hear them a lot more now. Per­son­ally, I’d hope for an AI (Ar­ti­fi­cial In­tel­li­gence) that maps the notes in your brain and sets into an al­go­rithm which can then be mapped on your screen. I think cre­ativ­ity may re­ally thrive un­der such in­no­va­tions,” he says.

Last year saw a plethora of remixes and re­makes such as Aankh Marey (Simmba), Ruk Ruk Ruk (He­li­copter Eela) and Dil­bar (Satyameva Jay­ate) among many oth­ers. While Amaal is not against rehashes since he, too, has recre­ated Ishq’s (1997) Neend Chu­rayi Meri (Maine Tu­jhko Dekha) for Gol­maal Re­turns (2017) and the sin­gle Ghar Se Nikalte Hi (Papa Ke­hte Hain, 1996), etc, he finds their usage friv­o­lous.

He elab­o­rates, “We seem to be a di­gressed in­dus­try. We have old songs be­ing re­made in abun­dance. For ev­ery orig­i­nal track, we hear about three re­makes and that ra­tio is dan­ger­ous for an in­dus­try that has sworn by orig­i­nal mu­sic for so long. It’s im­por­tant to keep a bal­ance of both.” He tells us that un­less he can add his per­sonal touch to a recre­ated melody in some way, he doesn’t take up the project. “I al­ways feel less trusted as a com­poser if I’m asked to re­make a com­po­si­tion the way it is,” he points out. “Back in the ’90s, these songs were re­made for pop and non­film pur­poses. I fail to see how they do jus­tice to a film’s script. They’re in­serted just to grab a few eye­balls,” Amaal con­tin­ues, clar­i­fy­ing that there’s noth­ing wrong with that per se. “But a sense of responsibility needs to creep in, so that peo­ple don’t stop believ­ing in orig­i­nal mu­sic. The mo­tive be­hind cre­at­ing a film’s sound­track has changed and it prob­a­bly needs re­assess­ment. A track in a movie should jus­tify the story’s de­mand,” he states, em­pha­sis­ing that it’s called a ‘film song’ be­cause it’s orig­i­nally com­posed for a sit­u­a­tion. “Orig­i­nal­ity and in­no­va­tion must thrive equally and that’s clearly not hap­pen­ing today. It al­most seems like the ones ap­prov­ing the mu­sic want their say and in­stant profit more than do­ing what the film needs. And all I say is that com­posers are even­tu­ally bear­ing the brunt of it all,” he rues.

Newspapers in English

Newspapers from India

© PressReader. All rights reserved.