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Pursuit of learning
Composers Sachin-Jigar believe in redefining their style with every gig by adding new sounds and trying hands on new instruments
The musical duo Sachin-Jigar has composed a medley of tunes from the soulful Saibo and Afeemi to quirky ones like Babaji ki booti. They have a signature style that spells folk fusion and have gone on to doing unpredictable experiments.Known for making off-beat music, the pair has churned out quality music in their nine years in the industry. With commerce backgrounds, the young musicians ventured into uncharted territory. But after assisting Pritam chakraborty, AR Rahman and Vishal-Shekhar, the gujju boys have developed a uniqueness that keeps their listeners on edge. The intention for the inseparable team has always been to write melodies that will outlive the films. Music, with its ability to evoke unexperienced emotions crosses the barriers of language.
Your music career began with Gujarati music. How different is it in comparison to Bollywood?
I have always been saying that the process of composing music remains the same irrespective of the languages as it’s just a form of expression. So when we compose Gujarati music we first think of them as songs only and then the language aspect comes into play. For us, this language is a bit more comfortable medium of expression as it is our mother tongue.
But the song-making process and the time we invest in it, the effort it takes and the soul that we put in remains the same.
From Saybo in Shor in the city to Bandook meri Laila in A Gentleman, you have composed in varied styles. How do you manage it all?
One evolves as musicians with time, so does their style. Me and Sachin believe in redefining our style, adding new elements to it. So, each time we visit a new city or when we listen to new music or we lay our hands on a new instrument we try to adapt according to it through — its sound, way of making tunes or writing lyrics, expressing ourselves.
It has been a fulfilling journey for us so far. Bandook Meri Laila is a pit stop and we have a long way to go. One can expect unique, foot-tapping and honest music from us.
What is the story behind your association with Gaana Bollywood?
We have been a part of Gaana Bollywood Music Project which happened in Mumbai (2016), in Delhi (2017) and now it’s coming back with season two, it has been a wonderful association so far. We are going to share the stage with some really talented artists.
How do you feel about performing in Delhi? Do you have any fond memories associated with the city?
We have performed here quite a few times — college fests, weddings and of course in the last season of Bollywood Music Project.
The audience is quite receptive and they listen to world music, of course, Punjabi songs dominate their playlist but they do listen to world music and we have a lot of fans here and it’s always great to go back to them.
Bollywood has become an umbrella for various forms of music including Tamil, Oriya, Telugu, Bengali and Marathi. Is it a change for excellence in terms of music?
Yes, I believe that this industry is one big umbrella that can accept any form of music, not only regional or Indian music but also international styles such as pop or EDM.
Our industry can adapt any of these forms and make it its own. It gives one the creative freedom to do what they want. The only requirement is to do it in a right manner.
How is the current Bollywood scene?
The current Bollywood scene is all about remakes. We all are waiting for the change and it’s not afar.
You both have programmed and arranged for almost all music directors in the industry from the legendary AR Rahman to Vishal Shekhar and Pritam before you went on to become independent composers. What has been your learning outcomes through it all?
We have programmed for a lot of people in the industry and all of them are milestones in themselves. They have created some edgy musical pieces and to be a small part of their journey is incredible.
Every music composer has their own perspective about the audience and me and Sachin have learnt the same from them. Thinking from an audience perspective is crucial as one can always learn new ways to compose tunes. It’s the outlook that helps us gauge our audience and understand things that will work and will not work with them.
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