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

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. 

TECH’S THE WAY TO GO AHEAD

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.  

WE NEED MORE ORIGINALS

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.  

REMAKES AND REMIXES DON’T DO JUSTICE TO SCRIPTS

“Back in the ’90s, these songs were remade for pop and non-film 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.

TOO MANY PEOPLE TO CATER TO

Amaal observes that unlike earlier when a composer had to sit with only the lyricist and director to achieve a sound, the number of people they need to cater to has shot up. “We have music supervisors and labels who have joined hands to make an album. So, it gets that much more challenging. I do respect their inclusion as we’re all working towards the betterment of the record. Also, since they invest monetarily, they deserve a say. But more people only means more perspectives. In a bid to include all their briefs, ideas and references, our expression gets lost in translation. I’ve had choreographers ask for changes in my song and I find that a little amusing,” he reasons.

Catering to a tried-and-tested hit formula almost stunts his expression as well as the excitement attached to dishing something new out to the audience. “All said and done, a single vision almost doesn’t exist. Thus, a product that results from these multiple perceptions sounds extremely mediocre, repetitive or ends up being a remake. By the time we get everyone’s approval on our track, we’ve only catered to clashing opinions and the song has suffered, more often than not,” he asserts. 

NEED LONGEVITY IN THOUGHT

As a composer, the 27-year-old always looks to achieve a new sound for the audience, “a side to me that is more intimate, personal but still commercially viable,” as he puts it. For him, achievement is not about reaching a certain level but about staying there for as long as possible. Though there’s nothing that the Indian music biz hasn’t achieved, he points out that it has sometimes failed to hold on to it for long. “If our industry achieves longevity in thought, I don’t think we’ll need anything else. As far as the commerce is concerned, I hope musicians are paid better than they currently are. Intellectual Property is no joke and it deserves a good pay,” he affirms.

ARTISTES TO WATCH OUT FOR

While Amaal is waiting for all albums by Pritam, Vishal-Shekhar, Shankar-Ehsaan-Loy and would like to hear more of Salim-Sulaiman, Palash Sen, KK, Shaan, and Papon among singers, according to him, the lyricist duo of Rashmi Virag needs to write more. “Their songs and writing live beyond the film. Case in point are their songs such as Muskuraane (City Lights, 2014), Bol Do Na Zara (Azhar, 2016), Main Rahoon Ya Na Rahoon (2015) and Khamoshiyan (Khamoshiyan, 2014),” he signs off.

SOME OF AMAAL’S POPULAR COMPOSITIONS

Subah Subah from Sonu Ke Titu Ki Sweety (2018)
Neend Churai Meri and Hum Nahi Sudhrenge from Golmaal Again (2017)
Tere Mere from Chef (2017)
Aashiq Surrender Hua and Roke Na Ruke Naina from Badrinath Ki Dulhania (2017)
MS Dhoni: The Untold Story the whole soundtrack (2016)
Kar Gayi Chull, Buddhu Sa Mann from Kapoor & Sons: Since 1921 (2016)