J Anoop Seelin’s compositions for ‘Male Bantu’ from Jessie , ‘Ellello Oduva Manase’ ( Sidlingu ) and ‘Male Haniyein’ ( Madarangi ) relied on the harmonica to convey a range of emotions. With Rohit Padaki’s latest film, Dayavittu Gamanisi , which opened on Friday, Anoop rediscovers his penchant for live orchestration, using the harmonica for background scores.
At a time when the keyboard is the norm for music, Anoop’s choice of instruments to convey emotions is becoming his signature style. “I grew up appreciating the ingenuity of composers such as Hamsalekha, Naushad, Rajan Nagendra and Upendra Kumar,” says Anoop. “I connect to the rich sound of live orchestras which one cannot find in keyboard simulations.”
Talking about Rohit’s brief for Dayavittu Gamanisi , Anoop says, “Rohit discussed the script and gave me an expansive space for my melodies. I had full freedom. The film was both a challenge and a chance to prove myself. The film is made of four separate stories that are linked together in the climax. Each section had a different musical signature.”
Anoop took a year and a half to score the film. Talking about the super-popular ‘Sanchaari’ with Rohit’s simple lyrics and Vijay Prakash’s soaring vocals, Anoop says, “The sound reflects a traveller’s inner search. I brought in a sense of divinity for a voyager and a nomad with a track based on raag jog. The meanderings are self-explanatory. Its juxtaposition of Buddhist chants and Prakash Sontakke’s slide guitar, dobro, adds to its graceful flow.”
‘Sachaari’ has become something of an anthem with people posting their travelogues on social media with the song providing the background score. “While Sontakke is an experienced hand at conversing with lyrics, Vijay was also happy to have a classical tune given a contemporary twist,” says Anoop. After Rohit heard the song and its orchestration, he decided that the song has to travel. The song was picturised in different places from the crack of dawn at Jumma Masjid to Ladhak, Amritsar and Kashmir, the song worked in tandem with the misty mountains and long-winding, serpentine highways.
‘Maretu Hodenu’ with Jayant Kaikini’s lyrics has a slow and romantic pace. “The integration of the violin solo here was to echo the pangs of young love. This is a number where Kaikini saw the visuals as he wrote. The folksy ‘Burudi Buddhi’ is a satirical exploration of love. Picturised on a career-obsessed couple, the Uttara Kannada lyrics have been rendered by Rajguru Hoskote.
Roping in Hindustani vocalist Pt. Parameshwar Hegde to sing Purandaradasa's ‘Kandu Kandu Nee Yenna’ was a feather in Anoop’s cap. “He had to be convinced that he could step out of his classical framework,” adds Anoop.
