How did VSV happen?
Sargunam Vimal, producer Muruganandam and
I are good friends and we would have discussions
about films, literature and other such allied
subjects. In fact Sargunam and I were involved
in doing many ad films. Sargunam always wished
that the four of us work together. But situations
were not conducive during Kalavani times.
Once after the success of Kalavani, Sargunam
told that we can team up for the next project
and that describes the team of VSV.
Sargunam and I were involved in
doing many ad films
Audience is able to recognize
even the minute chords
is the response for VSV songs?
has been very good and much more than expected.
Many accomplished people from film fraternity
called up and appreciated. The response of
the audience has been amazing. They are able
to identify even the minute chords that we
have used. I never expected such minute details
would be noticed. I have never felt that while
doing ads. I have understood the power of
Appreciation from film fraternity
Prabhu Solomon and Bharathi Raja sir appreciated
my work. Mostly, people associated with Sargunam
had conveyed that they liked the songs of
Cheran appreciated my work
Sargunam’s notes were like
seeing a film sans music
is Sargunam’s contribution to music
composing each song, Sargunam gave me the
storyboard and explained shot by shot and
also the characterization. He was very clear;
his description and notes were almost like
seeing an entire film sans music. I just followed
them exactly and it turned out well.
Name the albums
that you have released
Can you comment on the international touch
in the tracks of VSV?
it is to do with my education at Lasalle,
Singapore and the work experience with international
artists. And I have also performed for international
players. I have released two world music albums
in 2002 and 2005 called Reverberations 1 and
2. These experiences could have generated
the international feel.
I have performed for
I did a fusion album for Cosmic Music which is completely
instrumental. I have done that with Nadaswaram with
orchestral stuff combined with fusion elements. The
album had many experimental notes targeting the audience.
Who is your
In Chennai, I studied music under Paul Augustine
who is like my Godfather. I also studied compositions
under Lindsay Vickery from Australia. These two
are very significant in my musical career.
Kaara and singer Anita
Senga SooLa Kaara is about the village Kandeduthan
Kaadu and its inmates who work in brick kiln factories.
The idea was to record the life of the people there
and we decided to go in for a female voice with
yearn and boldness. After composing the score, Anita
who had sung in many ads was called on to lend her
voice for the track.
Later, we went to show it to Vairamuthu sir to check
if his lines are rendered correctly and he said
“Please don’t change the voice as this
girl has sung the song beautifully without spoiling
the beauty of Tamil” and he wanted us to retain
Anita. Actually, Sargunam and I were happy with
Anita’s rendition and were wondering if we
should change her. But our dilemma was put to rest
by Vairamuthu sir who endorsed our opinion.
We narrowed it down singularly
have brought out a melodious side of Chinmayee
in Sara Sara. Comment
Sara number is set for a naughty situation;
a game of sorts between the hero and heroine.
The song was expected to convey the character
of the heroine who is mischievous and keeps
playing pranks on the hero. We wanted the
song to be cute and beautiful and wanted a
husky voice. We narrowed it down singularly
Porane and Neha Bhasin and Ranjith
As I had said, heroine’s character is
bolder than that of hero’s. And hence
for a duet, we decided to have soft male voice
and a dominating female voice and we fixed
on Neha Bhasin. Sargunam is fond of Pesugiren
number sung by Neha and we took her on board.
Although we felt that nativity was a tad missing,
but in its entirety the song sounds good especially
VSV composition began ten
There is a small story behind Porane number. I used
to have a band ten years back with my friends Ranjith
(singer), Sai and Ganesh and Porane was composed for
the band then. Sargunam heard and liked it much and
said that he would use it in his film at a later date.
When VSV happened, Sargunam desired to use Porane
track. I can say that VSV composition began ten years
and Lisbon International symphony orchestra
Aana Aavanna would appear in an important segment
in the pre-climax stage in the film. Sargunam wanted
it very powerful and it is a children’s song.
The story demanded power for this number. We composed
this after trying 2-3 tracks. While in composing
stage itself I treated it as an orchestral composition.
Sargunam also liked it.
Which is your
favorite song in VSV?
All are my favorite numbers but by a small margin,
Aana Aavanna scores a wee bit more than others.
It took two months to score with symphony orchestra-
80 piece orchestra- writing notes for every instrument.
What is the
major influence on your music?
Classical music is my major influence as I had studied
in the current times
Without a doubt, Ranjith and he also happens to
be my close buddy who has been with me through my
ups and downs. I like his voice.
Have you signed
any new project?
I am in talks and waiting for the release of VSV.
A Chinese sang Yuvan Shankar
do you think of the music scenario in Kollywood
is amazing as international audience is watching
Kollywood very carefully. I know this because
I have worked with many international technicians.
A Chinese guitarist who worked with me in
VSV sang Yuvan Shankar Raja’s songs.
I was stunned and realized the reach of our
music. I am proud to be associated with Tamil