Quotes of All Topics . Occasions . Authors
My singing is not Hindustani classical or too western. It is a balance of Indian and western music. That's the kind of music I grew up on.
Honestly speaking, I am very hardcore when it comes to my music because at the end of the day the song that I am creating will remain forever.
There is a layer of Armaan's voice in the hook line of 'Kar gayi chull' and it was mainly his voice there, but he wasn't credited in the track.
I have been quite open to the idea of working with any actor who wishes to sing for their films but only if their voice suits the song in hand.
I only think that awards are important to everybody and if not that, a nomination serves as a recognition and a positive drive to do better work.
I've had friendships and relationships in the past where things weren't working out for either of us, but I still found it really hard to let go.
Things in the industry get too competitive. In that pressure, you tend to lose yourself. So, it's important to have someone to turn to and vent out.
I had grown up with music influence of my grandad, uncle, dad. So, professionally I first assisted others to do something different, to get an edge.
Unfortunately, we have very few female composers in our country, but Sneha Khanwalkar, Alokananda Dasgupta, and Jasleen Royal are forces to reckon with.
The source is always me, but when the inspiration is an amazing idea or entity, it gives the process of music making a very beautiful route to proceed on.
My EDM outings 'Sooraj Dooba Hain,' 'Zindagi Aa Raha Hoon Main,' 'Chal Wahan Jaate Hain' are melodically very different songs. I have mixed up the genres.
Armaan has a simple approach and understands what a composer wants. I tell him, 'Give the song your own vibe but I will still come and fight with you and change it.'
I have been hearing from people that everyone is loving my music, which is a great feeling. To be honest, it's overwhelming... The female following on Twitter is insane.
Upcoming composers in Bollywood are falling prey to the volume game, without caring what they are doing to the history of Indian music, and that's something to worry about.
I think I have the capability to make music different from what I have already released. There are ghazals and other songs that I can create. There is no stopping me though.
My childhood friend, Shiva Maheshwari, who is also an executive producer of 'Jung,' introduced me to Young Zwann. I loved his vibe and instantly fell in love with his lyrics.
I began working as an assistant since the age of 16 with my father Dabboo Malik, went on to work with composers like Amar Mohile, Salim-Sulaiman, Pritam Da, and Sandeep Chowta.
I don't have to rope in Armaan for every song just because he is my brother. There have been times when I have replaced him with another singer. We don't have a war over it at home.
Non-film music is a different world together, and unlike films, usually there are no actors, actresses or other superstars to help you carry the song, they can only share and support.
Every time I do a dance track it's like I'll get a heart attack, because it depends heavily on the video, the hook line, the stars and the promotion. Any of these factors fail, the song fails.
Since the start of my career I've been doing a lot of music for films. It was important for me to focus on only that for some time, till I have a name that people can bank on, trust and support.
Every time an artiste goes on stage, he thinks 'I hope today goes well and I hope I give my best.' That is important - that little bit of nervousness or tension is what makes you perform better.
Due to the comparison with our dad and uncle, the expectations were humongous. From that to people saying that my music has my signature has been a long journey. The fight has been worth the while.
Many composers are asked to come up with three great songs in ten days... But it's rare for us to pull that off. You cannot force the brain to make a great song and I'm very scared of doing bad work.
When you are a part of an all ensemble kind of thing, with many composers in one film, you get the freedom to work on one, or maybe two songs, and experiment without thinking too much about the film.
My father's failures inspired me the most and still drive me. He worked for 10 years, but wasn't invited to award functions, forget being nominated. So winning even one trophy is a high for our family.
The meaning of the word 'remake' has changed so much over the years that from being a channel through which the younger generation heard classic melodies, it has now become a formula, a business model.
I started assisting music composers at 15 in an attempt to run away from studies. But my mom, hailing from a traditional, academically inclined south Indian family influence, made me complete my degree.
For 'Kabir Singh,' an entirely original album had to be done and that's how music should be made, but unfortunately that does not happen as the labels and the producers are more interested in fast food music.
Kailash Surendranath believed in me and my talent when I was just 19, and he gave me my first big commercial and thereafter worked with me on 25 jingles which really made people notice my work in the ad world.
U2 happens to be one of the world's most celebrated bands of all time, and they have influenced my own music and playlists growing up. In fact, when I was in college, I won a singing competition with a U2 song.
Success is good, but I have seen the other side. I don't think much about it. I just work towards making a good melody, with catchy yet meaningful lyrics, and as I'm a music producer and arranger myself, I know the sound I need.
What's needed to be appreciated about Young Zwann is that he is quite receptive to changes, always willing to learn and adapt to new styles. I am sure that given his dedication, he will manage to carve his own space in the music industry.
Since Bollywood is getting more corporate, it is getting difficult for the composer alone to take a decision unless you are a big name like Pritam or Vishal-Shekhar who can speak his heart out and say that 'This is the singer I want for this song.'
I am one of the few composers who has been lucky enough to manage to do songs with female singers, despite the labels and producers wanting otherwise. They don't believe that songs with female voices can work and often push us to work with male singers.
Back in the '90s, we saw prominent non-film artists like the Bombay Vikings do a splendid job on old classics and people danced to those new tunes without ever feeling that the song had been spoiled. We slowly saw this trend creeping into mainstream cinema.
My appeal to the composers, whoever touches an old classic, will only be this much: take it up only if you can express it your way, too; work hard with the writers; make them see your new vision for the song; change the lyrics, yet, keep the soul of the original song intact.
When Armaan sang his first song for Vishal Dadlani, he didn't know that they were making Daboo Malik's son sing. He went inside the studio when he was 10-11, sang a scratch and it went on to be part of 'Bhoothnath.' He didn't get the opportunity because he was so and so's kid.
A lot of people have that notion that it must have been easier for me because I had the Malik tag. But I don't feel it's right. With due respect to someone like Ankit Tiwari who leaves everything at home to come and make it big here without any backing, I agree I have an advantage.
Our industry holds a musical perception about each emotion that we depict in our narrative. As music composers, our job is either to cater to that particular need or give it a contrast that grows on the audience in a way that it begins to sound more universal, than just obvious and expected.
It's difficult to really assess what I've done right per say, but if I did have to point out, I'd say that I never really looked to have goals that will limit me. When one knows where he is going to or wants to end up, he/she actually doesn't realise that the goal is more limiting, than liberating.
The reason we see more recreations is because people want to re-introduce some iconic songs to the younger generation. I support recreations too, as long as they're done well and respectfully. I have done a couple myself too, but when I recreate a song, I do it like a tribute to the makers of the original song.