It was no pressure, of course, because Rahman makes sure you’re under no pressure. A couple of months after the recording, I realised it was for a film.
I did not even ask Rahman what it was for. In fact, one of the best things about recording for that song was that I had no idea it was for a film. My schooling had all happened in Bombay and Pune. (Laughs) I think it was the first time I ever attempted to sing a song in Tamil. No conversation with you is truly complete without talking about ‘Chikku Bukku Raile’. The future, whether you like it or not, is going to be more technology-based. And due to time and budget constraints, more people are taking to that. But of course, we are able to synthetically reproduce some of their sounds today. But I truly believe that acoustic instruments-the guitar, tabla, veena…-will truly never disappear. How much would you say has technology changed music, considering you were part of the earliest groups to embrace it?Įverything has become digital, be it the internet, film, radio… everything. What made it so interesting for everyone was this concept of taking something local and then combining it with hip-hop… It was a brand new idea. People say that a lot, but that’s because of ‘Pettai Rap’. You are generally thought of as being among the earliest rappers in the Tamil film scene. It is quite a challenge because most of the time, though we record for one-minute ads, only 30 seconds get played. Amid hundreds of jingles, you have to make sure yours stands out. Everything should be about highlighting it. You’ve composed music for both jingles and films. It’s been 26 years, but I still feel like I’m just beginning. It’s been a non-stop learning journey since then.
I began learning to play the other instruments, like the guitar.
Sometime, about 25-26 years ago, when the process of synthesis was still relatively new, we woke up to the opportunity that music could be made from anywhere.
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