On the use of Indian ragas and western instruments

When asked if mixing Indian musical instruments with Western music can create a unique score for international shows and films as well, Aman says, “Indian instruments are borderless. The music and sound becomes very expansive and interesting when mixed with western instruments. I believe that if we use them wisely, Indian instruments can do wonders in the international circuit, be it action or any other genre. This is not limited to just the romantic genre. Sometimes, we use ragas in western instruments instead of using Indian instruments which makes them unique.

On my ad films experience

When asked about his experience of working in over 4,000 ad films, Aman explains, “I always believe that there is no shortcut to experience. More experience makes your understanding of cinema and music more diverse. When you talk about score, reading the film is very important. That wisdom comes only from experience. Working in various commercials for so many years has helped me discover different sounds and styles. My ad film work has helped me in whatever I am doing today.”

On recreating the musical atmosphere of the 90s

When asked about the challenges he faced in composing the scores of Guns N’ Roses and Citadel: Honey Bunny for Raj & DK, the composer says, “For me everything is a learning experience. Both are different genres. One is full retro Bollywood of the 90s, the other is full-action flamboyance.”

“Guns N’ Roses required a full brass-oriented string section which I recorded with the Prague Orchestra. It was an interesting musical journey for me. Citadel is more electronic music. Both had a different mentality and different musical vibes. There was a need. But the interesting part is that I am getting these shows where I have to push myself, I am happy that I am getting such projects to work.

On experimenting with retro music

When asked about the unique aspect of creating compositions for stories set in an older era, Aman says, “While creating the music for Guns and Roses, we had to keep in mind that a lot of the writing, score and orchestral vibes, brass- The segment that existed at that time in the cinema of the 1970s-1980s. When you’re composing, it’s important to incorporate those vibes into your arrangement style.

He adds, “When it comes to Citadel, we took a lot of analogs like the Chemical Brothers and other influences that were happening in the West at the time. We also took a lot of tonal vibes. Both had distinct vintage vibes. It is not just about understanding the instruments, but also about the kind of music they used to write in those days.”

On Remixes of Classic Songs

When Aman was asked his opinion about remixes of popular classic songs in films and shows, he said, “Remixes are not bad but they should contain the essence of the song.”

“Remixes when done with proper sensibilities can do wonders because those tunes and compositions are hits… there is something memorable in them. But one thing I am in favor of is giving credit to the original composer. Nowadays, What’s happening is that the original composer’s name is hidden somewhere at the bottom of the list. I think it could be some other composer who expanded that tune.”

On the future of Indian music

When asked how compositions in shows like Citadel: Honey Bunny influence the future of Indian music, the musician explains, “When anything is happening on the big stage internationally, it inspires other singers- It also gives confidence.”

“People want to try new things, but sometimes they don’t have the courage to do so. But with Citadel and other experimental projects, new musicians are inspired. I would love to hear more songs like this on a larger scale. “

On takeaway from Garh: Honey Bunny

“I have learned a lot through the web show,” says Aman, Citadel: Honey Bunny, sharing his experiences.

“Because it is a new kind of style of music for me as I have not made this kind of music in any show. Although I’ve done it in commercials before, there you’re only doing it for a short period of time. But creating a six-episode score in this genre was a slightly different experience for me,” he shares, adding, “I learned new techniques of music making. With every new project, as a musician, you learn. What I learned in Donkey reveals a lot about his understanding of cinema. I am learning something new in every project with Raj and DK… I hope to continue my learning journey with more experiments in music while working with new filmmakers in the future.”