KOCHI: Sushin Shyam is the latest music sensation in town, with back-to-back hits in films such as Kumbalangi Nights, Minnal Murali, Bheeshma Parvam, and Romancham. One of the most sought-after music directors in the Malayalam film industry today, Sushin’s journey to success was not a cakewalk.
Born in Kannur in 1992, he started playing the guitar at a young age, and soon developed a love for music. After school, Sushin enrolled in an engineering college, but dropped out as he found his calling in music.
While working as a full-time musician, Sushin got his big break in 2014, when he was signed up to compose the music for the film Sapthamashree Thaskaraha. The film and the music clicked.
Sushin went on to compose unique, peppy tracks and cemented his place in the music industry, and also bagged the Kerala State Film Award for Best Music Director in 2020. The media-shy music ace opens up in a freewheeling chat with TNIE.
Excerpts
The birth of musician Sushin…
After Plus-II, we all go through that confused stage. I took up engineering, but soon realised it was not my cup of tea. Then I explored my real passion -- music -- to earn a living. The beginning was with the Kannur-based thrash metal band, The Down Troddence. The band’s members are still active, but we are not in a hurry to release our new album. The band speaks on social situations and concerns through its music.
Was it the Down Troddence influence that made you react to the Brahmapuram disaster?
Yes. I was concerned about the issue as an artist as well as a taxpayer. The reactions I shared on social media were out of concern about losing the ability to breathe freely. I had to speak out; I wanted to let others know about what people were going through. I have the right to question.
Your background music (BGM) scores are unique. Malayalis have a thing for BGM...
Yes, like every ‘90s kid, I grew up watching movies such as the CBI series, Commissioner, etc., which had popular BGM scores that captivated me. But what inspired me was Hollywood music. In Malayalam, what hooked me was BGM by prolific composers like the veteran Shyam, whose works included CBI. Johnson Master, too, especially for the film, Manichithrathazhu. The haunting melody and its notes still send chills down our spines.
Another one was Amal Neerad’s Big B. I watched it when I was in Class 10. At that time, I never even dreamt of becoming a music composer. However, the cinema experience of a film always excited me. Actually, the sound experience inside the theatre attracted me; I wanted to own a film theatre in my teens (laughs).
Which is easier to compose — BGM or songs?
BGM is easier, as there are visuals for me to work on. But for songs, one must visualise the scenes and mood of the sequences.
Any particular genre that you love to work with?
I listen to anything that soothes my ears. Working in the film field, I can’t stick to a particular genre, so it is more of an exploration of various genres. It also depends on my mood. If I am working on a film that demands hip-hop, I listen to that genre. I also listen to many songs as references for sounding.
What do you look for in music references?
When I listen to reference songs, I look at the soul of that song, the emotions and energy the music passes on to the listener. I had reference tracks while composing the Parudeesa song -- by Belgian singer and rapper Stromae. This does not imply copying; it’s more about exploring the essence, the flavour of songs. To create new audio experiences, we need to be updated on global trends. For melodies, however, I do not look for references.
Talking about international music, there was a buzz about The Carpenters band recently...
I haven’t listened to them. In fact, I was not even aware of them. The wrong translation by some journalists (as ashaari) should be seen as a normal human mistake. Even I thought of professional carpenters when I heard about the band initially.
What’s the secret of your consistency?
There are no secrets (laughs). I start from zero while composing a track or score. At some points, I even ask myself if I am a real composer (laughs). Because while working on a new composition, my head is filled with questions on how to begin.
Do you experience creative blocks? If so, how do you deal with them?
Yes. It is a painful situation. I sit for a long time without getting any leads. I get creative blocks if I am stuck in a space. Last month, I was working on songs for Manjummel Boys, and I got stuck in ideation. In such situations, movement is my medicine. I loaded the recording equipment into my car and drove to some serene locations. I travelled to Kodaikanal, and found the thread for my music there. The shoot of the film was happening there, and I delivered the music there itself. Travel works. I take at least one month’s break every year to travel, detach from the busy schedule and free my mind.
Do you prepare musical scripts for your projects?
No. But one may feel so in Bheeshma Parvam, as the themes were connected to a family. The scores are connected to each character.
Music for a film must support the story, it’s not about showing off one’s talent. In the storyline, if we feel a character is weak, we try to bolster using music. It depends on the films.
Music is a connecting point with the audience. Sometimes I get emotional while composing pieces, so I understand how it would impact the audience.
Was comedy a challenging genre to compose?
Yes. Romancham was my first full-length comedy film. Working in the comedy genre is tricky, it can go cringe. For comedy situations, it is safe to work with speedy or slow music tempos. Sometimes, silence and subtlety works well. For example in Romancham, for Chemban Vinod’s part, I experimented with silence after discussing with Jithu Madhavan (director).
You are set to complete 10 years in the industry. What are the changes in you?
I gained patience, and got a better understanding of the job. I was not a film person in the beginning, but nowadays I watch a lot of them. On the other side, I am losing out on my independent music style, and that may end up cinematic at times (laughs).
How has the industry changed?
In comparison with my parents’ generation, the genuine purity of music of the past is not there in ours. The music composed by Johnson Master and other veterans was filled with ‘Malayalitham’. Of course, change is inevitable as we are living in a period where reels rule. We swipe away if the content does not interest us in a few seconds.
I am personally not into the ‘trendy or catchy’ stuff, but have to do it for the industry. Taking the example of my songs, I am not sure how many will listen to the song Parudeesa after 10 years. New-gen tracks may not have the longevity of old classics. I feel the songs till the Manichithrathazhu era remain evergreen. They are still loved by all, as they were created through a divine process. I doubt if our present industry can make such songs.
Changes in music specifically...
Songs and dance sequences used to be important parts of our films. It has been the Indian film culture. But Malayalam cinema is taking a turn now. The relevance of songs is dipping in the Malayalam film industry. More importance is given to BGM, similar to Hollywood. There hangs a question: are songs really needed? It is the director’s call.
Have you worked with other composers?
No... but, working with other musicians creates magic at times. I am getting bored composing alone, being concerned and adamant about my own content. I am trying to change, and wish to work with other composers. I admire the way A R Rahman works; he takes inputs from other musicians and blends them.
Who are the singers you sync well with?
Nobody to point out. But I have worked a lot with Neha Nair and Sithara Krishnakumar. In the male segment, I have worked more with Sooraj Santhosh. His voice syncs beautifully with my creations.
We are seeing a lot of folk songs being converted into filmy tracks…
It is about how the musicians approach the original compositions. Be it Palapalli or Dabzee’s tracks in Thallumala, we look at whether the public is enjoying it or not. In Kumbalangi Nights, the Thillele track was a group song of children in Kumbalangi village. We gave due credit. Folk songs click well, but not all tribal or traditional artists may be happy with this practice. I believe it is unfair if the film version does not benefit the real makers.
Your inspirations...
My Papa. Then others; there is no single artist to point out.
Which of your compositions would you choose for your own BGM?
I don’t have a mass-entry nature, so I like the middle BGM in the song Chirathukal in Kumbalangi Nights, or the Lagoon Chill from the same film.
Your dream fanboy moment…
Meeting American composer Thomas Newman
What next?
I am working on three projects, Kannur Squad, Manjummel Boys, Avesham (tentative title of Jithu Madhavan’s directorial with Fahadh Faasil). All three are scheduled within a gap of two months. I am working on multiple projects in tandem for the first time.
I miss working on small projects. So I am planning to allocate my schedule for small-budget films, too. Recently I completed the music scores for debutante filmmaker Christo Tomy’s film Ullozhukku aka Undercurrent, which features Parvathy Thiruvothu and Urvashi.
I am also looking forward to working with Amal Neerad on his next project.