Rap, edakka, African beats: Why Varun Unni's beats sound different in 'Azadi'

Music composer Varun Unni who first made his debut in Malayalam cinema with 'Annum Ennum Innum' has made his comeback to Mollywood after 12 years with the Sreenath Bhasi-starrer 'Azadi'. The musician known mostly for his work in Kannada cinema is receiving good feedback for the background score and songs, especially 'Eka Eka', in the prison-break film directed by newcomer Jo George. In an exclusive interview with Onmanorama, the musician shares the journey of composing music for the film, the challenges and why he was rarely seen in Mollywood for over a decade.

'Azadi' is a prison break thriller. As a musician, did you find it challenging to compose music for this film?
This is the kind of film where the music has to travel with the visuals. Also, if you have noticed, the makers maintain a high and low graph throughout the film. In some points, there is a lot of excitement, while the tension gives way to calm soon after. So, yes, the challenge lay in how to compose music for such moments and ensure that the audience stayed invested in the mood of the movie.

Different musical styles used in the film...
Throughout the movie, we have incorporated various musical styles. I aimed to ensure that we do not repeat music in similar scenes. For example, there are two investigations taking place at the lodge where Sreenath Bhasi's character stays. In one of the scenes, I used African vocals and percussion, while in the scene with Vani Viswanath's character Rani, we employed an off-timing method with the time signature. The intention was to keep the music flowing in order to blend with the story.

We have also used the modernised version of the Nadaswaram (a double-reed wind instrument) and drums and base sounds in the scene where Sreenath Bhasi leaves the lodge.

The climax of the film was the most-discussed aspect of the movie. Did you have any specific instructions regarding the music in this scene?
The climax scene was not part of the discussions initially. The makers brought this in only at the second stage of discussion. Spoilers ahead in this answer -- I wanted to create a unique musical theme for T G Ravi's character, who initially exists more as a shadow in the film. Toward the end, there’s a pivotal heroic moment involving him, and I aimed for the music to enhance his presence during that scene. This was the first time I incorporated alternative rock into the movie.

You say you are deeply influenced by Hans Zimmer, Bob Marley's music...
I studied Carnatic music and only got exposed to international scales and music towards the end of my schooling. Soon after, I began listening to Western vocals, classic and country rock and heavy metals. As a composer, I wanted to create a blend of Indian raaga and international music, though I was confused initially. However, over time, I realised they go hand in hand and the raagas in Indian music were quite similar to the scales in Western.

You have been receiving plenty of praise for your music in 'Azadi'. Why did you stay away from the industry for over a decade?
I have been quite busy working on projects in Kannada for the past 10 to 12 years. Although I started my career in Malayalam cinema, I did not receive any offers after that, so I moved on to the Kannada industry, where I found opportunities. This industry has considerable talent, making it challenging to find space. Work here is often based on emotions and friendships, whereas other industries tend to be more professional. In Mollywood, people will acknowledge my work, but they also have some concerns about my identity, which may not be as prevalent in other industries. I understand why this is the case, but I am definitely seeking more opportunities here.

What are your current projects?
I was part of the Tamil film 'The Door', Kannada movie 'Rakshasa' and now 'Azadi. I have also a Telugu debut lined up in June.