Interview | Ajaneesh Loknath believes Chavundi Daiva helped him compose Kantara Chapter 1 climax's music in 30 minutes

In this interview, Ajaneesh Loknath decodes the sounds of Kantara Chapter 1 and why he believes he was guarded by a divine hand while working on the film.

Music composer Ajaneesh Loknath is on cloud nine after the release and success of Rishab Shetty’s Kantara Chapter 1. After all, the composer has been an integral part of both the Kantara films, with his score often being credited for elevating the film. He, however, takes no credit for any of it. “I don’t believe the music of this film belongs to me or anybody else; it only belongs to them,” he earnestly tells Hindustan Times, referring to the guardian Daivas (deities) the film is based on. In this interview, Ajaneesh decodes the sounds of Kantara Chapter 1 and details why he believes he was guarded by a divine hand while working on the film.

Ajaneesh Loknath has composed the music and background score for both Rishab Shetty's Kantara films.

60% of Kantara Chapter 1’s music was recorded outdoors with rare instruments

Kantara Chapter 1 is not your usual film, so Ajaneesh says, his method for recording the music and even the instruments he used were unusual too. “For Kantara, we explored the folk of the land and the music. For Chapter 1, we delved deeper into the tribal music of Karnataka, originating from and around Kundapura. We recorded 60% of the sound for the film outdoors instead of in studios,” says the composer.

When asked if it would’ve been easier to record in a studio, he replies, “The main thing is that people are comfortable in their space, which they lose in a studio…you lose the colour. Besides, recording outdoors is amazing. I’ve been doing it for years. Of course, I sugarcoat it all later to make it cinematic. But I stayed in Kundapura for three months to create a soundscape that makes you feel immersed. I am happy people are now experiencing the film and the music the way I intended them to.”

One thing that stands out from our chat is also the instruments Ajaneesh used to bring in the beautiful eeriness that people now associate with Kantara and its world. “When Lord Shiva is introduced in the tale, I wanted an instrument that is majestic instead of the usual damaru or other percussion used. I wanted something deeper,” he says, adding, “I got the idea to use a rudra veena, but we couldn’t find it in the South. So, instead, I used a rare instrument called the gottuvadyam to achieve that deep sound. As soon as I heard it, I knew this would be the sound for Chapter 1.”

Ajaneesh’s divine experience while recording for Kantara Chapter 1

Ajaneesh doesn’t just credit shooting outdoors or with folk musicians or even the usage of rare instruments for the output, though. For those who have seen the film, the music towards the end, which brings together Guliga, Panjuluri, and Chavundi Daivas, stands out. The music composer says he shockingly composed the music for that scene in half an hour, but only after receiving what he believes to be divine help.

“I remember I had completed most of the film’s music, but was stuck when it came to the climax. The release date was nearing, and I was feeling the pressure,” he explains, adding, “I am usually quick, but my mind was blank for hours. I remember asking a friend to get me a dosa at 7:30 AM that day, struggling until 12, 5…still nothing. When Rishab asked me if I had finished work at 7 PM, I asked him for some time and decided to take a nap. Before doing that, I prayed to Amma (Chavundi). I said, if I have made a mistake, please forgive me and help me.”

Ajaneesh did not wake up until even 9 or 10 PM that day. He woke up at 3 AM the next day and promised Rishab he would complete the work. “I had promised, but still had nothing. Then suddenly, around 4:30 AM, an idea flashed in my mind. I sat down at 5 AM and composed music for the whole climax till the end credits by 5:30 AM. When I was done, all of a sudden, somebody rubbed my head and asked me if I had eaten anything. I realised I hadn’t eaten anything except for the dosa the day before,” he says.

The composer then says that the person who asked him if he had eaten was the studio owner, who took him home and made dosas for him despite the early hour. “I had prayed to Amma for help, and I felt in that moment like she said, you have done your work, have some food now. It was a truly magical moment for me because I couldn't understand why the studio owner would do that for me without any explanation. I believe Amma gave me the relief I was looking for when I composed it in half an hour. This is why I say, this music belongs to the Daivas,” rounds off Ajaneesh.