GV Prakash wants to break boundaries

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GV Prakash wants to break boundaries

G V Prakash is only in his early 20s and almost 18 films old, but this year, G V Prakash Kumar has composed for movies in genres so diverse that it would make even top composers go green with envy.

He began the year with an epic fantasy in Aayirathil Oruvan, moved on to a hard-hitting drama with Angadi Theru, galloped to glory with the cowboy movie Irumbukottai Murattu Singam and now, is taking listeners to pre-independence times with Madharasapattinam.

Not all of these albums turned chartbusters but still GV says that he doesn’t want to do regular kind of songs. “In every film, I try to be different. Sometimes, it works out and sometimes, it doesn’t. If you look at my albums, you will notice that either they are complete chartbusters or total washouts. It happens when you experiment with music,” he begins on a mature note.

 “And mind you, it is definitely tough. But I don’t want to do mediocre stuff and get away with it. I want to go out of the box and break boundaries. When someone looks back at my music, say after 40 years, there should be at least 100 songs that stay in memory. I would be happy if my songs last for years rather than stay in the limelight for a particular moment,” he further explains.

Talking about the music of Madharasapattinam, GV reveals that the album is one of the highly-budgeted albums in his career. “We have spent a lot as almost every song involved huge choirs and brass and string sections. With Aayirathil Oruvan, I gained a lot of experience on how to score for sequences that had grandeur. But, the music here is a blend between period and modern. For this film, set in the India of the 1940s, my reference was the instruments that were in vogue at that point of time. I’ve used tablas, mandolins, harmonicas, strings, English harps and oboes to create a period feel,” he elaborates.

Talking about other films GV says that he is excited about Aadukalam (which brings the Polladhavan team — director Vetrimaran, Dhanush and himself —together) and Quarter Cutting. “While the former is a raw and edgy movie, the latter is very much quirky like Oram Po,”

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