After seven years in the corporate world, a deep-rooted passion for music eventually drew him into cinema. Ajay Arasada took a leap into films, finding his breakthrough as a keyboard programmer on Goodachari. A decade into the journey, the Vizag-based composer speaks candidly about finding his identity, experimenting across genres, a call from Pawan Kalyan, the changing demands of filmmakers, and why he believes music must ultimately speak for itself.
On His Roots, Entry, Gaining Confidence
I hail from a family deeply rooted in art and music. Though I worked for an MNC for seven years before transitioning to cinema, I managed to score two film projects during my corporate tenure. Encouraged by my inspiration, Rock Star Devi Sri Prasad, and egged on by the support of my mother and wife, I made a move to the film industry.
My professional breakthrough came when my close friend Sri Charan Pakala, a fellow Vizagite, brought me aboard as a keyboard programmer for Goodachari. Though a decade has passed on paper, with a large portion lost to the COVID pandemic, this journey has fundamentally shaped my confidence. Today, I know I can score any genre, including large-scale commercial cinema. As a self-described introvert, self-promotion and public events do not come naturally to me; I simply prefer to let my music speak for itself as I await the right opportunity.
On Working With Smaller Films and Finding His Identity
I have never struggled while working on smaller films, as collaborating with reputable production houses ensured smooth, timely payments. My core ambition is to explore diverse genres and deliver authentic music tailored to any narrative, whether that calls for a high-energy "mass" score or a subtle soundscape. I disagree with the notion that fresh sounds can only be imported from Tamil or Malayalam cinema; I believe in pioneering unique music on my own terms. When casting vocals, artistic fit overrides cost (if a singer suits my song, I hire them regardless of their fee), as the integrity of my work comes first. My goal is to craft timeless, memorable compositions. Early in my career, a producer rejected my request to hire Anurag Kulkarni for a track. Today, that very producer can no longer afford him, a turn of events I still find ironic.
On Theatres Versus OTT
We compose and score music keeping the theatrical experience in mind. But eventually, every film reaches OTT, and by then a lot of that effort gets compromised. If Vikatakavi were watched in a theatre, it would sound completely different and land on another level in terms of sound quality. By the time it reaches OTT, what I created is reduced to almost half its original impact.
On AI in Music
The influence of AI on music has been minimal, as even specific prompts result in generic music. Producers need to understand that they can't expect professional composers to work on AI-generated tracks. If they want AI to dominate their music, why can't they create everything with it? There is a world of difference between a technician using AI and a music director generating original music.
On Pawan Kalyan and Jana Sena
I began providing music for Jana Sena programmes through my editor friend, Venkat Chikkala. This led to extensive work with Bunny Vasu garu and eventually the film AAY (2024). Later, I composed the score for Pawan Kalyan garu’s meeting with Narendra Modi. Impressed by the work, the DCM personally invited me to meet, expressing interest in collaborating on political campaigns and PK Creatives projects. Expecting a brief five-minute interaction and a quick photo, I was surprised to spend nearly half an hour speaking one-on-one about future projects. During our talk, he spotted my mug-shaped Bose speaker, picked it up, and playfully asked if I had brought him coffee. Experiencing his lighthearted humor firsthand was an unforgettable, thrilling moment for me.
On Working With the Newer Generation of Directors
In a bygone era, directors would lay out the situation or the concept clearly and ask for a tune that matched it. That would give the composer a precise idea of what is expected of them. Today, that clarity has gone missing in many filmmakers. They can describe the scenes, but they struggle to explain what they actually want the song to say. If the core idea is conveyed vaguely, neither the lyricist nor the composer can provide the desired output.
On Credit Going Missing
I ran into this same issue with AAY (2024). Ram Miriyala did two songs, and I handled the rest of the music, but some reports credited only him. That mix-up in the media wasn't accurate. Because of that, producer Bunny Vasu garu started calling out my name specifically at every event, making an effort to set the record straight himself. With Save the Tigers (the comedy web series), the credit went to someone else's name instead of mine. Crediting every single person on my team properly is something I take seriously, always.
