The highly anticipated Season 2 of Paatal Lok sees the haggard, unlikely hero, Inspector Hathi Ram Chaudhary (Jaideep Ahlawat), investigating a high-profile murder case that leads him to remote corners of North-East India. While we always talk about the lead actors of a show and the performance of others after a release, it is sometimes forgotten that an integral part of any series is its musical score. And with respect to Paatal Lok, this is where acclaimed music composer duo Naren Chandavarkar and Benedict Taylor step in, having composed for projects like Heeramandi, Kohrra, Trial By Fire, and Sherni, among others.
Naren is a Mumbai-based composer and sound designer, who has frequently collaborated with London-based violist Benedict Taylor. In an interaction with us, they revealed how they craft compelling background scores for mainstream cinema.
Q. (Both) Composing for Paatal Lok 2 must have been a unique challenge, given its intense genre and its setting in the North East. How did you approach creating the score to reflect both the narrative and the regional backdrop?
A. There is some Naga folk music that was already woven into the series and recorded while shooting, and that served as a very inspiring jumping-off point for creating the music for the score. The rest was dictated by the writing and editing of the show, which made the narrative needs from music very clear. The approach was to make sure we did that justice.
Q. When crafting compelling background scores for mainstream cinema, do you follow a specific creative process? How do you balance artistic expression with the demands of commercial storytelling?
A. We start with trying to find the core musical ideas that represent the musical identity of the film or show. The process to discover that is dictated by the project and our collaboration; it changes from project to project, and where we are in our creative journeys at the time. We try to keep it one with a sense of curiosity and experimentation at its core. We don’t necessarily seek a balance—the project dictates its own music, and we try to express it the best we can.
Q. You’ve collaborated on numerous projects. Could you tell us how this partnership began and what makes it so creatively rewarding?
A. It began first with friendship. A common friend put us in touch in 2007 when we were both in Mumbai, and we quickly discovered a similar taste and appetite for music and beer. We spent a lot of time hanging out, some of which was also improvising music and theatre together (but it was mostly beer). Years later, we worked on our first film together—That Girl in Yellow Boots—and we discovered that similar taste in music translated into a very comfortable and exciting working process. We may have very different musical backgrounds and ways of creating music, but we’re almost always headed in the same direction, even if coming from very different places. This shared difference and similarity makes for a very rewarding process and friendship.
Naren Chandavarkar |
Naren Chandavarkar
Q. With films like Udta Punjab, Sonchiriya, Newton, and Ship of Theseus, your body of work stands out for its depth and niche appeal. Was this a conscious choice in curating your projects, or did it evolve naturally over time?
A. Thank you! There hasn’t been a conscious curation other than looking to work on projects that are interesting and offer a chance to push ourselves.
Q. How did your journey into the world of Bollywood and music composition begin? Were there any key turning points?
A. It began with working in theatre—both as an actor and musician. Musically, it first began with curating existing music into plays and, from there, into original composition. Being largely self-taught, there was a lot of self-doubt. So, the first turning points were when people first started commissioning work—and my imposter syndrome suddenly had a paycheck to contend with! The other was when Anurag Kashyap asked me to write the music for That Girl in Yellow Boots after hearing the music for a play, The Skeleton Woman, which led to my first collaboration with Benedict.
Q. Could you share details about your upcoming projects and what audiences can expect from you next?
A. I’m currently at the Sundance Film Festival with a film called Cactus Pears (Sabar Bonda), on which I’m a sound designer with Anirban Borthakur. Benedict and I have scored a film, Shadowbox (Baksho Bondi), which will be competing at the Berlin Film Festival in the new Perspectives section. We’re also working on the second season of Kohrra and two projects that haven’t been announced yet.
Benedict Taylor |
Benedict Taylor
Q. As someone with a background in experimental and contemporary music, how do you approach composing for mainstream Indian projects like Paatal Lok 2? Does your unique musical sensibility influence your collaboration with Indian filmmakers?
A. As a composer and creative artist, I would approach all projects the same way, whatever their nature—primarily from an experimental angle, as that’s my primary way to try to find and create something new. I personally find that this is the only way to create work that has a unique stamp and allows a different perspective for both the maker and receiver. As such, I wouldn’t say my sensibility influences my work with Indian filmmakers any more than with anyone else. All projects, for me, are new and challenging in their own ways and require the same creative processes to be engaged to achieve the end result they deserve.
Q. How did you become a violinist and a composer?
A. I learned classical violin, then viola, as a child, then studied at the Royal Northern College of Music, Manchester, and the University of London to become a professional performer and composer. I had a lot of exposure to avant-garde music as a youngster, thanks to some amazing and visionary teachers, which I think influenced my choices at college level to immerse myself more in new music/modern music and, later, free improvisation.
Q. How has life changed post becoming a parent? Does parenthood influence your art in any way? (Benedict is married to actor Radhika Apte, and they recently became parents.)
A. It’s already changed drastically in terms of day-to-day logistics, let alone more intense work-life processes. I’m very early in my parenting days, so it’s hard to say overall, but it’s a big life change, which I’m sure will have a profound influence on my creative work.
Q. Are there any upcoming performances, albums, or film projects you’re working on that your fans can look forward to?
A. My solo viola album Partita is set to release on vinyl in mid-2025 with New Wave Of Jazz—it’s the 12th installment in my ongoing annual solo string series. I’m also working on my third concept album, following the release of To Whom It May Concern and In Response To in 2023.