Iwas a student in Melbourne, Australia, in 2008 when news of the Noida double murder first broke out. I recall my mother telling me about it; she was in complete shock. See, we’d lived in Noida for a few years. You don’t imagine something like this happening so close to home.
But I didn’t take much interest in the case back then. I was far too busy juggling college, music, and a part-time job. Also, it was rather distressing to ponder over.
When the Jamun team first contacted me, I was a bit hesitant because I had never worked on anything like this before. But I got past the initial intimidation – the idea of eliminating visuals and creating a narrative solely with the help of sound intrigued me. The main challenge for me was to interpret the mood of the story accurately. I approached the main theme of the show as I would any other film score.
I scrutinised the narrative style and tried to translate the emotion into the score. That, along with the fact that the audio has been arranged in a documentary format allowed me to approach the music with a certain amount of rawness. The references of the atmosphere in different scenes allowed me to interpret the details in my own way.
An incredibly challenging aspect of the project was maintaining the frequencies that we worked with. I wanted the music to be strong and suggestive of a mood, but at no point could it dominate or clash with the voice over and sound clips. Being the first podcast that I had ever worked on, I expected the lack of a visual medium to act as a handicap. However, creating music, knowing that it’s the only element carrying the story forward besides the narration, was really exciting.