Composing the music for the film Baramulla, which blends supernatural mystery with deep human emotion, presented a unique challenge for the acclaimed composer duo Clinton Cerejo and Bianca Gomes. In an exclusive conversation, they revealed the intricate process of building the film's sonic world—a soundscape designed to be as haunting as it is heartbreaking.
Balancing the Eerie with the Emotional
Cerejo explained that the core aim was to find the perfect equilibrium between the eerie and the evocative. The film carries significant emotional weight while delving into supernatural elements. Bridging these two extremes became the creative sweet spot for the duo. Both composers work from a strong emotional instinct, and Gomes's expertise as a horror genre enthusiast proved invaluable in navigating the supernatural aspects.
Gomes added that the film's own narrative balance made their task clearer. While Baramulla features some jump-scares, the overarching emotional journey ultimately overshadows the horror. This inherent duality allowed them to shape a score that could resonate even with audiences who typically avoid supernatural films.
The Sonic Influence of Kashmir's Landscape
The geography and culture of Kashmir played a pivotal role in shaping the soundtrack. After watching the completed film, the stark and cold visuals immediately informed their musical palette. The landscape naturally suggested music that was emotional yet shadowed by darkness, a feeling they aimed to translate for the audience.
Clinton Cerejo revealed that the region's temperature itself was a direct inspiration. They wanted the music to convey that cold, unsettling chill. To achieve this, they employed high, rustic solo violins and a small chamber section—sounds meant to send a literal shiver down the spine. They also experimented unconventionally with the traditional Kashmiri rabab, at times merely scratching its strings rhythmically to generate unease. This scratchy texture became their sonic metaphor for the cold and slightly unwelcoming atmosphere of the setting.
Experimentation and Collaborative Freedom
The composers are known for their sonic experimentation, and for Baramulla, they flipped their usual workflow. Instead of composing themes first, they began by recording live instruments like the rabab, solo violin, percussion, and various found sounds. This process allowed them to build a bespoke sample bank inspired directly by the film's world, ensuring a cohesive sonic identity despite a tight deadline.
Director Aditya Jambale provided crucial creative freedom. While initial conversations were helpful, his willingness to be surprised and move away from temporary reference scores was key. Gomes noted that Jambale was incredibly respectful of their interpretations, often discovering new perspectives on scenes through their music. This open collaboration enriched the entire process.
The soundtrack features three original songs, each serving a distinct narrative purpose:
- 'Neend Ke Shikare': Sung by Shilpa Rao, this track is a melancholic reinterpretation of the Kashmiri folk song Hokhus Bokhus. It appears as a lullaby in the film's climax, requiring gentleness and deep resonance, which Rao captured beautifully. The arrangement includes an orchestral feel with a choir arranged by Neuman Pinto.
- 'Phirse Dikhe': Performed by Krishna Beuraa, this song adapts another Kashmiri folk melody, Arni Rang Gome. It's a hopeful piece that plays over the end credits, set against a bed of acoustic guitar and low percussion to maintain a rustic feel.
- 'Baramulla' (Promotional Track): This was the only track where the duo departed from the organic palette. Cerejo envisioned a hybrid electronic sound to match the gritty visuals of the film's trailer, allowing for more experimental freedom.
The most creatively challenging sequence was a long, pivotal section in the second half involving multiple timeline jumps and crucial plot revelations. The music had to reflect shifting cinematography, character perspectives, and narrative turns. Both composers and the director revisited and refined the cues for this section repeatedly, with the support of their production team being essential to finalizing the emotional direction.
When asked about the praised minimalism and emotional depth of the score, Cerejo stated that restraint felt natural for this film. With experience, he has moved towards a 'less is more' philosophy, learning to evoke powerful emotion with fewer elements. Gomes agreed, noting that the already intense visuals demanded clarity from the score, not complexity. The film's mood dictated their restraint, allowing the images to speak powerfully.
Reflecting on their evolution from projects like Dhoom Dhaam to Baramulla, Cerejo noted they have grown significantly as a duo. After his solo career and Gomes's transition from singer to composer, they learned to merge their strengths through varied projects like Bob Biswas, Love Hostel, and a Metallica tribute album. Today, their collaborative sound is so integrated that it's difficult to separate individual contributions. Gomes emphasized that establishing a clear sonic identity before starting each project keeps them aligned, allowing their different compositional styles to function as a single, cohesive unit.
