Salim Merchant is a composer/songwriter with an awe-inspiring career creating music for film and beyond. Along with his brother Sulaiman, he’s written songs for movies like Rab Ne Bana Di Jodi and Fashion and composed the 2010 FIFA World Cup anthem. The brothers’ deft touch brought them into Lady Gaga’s orbit to remix “Born This Way” and “Judas.” Merchant also served as a judge on Indian Idol. He took the time to speak about his career, new collaborative album Bhoomi 2020, and why he’s connected to the VP-770.
Musical Beginnings
Describe your musical journey and your first influences. How important was your family in inspiring you in the beginning?
My father was a composer and keyboardist. He was my first inspiration, and I’ve always followed in his footsteps. Music started very early for me in my life as I was always watching my father.
Today, your music connects with so many different genres. Where do you find your current inspirations?
I’ve been fortunate to study western classical and Indian classical music. I’ve always had a thing for synths since I was very young. I think the combination of all this has made my musical influence quite diverse hence connecting to a large audience
Writing for Film and Artists
You have worked on many projects from Bollywood to Indi-pop, is there a way that you like to describe your sound?
My sound in Indian films was quite indie and that’s the reason we got so much love from films—I hate the word Bollywood. It’s a beautiful reflection of my personality having a great mix of Indian, western, and electronic influences.
How is the process different for you between scoring a movie and writing with an Indi-pop artist?
Music has always been an emotional reflection for me. I love cinema as much as I love writing music for any pop artist. They both have their own worlds and I love them both. Cinema sometimes has limitations—story, period, characters, etc.—whereas there is a lot of freedom when you’re writing outside of the film world. In India, film music has a lot of listeners and a big audience, so they both have their pros and cons.
"I love cinema as much as I love writing music for any pop artist. They both have their own worlds."
Bhoomi and Beyond
Your new release, Bhoomi 2020, has a very interesting vibe. Can you tell us more about how this project came up?
It’s a movement—not just a record. We will do this every year like a season. It’s a great way to connect to your roots and tradition with a contemporary sound that appeals to one and all. It’s an experience that needs to be seen and not just heard.
What are the challenges when working with such a huge number of musicians on a project such as Bhoomi 2020?
There was no challenge. Music is about people. It gets better as people’s energies join in and add magic to your tunes.
Connection to Gear
Did you use any Roland gear in the recording?
Yes, the VP-770. I’ve been using it in every concert, show, movie project—in everything I do.
The videos of recent songs from Bhoomi 2020 feature both the TD-50 and VP-770. Can you tell us more about how you used them?
The VP-770 is something I’m really connected to. The six different patches give me enough variety to use them in different genres. I use them to create vocal beds and sounds on songs and scores. I’m addicted to VP 770. The TD-50 was such a great addition. I love the thump, and the dynamic sound is truly a treat.
"It’s so important to study music before you dive into this ocean."
Do you have any suggestions for the next generation trying to make a mark in the music industry?
Dream, believe, and touch the sky! Music education is the key. It’s so important to study music before you dive into this ocean.
