Who’s This Man?

Probe him about the rather radical, angst-ridden, toofan sa tunes in the Ramgopal Varma production Road and worry lines crinkle his brow. ‘‘I’m not satisfied with the music. Maybe I’ll do better if I understand him (Varma) better. But then, I’m never satisfied with any of my work in retrospect. I’m very happy as long as I’m working on a project but once I’m done, the doubts arise,’’ he says.

Karan Johar, who offered Shandilya his first Bollywood break, is clearly swept away by his sincerity. ‘‘What I really like and respect about him is his reluctance to allow just Sooraj hua madham included in the film. But it was so exotic that I had to have it in my film,’’ says Johar. Eventually, Shandilya lent You are my Sonia, Deewana hai dekho, Vande Mataram and Soul of K3G to the K3G soundtrack.

Long before the Bollywood saga began, though, Shandilya was independently composing non-film albums for Udit Narayan (I Love You), Ustad Sultan Khan & Chitra (Piya Basanti) and for Shubha Mudgal (Pyaar Ki Geet). Though K3G released first, Agnivarsha was the first film project which he landed when good friend Sanjay Leela Bhansali recommended his music to filmmaker Arjun Sajnani. ‘‘But I don’t think I’ve achieved anything. Big banners and names affect your career for a very short time, but it’s ultimately hard work that pays,’’ he introspects.

And Shandilya believes he can achieve more by doing less. ‘‘I cannot do quality work if I sign on too many projects,’’ he says matter-of-factly. Which is why he’s working on just three films currently. There’s Socha Na Tha, a Sunny Deol home production starring his cousin Abhay Deol, Rajshri Film’s Oof Kya Jadoo Mohabbat Hai and Prakash Jha’s Ganga Jal. Incidentally, he also plans to sing for Socha Na Tha. ‘‘Sunny Deol liked my voice when I was singing a track to one of my singers, and insisted I sing in the film,’’ he reveals.

For all his introverted nature, Shandilya loves discussing music, but is as independent about his ground music values as he is shy. ‘‘Most of my critics are my friends,’’ he says, adding, ‘‘But I’m very uncomfortable when they praise my work. I don’t like listening to my own work or anything that reminds me of my previous work, because I don’t ever want to repeat myself.’’

If this sounds like an internal conflict, try this: ‘‘Sometimes I don’t compose music for a month. Not doing anything for so long gives rise to a yearning in me. (Then) I allow music to happen. It’s something no one can predict.’’