For Shor Police, real challenge lies in decoding thrillers

Currently streaming on Netflix, Bhakshak (Predator), a horrific crime thriller about destitute children is yet another addition to the list of well-meaning, absorbing pieces of cinema that expose what is wrong with the system. It shuns sensationalism while being loosely based on the ghastly Muzaffarpur shelter home case of 2018 that shook the nation. Being the darkest thriller that music duo Shor Police has ever scored for, singer, composer and one of its founding members, Bianca Gomes says that it was about delving into the darkest recesses of the human psyche before evoking fear. Known separately as Clinton Cerejo (also, founder) and Bianca, the duo doesn’t want you to chill out while you watch thrillers like Bhakshak, Jaane Jaan, Love Hostel and Bob Biswas. The artistes let us in on what it’s like to score for action, crime and thrillers, what it means to perform independently and together — how Bianca represents the ‘police’ or discipline in the duo with Clinton living as the utterly chaotic one, or, shor.

Bhakshak is a thriller about an investigative journalist uncovering cases of abuse against children. What was it like to compose for such a dark thriller? Was there any pressure to keep the audiences intrigued through music?

Bianca: I think it’s one of the darkest films we’ve worked on. It wasn’t horror, but what was happening was horrific — it was more about discomfort. We were aiming to make the audience feel very uncomfortable rather than intrigued.

Clinton: The story was not very far from the truth. We all know these things happen in shelter homes across the world, not just in our own country. Child trafficking is such an overlooked issue; it’s kept under wraps mainly because so many important people are involved. It often goes all the way to the top. We wanted to evoke a feeling that’s almost nauseating, to enhance that reaction rather than suppress it. Indeed, the movie achieves its effect with or without the background score. However, the score was specifically designed to evoke a sense of claustrophobia, an urgent desire to escape, and a deep immersion in the feeling of losing hope. Ultimately, the film is about hope. Despite the pervasive sense of despair throughout, by the end, it becomes clear that hope is the central theme. The background score plays a crucial role in navigating these complex emotions, guiding the audience through its emotional landscape.

How was your approach to Jaane Jaan, Love Hostel and Bob Biswas different? What were the challenges that each film presented? Clinton: Directors’ personalities, preferences, and dislikes play a great role. Take, for instance, Sujoy Ghosh, who directed Jaane Jaan, and his distinct approach from his daughter Diya, who helmed Bob Biswas. Diya brings her unusual perspective, vastly different from Sujoy’s. Understanding the director’s intent is crucial for us. While it’s rewarding to imprint our style on the music, this personal touch tends to emerge naturally, influenced by our life experiences. However, our primary goal is to align with the director’s vision, which brings out the distinctiveness of our work. Observing our filmography as a whole, one can trace an evolving arc, reflecting how our artistic journey has progressed over the years. Despite working on similar themes or even with the same directors, the way we have grown artistically influences how each film’s score stands apart.

With live performances being an integral part of your musical expression, what elements do you aim to bring from your film scores to the stage?

Bianca: We dedicate ourselves fully, giving 200 per cent at every gig to ensure that every person in the audience feels a deep connection, regardless of the type of event we’re performing at. Achieving that audience connection is paramount for us. Moreover, we often find ourselves reinterpreting a film song for live performances based on how we anticipate the audience will perceive it. If a track is heavily reliant on production techniques, we adapt it to suit a live performance context, making it more interactive and engaging on stage. This adaptation can extend to vocals as well; studio recordings often involve heavy vocal processing, which doesn’t translate directly to live performances. To compensate, we might enhance the song live by doubling up on choruses or employing similar techniques, ensuring the live version offers a distinct experience from the studio recording.

What is it about your band, Shor Police which makes you both feel complete as an artiste?

Bianca: I believe that despite Clinton and I sharing very similar musical influences over the years, and growing up in the same genres, there are areas where we complement each other as songwriters, especially as a collaborative duo. It’s crucial to fill in each other’s gaps and leverage our strengths. For instance, I might excel in one aspect of the songwriting process, whether it’s crafting lyrics or melodies, while Clinton shines in musical theory and lyrical composition. When we’re working on a song, our input varies based on our expertise and comfort within a particular genre. If it’s a rock track, Clinton might lead more due to his experience, whereas I might take the reins in pop or hip-hop genres.

Clinton: Speaking from my own experience, I believe that artistes continually evolve. Transitioning from being a solo composer to partnering with Bianca was a deliberate choice driven by the realisation that together, we can achieve something greater than what we could individually. Collaborating expands the scope of our work and broadens its appeal. With two minds tackling challenges and striving to put our best work forward, the result becomes richer and more dynamic. Of course, collaboration also presents its challenges. We must navigate our ego and ensure that artistic differences are constructive rather than hindrances. It’s important to discern whether disagreements stem from genuine artistic vision or ego, as this dissimilarity breeds growth and refinement in our craft. Despite the complexities, I view these challenges as opportunities for growth, shaping us into better musicians in the process.

chokita@newindianexpress.com @PaulChokita