At 12, Nandy was singing the title songs of Bengali reality shows. “Guruji was unhappy that I was going to use my training to sing in reality shows, but I reached the finals,” says Nandy. She studied under him for about five years before enrolling in the children’s reality show – Saregamapa L’il Champs. At four, Nandy found herself under the tutelage of Ustad Rashid Khan, training for a classical career. The Nandys took the decision to shift base to Kolkata two years later. Once, her aunt spotted a two-and-a-half-year-old Nandy carry a tune well and told her mother to enroll her in training. It soars comfortably amid the abundant crests and troughs in one of the finest pieces on the album.Īlso Read | Ponniyin Selvan 1 review: Mani Ratnam’s largely faithful and brilliant adaptation has no dull moments Antara Nandy with Mani Ratnamīorn to engineer parents in Assam’s Shivpur, Nandy’s access to music was limited to what she heard on the radio and television. Nandy’s gentle voice has an old-fashioned charm, but is a powerhouse at the same time. The song, Alaikadal, reminiscent of Tamil film music from the ’50s, appears as Doobi Doobi in Hindi in PS1. What Nandy did not anticipate was that one of these scratches for Rahman would make it to Mani Ratnam’s Ponniyin Selvan 1 (PS1), which released on September 30. Besides, these are Rahman sir’s scratches, so I knew I could learn a lot,” says Pune-based Nandy, on a telephone call from Chennai, where she is back in Kodambakkam, to record more scratches. Singing scratches allows me to learn a lot – the process of recording, diction for so many languages, how to modulate one’s voice and match it with the actor on screen, etc. At any given time, about 10 or more scratches are recorded by as many singers before one of them is actually used in a film. Despite their derogatory implication - scratches are recordings that are scratched and replaced - they are significant in the film-music business.
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