Emotions unplugged with beauty of Yaara Tere Bin

Social media is ablaze with praise for the smash hit series Call Me Bae. Fans are gushing about the show, particularly the beautiful song Yaara Tere Bin. The wait is finally over as we reveal the exclusive interview with the highly awaited duo for the song. The Joash and Reuel song captivated everyone with its intense emotion and unplugged beauty and now the fans have been waiting impatiently for the interview to bring the raw emotions to life!
What was your original plan for Call Me Bae’s background score?
   RUUH: Azeem Dayani and Collin D’Cunha enjoyed the sound design of Yaara Tere Bin after hearing it. Collin and I talked about my idea to create a sound cosmos centered around these components. Given the unusual nature of some of these sounds, it had a very new feel, even though it felt a little unrealistic at the time. We tried to capture that tone in the music as well.
Could you name a few particular musical styles that influenced it’s score?
   RUUH: We were greatly influenced by disco, funk, synths from the 1980s and modern music. We wanted to enjoy ourselves with the music and not be restricted to any certain genre.
    JOH: Musicians such as Taylor Swift, Meghan Trainer and others in the girl pop genre served as inspiration for some of the music we composed for the show’s score. Additionally, in order to keep the score more modern, we included subtle disco and trap influences.
Did you compose unique musical themes for each of Call Me Bae’s characters?
   RUUH: I have to talk about Hey, Bae! Every time Bae did something that only Bae could do, I used to desire a catchy callout and Hey Bae just stuck. A character played by Vir Das, possesses a highly frightening quality. We employed a menacing Moog synth bass with percussion that made you tense whenever you see him enter a space. There were also a lot of emotionally charged themes. This score also includes a number of tracks that span genres, including R&B, hip hop and current music. This series had a lot of music, to put it mildly!
What impact did working with the producers and directors of the show have on the direction the score took?
    RUUH: If I told you we never once fought during the process, would you believe me? I doubt I’ve ever collaborated with a group that could match the Dharma crew. The reason I admire and respect Collin so much is because he constantly gave us an opportunity to try something new. He fully trusted us and there were no allusions to the song. Instead, we were free to act in the way we thought fit for the situation. I’ve been following Azeem’s work for a long time and it’s been my goal to collaborate with him. He goes above and beyond what you would expect from a music supervisor; he is very hands-on. He collaborated with us on this soundtrack, for instance and wrote the lyrics for a song. In general, he played a key role in the process of developing this sound.
What methods did you employ to produce the distinct ambiance of show?
    RUUH: The seventh episode ends with a scene. Without giving anything away, Vir’s character, is aware that he is in danger. We changed our song Yaara Tere bin into the ominous Weekendesque tune Bad Trip because we wanted listeners to experience the same worry that he is. With these ominous vocals, it has powerful percussion and synths. You wouldn’t expect to hear these sounds in a drama named Call Me Bae. It isn’t your typical comedy show, though!
    JOH: We used a lot of voices as instruments to create a distinctive vibe. Several vocal textures have been used in the score to enhance specific scenarios. For example, to generate and evoke the intended mood in the viewer during a sorrowful scenario, softer tones and a different set of chords were used.
How did you go about writing pieces that inspire certain feelings?
RUUH: The Behencode, a group of girls, get together in episode 8 to celebrate their victory. Since you could see them come full circle, it was a truly memorable moment. These lovely nylon string guitars have a very straightforward vocal hook that says, “Mein aur mera dil Hain yahaan.” I may or may not have sobbed a little because it was the last episode I was scoring and such a sentimental moment.
  JOH: My brother and I would watch the scenes together a few times and attempt to compose songs using instruments that complemented the mood of the scenario. Pop keys and lone guitars would be used to heighten the emotional effect.
In soundtrack, did you use any unusual instruments or sound effects?
RUUH:I was approached by my brother JOH with the suggestion that we attempt to make this entire music primarily vocal. That struck me as such a novel concept since, as composers, we usually gravitate toward employing pianos or string sections, but we also wanted to push the boundaries. I refused to accept “basic.” You’ll hear voice beds and sounds we made by tinkering with our own vocals throughout the score. What you may perceive as strings or synth pads is actually our voices, which have been infinitely manipulated, reversed, pitched up, piled and revved. The voice, in my opinion, is the most distinctive instrument and it plays a significant role in our sound as musicians.
What was your approach to bringing in and out of various musical settings?
    JOH: The show features a lot of humour. It turned out to be rather difficult to leave those scenes. We would come across dialogue that alters the scene’s mood or tone. The majority of the time, my brother and I would watch the scene with Collin and Pearl and decide how the change in feelings would unfold. It was undoubtedly a difficult procedure.
What unique elements did each of you add to the soundtrack?
 RUUH: We respond with “expensive” when someone asks us to characterise our sound. Whether we’re performing an orchestral cue or a straight-up dance hit, the idea is to leave the audience thinking, “Damn, what was that?” Every time, my brother remarks, “We compose only bangers.” I want the listener to feel the sound, not simply hear it. The sound must have a majestic quality. Above all, it must come from the heart. I know I put my everything into the songs and all I want to do is write honest music!
Could you tell us about a particularly memorable time you had while working on soundtrack?
  RUUH: After a few weeks of trying, I told Azeem that the Behencode was not going to happen. We were having musical difficulties. When he returned the following day, he remarked, “Just give me a beat.” That day, he pulled together an incredible song in the studio with at least nine people present. That whole song was done in a single day! I savour these moments because they demonstrate our strength as a team.
What response did the audience give you in regards to the score?
  RUUH: The last thing I would normally anticipate with an event this big is for someone to bring up the background score. It does have “background in its name,” after all! However, I’m flooded with reviews praising the music for feeling new, energetic and having a distinct sound. People are loving me and asking if we can release the background score or if I can email them the tune, all over my DMs! I’ve been working on this series for eight months, but my brother and I have spent our entire lives refining this sound, so it makes me very pleased. What an adventure!
   JOH: We made every effort to provide the greatest sound we could for the performance. For the score, we also wrote a couple of songs. The show’s and the score’s musical elements have struck a deep chord with viewers. We have only received positive feedback thus far. Many of our friends have commented on how current and Gen Z-sounding the music is.
What changes have you made to your writing style for upcoming projects as a result of working on Call Me Bae?
    RUUH: If this project has taught me anything, it’s probably to trust my music and stop trying to be someone else. The sound we designed for is exclusive to this series and it will be reinterpreted in a different way in my upcoming releases. I want to keep you wondering, so I won’t recycle.
   JOH: If it were just the two of us, RUUH and I would be the musicians. However, we worked together on this show with the entire crew—from the sound crew to the film department. That was such a wonderful experience in and of itself and I really believe that we ought to do this more frequently. We enjoy creating music and we can continuously reinvent ourselves thanks to projects like Call Me Be.