In an exclusive chat with The Pioneer, celebrated composer and producer Karan Kulkarni opens up about his debut EP One — a vulnerable and genre-defying exploration of self-doubt, creativity, and personal meaning. He also speaks candidly about reclaiming his individual voice, the emotional journey behind each track and more
Tejal Sinha
tejal.sinha30@gmail.com
Karan Kulkarni, the music composer known for his evocative background scores in acclaimed films like Aligarh, Shahid, Shubh Mangal Zyada Saavdhan, Tumhari Sulu, Raat Akeli Hai, Mard Ko Dard Nahi Hota and more latest, Buckingham Murders (featuring the soulful Halki Khanak Si sung by Rekha Bhardwaj), is stepping into the spotlight with a deeply personal project. His debut EP, titled One, marks a significant turn in his musical journey, allowing him to present a more vulnerable and introspective side of his artistry.
The four-track EP, set to be unveiled in phases, opens with the single Iraade, released on May 23. Composed, sung, and produced by Kulkarni, with lyrics penned by Gautam Aditya, Iraade explores emotional honesty through lush synths, layered vocal textures and intricately crafted soundscapes. It serves as a thematic overture to the rest of the EP, delving into the process of overcoming mental limitations and rising above self-doubt. Karan, who has spent years working in the film and advertising industry, says the time felt right to release One because he needed an outlet for his own creative voice.
“As much as I love and enjoy the work I do in film and advertising, it is a collaborative process. I felt that my own, individual creative process needed an outlet as well — a place to tell my story and share lyrical and musical work that otherwise doesn’t find a way to reach its audience.”
He adds that while he will continue to work in cinema and advertising, One represents a necessary expansion of his artistic identity. “I would like to find and connect with my audience — an audience that wants to listen to music that is ‘different’,” he says.
With One, however, the story being told is his own. “It definitely feels liberating to tell your own story, especially when you have a lot to say. I had a lot on my mind while writing the songs and I think it is surely heard in the lyrical content. I’m not imagining someone else’s story or the soundtrack to someone else’s life. This is my own.”
He describes the project as “a small part of my mind… a surreal thought, now that I think about it.” Kulkarni reveals that Iraade was born at the piano. “I worked out a chord progression that I liked and I was noodling around and came up with a melody. It seemed simple, pretty and intimate. But I could hear the song having an intricate sonic world. Something to reflect my mind at the time.” When he approached lyricist Gautam Aditya, the two discussed how Iraade should fit within the larger theme of the EP. “I mentioned how two of the other songs question one’s existence, meaning and purpose, and I felt that Iraade should have a similar arc. All the songs have hooks or choruses that are positive. None of the songs are meant to be sad, just because they deal with existential topics. They’re all about rising above your thoughts and your circumstances and doing your best and being the best you can be.”
He credits Gautam Aditya for beautifully translating these themes into poetic lyrics. “Gautam managed to put all these ideas into Iraade in his own way and elevated the song beautifully, through his lyrics,” he says.
Kulkarni composed, produced and sang Iraade — a process that may seem daunting to some, but not to someone as seasoned as him. “I honestly don’t really feel either [empowered or overwhelmed].I’m used to singing, producing, composing and playing very often. I do it in advertising and film work all the time, so the feeling really isn’t new.”
However, he does acknowledge that the autonomy offered by One has been empowering. “I think that’s what I was missing. Which is why I see it as a good outlet in addition to my other work that I continue to do,” he states.
Following Iraade, the EP journeys through diverse musical landscapes. The second track, 1985 — which dropped recently — is an English-language song that leans into martial-arts film influences while evoking nostalgia for the electric energy of the 1980s. It’s propelled by pulsing synth beats and a thematic focus on memory and homage. Karan Kulkarni reveals that the idea for the song has been with him for at least a decade. “I really don’t know why those lyrics came to my head, but they were funny,” he shares. Initially, he didn’t think the song would ever see the light of day in a project, but over the past few years, he started playing it to friends and family on the piano. Their enthusiasm encouraged him to create a full version. “It’s a very 80s sounding song and has lyrics that suit the era,” he notes. Having worked on Mard Ko Dard Nahi Hota, a film that touched a similar genre, Karan feels that fans of that soundtrack will find 1985 especially appealing. He also sees this track as a necessary counterbalance to the more existential themes explored throughout the EP. “All of this thinking needs a release and an all out 80s fun vibe should do that well.”
When asked whether each track on One tells a distinct story or connects as chapters in a larger narrative, Karan reflects on the overarching theme of the EP. “One is about finding meaning and purpose and questioning one’s approach towards life. Why am I here? Is this what I’m meant for? Why do some things never work out the way you want them to? Do any of them work out the way you want them to? And isn’t life still really beautiful in its own way, even if things turned out differently?” He believes that everything unfolds as it should, and the best approach is to release those doubts and rise above them. Each song, he explains, explores a different facet of this theme through relatable stories and emotions. Though the themes may sound heavy, Karan assures that the songs remain structured as pop music, pushing boundaries while staying accessible. “I didn’t set out to create an EP with a larger narrative, but I think it just happened to fall into place,” he adds thoughtfully. “When you’re making the music and writing, you’re engrossed in it and in a state of mind that wants to express what it holds inside. When you look back, you find the meaning behind it all.” The third track, I Love It, is described as a minimal, piano-led exploration of the creative state of mind and the role of art in the world. Karan clarifies that the song is not a commentary on the industry but rather a personal reflection on his artistic journey. “I kept my own individual expression on the back burner to a large extent,” he admits. This created frustration, as his original intent was to speak to people through music. Battling self-doubt, procrastination, work, and life, he realised he wasn’t fully living out that dream. These feelings found their way into the song, which he believes will resonate with anyone navigating a creative or artistic life. “I know we all go through these feelings and I’m sure it will connect with others who have felt the same.”
Closing the EP is Where Are We Going?, a track Karan describes as the most genre-defying, blending rock, pop, and electronica. It was actually the first song he composed for the project. “I’d say it is genre defying as it’s unusual in its choice of sounds yet seems very familiar,” he explains. While the pop verses and rock chorus feel recognizable, the electronic sounds, transitions, and a soaring trumpet add an unpredictable and exciting edge. Karan emphasizes that this blend was natural rather than forced. “I’ve always enjoyed all kinds of music and genres—from Pop to Electronic, Jazz, Hip-Hop, Funk, Jungle, Indian Classical, IDM, Reggae, Glitch, Synthwave, House and anything else I find interesting. The genre blend here reflects my personality, experience and musical interests.”
The EP as a whole traces a strong emotional arc—from self-doubt to resurrection and purpose. Karan confirms that this was not consciously planned but emerged organically from his personal journey. “The songs ended up being a result of the revelations along the journey. There were questions, confusion and a search for meaning. I guess the answers revealed to me were in the form of these songs.” He likens the process to a form of therapy: “Something troubles your mind for a while and when you finally find some form of peace, closure or understanding from it, you are able to move on and grow further. That is what the songs did for me and have thus allowed me to grow. I believe they will be relevant and relatable to most people, as we’re all on a similar journey through this ‘thing called life’.” With his background scores supporting some of the country’s finest actors, Karan now finds his own voice at the center of One. He views this not as a shift but as an addition. “I will continue to score many more films, do film songs and advertisement jingles, however I feel like my own story needs its outlet as well. And I like that I have multiple ways of doing that—through music, through voice, through writing and maybe more!”
Known for his nuanced and often understated background scores, Karan explains that this subtlety was not something he needed to unlearn for his solo work. “I’m known for some projects that are nuanced and understated, but I’m equally at home doing larger or even wackier projects. I’ve done multiple projects beyond the understated category as well. The films that are critically acclaimed or do well over time often require nuanced music, hence the association.” His broad experience across genres and formats allows him to transition effortlessly between different musical styles.
