How a Music Composer Accused of Serial Plagiarism Reinvented Himself in an Industry That Values Hits Over Innovation.
A glass containing a green juice sits atop a teak coffee table in Bollywood composer Pritam’s music den, located within a residential area in Mumbai’s Andheri suburb. Next to the glass is a tiny vial of medicine bearing a label in microscopic print. Pritam is sitting on the corner seat of a brown L-shaped sofa, busy fielding incessant calls on his cellphone. It’s 7.30 in the evening and he is having a bit of a bump trying to put together a small dinner party for his wife. It is her birthday today and he had forgotten to wish her in the morning. To make matters worse, it is a dry day.
There’s a soft knock on the door and a staff enters to clear the table. Taking the cue, Pritam does a swift bottoms-up with both the glass and the vial and hands them over to the man. After years of letting his health go to the dogs to keep his job, the 45-year-old composer is now making an effort to eat and drink right. His hawkish home staff keep a strict check on everything that goes into his body, and as much as he craves rice every afternoon, all he gets most times is a bowl of soupy vegetables.
The decluttering has also extended to his work. From slamming as many as 19 films a year during his most maddening years, he is now taking up not more than three to four projects. His reputation as Bollywood’s most consistent hit-maker is now a given.
Who started the fire?
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Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality — Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
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