Vijaynarain Rangarajan: From Carnatic Roots to Indie and Film Music in Sydney
Vijaynarain Rangarajan, an Indian‑Australian singer‑songwriter and composer, has built a career that blends traditional Carnatic training with contemporary genres such as country, blues, RnB and acoustic‑rock. Known for tracks like “Ei Suzhali,” “Aiyo Kadhale,” “Kaarkuzhal Kadavaiye” and the “Bhairava Anthem,” Rangarajan’s journey illustrates how a musician can navigate both the film‑music industry and independent production while maintaining a day job as a tech consultant.
Rangarajan’s musical education began in Delhi, where he enrolled in Carnatic vocal classes under the late Sri O.V. Subramaniam. After a two‑year break that followed a family move to Salem, he resumed training in eighth grade in Mumbai at the Sri Shanmukhananda Fine Arts and Sangeetha Sabha. When his family relocated again to Chennai in eleventh grade, he returned to Subramaniam for six months before prioritising academics.
The influence of A.R. Rahman is a recurring theme in Rangarajan’s narrative. He says, “I heard how a phone call from A.R. Rahman could change people’s lives. That piqued my curiosity and I started listening to more of him, which really inspired me.” The inspiration led him to form a band with college friends in 2006‑2007. According to the artist, the group was “the first Tamil rock band in Chennai at the time.” They entered the televised band hunt Ooh… La La La on Sun TV, where judges included playback singer Vasundhara Das, percussionist Sivamani, and bassist Paul Jacob. The finale was judged by A.R. Rahman, and Rangarajan notes that other musicians such as Anirudh Ravichander and Kalyani Nair later joined the show.
Rangarajan’s routine is described as irregular. He states, “To be honest, there is no structure in a musician’s life. That is the truth. The discipline part is just things like regular practice or prep for a show. But there are stretches where nothing happens, and then there are days which are just packed with work.” He balances this with a work‑from‑home role as a tech consultant.
The singer has recorded for both film and independent projects. He recalls remote recording sessions in a Sydney apartment for a 2016 Tamil film, possibly Kodi or Manithan. He says, “I was recording well beyond nine p.m., and the next morning, I found a letter slipped under my front door from a neighbour who was disgruntled with the fact that I was singing.” The letter, about council noise laws, remains a reminder of his early recording experiences.
Rangarajan distinguishes between film and indie music. He explains that film work is “very straightforward.” The composer calls the artist to the studio, provides context, and the artist records. “If it is a hit, happy days. But there are also times when your voice doesn’t make the final cut,” he says. Indie work, by contrast, “has no commercial or corporate restraints.” The artist can write, develop and release a song at his own pace, drawing inspiration from travel and personal interests.
When asked for career advice, Rangarajan advises, “Treat music as something that makes you happy. At the end of the day, it is art. When you make a career out of art, there’s money, and there are also a lot of ups and downs.” He stresses the importance of fundamentals, especially in an era of AI‑generated music, and encourages active listening across genres.
Rangarajan’s discography includes collaborations with prominent Indian artists. He sang the “Bhairava Anthem” alongside Diljit Dosanjh, a project that received praise from the artist’s network. He maintains a presence on platforms such as YouTube, Spotify, and LinkedIn, where he shares new releases and industry insights.
In sum, Vijaynarain Rangarajan exemplifies a modern musician who bridges classical training, rock experimentation, film composition and independent artistry while navigating a dual career in technology. His story underscores the evolving nature of music production and the importance of maintaining artistic integrity amid commercial pressures.
