• Music composer Shyamalangan on the gap between recognition and anonymity, Sri Lanka’s music industry, and the story behind hits like ‘Chandani Payala’

Songs like ‘Chandani Payala’ and ‘Kiri Kodu Hithata’ will remain favourites, the lyrics ingrained in our minds. However, while we know the names of those who give voice to the beautiful lyrics of such songs, not many know the composer behind these melodies.

It is a gap in recognition that has led to this anonymity, music composer Shyamalangan pointed out. He explained that this has even earned him the title of ‘mystery musician’, despite his work, such as ‘Ape Gam Gode’, ‘Pathu Pem Pathum’, ‘Mana Bandu’, and ‘Sabande’, being popular.

In addition to local artists, Shyamalangan has worked with Indian artists such as Asha Bhosle on ‘Dedunna Sedi’ and Shankar Mahadevan on ‘Azhahiya Thendralae’. His contributions to Sri Lanka’s music industry go beyond composition, however, as he is always attempting to include local talent in his projects to give Sri Lankan musicians more recognition, both locally and internationally.

His own journey in music began at home, when he was very young. “My mother, a renowned musician and Bharatanatyam artist, was deeply involved in both performance and teaching. Although I didn’t formally train under her, music was constantly present in our household,” he said.

Shyamalangan added: “She was a Carnatic music teacher, and we often heard her singing or teaching students, which naturally immersed us in the art form from a young age.”

He started learning to play the keyboard under the guidance of his aunt around fifth or sixth grade, or even earlier. “Alongside that, I also began studying Hindustani music, particularly the sitar. These early experiences shaped my curiosity about blending different musical traditions,” the composer recalled.

In conversation with The Daily Morning, Shyamalangan went on to discuss the story behind ‘Eanada Manida’, which evolved into ‘Chandani Payala’, as well as Sri Lanka’s music industry, especially its Tamil music industry, and how the music landscape has changed over the years.

Following are excerpts from the interview:

Tell us about your first composition and how your journey in music began.

I think I would have been around 10 or 11 years old when I first came out with a tune. I didn’t realise I was composing at the time; I was simply experimenting with chords and melodies. The song was titled ‘Eanada Manida’ in Tamil. I would say that moment marked the beginning of my musical journey. I also recorded that song in 1995 or 1996 at the Sri Lanka Broadcasting Corporation. That piece later evolved into what is now known as ‘Chandani Payala’ in the Sinhala music industry.

I composed ‘Eanada Manida’ or ‘Chandani Payala’ when I was just a kid, long before I knew anything about how music was properly recorded or released. I remember playing the tune over and over, experimenting with chords – even though most of the ones I played were by accident. I didn’t know what I was doing technically, but something about the way it sounded felt right, so I kept going.

My father gifted me a computer after I passed my O/L exams. It had a sound card and a piece of software called Cakewalk. That was my turning point. I taught myself how to compose, arrange, and sequence music using MIDI – completely on my own. Back then, we didn’t have YouTube tutorials, manuals, or any sort of online help. It was just trial and error.

I even remember carrying the computer to school for cultural events and performing live with it on stage. Most students were doing covers of South Indian film songs, but I’d sneak in my own original tracks. It was during one of those events – maybe in 1993 or 1994 – that ‘Eanada Manida’ was first heard.

Looking back, it was a very raw and honest beginning, and that innocence still makes the song special to me.

You grew up surrounded by different musical traditions. How has that influenced your work?

Carnatic and Hindustani music share foundational similarities – especially when compared to Western music – but at their core, all musical systems are built on the same basic elements: The seven notes, rhythm, and structure.

What distinguishes each genre is the way these elements are articulated. Even today, I continue to explore new genres and techniques, constantly learning new forms of music. My interest lies in finding the common ground between the music forms and creating meaningful fusions that honour their individuality while creating something new.

What are the Sinhala songs you have composed?

I’ve composed quite a number of songs over the years, including titles like ‘Namaskarayen’, ‘Kiri Kodu Hithata’, ‘Chandani Payala’, ‘Ape Gam Gode’, ‘Pathu Pem Pathum’, ‘Mana Bandu’, ‘Lanka Matha’, ‘Sabande’, ‘Hithak Nam’, and ‘Oba Ven Vi’.

Some of Sri Lanka’s most celebrated artists have performed my compositions – among them are Nirosha Virajini, Umara, Umaria, Dumal Warnakulasuriya, Bathiya and Santhush, and Ashanthi De Alwis.

I was also heavily involved in the music production for Shihan Mihiranga’s debut album. And there’s still much more in the works, with several new collaborations currently underway.

Despite this, the general public often doesn’t realise that I’m the original composer behind these songs, as proper credit is sometimes missing or misrepresented. Within the music industry, however, my contributions are well-known and respected. Some call me the ‘mystery musician’ – a name born from this gap between recognition and anonymity. But those who truly know Sri Lankan music can recognise the distinct signature in my work.

Most of my compositions can be found on my official website shyamalangan.com

How would you compare the Sinhala and Tamil music industries in Sri Lanka, particularly in terms of audience and reception?

The way people react to a song really depends on who’s listening. A piece with complex musical layers such as ‘Sabande’ might connect with industry professionals, but it might go over the heads of the general public. On the other hand, a simple, catchy tune such as ‘Kiri Kodu Hithata’ might be loved by the masses, but some experts might dismiss it as too basic.

‘Kiri Kodu Hithata’ became hugely popular because of its simplicity. But if you listen closely, especially as a musician, you’ll notice the song is full of subtle chord progressions and little details that give it more depth. It’s this combination – easy to enjoy at first listen but rich in musical detail beneath the surface – that often makes a song both widely loved and respected by those who know music.

A simple melody can connect with anyone, regardless of language.

What is the state of the Tamil music industry in Sri Lanka today?

Right now, Sri Lanka doesn’t have a fully structured Tamil music industry. There’s a lot of incredible talent across the island, and I’m in contact with many gifted artists. However, the South Indian film industry has a strong hold on the Tamil music scene – not just in Sri Lanka, but also among Tamil communities abroad. Independent Tamil music in Sri Lanka is only starting to find its place.

The dominance of South Indian music really affects Sri Lankan Tamil musicians. Despite having a lot of talented artists here, they struggle to get the recognition they deserve. South Indian music has always been in the spotlight, and it’s hard for local Tamil artists to compete with that.

There’s also a lack of proper infrastructure to support these musicians. Sri Lanka doesn’t have enough platforms or institutions to promote Sri Lankan Tamil music, which makes it difficult for artists to grow. While Sinhala music and Indian cinema get most of the attention, Tamil music in Sri Lanka doesn’t have the same visibility.

Without the right support – like record labels, music venues, or media exposure and local appreciation – it’s tough for local artists to reach a wider audience. Many talented musicians have to promote their own work without much help.

In addition, Sri Lankans are more familiar with South Indian music, so when they hear local Tamil songs, they often find them different or unique, but that can make it harder to gain mainstream acceptance.

Overall, the lack of visibility and support limits the growth of Tamil music in Sri Lanka, even though there’s so much talent waiting to be discovered.

Are you taking steps to support and uplift Sri Lankan Tamil musicians?

I’m always looking for ways to support and uplift Sri Lankan Tamil musicians. There’s so much talent here, but it often doesn’t get the recognition it deserves. I try to create opportunities – whether through collaborations, mentoring, or helping artists find platforms where their music can be heard.

Unfortunately, Sri Lankan music tends to get noticed only after it gains attention abroad, especially in South India. That’s when people here start to take interest. So, I make a real effort to include Sri Lankan talent in my projects. For instance, when I worked with Indian legends like Asha Bhosle on ‘Dedunna Sedi’ and Shankar Mahadevan on ‘Azhahiya Thendralae’, I involved Sri Lankan artists – lyricists, percussionists, and more – in the production.

It’s important to me to showcase the incredible talent we have, not just locally but globally. This isn’t just about patriotism – Sri Lankan artists are genuinely amazing, and I’m committed to helping them shine.

How does working with Indian artists compare to working with Sri Lankan artists?

They are both special in their own way. In India, the music scene is huge and full of variety. There’s a lot of room to try new things, blending traditional sounds with modern styles. It’s exciting and creative, and there’s a big industry behind it that really supports those ideas. Collaborating with Indian artists often feels like stepping into a world of endless possibilities.

With Sri Lankan artists, the vibe is more personal. The music scene here is smaller, but there’s a strong connection to our roots. There’s so much heart in the process – it feels like you're on a journey together, creating something meaningful and true to our culture.

Both bring something special to the table. At the end of the day, it’s all about connecting through music and sharing that experience, no matter where the artist comes from.

What is your creative process when producing a song?

My creative process usually starts with a feeling or a simple melody – sometimes it just pops into my head, and I quickly record it on my phone so I don’t lose it.

From there, I start building around that idea – adding chords or rhythms to match the mood. I use digital tools to sketch things out and try different sounds, which helps me experiment and move faster.

Once the basic structure feels right, I focus on the emotion. That’s when I bring in real instruments, vocals, or collaborate with other artists to give the song its true character. No matter what the style is – cinematic, simple, or something else – I try to stay true to the original feeling.

The direction depends on the story I want to tell. Once that’s clear, the lyrics and full arrangement follow. A good example is ‘Azhahiya Thendralae’: First composed in 1995 as a folk tune, then reimagined with Shankar Mahadevan in 2012, and later rearranged again as ‘Raasaathiye’ in 2022 into a completely new version. It shows how a single melody can evolve while keeping its soul.

Inspiration can come from anything – a sound, a memory, the rain, or even a passing train. Every song has its own story, and each one comes together in its own way.

Who have been your musical inspirations?

My earliest musical inspiration was my mother – her influence laid the foundation for everything that followed. Since then, my inspirations have become increasingly diverse, ranging from that personal connection to a wide spectrum of international artists who continually push creative boundaries.

Locally, I’ve always been moved by the depth and emotion in the works of R. Muttusamy, Premasiri Khemadasa, and Rohana Weerasinghe. On the global stage, composers like Ilaiyaraaja, A.R. Rahman, Hans Zimmer, Yanni, and Jacob Collier have deeply influenced my approach to musical layering, emotional expression, and cinematic storytelling. And the list continues to grow, as I constantly discover new voices and sounds that shape my evolving journey as a composer.

How has the landscape changed since you began?

When I first started, the landscape was very different. Access to quality equipment was limited, recording was expensive, and everything was bound by analogue constraints. Only a few had the resources to make music at a professional level. But today, thanks to the digital revolution, anyone with a laptop or even a smartphone can produce, share, and collaborate globally. The playing field has expanded, and while that brings more competition, it also means more opportunities for raw talent to shine, especially in regions like Sri Lanka, where hidden gems often go unnoticed.

How do you view the role of artificial intelligence (AI) in music creation and consumption?

Like any new technology, AI is just a tool – it all depends on how we use it. When computers first came along, people worried they’d replace humans. But those who adapted ended up doing better than those who didn’t. In music, for example, we used to record on tape. Editing was slow and expensive. Computers changed that, making music production faster, cheaper, and more accessible. What once needed a full studio can now be done on a laptop.

AI is the next big step. It gives artists new ways to experiment and create. You can try out ideas before bringing in a real musician to capture the real life emotions. AI content is often tracked. This means that those who claim full authorship of AI-generated music may eventually be challenged on the originality of their work.

In the end, it’s about balance – knowing when to use the tech and when to let your human instincts lead.

Are you currently working on any new projects or collaborations?

I’m currently engaged in several exciting projects across both the independent music scene and the film industry, with ongoing collaborations in South India and Sri Lanka. These ventures are still in the early phases, where we’re shaping scripts and exploring musical direction – and I’m genuinely looking forward to how each will evolve creatively.

Sri Lanka has immense, often overlooked musical potential. Through a few carefully chosen collaborations, my goal is to bring some of that hidden talent into the spotlight and give it the recognition it truly deserves.