Varmman Elangkovan a Young Chap Who is Ruling Most People's Playlist.

While studying for Actuarial Science and being happy go lucky, Varmman Elangkovan didn't know that life will drastically change. He didn't know that he will have to juggle between studies and music. To a point where he had to rest for one week plus for working 3 days straight without proper food and also due to sleep-deprived where he slept only for 2 hours a day.


To be in the music industry, I don't feel like I have chosen music, it's music that has chosen me. Deep down in my heart, that's what I feel cause learning music was never a routine since my father is a well known Carnatic music teacher. So I grew up with music effortlessly.

Vilagathey Singles was initially a college project for my friend and it wasn't intended to be Singles. When my friend dropped the project, JSK came into the picture, encouraged me and also offered to direct it. That's how Vilagathey developed. It was merely an accident.

The feedback I got for Vilagathey was rather a surprise though it wasn't marketed well as I had no experience. Right after the release of Vilagathey a number of established people from film industry messaged me privately and complimented like Boy Radge and KK Khanna.

One of the questions was if it was composed in India or Malaysia. Some even asked if I bought the music from India. That's when I started to have confidence cause earlier I took music for granted. Though Vilagathey didn't reach high the quality of response was there.

Manggalyam Tanthunanena (MT) was the first project that I worked right after Vilagathey. I received an anonymous call from "X" FM and it turned out to be a prank call from Karthik Shamalan. He suggested me to take up the project. Here is where it got tricky as MT was initially a short film and it was upgraded to a telemovie later on.

While working on MT, we had only 3 days to work on 1 full song and also on BGM for the entire telemovie. It was one of the roughest time I have faced till date as I had to work for 3 days straight without proper food and sleep. I had to rest for  1 week straight after I was done with it. In fact, the pressure wasn't only for the music department but it was for the entire production. Regardless, the entire production team was going all out to give our best.

MT took me to where I am now. We first released "Oru Pothum" teaser and it went viral to a point where people started to question the source. Oru Pothum wasn't in the picture initially. It was done merely as a BGM for the particular scene which was composed and completed with lyrics within 15 minutes.

It was rather surprising that when we targeted for " Yennevo" to be something to look up for and "Oru Pothum" became the new craze for which I should thank Karthik Shamalan for having confidence in that song and for using it in the teaser. The reception for both of the songs was equal but then the efforts taken for 'Oru Pothum' was on the fly.

MT gave me the base and Venpa made it stronger. Kavi Nanthan approached me after hearing "Yennevo". The biggest challenge in Venpa was the visuals for both "Thirumbi Paaradi" and "Thirumbi Paarkiren"  was already shot and finalised. It was done based on the already written lyrics by the director himself without an actual song.

So I had to compose both songs based on the visuals and lyrics which is not commonly practised. It is one of the toughest things for a composer. I felt like I am going through what Ilayaraja went through in Hey Ram. I am very grateful to Kavi Nanthan as he didn't pressure me during BGM scoring for Venpa and gave me the freedom and creative space I needed. He is also a great lyricist. The rest is a history about Venpa.

After Venpa I worked on Aradhana. Aradhana was completely different from my usual style of composing. People noticed the differences and commented personally to me. Fear and nervousness started right after it as people have started to analyse my music style technically.

Initially, I thought composing music is going to be fun and exciting, but now it is really quite stressful and challenging due to the increasing level of expectations people have on me. I always aim to produce songs that sound unique and fresh and to do it repeatedly is the biggest struggle.

Now, I realise that I am no longer working like before as I used to work on 3 songs a day and now it is taking a lot longer. One of the biggest challenges that I am facing now is meeting the datelines. When it comes to studies, I had to defer about 2 semesters for Atcham Thavir and also due to my other commitments.

Currently, I am working on movies like Atcham Thavir, Neeyum Naanum and Maayaivanam. The unconfirmed projects, for now, will be 3 more films. My aim is not to work in the Kollywood but my main aim is to venture into the Malay productions with gods grace.

As a piece of advice, my humble request will be please don't make music merely to become famous and spoil the art. It wouldn't be an exaggeration if I say our local music nowadays sounds global, so let's follow the flow and not spoil it.

Lastly, I would like to thank JSK director of my first singles, Karthik Shamalan the person I revere as my mentor and a god brother, BGW for Neeyum Naanum, SSV Sir (Singapore), Kavi Nanthan director of Venpa and also a god brother, Shurutissh my cousin and also my lyricist. Not forgetting to thank my close friends and also my followers. Last but not least, my family.

"Dream is not what you see in your sleep. It's something that never makes you sleep."