Watching him at work, one realises it is such painstaking detailing and experimenting that sets him apart from many of his contemporaries. Though he is enjoying this phase, the composer confesses that working with the new, experimental crop of filmmakers will remain his first love. “Directors like Anurag, Bejoy Nambiar, Rajkumar Gupta and Vikramaditya Motwane are my friends. With them, I feel like a wild caged dog let loose. They set no boundaries since they don’t have to appeal to the masses, it helps me push my limits. All that is tough with big banner commercial films,” says Trivedi.The difference that Trivedi refers to is almost palpable, when we join him two days later at a session for Aiyya. The song Aga Bai has a strong Lavani influence for which, he has singer Monali Thakur croon the backing vocals in Marathi. Due to record a sarod instrumental, he begins to worry upon realising that the sarod player being sent across to him is an elderly woman. “I cannot have her hear the lyrics—they are full on innuendos,” he exclaims.
It is only once the recording is over that he plays the song, complete with the sarod recital. Titled Ijjat Pappad, the track is as eccentric as Emosonal Atyachaar. While the lyrics have a woman seducing a man (vocals by Sneha Khanwalkar and Amitabh Bhattacharya, also the lyricist), the music is a melange of styles — fusion to classical, layered with barks of dog mouthed by a human. “Isn’t this a mad song? I’ve had so much fun working on it,” he laughs, before adding, “I don’t wish to brag, Aiyya’s music is bound to be a hit.” Amen.