Krishand’s web series, The Chronicles of the 4.5 Gang (also known as Sambhavavivaranam Nalara Sangham), stands out as a truly quirky gangster drama. Much of its unique charm comes from the extraordinary musical score by Varkey and Sooraj Santhosh, featuring a remarkable 25 full tracks alongside numerous shorter cues, transforming the series into a genuine musical experience.
This six-episode series takes viewers on a comedic journey through the lives of a criminal gang in Thiruvananthapuram. The composers clearly enjoyed their work, stating they “had a blast” filling the show with songs that span various moods and genres.
Varkey revealed that beyond the 25 main tracks, the series boasts over 110 individual music cues. He also shared that it was Sooraj who initially brought him onto the project. Sooraj, a State award-winning singer known for his indie compositions, explained his decision: “I felt that Varkey should also be part of this, having worked with him for many years now. I knew that it was not going to be easy to work alone on such a content, given the sheer volume of musical requirements.”
Their collaboration dates back eight years to an episode of Music Mojo on Kappa TV, where Varkey and his band, ‘Varkey and Friends,’ invited Sooraj to lend his vocals. Varkey reminisces, “Even before that, in 2012, Sooraj chettan gave me my first programming opportunity while I was in Chennai. Despite both hailing from Thiruvananthapuram, our paths hadn’t crossed frequently until then. Years later, when Music Mojo came calling, I knew I wanted him on my team.”
Sooraj expressed his admiration for Varkey’s musical style, noting, “I have admired the kind of music he makes, and we went on to collaborate in several projects, not just as a singer and composer. Our rapport is so strong that I even feel comfortable critiquing his work.”
Both composers lauded director Krishand’s clear vision for the show’s music. Sooraj highlighted, “Not all filmmakers appreciate alternative or independent music, but Krishand does. He has a musician’s sensibility. He had even listened to our indie tracks, some of which were only on Soundcloud, which many others might not have discovered. This appreciation, perhaps, was one of the many reasons he entrusted me with this opportunity.”
Krishand also recognized Sooraj’s personal connection to the story’s setting and characters, being from Thiruvananthapuram himself. Sooraj emphasized, “Beyond that, he preferred to work with artists he genuinely trusted, rather than solely relying on established names. He had immense faith that we could bring his musical vision to life.”
Given Krishand’s truly unconventional storytelling and filmmaking style, the composers admitted it took some time to fully grasp the narrative. Sooraj recounted, “I read the script multiple times to get a clear picture. Ultimately, the visuals were instrumental in helping us understand the direction.”
Sooraj explained that they operated as distinct musical units. “We don’t think alike. I didn’t delve into genres that are Varkey’s forte, such as the jazz elements. The magic truly came from seamlessly blending our individual styles.” Varkey elaborated, “Sooraj chettan handled the soundscape-driven compositions, incorporating foley sounds and experimental elements that integrated beautifully into the scenes.”
Creating 25 songs for a series is a massive undertaking. Varkey chuckled, “It just happened. We had a natural synergy from jamming together for so many years. Interestingly, some tracks, like ‘Premamathi’ and ‘Thummalpattu’ (the sneeze song), were compositions we’d created long ago and shelved, unsure of where they might ever fit.”
‘Thummalpattu,’ the memorable ‘sneeze song’ featured on Hakkim Shahjahan’s character Pookkada Valsan, was originally composed by Sooraj for a theatre production. He revealed, “The funny thing is, it was *after* hearing the track that Krishand decided to make the character sneeze frequently! I had sent it to him thinking it would add a theatrical flair to the scene. He then elevated it to another level with quirky visualization and choreography. Krishand deliberately avoided making Valsan a ‘massy’ character, hence the sneezes!”
(From left) Varkey, Jassie Gift and Sooraj Santhosh at work
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The diverse lineup of vocalists, blending established names with emerging talents, adds another layer of intrigue. The iconic Jassie Gift lent his voice to ‘Premamathi.’ The composers explained, “It’s a groovy love song, and we strongly felt his voice would perfectly embody its character. He was our immediate first choice, and recording with him was an incredible experience.”
‘Kanika Vedante Chamayam,’ featuring rapper MC Couper, is another standout composition. Varkey shared, “It’s a reimagined folk song. After hearing an initial version, Krishand immediately suggested bringing in Couper. Krishand then integrated it flawlessly into the series.”
Beyond Sooraj and Varkey themselves, the extensive list of singers features actor Anoop Mohandas (who also contributed to the scoring), Parvathy AG, Darshana Rajendran, Ashtaman Pillai, MXRDERROR (previously Rap Kid), Andre, Souparnika Rajagopal, Saju Sreenivasan, Anil Lal, and Malavika MS. The series also includes two tracks by other artists. ‘Senthil’s Swag,’ performed by MC Valluvar, was a creation of Vighneshwar Suresh (who portrays the character) and MC Valluvar himself. Varkey noted, “V3k added the beats, and we handled the mixing, mastering, and contextualization to integrate it perfectly into the series. The song was born from their genuine excitement for the character.” Similarly, Chitra Pradeep’s ‘Dingaling’ was another such collaborative piece. “The democratic nature of our crew allowed us to feature these two original compositions,” they added.
Varkey (left) and MC Couper
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The composers also enthusiastically praised the lyricists, including Aleena, Anil Lal, and several of the singers themselves. Varkey, who also served as the creative sound designer, summarized, “Essentially, we had individuals from diverse artistic backgrounds converging on this project.” He added, “I meticulously explored how music and sound design could perfectly complement each other.”
Varkey highlighted Krishand’s ingenious approach to juxtaposing unlikely situations with specific songs, particularly noting the use of English tracks. “It’s akin to how sourced music is used in Hollywood fight scenes,” he remarked. “Krishand even proposed operatic music for the scene where Darshana’s character identifies her husband’s killer, and it surprisingly didn’t feel out of place at all!”
Regarding song placement, the duo confirmed it was a collaborative effort. “Krishand provided us with song references, but much of what we ultimately created was quite different,” they explained. “Despite this, we both thoroughly enjoyed the process. He granted us immense creative freedom, opening up the space for us to experiment. If either of us had worked on this individually, the final output wouldn’t have been the same.” Varkey further noted, “We were able to consistently find common ground, and our creative thinking aligned beautifully.”
Sooraj expressed that he and Varkey are not disheartened if their immense efforts go unnoticed. “Many of my indie songs haven’t garnered widespread attention, so I’m accustomed to this,” he admitted. “However, I’m optimistic that people will eventually discover and listen to this album, especially since the tracks are available on all major streaming platforms. Even if they don’t, I’m at peace with that.”
Varkey conveyed his gratitude for the opportunity to work alongside Krishand and Sooraj. “They provided me with the creative space, and I’m truly happy to have been a part of this project,” stated the musician, who is now engaged in Krishand’s upcoming production, Masthishka Maranam.
You can currently stream The Chronicles of the 4.5 Gang on SonyLIV.