Meet the beatsmiths building India’s hip-hop scene from scratch
(From left to right) Circle Tone, Kalmi, Sez. Photos: Courtesy of the artist
You may not always catch them in the spotlight, but India’s hip-hop scene was built, beat by beat, by the producers putting in the hours behind the scenes. From South Indian drums and Kashmiri folk samples to Punjabi percussion, ambient field recordings, and church choirs in Paris, these invisible architects have been busy layering regional textures, electronic experimentation, and personal memories into tracks that have carried Indian hip-hop from the gully to the globe. We asked some of the country’s most definitive producers the same set of questions, creating a prism through which their perspectives, inspirations, and techniques come through.
Interviews edited for length and clarity
Kalmi’s fingerprints are etched into some of Indian hip-hop’s biggest explosions, powering rapper Hanumankind’s rise and pushing the scene into the global spotlight.
A track you want people to remember you by?
“Run It Up” because of how much the cultural aspect of my hometown comes into play. I’ve grown up listening to a lot of South Indian drums and music, but this is the perfect mix of where I come from, which is more of a subconscious inspiration, and the electronic music I naturally gravitate to, which was the reason I started making music in the first place. When those two came together was when I felt like I was doing justice to the sound palette.
First-ever DAW that was your playground?
FL Studio, which I used on my mom’s Sony Vaio laptop. This was like ninth grade, and I was still trying to understand how music was made. I actually learnt the tabla for a bit, but it caused too much back pain (laughs). My parents wanted me to get into music because they thought I would focus more on studies, which never really worked out in their favour.
The most unexpected sample, sound, or instrument you’ve ever flipped into a track?
In the song “Sicko” on the Monsoon Season Mixtape, where I ended up using these random recordings of a Sunday service choir I took at Notre Dame in Paris. The track was originally mixed by Aakash [Shravan], but Sooraj (Hanumankind) wanted to try another version of it to fit into the sound world of the mixtape. I had just come back from Paris, and I had that recording, so I sampled that exact clip. It really built up the atmosphere of the song. It still gives me goosebumps.
A hidden detail in your beats that only close listeners can catch?
One thing I’ve been doing in my music is weirdly taking small pieces of sound and distorting them. I like to pay attention to the small sounds that people may not even notice. Like, even in the case of “Big Dawgs,” before you hear the “Wait a minute,” there’s a noise that comes on, which is something I try to use in every song. The way I try to maintain the iconic feeling of a song is to make sure it has a soul before the rapper’s voice even comes in.
A production hack that’s always fun to put to use?
There’s this speaker I have called the OB-4 by Teenage Engineering. What you can do on that is stream the radio or anything on your phone, and loop a certain part of a track. You can slow it down, listen to a higher tempo, or add a drowned-out reverb effect, even till the point where you don’t even recognise it from the original broadcast. When you’re in a place where you have no clue what their language is and what kind of music they listen to, it’s kind of nice to hear random music like this.
Something you’re currently working on that you’re most excited about?
As of now, I’ve actually started singing over my own productions. They might not be of the highest pitch register where it makes complete sense, but that’s how I’ve approached every stage of my production career. When I started out, it was mostly about how to make an EDM track. Then it became about how to make it sound good, and then about how to make different tracks. Now, I’ve learnt how to emote with production and raise the bar, so the next stage of expression is how to use my voice, even if it’s only to figure out how to guide the melody at this point.
The biggest misconception about producers in Indian hip-hop?
The biggest misconception is when the artist thinks he’s the one creating the world with his voice, but the producer is the one finding the right sounds to let you into that world. It’s equally important for the producer to be able to attach the string from one part of the song right till the very end. The producers who can really do that are the ones who understand that what you’re creating for the artist is a world he’s never seen or may not even be aware of. The artist may only think of the vocals and what he has to say, but if the producer isn’t thinking about how the music underneath carries the emotion forward, then the job isn’t the same. The greatest producers are the ones who know how to guide a vocalist whom they haven’t even met into their songs in a way that the music starts to fully make sense.
A track of yours that gets slept on?
“Cause” is one of the tracks I feel is slept on, because it’s so defining. It’s one of the few tracks where the orchestration and melodies constantly evolve as Sooraj raps. We recorded cellos for it, and the way the song builds till the final moment gives it a class of its own.
What does your sound say about you?
Huge. My personality is like that, and so are my tracks. I laugh a lot, but I also have the ability to be intriguing, deep, and grand. My music often gets very introspective — the feelings I try to convey aren’t just to make you feel small, but to evoke a sense of grandiosity, something larger than life. It spans from me being extremely cocky to very soft and silent.
What, according to you, does the future of Indian hip-hop look like?
A lot of rappers have found a sound that works for them. The next stage is producers consciously arranging hip-hop tracks, knowing what arrangement, sound palette, and vocals make a hit. Then it won’t be producer versus rapper, but producer and artist versus the world, creating cohesive sounds and unique arrangements for our country. Producers are already experimenting with vocals and sounds, and once they understand the math behind great songs, the composition, drum choices, patterns, there will be a shift. Till now, we’ve ripped off the West, but soon the world will rip off our productions.
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30KEY! reps Kashmir loud and clear, amplifying hip-hop duo Straight Outta Srinagar and putting his region’s grit onto India’s hip-hop map.
A track you want people to remember you by?
My answer to this question is always “Czawul” with SOS. That track was special because it wasn’t just about making a beat; we brought in old traditional sounds from Kashmir and flipped them in a way that I hadn’t really seen in our scene before. It ended up shifting how many artists started thinking about blending roots with modern hip-hop.
First-ever DAW that was your playground?
FL Studio. That’s where everything started for me.
The most unexpected sample, sound, or instrument you’ve ever flipped into a track?
There’s a track I produced for SOS called “Kaalbaefi.” The title comes from Kaalbaaf, which means weaver in Kashmiri and refers to the traditional art of handmade carpet weaving. In the song, I actually sampled the real sounds of artisans weaving carpets by hand. Especially in the outro, I layered those textures to recreate the atmosphere of that craft and bring the whole concept to life. This was definitely one of my favourite unexpected bits of work I put together, and I am very proud of it.
A signature sound or production technique that defines your style?
My signature sound is built on dark synths with heavy, hard-hitting 808s, layered in a way that feels cinematic and immersive. I want my production to create an atmosphere that pulls you in and not just a beat you nod to. Every now and then, I’ll incorporate Kashmiri textures or samples to avoid being confined to one sound, and instead, add a layer of identity that makes my music feel even more personal.
A hidden detail in your beats that only close listeners can catch?
There’s a shaker sound I sneak into almost every track I work on, usually right before the drop. If you listen closely, you might catch it.
A production hack that’s always fun to put to use?
Resampling! I’ll often create a melody, add some light drums, then run it all through effects to flip the vibe. That processed version becomes the foundation for building something completely new.
The biggest misconception about producers in Indian hip-hop?
People sometimes forget the significant role a producer plays in shaping an artist’s sound in the early days of their career. Everyone just assumes you make a beat and it’s done. There is much more to it. The beat just sets the tone, but then there is a back and forth between the rapper and the producer that makes the song whole. I think a great example of that is my latest track with Shauharty, ‘Delicate Ache of Unknown’. The original beat evolved significantly during the recording process. I didn’t imagine it would turn out the way it did, but I am pleasantly surprised with where that song ended up.
A moment in the studio that changed how you approach making music?
I learnt how not to overthink during the SOS vs Seedhe Maut beef. Everything in the studio was moving so fast that there was no time to think, let alone overthink. That pace made the process instinctive, and I learned that sometimes you just have to trust your gut and focus on the feeling.
A track of yours that gets slept on?
“Waja” with SOS is a track that really stands out to me because of its honesty and vulnerability through the lyrics. It’s one of those songs where every emotion feels real, and I think it’s often overlooked in the midst of SOS’s usual hard sound. “Gumshuda” and “Behoshi” are another one of those songs that showcase the other side of what I like to and can do.
What does your sound say about you?
My sound is intentional, raw, honest, and dark. I think it really reflects the place I come from. It’s not polished for the sake of being perfect; it’s more about capturing genuine emotion and a certain grit. The darkness in my music comes from the environment and experiences that shaped me, but I believe it’s the honesty that makes my music resonate with people. It’s a mirror of where I’ve been and the stories I want to tell.
What, according to you, does the future of Indian hip-hop look like?
It’s only going to get more diverse. More regions, languages, and sounds are blending. I would like to see a lot more collaborations across regions. I really enjoyed the East Indian Cypher; it showcased a lot of culture in one space. I also really hope more producers come up because I believe we can play a central role in shaping the sound. It would be cool to see more producer projects bringing in sounds from their regions. I would also like to see hip-hop influences in other genres. I feel like we’re too rigid in our definition of DHH from a sound standpoint, and we should learn to experiment and grow more.
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One of the most respected names in the game, Sez On The Beat carved the sound of Indian hip-hop from the ground up, laying down the beats that defined its earliest wave.
A track you want people to remember you by?
If there’s one track I’d want people to always associate with me, and they already do that, thank you, it’s “Mere Gully Mein”. For me, it was a game-changer and put hip-hop on the map for a larger audience. I’m glad I was able to create that impact alongside Divine and Naezy. The sound of Mumbai was being defined in a bedroom studio located in New Delhi, how about that?
First-ever DAW that was your playground?
The first and the only DAW I ever experimented with was and is FL Studio (Fruity Loops previously). I had no clue what I was doing back then, but that curiosity to create my own music is what shaped my music.
The most unexpected sample, sound, or instrument you’ve ever flipped into a track?
Encore and Calm’s voices as instruments in “Maina.” A lot of people don’t know or realize, but the base of the melody is Encore humming a note, and I created a whole pad outta those and then superimposed that with Calm’s humming. There’s an unreleased song with Rawal in which I made a guitar out of his voice — it’s cool what the mind can do sometimes, and there are thousands of those instances in my songs.
A signature sound or production technique that defines your style?
Giving every artist their own unique sound is a gift I have and a gift I like to share with the artists I collaborate with. It’s like listening to a well-tailored suit that just fits.
A hidden detail in your beats that only close listeners can catch?
So many — it’s countless at this point. Go listen to any song I’ve produced and listen closely: the reason it feels one with the artist is all the little things in the production you don’t usually catch. They’re meant to subconsciously guide the flow, with moments of instrumentation, SFX, or even a single note added somewhere to make sure the emotion is emphasized where it’s needed.
A production hack that’s always fun to put to use?
Listen to what the artist wants to convey in the song and make sure you are talking to them — easiest hack for the emotional cue points in the song.
Something you’re currently working on that you’re most excited about?
The pop side of things, and the indie side of things. Hip-hop is love and soul food, but the excitement factor of indie is where my head is at right now.
The biggest misconception about producers in Indian hip-hop?
They think producers are beat makers. I can talk from my own point of view and experience that I do a lot more than just that. I record my artists, I mix my artists, I make sure things are on point, and I make sure the message is how it should be on the song. It’s like you are not just making a beat, you are A&Ring the song with the artist themselves. I take responsibility for the end result, not just the beat.
A moment in the studio that changed how you approach making music?
Enkore coming to me and saying “try hip-hop beats”, and bumping the album The Chronic, and realizing how far ahead of quality Dr Dre was — changed my mindset about the song-making process.
A track of yours that gets slept on?
“Nascar/Needs” with Yungsta, “Sahi Aur Galat” by Dakait and Yungsta, “UK Rituals” by Dakait and Sankalp Khetwal, “35” by Karma, “Tere Bina” by Yungsta and Ab17. There are too many to count. I think they’ll get their dues when they get their dues – the sounds are usually ahead of the curve, and that’s the reason even my albums like Bayaan and Nayaab with Seedhe Maut took time to actually start working out for us. We are too ahead sometimes, and I love that.
What does your sound say about you?
Honest and emotional.
What, according to you, does the future of Indian hip-hop look like?
I can’t comment on this because every time I say it’s great, I see it saturating, and the risk takers are reducing day by day.
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From Kerala to the rest of the country, Hrishi is shaping South Indian hip-hop with a distinctly Malayalam edge.
A track you want people to remember you by?
Definitely “Nayadi Kali” — it’s still unreleased, but I feel it’s going to be one of those defining records that captures everything I stand for sonically.
First-ever DAW that was your playground?
FL Studio. That’s where I learned to break rules and find my own sound.
The most unexpected sample, sound, or instrument you’ve ever flipped into a track?
I once flipped a raw rural folk song into a UK dubstep track. Totally unexpected, but that’s what made it special — two worlds colliding in the best way possible.
A signature sound or production technique that defines your style?
I love blending the sounds I grew up with – local textures, raw vocals – and anchoring them with heavy bass. It’s that contrast that defines my style.
A hidden detail in your beats that only close listeners can catch?
I wouldn’t say there’s one hidden detail across everything I make. I approach every track differently, so if you listen closely, you’ll catch something unique each time.
A production hack that’s always fun to put to use?
Keeping it simple. The art of making a simple beat knock harder than something overcomplicated never gets old.
Something you’re currently working on that you’re most excited about?
“Nayadi Kali” again. It’s a UK dubstep track laced with folk vocals, a sound that feels fresh but still deeply rooted.
The biggest misconception about producers in Indian hip-hop?
A lot of people still don’t fully get what we do. Some think “producer” means the person funding the music, when in reality, we’re shaping the sonic identity of a track. It’s more creative than transactional.
A moment in the studio that changed how you approach making music?
Honestly, none so far. Every session teaches me something new, but I’ve never had one single turning point; it’s been a constant evolution.
A track of yours that gets slept on?
“Neeyo Avano.” That one deserved a lot more ears than it got.
What does your sound say about you?
It represents where I come from. My roots, my environment, my experiences, they all bleed into the music.
What, according to you, does the future of Indian hip-hop look like?
Explosive. The quality, the quantity, and the opportunities are only going upward from here. We’re just scratching the surface of how big it can get.
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Karan Kanchan brought anime energy and J-trap fury into Indian hip-hop, cementing his place as one of the scene’s most innovative producers.
A track you want people to remember you by?
I feel it is yet to come for me, but on a larger scale, I’d like to be remembered for more than just the music.
First-ever DAW that was your playground?
Officially, FL Studio was my first DAW and still is my playground, but my earliest memory of jamming on music was on the Club Penguin DJ3K game. Shout out to DJ Cadence.
The most unexpected sample, sound, or instrument you’ve ever flipped into a track?
Sampling a shamisen sound back in 2016 kicked off my journey as Karan Kanchan, the J-Trap producer — that’s where it all really started. That sample flipped me from a wannabe DJ/producer to having my own identity.
A signature sound or production technique that defines your style?
I’m very specific about my drums and spend most of my time on them. One thing I do a lot is play with small sound FX and vocal shouts throughout the songs to make it my sound. Samples like KSHMR Whoosh 03 and Group_Shout_18_Hoo are the usual suspects in a Karan Kanchan track.
A hidden detail in your beats that only close listeners can catch?
Now that I have told you in the previous question, it’s no longer a hidden detail (laughs), but yes, other than that, if you notice enough, mostly in rap songs, I like to break the monotony of a beat by adding pauses and gaps, and some interesting fills and accents that follow the rap flow.
A production hack that’s always fun to put to use?
Sorting out your sample packs and memorizing or tagging what genre sound is kept where. This saves up a lot of time while producing and doesn’t break your flow.
Something you’re currently working on that you’re most excited about?
After meeting Skrillex twice last year and seeing him perform, I was so inspired by dance music all over again. I am currently working on building ODD FORBID — an electronic music label/collective. After working on NECKWRECK for 6 plus years and building a full community of electronic and bass music enthusiasts, which led to WRECKFEST, I see there’s a great audience for this kind of music, but no one is pushing original electronic music from India. ODD FORBID is set to bridge that gap and push the electronic scene in India. There are a lot of cool, unexpected tunes lined up.
The biggest misconception about producers in Indian hip-hop?
A lot of people get confused between a beat maker and a producer. I mostly work with artists from scratch and personally don’t prefer sending beat packs; instead, I sit with the artist to understand what they’re looking for and build from there. As a producer, I’m involved at the overall song level, not just the beat. Music production has become so easy that anyone with Splice can put loops together and make a beat — that makes you a beat maker. Aligning it into a full song with the artist, selecting their best takes, building the arrangement, and seeing it through from start to finish, including mix and master, is what makes you a producer.
A moment in the studio that changed how you approach making music?
I think no idea is a bad idea until you try it. Sometimes, when an artist suggests a beat idea I may not think is the best, I don’t brush it off — I execute it and then show why I think we should avoid it. A few times, I’ve been proven wrong, and I’ve been happiest about it because we actually tried it and got something good out of it.
What does your sound say about you?
I don’t have a sound, as I get bored easily (laughs). I keep jumping onto new sounds and genres. If it says something, I hope it’s versatility.
What, according to you, does the future of Indian hip-hop look like
Regional will become bigger and bigger.
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Often flying under the radar, Circle Tone has been instrumental in shaping the sound of India’s underground scene, collaborating with artists like Dhanji, Pasha Bhai, and more.
A track you want people to remember you by?
The track that I want people to remember me by will always be “Shatak” in the Ruab Director’s Cut. Love that song, and it also means a lot to me. Of course, people will always have their favourites in my discography, but this one’s special to me.
First-ever DAW that was your playground?
I was on FL Studio for about 11 years before making the switch to Ableton Live. But yeah, FL was fun to start off with.
The most unexpected sample, sound, or instrument you’ve ever flipped into a track?
I made my mom’s video recording of her walking through a field a long time ago into a song. Most of the chordal and melodic elements are from the ambience and her voice in the video.
A signature sound or production technique that defines your style?
My signature sound has always been degradation—digital degradation, analog degradation. I always find ways to sneak it into even the most high-budget projects, and it’s one that I feel deeply connected to.
A hidden detail in your beats that only close listeners can catch?
Listeners might notice that suddenly everything feels a little too 3D, and it envelopes them more than most music they might hear. I’m a big propagator of using binaural audio in music, and I’ve been doing it since 2015. I also love cinema and games, so immersion is just part of my sound.
A production hack that’s always fun to put to use?
Whatever element it is, it can use some tube distortion—so at least try it out.
A project you’re currently working on that you’re most excited about?
I’m working on my album, Tony Jokham, right now, and I have a couple of EPs coming out before that.
Those are my goals this year. The album might be released next year, depending on how busy this year’s been, but yeah, I’ll put out an EP or two.
The biggest misconception about producers in Indian hip-hop?
The biggest misconception is that producers are helpless without a singer or a rapper on their beats. So many producers this year and last year have been doing vocals and blowing up left and right. You cannot be thinking, “Oh, this person’s just a part of the machinery.” Nah—producers are visionaries.
A moment in the studio that changed how you approach making music?
I remember this one time in 2021, Faizan Rehman, Lil Kabeer, Akx, and I were sitting in J-block and we started making something. The sync that we four had—Kabeer would say how fun an element should be, Faizan would hum out the melody, I’d make the synth patch, add variations, set the beat, and Akx would add nuance. It completely flipped my view of music being just a solo thing. It can be a community thing too, and it’s often very, very fun that way.
A track of yours that gets slept on?
(Laughs) I think I’m slept on, but sure—if I had to point out one track, it would be “Jaane Du?” off of Tappebaaz Literature with Lil Kabeer. I love that song and that EP way too much.
What does your sound say about you?
Oh, that’s a loaded question for me. I think my music says: things might be weird or bad or whatever right now, but in retrospect, it’s all gonna be beautiful.
What, according to you, does the future of Indian hip-hop look like?
More outspoken, more varied, more original, and very, very fluid to change.
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Shillong-based adL is forging a lane for himself in Indian hip-hop, shapeshifting between styles to create a versatile and ever-evolving sonic identity.
A track you want people to remember you by?
I feel like my sound is evolving every day, but one track that has stayed with me is one I made with my friend Kevin. We released it under our duo adL x kly, and it’s called Tynrai, which means “roots” in Khasi. The track is special to me because it highlights sampled Khasi folk instruments and has allowed me to express the cultural sound of my people from Meghalaya through an electronic lens. Right now, it’s available exclusively on SoundCloud, but it’s set to be remade in early 2026.
First-ever DAW that was your playground?
It all began with experimenting on GarageBand with an iPad. I rdiscovered how much I loved layering instruments, and later found out that the software was actually born out of Logic Pro. Since then, Logic has always felt like home to me — though I’m still learning something new every day.
The most unexpected sample, sound or instrument you’ve ever flipped into a track?
So far, I’ve tended to stay away from using samples because of clearance issues. I usually play all the sounds myself or work with stock sounds from Logic. That being said, I do have plenty of tracks in the vault (don’t we all) that are sample-heavy, just waiting for the day they can get cleared for some heavy hitters. Fingers crossed.
A signature sound or production technique that defines your style?
I’d say my production style is primarily bassline-led. By that, I mean I approach melodies with the mindset of a bass player. If you listen to artists like Michael Jackson, Rick James, or even Nineties R&B, you’ll notice how much of the music is driven by basslines. When I’m writing with an artist or hear a strong hook, the first things I focus on are the bassline and the snare — everything else tends to fall into place around that.
A hidden detail in your beats that only close listeners can catch?
At this point in my career, I’ve realized that I place the most emphasis on my mixing techniques. I’ve come to believe that a good mix can fix almost anything. What I aim for is a three-dimensional listening experience — I want my songs to feel like a warm blanket on a rainy day, even when I’m making dance music.
A production hack that’s always fun to put to use?
I only recently discovered Varispeed in Logic, definitely late to the party! (Laughs) But it’s been a game-changer, saving me so much time when transposing entire projects or adjusting the BPM without losing any of the song’s quality.
Something you’re currently working on that you’re most excited about?
My friend and I have a duo called Dappest & adL, and we’ve been cooking up a lot of music together. We just wrapped a new single and even shot the video a few weeks ago. Super excited for everyone to see and hear it soon!
The biggest misconception about producers in Indian hip-hop?
People think we’re out here making ‘Bollywood hip-hop’—whatever that even means. But the scene’s way more diverse than that. I’ve met beatmakers in India so good that if you didn’t know them, you’d swear they were straight out of L.A.
A moment in the studio that changed how you approach making music?
Of late, I’ve really been enjoying improvised studio writing. I know the usual approach is to make a beat and send it to an artist, which works, but there’s a certain magic that happens when you create in the same room together. Somehow, the song feels more tangible, you know? If you ask me, that’s the ideal way to make music.
A track of yours that gets slept on?
There’s this track called “Higher” that my friend Shane and I made during the Covid-19 lockdown, but it never got the audience it deserved. It has this funky yet poetic melodic flow, and lately I’ve been itching to release a remastered edition — maybe even with a crazy visualizer.
What does your sound say about you?
That’s probably more for an outside perspective at this point, but looking ahead, I want my sound to scream adventurous!
What, according to you, does the future of Indian hip-hop look like?
I believe hip-hop in India will never stop growing. Hip-hop was created to shatter glass ceilings, and wherever it spreads, it continues to do just that. It breaks boundaries through dance, beatboxing, rapping, and beatmaking, bringing communities together. If my intuition is right, it will only gain more support in the years to come, whether we realize it or not.
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From Mumbai to Los Angeles, Zeek’s journey reflects a commitment to cross-cultural collaboration, merging Indian melodies with international eclecticism.
A track you want people to remember you by?
I don’t think I’ve created that track yet. Different people connect to different songs of mine, and that’s beautiful in its own way. But as an artist, I’m still searching for the one definitive track that defines me.
First-ever DAW that was your playground?
My first was Logic, mostly because it came with Apple. But I quickly moved over to Ableton, and that’s been home ever since. I still open Logic now and then, just to reset my headspace.
The most unexpected sample, sound, or instrument you’ve ever flipped into a track?
One time, I hit the metal lid of a burning candle with a drumstick. Since the flame was suffocating inside, the sound naturally pitched down as the oxygen disappeared. I recorded it, and it became this unique, pitch-shifting tone I now sneak into many tracks. It was like a little science experiment that turned into a signature sound.
A signature sound or production technique that defines your style?
I wouldn’t say I have one definitive signature yet, but I love half-timing. Whether it’s plugins like Cyan Magic’s Deja Vu or Logic’s Varispeed, it always flips the energy of a track. I even used it on “Sun Maahi,” where half-timing the track inspired Armaan’s final vocal style. For me, it’s about chasing those techniques that spark new directions.
A hidden detail in your beats that only close listeners can catch?
I love sprinkling little ear-candy moments — subtle textures or sounds tucked into the production. They’re not obvious, but for anyone who listens closely or knows my work, they’re unmistakably “me.”
A production hack that’s always fun to put to use?
Resampling. I picked it up from Skrillex — take a sound, resample it again and again until it becomes something new. Then play it back as chords, melodies, or basslines. It’s like creating your own instrument from scratch.
Something you’re currently working on that you’re most excited about?
Lately, I’ve been studying Indian classical music. Not to sing, but to really understand ragas and their history. I’m blending that with my electronic and pop background. My next track — title coming soon —bridges classical structures with electronic energy in a way that feels fresh and true to me.
The biggest misconception about producers in Indian hip-hop?
That we just throw a beat under a sample. Traditional musicians often dismiss hip-hop producers, but sampling is its own art form. The world doesn’t care how a song is made — they care about how it makes them feel. Producers are simply finding new ways to create, especially when budgets don’t allow for live orchestras. Music is music, no matter the method.
A moment in the studio that changed how you approach making music?
Working with James Fauntleroy. Watching him write an entire song in 40 minutes from a single loop was eye-opening. It made me question everything I’d been doing for years and forced me to rethink my whole process. That one session completely shifted my perspective on production and songwriting.
A track of yours that gets slept on?
Honestly, the most slept-on track of mine is still sitting on my hard drive. Until I release it, no one even has the chance to sleep on it.
What does your sound say about you?
That I’m a deep, emotional, sometimes melancholic person. My music is melody-driven, feel-driven, but always carries a bounce to balance it out.
What, according to you, does the future of Indian hip-hop look like?
Indian hip-hop has always been here — the world is just now catching up. For us, it’s not just music, it’s freedom of expression. It gives people the courage to say what they want and be who they are. That’s why it’s powerful, and that’s why it’s here to stay.
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“The law hasn’t caught up to the science and what’s right for victims,” Ashley Walters’…
Los Angeles District Attorney Nathan Hochman said a decision on whether his office will seek…
The late filmmaker helped to save the comedy series from an early cancellation by its…
The singer has shared the visual for her biting Lux single
