Sarathy Korwar

#253 – Favourites of 2019 Part 1

Never mind the decade, 2019 itself has been crammed with incredible that needs shouting about again. We’ve had a year of South Asian hip hop, Mexican techno, Scandinavian jazz, Japanese experimental music and loads more to celebrate. We’ve got a bit of that this week, and will spend the rest of December celebrating the rest of it.

Big Brave – Sibling (Southern Lord Recordings, USA)
Bryte – Ice Cream (R&S Recordings / More Time Records, UK)
Sarathy Korwar – Coolie (The Leaf Label, UK)
Yao Bobby & Simon Grab – Bjole (LavaLava Records, UK)
Negativland – Discernment (Seeland Productions, USA)
Lokier – Fighting the Past (Pinkman, Netherlands)
Caterina Barbieri – Closest Approach to Your Orbit (Editions Mego, Austria)
Quelle Chris – Brain of the Ape (All City Records, Ireland)
Fire! Orchestra – (I Am a) Horizon (Rune Grammofon, Norway)
Fuji-Yuki – Blood Moon (Akuphone, France)

Produced and edited by Nick McCorriston. Hit him up for any and all audio work at and follow him on Twitter @nickamc

#234 – Anna Meredith, Bobby Krlic, Dry Cleaning, Sexy Crocodile for Dinner, Sarathy Korwar

On the show this week we move between Japanese folk music, post-punk and modern classical, interspersed with some musique concrete from Cote D’ivoire and abrasive power electronics from Italy. The new Anna Meredith is a real highlight, as is the latest single from Sarathy Korwar’s magnificent new LP. Elsewhere there’s the latest from the label formerly known as Tobago Tracks, a welcome return for Bobby Krlic (AKA The Haxan Cloak) and much more.

aircode – You Broke Down Into Four and a Half Pieces (TT, UK)
Dry Cleaning – Magic of Meghan (self-release, UK)
Mireille Kyrou – Étude 1 (Nostalgie de la Boue, Cote D’ivoire)
Sarathy Korwar – Bol (The Leaf Label, UK)
Ya Mai Mo – Mori No Fushigi (White Paddy Mountain, Japan)
Anna Meredith – Paramour (Moshi Moshi Records, UK)
Sexy Crocodile for Dinner – Interferenza Distruttiva (Sputo Records, Italy)
Bobby Krlic – Gassed (Milan Records, USA)
Mai Mai Mai – Magia Lucana (La Tempsta International, Italy)
Seabuckthorn – Premonition (self-release, UK)

Produced and Edited by Nick McCorriston. Hit him up for any and all audio work at and follow him on Twitter @nickamc

#227 – Sarathy Korwar, Suzi Analogue, Sea Urchin, The Art Ensemble of Chicago, Viscount

Following our week a way we return overwhelmed with excellent morsels of global experimental independent sound. We start with Sarathy Korwar’s outstanding jazz/Indian MC hybrid that is sure to get noticed by discerning listeners, elsewhere we have choral music, twisted abstract hiphop, splendid psych folk, electric acholi music from central Africa and much more.

Sarathy Korwar – Mumbay (feat. MC Mawali) / Pravasis (feat. Deepak Unnikrishnan) (The Leaf Label, UK)
Leo Pa-Layeng – Kono Wiye Ocung Otara (self-release, Uganda)
The Art Ensemble of Chicago – We Are On The Edge (Erased Tapes, UK)
Suzi Analogue – Way Live ft. ZenSoFly (Never Normal Records, USA)
Flamingods – Koray (Moshi Moshi Records, UK)
Sebastian Reynolds with Solo Collective – Ripeness Is All (Nonostar Records, Germany)
The Improvisers’ Choir – Stem (self-release, UK)
Sea Urchin – Mish Hata’ref tesHa? (Bokeh Versions, UK)
Viscount – Reverse Engineering (Warecollective, UK)
Death and Vanilla – Let’s Never Leave Here (Fire Records, UK)


Produced and edited by Nick McCorriston. Hit him up for any and all audio work at and follow him on Twitter @nickamc

#202 – Maarja Nuut, Sarathy Korwar, Part Chimp, Alma Negra, Dreadsquad

This week we’re keeping it local to where we record the podcast, with eight of our ten tracks being released on UK-based record labels. That doesn’t stop the international flavour of the artists though, and Estonia’s Maarja Nuut has just released a record that is amongst the best we’ve heard all year.

We also have Polish sci-fi dubs from Dreadsquad released via Glasgow’s Scotch Bonnet Records, we have London-based Indian jazz musician Sarathy Korwar, noisy new tracks from Part Chimp and Blóm and a whole lot more.

Baïkonour – Runner I (Embassy Recordings, UK)
Maarja Nuut & Ruum – Haned Kadunud (130701 Records, UK)
Dreadsquad – Space (Scotch Bonnet Records, UK)
UUUU – Electric Blanket (Editions Mego, Austria)
Alma Negra – Sedowa (Lumberjacks in Hell, Netherlands)
Part Chimp – Doctor Horse (self-release, UK)
Sarathy Korwar – Earth (Gearbox Records, UK)
Los Bitchos – The Link is About to Die (self-release, UK)
Map71 – Primary Radioaction (Foolproof Projects/Fourth Dimension Records, UK)
Blóm – Toxic Dependancy (Hominid Sounds, UK)

#150 – Meridian Brothers, Circuit Des Yeux, Ty Segall, Shabazz Palaces

A stunning selection this week, kicking off with Colombia’s finest Meridian Brothers, we touch upon experimental pop of Circuit des Yeux, a fabulous collaboration between podcast favourites Hieroglyphic Being, Sarathy Korwar and Shabaka Hutchings, and the brutal punk of Lower Slaughter. We also have great new hiphop, jazz breaks, garage rock, and lost Somali tapes

Meridian Brothers – Estaré Alegre, No Estaré Triste (Soundway Records, UK)
Circuit Des Yeux – Paper Bag (Drag City, USA)
Sleep Terminal – Angry Cunning Lizard Brain (The Audacious Art Experiment, UK)
Hieroglyphic Being, Sarathy Korwar & Shabaka Hutchings – The Doctrines Of Swedenborg (Techinicolour Records, UK)
Tubby Tooba – Bring the Needle Down (Dpercussion Recordings, UK)
Lower Slaughter – Bone Meal (Box Records, UK)
Aamina Camaari – Rag waa Nacab iyo Nasteexo (Men are Cruel and Kind) (Ostinato Records, USA)
Shabazz Palaces – Welcome to Quazarz (Sub Pop Records, USA)
Ty Segall – Big Man (self-release, USA)
Sothiac – ON (self-release, Italy)

#146 – The Gaslamp Killer, Cocaine Piss, Janka Nabay and the Bubu Gang, Pixvae [Milhoes de Festa 2017 special]

It’s the most wonderful time of the year – when we get ourselves ready for the peerless Milhoes de Festa festival in Portugal. A completely off-the-wall, eclectic line-up of some of the finest artists from across the globe come together in a celebration of everything that is great about art, experimentation, and music. To celebrate, we have a selection of ten artists on the bill, including old favourites like Sarathy Korwar and Orchestra of Spheres, alongside new favourites such as Cocaine Piss, Live Low, and Sacred Paws.

Rizan Said – High Tension Zamer (Annihaya Records, Lebanon)
Pixvae – La Fuga (Buda Musique, France)
The Gaslamp Killer – Residual Tingles (Cuss Records, USA)
Cocaine Piss – Ugly Face On (Hypertension Records, Belgium)
Janka Nabay and the Bubu Gang – Santa Monica (Luaka Bop, USA)
Live Low – Lembra​-​me Um Sonho Lindo (Lovers & Lollypops, Portugal)
Orchestra of Spheres – Mind Over Might (Fire Records, UK)
Sacred Paws – Everyday (Rock Action Records, UK)
Sarathy Korwar – Indefinite Leave to Remain (Ninja Tune, UK)
Chupame El Dedo – Cabildo Muerto (Discrepant Records, UK)

#121 – Our Best of 2016 (pt.3)

2016 has been a horrible year for all sorts of reasons, but sometimes you do forget that this is the year that we heard some incredible music. Whether it’s that random tape from Gainstage back in March, or that Egyptian supergroup the Dwarfs of East Agouza, or whether its the latest from mind-blowing Lewisham grime group The Square, or whether it’s one of the other seven tracks we have on this look back at some of our favourites from a year we’re all hoping to put to bed soon… Thanks so much for listening this year, we wouldn’t be anything without you x

The Comet is Coming – Star Furnace (The Leaf Label, UK)
Swindle ft. D Double E – Lemon Trees (Butterz, UK)
Za! – Badulake (The Audacious Art Experiment, UK)
Gainstage – RGB Sun (Portals Editions, Germany)
The Dwarfs of East Agouza – Museum of Stranglers (Part I) (Nawa Recordings, UK)
The Square – Defeat Us (No Hats No Hoods, UK)
Bruxa Maria – Human Condition (Extreme Ultimate Recordings, UK)
G.H. – Yorkshire Fog (Modern Love, UK)
Sarathy Korwar – Bismillah (Ninja Tune, UK)
Aidan Moffat – I’m a Rover (Kiss My Beard Productions, UK)

#100 – Our 100th episode spectacular!

For our 100th episode we’ve got a double length special episode for you. Twenty tracks that allow us to reminisce on some of the great music we’ve played on the podcast in years gone by, whilst looking at some of the music exciting us today. Over 100 episodes we’ve featured 1,500 independent artists and record labels, here’s to the next 100 episodes!

Starkey – OK Luv (Instrumental) (Planet Mu, UK)
Kenny Graham & his Satellites – Chant (Trunk Records, UK)
Novelist – War (self-release, UK)
Mark Ernestus’ Ndagga Rhythm Force ‎– Lamb Ji [Feat. Mbene Diatta Seck] (Ndagga Records, Germany)
Prince Jaabaal – Hailing Jah Jah (self-release, Trinidad and Tobago)
The Cold Seeds – The Perfume of Mexican Birds (Song, By Toad, UK)
Blawan – Getting Me Down (self-release, UK)
Jookabox – Don’t Go Phantom (Asthmatic Kitty Records, USA)
Sarathy Korwar – Mawra – Transcendence (Ninja Tune x Steve Reid Foundation, UK)
The Bug – Box ft. D Double E (Ninja Tune, UK)
L’Orange & Jeremiah Jae – Do My Best to Carry On (Mello Music Group, USA)
Salem – King Night (IAmSound Records, USA)
U.N. – Get it On (Prelude Records, USA)
Leona Anderson – Rats in my Room (Trunk Records, UK)
Woodpecker Wooliams – Sparrow (Robot Elephant Records, UK)
Two Fingers – Fools Rhythm (Big Dada, UK)
Soft Healer – Grand Isle (Monofonus Press, USA)
Soom T & Disrupt – Saved by a Ganja Leaf (Jahtari, Germany)
Solo Banton – Ganja is Good (self-release, UK)
Melt-Banana – Loop Nebula (Init Records, USA)

Sarathy Korwar – Day to Day Interview

Cultural appropriation is at the forefront of Sarathy Korwar’s mind when we sit down to talk about his sublime debut LP Day to Day. There’s the cultural appropriation on the record itself – an exquisitely crafted mix of influences – and there’s the wider portrayal of his Indian homeland in western music and the impact that has on the perception of him, his countrymen, and the music made in his country.

There are good and bad sides to cultural appropriation. To say that the record itself is an example of the good is an understatement; it’s much better than that. Day to Day is a masterclass in creating organised chaos, where a huge range of disparate sounds and influences are brought together not for the sake of originality, but for the creation of something new and joyous. It takes the processes of jazz and moulds them around the influences of a boy growing up listening to mixtapes of 90s pop and his parents’ Indian classical singing; all over a base of sampling the music of the Siddis – a somewhat marginalised African-descended ethnic group in India and Pakistan. The record treats its influences with care and respect, and it’s one of the best, most diverse and original things you’ll hear this year.

It’s released through Ninja Tune – not the first place you’d look in search for an ethnically diverse jazz record – but the label does have form in releasing different, interesting music, and Day to Day sits quite snuggly alongside the likes of The Dragons’ excellent BFI in the ‘Ninja Tune? Really?’ section of their catalogue.

“I think they [Ninja Tune] are willing to take chances,” explains Korwar when we meet, “and jazz seems to be on the comeback very much. Look at Kamasi Washington and his success, Kendrick Lamar’s jazz, David Bowie’s jazz, and Brainfeeder with ThunderCat.”

The Steve Reid Foundation

It also helps that he has the support of the Steve Reid Foundation, the charity set up by Gilles Peterson in memory of the late jazz drummer that both supports musicians struggling with their health and new musicians emerging, offering them financial support and mentorship.

For Korwar that meant he could rely on the support of Peterson himself, alongside Kieran Hebden (Four Tet) and Nick Woodmansey (Emanative), all of whom have had a hand in the record making its way to our ears: from Peterson’s radio show, to Emanative producing the record, to Hebden being largely responsible for it making it to the top of the hundreds of demos received at Ninja Tune on a daily basis.

“I sent the record to about two hundred people and Alex Stevenson who works for Ninja Tune got back and said that he really liked it. Kieran sent the record on to Alex around the same time that I sent it to him as well. So he was bombarded with it from different directions. Obviously I think that the fact that Four Tet sent it to him had more impact than the fact that I sent my own record – I bet he gets about a hundred records per day.”

It’s a closer circle than that, Stevenson used to be Peterson’s radio producer and has worked with him at his Brownswood label. But despite the profile of its supporters, Day to Day is all Sarathy Korwar. The record came fully wrapped to Ninja Tune, and was mostly done when the Steve Reid Foundation’s first bursaries were handed out (alongside Korwar, awardees were Moses Boyd, Wu-Lu, Hector Plimmer, and Lady Vendredi).

“About 80% of it was recorded last January 2015 in a studio in Pune, which is where I’m from in India. I went to the town and the village where these [Siddi] folk musicians were from and spent time with them sampling them. After I had spent some time with them I went into a studio with them and some people I wanted on the record and we spent five days in the studio just playing around these samples.

“My basic direction was that we needed to be inspired by the melodies that these guys made and that the music inspires. The direction would come from me in terms of arrangements, but essentially it is an entirely improvised record.”

Which seems remarkable when you’re listening to it. Day to Day sounds like an incredibly well-structure record. It sounds meticulous in its creation rather than a largely improvised piece of work. Organised chaos in an accurate description of how the record sounds, as its complementary parts come together seamlessly.

“It could have just been a lot of chaos. It was in my mind and everyone in the room was someone I trusted musically, and we were kind of coming off each other. I think we developed structures on our own. We were playing through each other’s strengths, and almost everyone who’s on the record has a little bit of background in classical music, which is just something I wanted.

“A lot of what I do comes from tradition so I didn’t want to have to explain that tradition to people as much as I wanted people who knew the tradition to be here with me.”

The Coldplay Problem

That brings us to the bad side of cultural appropriation. Utilising the imagery of “exotic” cultures has been a part of western music as long as music has had a visual element, but with the world becoming a smaller place, and a western music industry becoming part of an increasingly global one, it’s increasingly easy to call bullshit on it. Coldplay prancing around in the Hymn for the Weekend video, propagating a vision of India that doesn’t sit comfortably with artists who are now part of the same music industry, rather than half a world away.

“It is kind of offensive,” says Korwar in reference to the Coldplay video. “If you talk about each specific music video or reference it might not be in itself offensive, but go to India and you’ll see how much of the country actually has a palace or a woman in a saree or bindi or an elephant or a tiger.

“I didn’t grow up along the banks of a river and I didn’t learn to levitate when I was five years old. It would be nice to get recognition for my reality or the reality of anyone in India. It just comes down to the fact that everyone’s reality is very complex and whether you’re bothered enough to put in the time to understand and actually care about where someone is from and who they are rather than just do a video like that.”

It comes across as a struggle between the old and the new. Misappropriating culture and butchering it into something that misrepresents what they’re clumsily trying to celebrate isn’t a new thing in pop music, but as our cultures and worlds get ever closer, popstars should probably be a bit less lazy in how they’re representing people to the wider world.

“I think it’s damaging for people like me if you’re trying to put out records that are pretty jazzy, classical folk inspired. I don’t know how someone is supposed to see a Coldplay video and then listen to my record and make sense of it all.

“If they know that I am an Indian who makes music, they need to know that there are all kinds of music, and that every Indian isn’t making Bollywood music. Not all Indians grow up listening to Bollywood – you do as much as anyone grows up here listens to Eurovision or something like that – that’s not the only reality you know.”

That’s the challenge for Korwar – an Indian making music who doesn’t want to be defined as an Indian musician to be pigeonholed, but yet shows clear pride in his homeland and wants to help bring music created by Indians to a larger audience. Day to Day is Indian music in the same way that Kendrick Lamar’s To Pimp a Butterfly is American music or Rhianna’s Anti- is Barbadian music. It’s absurd to define music by the nationality of its creator. People need to see that great music is coming out of India, but it doesn’t need to be defined and pigeonholed.

Day to Day

If you must put it in a box, you should put Day to Day on the wave of innovative, interesting music that’s seemingly unrelenting at the moment. Korwar isn’t Kendrick Lamar or Kamasi Washington, he is undeniably his own person, and Day to Day is an extremely individual record. It is created by a man based around his own particular interest in heritage and lesser-heard music.

The Siddis came from Africa to India from the seventh century and throughout history as slaves or sailors or merchants. Now it is a blanket term for anyone whose ancestors immigrated from Africa over the centuries.

“It’s a very interesting and complicated history that I don’t fully understand myself and I think it’s something that needs to be researched. It’s not as if the Siddis are from any particular place in Africa, they’re basically a congregation of people whose heritage and ancestry traces back to Africa from Ethiopia down to South Africa.

“The whole thing about the slave trade from Africa to the West has been well documented. People know a lot about it – about its history around Brazilian music, about jazz blues. It’s something that’s well established in the public understanding of what happened.

“The Eastern slave trade is not really talked about and I didn’t really know about it. It makes perfect sense for slaves to go to all the colonies just like they did in the West Indies and they went from East Africa to India. ‘Siddi’ now is just the term that is specific to India and Pakistan but there are African descendants around the World in Indonesia and Malaysia and Singapore and Bangladesh and they all go by different terms.”

That interest in the Siddi was one of the catalysts for the record. After a childhood of playing Tabla, Korwar started playing drums at 16, and moved to London at 22. A couple of disappointing years at music school were followed by a masters degree at the School of Oriental and African Studies. Studying Indian classical music, whilst adapting the vocabulary of the tabla to other percussion instruments allowed him to start developing his own sound.

“I’ve always been fascinated by and had a keen eye for drummers who are more than just drummers. Drummers as band leaders was something I was always drawn to, people like Art Blakey and Chris Dave. Then I chanced upon a record by Jaimeo Brown called Transcendence from 2013 and it blew me away. It was a great record that was basically based on the community of gospel singers in Alabama. It was samples of that and this free jazz record underneath and I was like ‘this is it man, this is amazing’ and ‘if he can do this I can do my own record.’

“He did that and I was blown away by it. I thought I must do something with Indian music because that’s what I know. I’m close to Indian folk music and I want to try and make a record around it. That was the first lightbulb moment where I thought it was possible.

“I was playing with a lot of people in London but also I wasn’t really in a project that I was passionate about. I just wanted to be able to do my own thing and so I just went for it. It all happened in about three or four months.

“And then I heard about the Siddis and thought ‘these guys are amazing.’ I put two and two together and decided I need to go meet these guys.”

Which was where Day to Day came from. It is the product of one man’s drive to do something new, different, and interesting. It seems to be the start of a journey for Korwar rather than the result of one. He has a passion to delve deeper into the Siddi’s music and culture. In his own words, he wants to find out, “what so called ‘Indian music’ is.”

“I want to dig deeper. I want to find out more and think about it in a more anthropological sense because that gives me inspiration.”

And if Day to Day is the result of one lightbulb moment of inspiration, we need to sit up and take notice of the next one as well.

Day to Day by Sarathy Korwar is out through Ninja Tune on 8 July.

He plays Total Refreshment Centre in London on 14 July. Buy tickets here

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#90 – Portishead, Brandt Brauer Frick, GAIKA, Family Atlantica

There’s nothing like completely transforming an Abba track for your first music in six years, but that’s what Portishead have done with SOS. We’ve also got self-released sounds from Map71 and GAIKA, alongside two new ones being released by the on-form Soundway Records – the mesmerising Family Atlantica and the acid folk of Vanishing Twin. Elsewhere we have new jazz from Sarathy Korwar through Ninja Tune, Belgian duo Tav Exotic via Vlek, DVA on Hyperdub, Brandt Brauer Frick on !K7, and Newcastle’s phonetic swear-filter avoiders KHÜNNT.

GAIKA – BUTA ft Miss Red & Serocee (Mixpak, USA)
Family Atlantica – Okoroba (Soundway, UK)
KHÜNNT – Failures (Riot Season Records, UK)
Tav Exotic – Booty (Vlek, Belgium)
Sarathy Korwar – Indefinite Leave To Remain (Ninja Tune, UK)
Map71 – Body House (self-release, UK)
Portishead – SOS (self-release, UK)
DVA – Take it All (Hyperdub, UK)
Vanishing Twin – The Conservation Of Energy (Soundway, UK)
Brandt Brauer Frick – Holy Night (!K7, Germany)