“ I love following artists that are constantly challenging what they are known for in order to explore new territory."

Karsh Kale

The quote above resonates a lot with me personally and, of course, this initiative Shedding Light. I am a huge advocate of art that challenges the status quo and really looks to push the frontiers of how art is perceived. I also respect artists who consciously choose to preserve their identity and embed that in their work. Karsh Kale literally ticks all the boxes! I'd like to think his unique selling proposition is his sound. As simple as that.

Wow, I can’t believe I got the opportunity to virtually interact with one of my absolute favorite artists of all time.

Here is an iconic quote  that powerful summarizes his art:

"Karsh Kale mixes eclectic beats with the sounds of his heritage to make a sound that is distinctly his own"

President Barack Obama

It would be rather redundant to introduce him given his esteemed and established musical presence so I am just going to jump into the meat of our recent conversation! 

Part 1 - The general questions

What do you think of the contemporary music landscape compared to that decades before? How has your music evolved to adapt (or has it evolved agnostic of the industry) ? 

I have always been aware of how various styles of music have been evolving . Like most things , some things seem to feel natural with my own personal evolution , some things feel like a repeat of what had already happened . I personally have always followed my own muse which had both aligned me with what is happening in the industry as well as set me apart at times .  

Who or what inspired your music and how has that changed over time, if it has ?

Artists like Peter Gabriel , Sting and Zakir Hussain have remained some of my biggest influences to date .  I love following artists that are constantly challenging what they are known for in order to explore new territory. 

I presume you consciously made an effort to reject film opportunities? Given your calibre, and proficiency I’m sure many would have approached you! How hard was it to focus on independent music and prioritize that over a commercially attractive space that film offers? Especially in India. 

 I wouldn’t say that I consciously reject film offers .  Because I have a particular sound and approach to music it makes more sense to align myself with stories and directors that allow me to make music my way .  I have done a few larger commercial projects but if you want to be true to your artistry , one must make decisions as to what and how they want to express what is inspiring them. 

Part 2 - A rapid fire inspired style

What is your favorite piece of work that you’ve done? Favorite songs? 

One of many favorites is a remix/ remake I did for U2 a couple of years ago called Pride (100 voices mix) where I had many guest vocalists join the chorus to make something special. 

What can we expect from you in the coming months? 

I am working on a new album of songs that Ill be singing as opposed to my many albums with many guest vocalists. 

I find parallels between Following Sunlight and Gully Boy’s Train Song in terms of the instrumentation and general emotion that is evoked. Do you? 

Sure I can see that .  Its that American folk music sound and optimism that you might find similar. 

Following Sunlight:

Train Song (Gully Boy):

Which song of yours would you remake/reproduce if you had to?

Hmm.... Id rather just make something new than look back .  I rarely listen to my own music so I'm usually searching for a new sound to explore.  

Part 3 - Specifics and technical questions

Shedding Skin is a very important song to me. Thank you very much for this gem. The original Shedding Skin can be described as calming & meditative → how was it like to somewhat shed those attributes and reshape towards Charukesi? 

The original track was an instrumental so while approaching it as a song Charukeshi just became a nice way to expand the arrangement .  I love the major/ minor interplay in that particular Raag. 

Original :

Coke Studio version:

I have seen charukesi & hamsadhwani often pop up in various parts of your music - for raags that have infinite complexity as those (i.e.easy patterns) , how do you consciously ensure you don’t keep falling into using them?

Even when using the same raags or scales , I am always playing with how new chord progressions can change the color and landscape of the same raag. 

In your education, you have mentioned that you did Audio Engineering with tapes & cassettes, how was it like to reeducate yourself into the digital world. Do you anticipate similar paradigm shifts in music?

The digital world evolved as my career was evolving so each album was an exploration of what new tech was available . My first album was recorded in a big studio to 2 inch tape where as my last one was done during lockdown on my laptop and was only released digitally.  I would however like to start releasing vinyl again.  

There is a continuum of percussion variation - on one end Milan (exploring different rhythmic structures, time signatures, etc), and on another end Sea Dreamer - where you provide a steady platform for the others to shine on top of. How do you navigate this continuum - do you tend to moderate the percussion complexity when collaborating with singers?

It always depends on what the song needs .  I listen to all kinds of music so sometimes simplicity is the most sophisticated approach and sometimes the opposite is true.