Artist Profile – Mr. Sham G x SREECH – Bangalore (India)
It’s been a while since we did any ‘travelling’ around the world of drum and bass. One of the first things we promised ourselves when we first started though, was that we’d do our best to uncover the artform in all four corners of the Globe.
Bangalore’s Sham G has been a part of the city’s DNB scene for a considerable amount of time now, and has just recently released a track on May 29th on the established Bangalore label, Screech entitled ‘Lonely World’.
As is often the case, he reached out to say hello and before you know it there’s an interview in the offing.
Mr. Sham G, Hunnit D and Hellkitty, Welcome in!!!!
Thank you for having us on your platform. Pleasure to be here!
Mr Sham G, we’ll start with you.
Let’s take a little step back in time to talk about drum and bass in India. It’s been bubbling away on the underground scene in your end of world almost as long as it has here in the UK. Is it possible for you to describe the scene for us in a few sentences?
The Indian DNB scene has been around for much longer than most people realize. It’s always been relatively underground, but incredibly passionate.
What excites me today is that there are now producers, DJs, labels, promoters and communities spread across multiple cities all pushing in the same direction. The scene is still small compared to the UK, but it’s growing steadily and developing its own identity. There’s a real sense that we’re building something rather than simply consuming what comes from elsewhere.
Neurofunk is highly popular in eastern Europe and in particular Russia, and the UK has a huge jungle sound, whereas other parts of Europe are very much aligned with the liquid sound. What, if any, sub-genre would you say could be linked with India, or even different parts of India? Is this even a thing?
That’s an interesting question because I don’t think India has one dominant DNB sound yet.
You’ll find a lot of sounds inspired by the Asian underground and the use of old Indian samples layered with jungle breaks. And, the young producers here often have a very bass heavy high roller sound in their productions.
You have artists making everything from liquid and jungle through to neurofunk, jump up and halftime. What I do think is uniquely Indian, is the willingness to blend influences from everywhere. Many of us grew up exposed to Indian classical music, Bollywood, hip-hop, rock, jazz and electronic music all at the same time.
A lot of credit goes to the GOATS – Midival Punditz, Mosillator, Talvin Singh, Nitin Sawhney, Asian Dub Foundation etc.
As a result, Indian producers often bring a different flavour into their music rather than fitting neatly into one subgenre.
I wonder just how popular the music is outside of itself? Here in the UK, it’s not uncommon to hear it on mainstream radio and on the TV. Does it have that level of popularity over there, and what about any specialist radio stations?
Not at the level it does in the UK.
Most people in India would still be more familiar with Bollywood, commercial electronic music or mainstream dance music. That said, drum and bass has a very dedicated following and the audience continues to grow every year.
A lot of the discovery happens through clubs, festivals, YouTube channels, communities and independent radio rather than mainstream television or commercial radio.
Before we start talking about your latest track released last week, tell us a little bit about yourself. Like myself, you’re of a slightly older vintage and a family man too?
Music entered my life much later than most producers. I only started producing seriously a few years ago, but it quickly became far more than a hobby. It became a creative outlet, a form of therapy and a way to reconnect with a part of myself that had been buried under years of responsibility and routine.
Yeah well, I totally get that. It’s the exact same reason I run this website.
I’m always interested to know too, what do your wife and kids think to drum and bass, and to having a DNB dad and husband?
I think they’ve accepted that there will always be drum and bass coming from somewhere in the house! Spouses of musicians, producers and DJs deserve a lot of credit. They are incredibly patient and may not always understand the obsession, but they recognize how important it is and make space for it.
Haha yes! There should be a club or helpline for DNB spouses and children! 🙂
The kids probably don’t fully understand drum and bass yet, but they definitely know that dad disappears into the studio at strange hours and comes out excited about a new bassline or a new chord progression. One thing I also noticed is they all love some of the chaos, complexity and the pace of drum and bass. Gets them hyped up!
Lucky you. In my house it’s usually a roll of the eyes accompanied by a sigh and a shake of the head!
You’ve lived in more than one place around the world too? Please share some information on your previous residencies!
Yes, being part of an entrepreneurial/business family we have lived in India, the UK, the United States and the Philippines.
Growing up across different countries exposed me to different cultures, perspectives and music. Looking back, I think that had a huge influence on both my personality and my music. I never really felt tied to a single identity, so I’ve always been comfortable blending influences together.
The clothing industry is the main occupation in your daily life. What is that like, and what does your role consist of?
It’s a completely different world from music.
My role involves helping guide the long-term strategy of a large business with thousands of employees and a presence across the country.
A lot of my day revolves around leadership, decision-making, people, operations and growth. Music gives me a creative counterbalance to that structured environment.
You were one of the only rappers in Bangalore in your younger years. I’m very interested to hear all about that. Please fill us in on the details!
This was back in the late 90s and early 2000s, when hip-hop in Bangalore was still extremely niche.
A few friends and I were obsessed with the culture. We would write rhymes, perform at local clubs, organize small shows and generally try to push the scene forward long before it became mainstream.
Looking back, it was probably my first experience of being part of a genuine underground movement. That DIY spirit is something I still carry with me today.
Your love of hip-hop crossed the musical bridge into drum and bass as well though? In the early days of the rave scene, hip-hop and hardcore were closely aligned through breakbeat culture and tempo, but not quite so much now. Please explain to us how drum and bass became a part of your life?
I rediscovered drum and bass during the pandemic. The ragga vibes, rolling jungle breakbeats, pulsating basslines and infectious melodies gave me so much energy and warmth during that dark time.
There was a sophistication and emotional depth in drum and bass that I hadn’t found anywhere else. The energy was there, but so was the soul. The interesting breakbeats, heavy basslines and interesting grooves are the same reasons I also fell in love with hip hop at a younger age. Also, the sense of rebellion, depth/soul and presence of grit is something I relate with. It resonates with my personality at a deeper level.
Raving to DNB and making it are quite separate ways of life. You cite that learning to produce DNB brought you a real sense of peace and contentment after the pandemic. It’s made you a well-rounded person, a better father, and in many ways, a sharper businessman. How so?
Producing music forced me to become present.
When you’re writing a tune, worrying about tomorrow or replaying yesterday doesn’t really help. You have to focus on what’s directly in front of you.
It became a form of meditation for me. I found myself calmer, more patient and more creative. It helped me become a better father because I was more present at home. It helped me become a better business leader because it strengthened my ability to focus and think clearly.
It became a form of meditation for me. I found myself calmer, more patient and more creative. It helped me become a better father because I was more present at home. It helped me become a better business leader because it strengthened my ability to focus and think clearly.
Ironically, spending time making music improved almost every other area of my life.
Contrary to what is usually expected, you don’t want to make your music a source of income. You’d rather protect your passion than consciously monetise it. This is probably a good thing in the modern era of steaming and file sharing, but also because it means you are free to create for pleasure?
Because I want to protect what makes it special.
My professional life already comes with targets, metrics and commercial objectives. Music is one of the few places where I can create purely because I love creating.
If something positive happens commercially, that’s wonderful. But I’ve never wanted financial outcomes to dictate creative decisions. That freedom is incredibly valuable to me.
We are perfectly aligned on this outlook. In a world where many people are jostling for their place in the limelight, inner peace seems like a far more attractive option!
Another one of your main creative ethics is that you are far more interested in building a long lasting legacy with music that will stand the test of time. There’s A LOT of music out there right now, right?
Because popularity is temporary.
I’d much rather spend years creating a smaller catalogue of music that people still connect with a decade from now. When I think about the artists I admire most, it’s rarely because they were the biggest. It’s because they created something authentic and high quality that stood the test of time.
That’s the goal.
The latest track in your discography, ‘Lonely World’ is a lush breaks driven liquid number that ebbs and flows across its 4 plus minutes, but there is a deep meaning behind the music, and not one that is talked about nearly half as much as it should be. Please explain this to our readers.
At its core, the track is about the growing issue of loneliness, particularly among men.
Many men feel pressure to appear strong, successful and in control, even when they’re struggling internally. As a result, a lot of people suffer quietly.
I wasn’t trying to provide answers with the track. I simply wanted to create something that captured that feeling and gave it a voice. If somebody listens to it and feels understood or a little less alone, then the song has done its job.
And that is the wonderfully emotive and constructive power of music! As a race men are for the most part, quite hopeless at both showing, and sharing their emotions, so projects like this are invaluable. Fair play to you.
I’m interested to know how you translate the emotion inside you into music? Do you search for sounds that convey your feelings, or is it more organic?
Usually it starts with a feeling rather than a technical idea.
Sometimes it’s a chord progression. Sometimes it’s a vocal phrase, a melody or even a single sound.
From there I keep asking myself whether the music makes me feel something deeply. If it doesn’t, I keep refining it. If it does, I follow where it leads.
So it’s probably a combination of both. There is definitely intention involved, but the best moments often feel like they’re happening through you rather than because of you.
The track has just been released on SCREECH, so we will head off over to Hunnit D and Hellkitty now to find out a bit more about the label. Thanks for your time and wisdom Sham!
Fellas: Tell us a bit about the label, and what even inspired you to create the outlet in the first place?
SCREECH is a bass music record label based out of Bangalore, India. Founded by HUNNIT D (Ransom David) & HELLKITTY (Anurag Arun) in 2019, we showcase the freshest sounds in Dubstep, Jungle/Drum & Bass, UK Garage, Breaks/Breakbeat from producers in India and worldwide.
The main reason we founded the label is to help talented upcoming producers showcase their music and build a recognizable brand around their sound. We also support visual artists by featuring their work on cover art and event-related visuals.
The label was established in 2019, so what music enterprises were you involved in prior to this?
Not at all. We had no prior experience in working with music enterprises. We were simply DJs trying to promote and grow the Dubstep and Drum & Bass scene in India.
I can see the prospect of running a label out of Bangalore, and India itself hugely exciting. As well as signing Indian artists, you are also open to worldwide submissions, and this opens up opportunities for music fans outside of India to hear what’s going on in your part of the world and vice versa!
Tell us a bit about a few of your artists.
We have a strong roster of young, talented producers. On the Dubstep side, we’ve got DARN, PANIK, DAAKU, RAAKSHAS SOUND, DROPAMINE and BIG TROUBLE pushing the sound forward. For Drum & Bass, we’re excited about C4GE, NOIZEBLEED, NORBU, HELLKITTY, and MR. SHAM G. All of them are insanely talented with very unique, distinct sounds.
As a label, you strongly believe that electronic music from India should not be forced into stereotypes. Instead of chasing trends or “industry formulas,” SCREECH encourages artists to develop their own unique sonic identity rooted in personal experience. Please expand on this principle?
Yes! We’ve noticed that a lot of electronic music today tends to sound very similar, with producers heavily influenced by bigger international artists. At SCREECH, we actively encourage our artists to develop their own distinct sonic identity rather than following trends. We work very closely with each artist — sitting together to fine-tune their tracks, giving honest feedback, and collaborating one-on-one throughout the entire process until the track is release-ready. Our goal is to help them create something authentic that truly represents who they are.
Alongside releases, SCREECH is also focused on building long-term culture through live events, visual storytelling, interviews, and collaborative projects that spotlight the evolving underground bass scene in India.
For people like myself who have little chance of travelling outside of the UK anytime soon, and also for people like myself, who are fascinated by drum and bass culture in different parts of the world (AKA DNB NERD) this sounds pretty epic!
Please highlight some of the experiences you’ve had with regards to the above?
Building a strong brand identity and working with like-minded people has been key to elevating our presence in India. Our philosophy is simple: if you make music or art with passion, you’re on our radar. We also collaborate with established organizations in the scene, such as Drum & Bass India, who have been pushing the culture for a long time. These partnerships have been mutually beneficial and have helped both sides grow significantly.
