‘Never understood the idea of ​​purity in art’: Harish Sivaramakrishnan on progressive Carnatic music Arts and Culture News

When it comes to progressive rock in India, Agam has carved a unique niche by fusing Carnatic music with the genre. Led by the versatile Harish Sivaramakrishnan – who also serves as head of design at Kunal Shah’s CRED – the band has been a trailblazer in the country’s music scene. Fans are eagerly waiting for Aagam’s upcoming performance Kutty edition of the South Side Story Music Festival in Mumbai on December 14, following their much-acclaimed set at the Delhi edition of the festival in September. Ahead of this highly anticipated event, indianexpress.com spoke to Sivaramakrishnan about the band’s journey, their creative process, and his dual life as a designer and musician.

Q: Experimenting with Carnatic music means breaking conventions and patterns. And you’ve done it for years. Could you elaborate on that, please?

Harish Sivaramakrishnan: Nothing we do is premeditated. I believe that every art form is open to improvisation, and the aim is not to break it but to layer our interpretation on it. Over time, this led to a style that deviated from traditional classical music, but this development was not intentional. We never set out to change, break or create something new – it just unfolded organically. Over time, listeners have become more open to new interpretations and experimental sounds. True innovation is not forced; It appeared naturally, as it did with us.

Q: You have brought Carnatic music to both ardent followers and those less familiar with it, but have faced criticism about originality. How do you handle it?

Harish Sivaramakrishnan: As producers, we receive both praise and criticism. No art resonates with everyone, and criticism helps us reflect and improve. Artistic feedback has been invaluable in our development as musicians, and we are grateful for that. Change often meets resistance, as people are bound by familiar norms. Our role as artists is to accept this resistance while staying true to our vision.

bringing Carnatic music A wider, more diverse audience has been rewarded. We are grateful that our efforts have broken barriers and reached new audiences, resonating with them. That’s the essence of being an artist—expanding the reach of your art and connecting with people in new ways.

Q: Progressive rock is known for its complexity in lyrics, composition, and direction. Can you explain your process?

Harish Sivaramakrishnan: Each genre has its own grammar and vocabulary, and progressive rock stands out for its structural integrity and time signature. It’s a style we enjoy and blends naturally with influences like Carnatic classical music. Most of us in the band are inspired by the great bands that came before us and created progressive rock music.

Audiences are often more emotionally involved than analytical. While some critics dissect the complexities, most viewers simply seek joy and connection. Through progressive rock, we aim to entertain and evoke emotion in extreme audiences with its technical depth.

Q: Carnatic music has a lot of purism attached to it, and initially, you faced a lot of criticism. What is your opinion on this?

Harish Sivaramakrishnan: Every artist faces criticism, and there are always those who are angry, while others want to see how you can make art different. This is not unique to Carnatic music; It’s a side effect of being in the arts. There is always diversity of opinion in the way people pursue art.

We don’t really know what is pure. Our understanding of purity in music is often anecdotal—someone tells us it’s pure, and it’s passed down through the generations. There is no empirical way to tell what pure music is. I only know music the way it was taught to me and the way I heard it. As for me, I never understood the idea of ​​purity in art. We don’t need to argue about it, we just need to spend time listening to more music and learning about art.

Q: How do you juggle pursuing music with a full-time, busy job?

Harish Sivaramakrishnan: It is difficult, but it is a function of wanting to work. Our parents, especially working moms in the 80s and 90s, managed a lot. For me, it’s just performing on weekends and working during the week – nothing extraordinary. We are passionate about music and committed to making the most of this opportunity. Instead of saying it’s impossible, we say, ‘Let’s try it.’ When we have time, energy, health and privilege, we are just doing our best to keep the journey alive.

Q: Agam has been together for a long time. How do you manage conflict within the band while keeping the group united and the creativity flowing?

Harish Sivaramakrishnan: Conflict is natural in any creative group, and our band is no exception. However, our foundation does not depend on one person acting as glue – it is our shared passion for creating and advancing art that holds us together. Over the past 17 years as a band — and over 20 years as friends — we’ve also learned to navigate and celebrate our differences. Each member brings unique perspectives, shaped by their personalities, aspirations, and political views, which can spark creative discord.

What keeps us united is the camaraderie we’ve built over the years playing and making music together. Our shared sense of the type of music we want to create ensures that our differences enhance rather than hinder our work. This mutual respect and understanding has allowed us to coexist and thrive as a group, resolving conflicts with experience and common goals. Ultimately, everything comes together, and we are deeply grateful for the journey we’ve taken and the milestones we’ve reached as a band.

Q: How did songs like Saraswati’s Swan come about?

Harish Sivaramakrishnan: Our songwriting process is not rigid or defined. Each member of the band comes with different influences, and our shared love for progressive rock serves as the foundation. My Carnatic music training, for example, adds a distinct layer to our sound, which neither of us had planned—it evolved naturally. When creating songs, we usually start with a rough idea of ​​the sound we want, but music often takes shape organically during the creative process. Swans of Saraswati was born in this fluid, collaborative way, embodying the diverse backgrounds and strengths that each of us brings to the table.

Q: What inspired the folk-influenced Kothu in Coffee?

Harish Sivaramakrishnan: The song’s roots lie in a serendipitous discovery during a trip when Swami, our keyboardist, found a CD of Scottish folk music. Pentatonic scales used in Celtic, Irish and Scottish music struck a chord with us because of their similarity to Indian classical music. Inspired by this, we experimented with layering Tamil folk percussion instead of Celtic bodhran drums, layered with guitar and choral arrangements. The process took about three and a half years, because we hesitated, not sure how the audience would react. However, when we performed it live, the positive reception and the way the audience joined in the chorus reaffirmed our efforts. It is now a song that resonates deeply with both us and our listeners.

Q: Who is your favorite musician or band?

Harish Sivaramakrishnan: That is very difficult to say. There are many composers, but my all time favorite composer is Ghulam Ali. My all time favorite Indian composer is Hariharan, and my favorite composer is AR Rahman. Internationally, Dream Theater is my favorite band.

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