Rishiraj Kulkarni is a multi-percussionist composer & performing artist, based in India & The Netherlands, playing harmony music with hand-made musical instruments from different parts of the world. His primary instrument ensemble includes the Tabla, Handpan, and RAV Vast. Over the years he has been working closely with amalgamating the sounds of his instruments with sonic textures & soundscapes inspired from nature. He received incalculable guidance in his musical career from Ustad Zakir Hussain & continues his musical journey in the world of tabla as a disciple of Pandit Yogesh Samsi.

Furthermore, Rishiraj is an alumnus of A.R. Rahman’s KM Music Conservatory, where he specialized in Western classical music & audio technology. With two independent albums to his name – Home (2021) & The Woods (2023), his third album releases on 16th January 2026, featuring completely new instrumentation. The albums are inspired by sounds from artists, cultures & musical traditions that Rishiraj experienced during his tours across India, Europe & the UK over the last 10 years.

In 2021, Rishiraj founded Svun Sounds, an online music store, with the passion of introducing unique handmade musical instruments from across the globe to India by collaborating directly with independent artisans and then further on bringing the instruments into the lives of differently abled children & hospitals.

1. Could you share a glimpse into your early life, where you were born and raised, and how your musical journey began?

I was born in Aurangabad, Maharashtra, and completed my education at the Sahyadri School of J. Krishnamurti, a renowned philosopher. The school is situated in the Sahyadri mountain range of the Western Ghats, on the outskirts of Pune. Perched on a hill with a river flowing on three sides and a single road leading up from the valley. The school sits in the heart of nature, secluded from the world we live in. It has been a beautiful and transformative journey for me, one that has primarily been inward. The school, founded on Krishnamurti’s philosophy, emphasises giving freedom to children, allowing them to explore who they truly are.

Every child is like a flower: you cannot judge a blooming flower because you don’t know how long it will live, what colours it will show, or which direction it will turn. You don’t know how tall it will grow, yet each flower is beautiful in its own way. In today’s world, we often forget that every individual is unique and perfect in their own way. That is what the school deeply emphasized. The teachers’ sole responsibility was to help each student discover their true self and to create an environment that nurtures that growth. For me, music has always been part of my family. But recognising my inclination towards it, that credit definitely goes to my school, for giving me the space and environment to realise it.

2. You’ve had the extraordinary privilege of being mentored by the legendary Ustad Zakir Hussain. How did this opportunity unfold?

My first interaction with him unfolded because of my mother. Ever since my mother was young, our home would often host artists from different parts of the country for mehfils that my grandfather organised. Back then, cities mostly had bungalows rather than apartments. My grandfather would say, “The ground floor should be empty, just a large hall, and you can build as much as you like on top.” In those days, when artists travelled from one city to another. Their primary social engagement was to visit one another, learn together, and exchange ideas.

We would have Zakir ji, Kumar Gandharva, or Pandit Vinayak Joshi come to our home, and these mehfils became cherished gatherings of music and learning. My mother and Zakir ji had known each other since their youth, and I met him for the first time in February 2010 when my mother introduced me to him. I had been playing the tabla, the instrument I first learned at school and that marked the beginning of our relationship, which continues to this day.

3. What lasting insights or philosophies did you take away from your time under his guidance?

It’s very hard to pinpoint exactly what his philosophies are, but there are two that I always carry with me. The first is that no matter who you are or what you do, as you grow in your art, you can never be the best at it. I learned from him the importance of remaining in a constant state of learning and never giving up on that journey. In any form of art, the deeper you go, the more you realise how much you don’t know. That humility to keep learning is something I’ve always remembered.

The second philosophy relates to collaboration. I once asked him how to truly collaborate with another artist. He explained that it’s not only about what the artist plays but also about how well you know the person. The work that emerges is a consequence of that relationship. When you collaborate, it’s more important to understand the person than just their art.

4. You graduated with honours in music from Middlesex University, London, with a focus on Indian classical music, Western classical music, and audio technology. How has this multidisciplinary training shaped your approach to music and performance?

Learning the fundamentals of classical music has given me a very strong foundation to understand sound beyond just music. Classical music is, in a way, the birthplace of all the genres we are exposed to in today’s world, as everything is rooted in it. Beyond studying classical music, I’ve also explored and listened to a wide range of genres, from heavy electronic music to folk music, from South America to Australia. Doing so makes you realise the vast and diverse palette of sound that exists across the world. In addition, studying technology such as modern recording techniques has been essential in adapting to today’s musical environment. It has helped me understand sound better, record my albums, and even capture sounds from nature in different parts of the world.

It has also taught me the intricacies and detailing behind sound production. When it comes to amalgamating different instruments and textures in my music, technology plays a big role. Understanding how it all works is crucial. There is a difference between simply driving a car and knowing how the car functions, and for me, it’s the same with music. It’s not just about using a microphone to record; it’s about understanding how the microphone works, why this microphone is used, and so on.

5. As the Best Music Performer of 2014–15 from KM Music Conservatory, founded by A.R. Rahman, did you get the chance to interact with him personally? What was your experience like studying at the Conservatory and being part of that creative ecosystem?

I did get a chance to interact with him, and being at the conservatory was a very enriching learning experience at that stage. There were so many professors who were part of my nurturing during that time, sharing their perspectives on music. It was an absolutely incredible period. It wasn’t just any particular professors, but the entire process from starting out to even now has been about learning what to do and what not to do. Sometimes, when you realise you don’t want to do something, it often reflects that you are very close to discovering what you truly want to do. That was the essence of being at the conservatory: learning so much and slowly recognising your own inclinations.

One lesson I heard from and was inspired by Zakir ji is the very thin line between inspiration and imitation. There is a difference between being a musician and being an artist. That insight has guided my journey. Being in a creative ecosystem was also about always listening to different perspectives and watching and learning from how others play or practise. In English, we have 26 letters and a massive vocabulary, like that of the Oxford dictionary. Music, on the other hand, primarily has 12 notes, yet the vocabulary it creates is absolutely immense. Observing how everyone interprets it is fascinating. That is how my journey has been.

6. Your independent albums, Home (2021) and The Woods (2023), both carry a deeply introspective sound. What inspired these works, and how did each project evolve creatively?

Well, my first album was primarily created during the time of COVID. I had a lot of time to spend with my instrument and to learn from it, to understand the stories it could tell. It’s called ‘Home’ because, as my mom often says, everything begins at home with who you are, how you speak, eat, talk, and interact with others. For me, spending that time alone during COVID, surrounded by nature, gave me the opportunity to reflect and revisit myself. I think all of us had a chance to pause and question the momentum of our lives, to ask, “What are we even doing?” It’s like making pickles.

The best pickles are the ones that are aged. For me, COVID was that time of slow, reflective aging. I’m grateful to have experienced it, even while acknowledging the immense pain many people endured and the loved ones lost. For me personally, it was an absolute privilege to have that introspective period in my life. That was the origin of ‘Home’ recording the stories of the instrument and the reflections that came with it. I live in a place called ‘The Woods’, which is where my second album, ‘Woods’ got it’s name from. It is again inspired by nature, because I grew up immersed in it. I started creating intricate pieces such as the wrestling of the leaves, the crackling of the bonfire, and the sounds of rain falling on grass, stone, and wood. Amalgamating and learning from what nature has to offer continues to be my primary inspiration.

7. You play a fascinating range of instruments, from the tabla and handpan to the RAV Vast, Maschine, and vibraphone. Which instrument did you begin your musical journey with, and which one do you feel the strongest emotional or spiritual connection to today?

It’s like asking someone which finger they have the strongest emotional connection with among the ten. Every finger is special. It cannot really be compared. Every instrument I play is special in its own way. All of them are handmade and come from different parts of the world. Each one holds value, much like when you or someone you love cooks your favourite dish. When it’s served and you ask for it again, they make it once more. Does it taste exactly the same? No, it doesn’t. So how can you decide which is your favourite? Something that changes every time – how can it be your favourite?

8. You founded Svun Sounds in 2021, a venture that merges craftsmanship, sound, and social purpose. What inspired you to create it, and what vision drives the platform?

‘Svun’ is a Sanskrit word that means sounds that emerge from nature without any human interference. We have five primary senses, and depending on the time and era, certain senses are emphasised more. Before televisions existed, if someone called and said, “Have you watched the movie that’s playing in theatres? Why don’t you go watch it?” you would likely trust their word and go see the film. The reliance was on your sense of hearing, trusting what you heard from a friend or family member.

Trust now relies more on the eyes. For example, if someone tells you there’s a flower on a turn, you’ll only believe it when you see it. This shift in how our senses are relied upon has changed over the years. For me, Svun works in a similar way. We collaborate with artisans from different parts of the world who handcraft every single musical instrument. And we support them by introducing their instruments in India. Most of these instruments aren’t even available in India yet.

We help these artists sell their instruments here, and all the profit that comes to me after paying the team. And everyone involved goes towards providing these instruments at a subsidised cost for hospitals or schools with differently abled children. Ideally, I would like to give them away for free. But when something is free, its perceived value decreases, and the instruments may just lie unused.

The instruments in our store are designed to be extremely accessible. Even someone who has never played a musical instrument can start playing immediately. In some of our projects, we have installed tuned wind chimes behind hospital doors. When doctors enter a room, patients hear pleasant sounds, which helps them relax mentally. I strongly believe that when the mind is well, the body can function better. We have also provided these instruments to office workers. During their breaks, instead of checking phones or social media, they tried playing musical instruments. The result was an increase in productivity, along with relaxation. This is the intention of Svun: to bring independent artisans from around the world to India and, later, to share Indian craftsmen’s and artisans’ instruments with the world.

9. Looking ahead, how do you envision Svun Sounds evolving in the coming years? What kind of impact do you hope it creates in the music community?

I am not a businessman; I am more of an artist. I cannot think from a business perspective. With Svun Sounds, we have never done any marketing. I believe in human connection more than screens. If someone you know tells you to go watch a movie versus seeing an advertisement for it while scrolling, the likelihood of you going is much higher when a person recommends it.

So we have never marketed anywhere. You will never see posters, discounts, or Diwali sales for our instruments. What we do is engage with people to understand why they want to buy and experience an instrument. Svun Sounds has grown entirely through word of mouth, and I have always wanted it that way. Rather than pushing for quarterly sales, I wanted to make instruments affordable for everyone. We offer a wide range of instruments from around a thousand rupees to one and a half or two lakh rupees. But every single instrument is handmade by the artisans. Each one is absolutely unique and also very easy to play. The impact, therefore, is not entirely in my hands. The intention is for people to experience their own time, connect with the instrument, and recognise their own skills. Rather than being absorbed by screens.

10. Your music has taken you to many places, both across India and around the world. Which travel experiences have left a lasting impact on you? And how have the underprivileged communities you’ve interacted with influenced your outlook or inspired your work?

It’s very unfair, biased, and ultimately impossible to say which has been my favourite experience. Every experience in life has been special. It’s not that I don’t want to choose or think about it. Each experience has taught me something unique. I am deeply grateful to everyone who has invited me to play in different parts of India, Europe, and the UK. Over the years, as I’ve performed across major cities, I’ve realised it has been ten years since I started performing.

Usually, playing in big cities feels similar. Apart from music, my interests have always been travel and food, so now I like to explore the interiors of a country, be it India, the Netherlands, Scotland, Ireland, or England. I enjoy discovering smaller spaces and hidden corners. What has inspired me deeply is recognising that none of us chose where we were born, our names, which school we would attend, or even whether we would have all five senses.

Earlier this year, I toured India for seven months, completing about 60 concerts while travelling 36,000 kilometres by road, carrying 490 kilos of equipment, including speakers for up to 800 people, stage lighting, and instruments. When planning concerts in tier-one cities, I would randomly put my finger on a map between two big cities and explore whichever village it landed on. Going to these villages, I felt that the least I could do was share art with people who otherwise might not have access to it. Access to art is a privilege, just like having the internet, enjoying more than a couple of dishes, or owning more than a few clothes. Every human has the inner drive to achieve something, which we call ‘Zidh’ in Hindi. Touring rural areas has grounded me and strengthened my desire to learn.

The more I travel, the more humbled I feel. No matter how far we go, it’s like being an ant on a map – truly humbling. Sharing art in villages, interacting with people and children who take music seriously. And performing in places without electricity running everything on batteries has been a profoundly humbling experience. I am deeply grateful to my entire team for their support in making this journey possible.

11. You’ve collaborated with collectives and artists such as Sunshine Cartel, Jan Van Berkel, and Dub & Dal. Could you share some insights from these collaborations and the creative synergy they brought? Are there any artists or genres you’re eager to explore collaborations with in the future?

For me, it’s not about the skillset but about the person. The relationships with these individuals have been pure and absolutely incredible. We’ve always become friends first, and the art has come as a consequence of that. It’s never been a matter of, “You are an artist, I am an artist, we like each other’s work, so let’s play together.” That has never been the approach for me, and I am deeply grateful to all the members who have been part of these collaborations.

Over the years, my inclination has shifted more toward instrumental music, and that is something I continue to explore as time progresses. There are so many artists who have inspired me. There is Zakir ji first, and then, not in any particular chronological order, Dafar Yousuf, Thayan Kallor, Toumani Diabaté, and many others, all of whom have been a huge inspiration for the kind of work I am pursuing.

12. Finally, what do your upcoming goals look like, both personally and professionally, as you continue to evolve as a musician and sound innovator?

Music has always been a part of my life, and there is no distinction between me and music. As I grew up, I was constantly surrounded by it. For me, from the moment I wake up at 5:30 in the morning until I go to bed at 11:00 at night, I am immersed in music all day. As I’ve shared, it has been ten years of constant travelling, and for a quarter of this year, I’ve been on the road as well. I have decided to take a break for the rest of this year and the entirety of next year from all the travelling and concerts to spend more time listening to my instruments and understanding their stories.

To communicate with each other, humans rely on a medium called air. Sound travels through air, allowing us to hear and create language. When air is absent, language disappears, and a new form of communication emerges, like using hand signals while scuba diving or in a vacuum. Similarly, I feel that humans are merely a medium for musical instruments. If you look at music from the perspective of an instrument, humans come and go, but the instrument continues to live.

The instrument tells its stories over time, and humans must simply listen. My intention for the next 15 months is to devote myself entirely to my instruments to spend more time understanding and learning from them. My goal has never been to perform concerts; concerts are simply a consequence of my relationship with my instruments. I want to focus all my energy on becoming a better listener, to truly hear what the instruments have to say.