Karan Kanchan isn’ t just a music producer— he’ s a sonic revolution. With over 1.4 billion streams to his name and a genre-defying discography that includes mega-hits like DIVINE’ s Baazigar, KING & Jason Derulo’ s Bumpa, Shubh’ s OG, and Ishq Nachaawe from Kho Gaye Hum Kahan, Karan has solidified his place as one of the most innovative and influential figures in the Indian music industry.
Starting out in a bedroom studio in Mumbai back in 2012, Karan’ s evolution from an aspiring beatmaker to a Forbes 30 Under 30 honoree in 2025 is nothing short of inspirational. As the founder of Neckwreck, the mind behind immersive tours like Kitty Party and Wreckfest, and now the creative force preparing to drop a debut album featuring legends of Indian music, Karan continues to push boundaries with every beat.
Whether he’ s fusing Japanese folk with trap to create the J-trap genre or curating nostalgic, highenergy fan experiences, Karan Kanchan stands for blending cultures, eras, and sonic textures to create something entirely his own.
If you could only save one Karan Kanchan track, and all others were to disappear forever, which one would you choose— and why?
I don’ t think I’ ve made that one Karan Kanchan song yet, maybe if you ask me this question in another 5 years I’ ll have an answer for you.
Until recently, your production work has largely depended on software. But now that you have your home studio, DOJO, how has that changed your workflow and creativity?
I would still say that my production work is software-heavy, but the Dojo has definitely pushed the boundaries in terms of the things I can accommodate. For example, now that I have a digital piano, I can go downstairs, jam, and put some ideas down, then head up to the studio room to build it out further. The workflow here is just a bit more fluid.
You’ ve played a huge role in defining a new sound in Indian hiphop. What’ s your place in the scene today? Who were some of your favorite collaborators so far?
I wouldn’ t say I’ ve defined a new sound in Indian Hip-Hop, I’ ve always focused my efforts more on finding my own sound as compared to“ defining” one or making a place for myself in the scene. I also wouldn’ t consider myself a Hip-Hop producer, it just happens to be the genre that has allowed me to reach the most people.
Every collaboration has been special and unique in its own way. I swear I am not trying to be diplomatic, its just the truth.
Let’ s talk about J-trap. When did you first start exploring Japanese classical music, and how did it help shape such a unique identity in your music?
I started messing around with Japanese Classical samples back in 2016. I used to spend hours on YouTube watching tutorials on sound design and exploring different genres- this is around the time when I stumbled upon Japanese music. I came across a band called Wagakki Band, and another duo called the Yoshida Brothers, and I instantly loved their sound. I began playing around with fusing Japanese sounds with electronic soundscapes, and that’ s how J-trap started for me. 7 years later, and I actually got a chance to work with Wagakki Band and jam in the studio with them!
Your trip to Japan seems to have been transformative. In what ways did it shift your artistic perspective or influence your music?
My story with Japan actually goes a long way back. After discovering Japanese music in 2016, I started to develop more and more of a fascination with the country and the culture. I started learning Japanese on Duolingo, dove deeper into Japanese music and samples, and began connecting with artists from there as well, with whatever limited Japanese I could speak at the time.
My first actual trip to Japan happened 7 years after this, so it was essentially 7 full years of manifestation that led up to this trip. I met the lead vocalist of Wagakki Band, the producer for Baby Metal, and many other artists that I listened to before the trip. I’ m also a huge Carly Rae Jepsen fan, and she just so happened to be performing in
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