Sarathy Korwar’s upcoming studio album, “More Arriving,” defies easy categorization into any single genre. Is it a nu jazz experiment, a jazz album infused with hip hop, or perhaps the reverse?

Three years have passed since Korwar’s debut album, “Day to Day,” which placed him prominently on the global jazz-electronica map. His sophomore effort reflects significant evolution. While “Day to Day” explored themes of migration, history, and homeland, “More Arriving” emerges as a politically charged dispatch from the UK. It confronts the experience of being a modern brown man in a society that often imposes rigid stereotypes. Korwar clarifies, “This album is my response to how my music and I are perceived in the UK. It challenges misconceptions that arise from ignorance and prejudice.”

Playing drums throughout the eight-track album, Korwar collaborates with a diverse ensemble. MCs from India and the desi diaspora deliver compelling verses, complemented by Danalogue on synths (from London’s nu-jazz group, The Comet is Coming), Tamar Osborn on baritone sax, and Al MacSween from Kefaya on keys.

Korwar questions what ‘Indian’ music truly represents amidst the UK’s tendency to homogenize it, much like how Indian food is often reduced to chicken tikka masala and naan. “I’m not defining a modern Indian sound,” he explains. “Instead, I’m presenting my perspective as an Indian musician in the present moment. This album explores what it means to be brown across different global contexts, including India.”

“More Arriving” opens with “Mumbay,” where Osborn’s saxophone introduces an Indo-Arabic riff setting the stage for MC Mawali’s rhythmic flow, adeptly navigating Korwar’s complex 7/4 time signature. Mawali’s lyrics playfully engage with Mumbai’s identity, from colonial Bombay to the contemporary metropolis, encapsulated in the neologism “Mumbay.”

Reflecting on the rise of desi hip hop around the release of his debut album, Korwar draws inspiration from its grassroots origins. “Desi hip hop isn’t led by the genteel upper-middle class,” he observes. “It’s a DIY movement with artists rapping in local languages, shaping not only their song subjects but also their cadence and flow.” Korwar’s travels to Delhi and Mumbai from 2017 to 2018 enriched the album, collaborating with artists like Delhi Sultanate, Prabh Deep, Trap Poju, MC Mawali, and classical vocalists Aditya Prakash and Mirande.

His UK label, Leaf, recently released the video for “Bol,” the album’s second single featuring London-based poet Zia Ahmed. Ahmed’s incisive verses provoke thought with lines like, “I am your gap year, you said you were lost, I hope you found yourself.” Against Prakash’s classical refrain from Faiz Ahmad Faiz’s iconic poem, “Bol ke lab azaad hai tere,” spoken word also features prominently in the closing track, “Pravasis.” Here, Korwar collaborates with Abu Dhabi-based novelist Deepak Unnikrishnan, crafting a sparse yet powerful piece that dissects the politics of race and migration through stark word associations.

Korwar’s artistic journey reflects growth and clarity in his political stance. “For me, anger and vulnerability aren’t negative emotions; they can be empowering,” he asserts. Departing from the philosophical tone of his debut, the album’s title and artwork—celebratory depictions of overlooked communities—highlight his solidarity with marginalized voices in the face of contemporary challenges like Brexit and the refugee crisis.

“More Arriving” stands as a testament to Korwar’s artistic courage and vision, challenging conventions and inviting listeners to engage with complex narratives of identity and belonging in a globalized world.