'Goal Was To Blend Ancient Sanskrit Compositions With Modern Sounds': Rapper-Singer Raja Kumari On 'Kashi To Kailash' Album

Like many young girls Raja Kumari’s (born Svetha Yellapragada Rao) life wasn’t in the strata where she thought she was in. She wanted to do many things, like any normal teen around, but it was difficult, a South Indian girl growing up in America.

While growing up in the US, Raja Kumari was called 'The Indian Princess' by her friends and the name stuck. She discovered hip-hop and took off from there. In a career that spans continents and genres, Grammy-nominated artiste Raja Kumari has consistently broken boundaries by fusing the raw energy of hip hop with the rich traditions of Indian classical music and dance.

A trained Indian classical dancer, Raja Kumari’s life story is as interesting as the singer. With numerous songs to her credit, collaborations with various artistes, she now embarks on a new chapter with the launch of her latest album, “Kashi to Kailash”, a spiritual and sonic exploration of India’s sacred landscape. The album's launch in Nepal serves as a symbolic bridge between cultural legacy and musical innovation.

In an exclusive interview, the rapper, singer, and songwriter Raja Kumari speaks about the inspiration behind ‘Kashi to Kailash’, the role of spirituality in her artistic evolution, and how a decade-long journey in music has led her to this powerful moment of reflection and reinvention.

Excerpts from the interview:

Today is Mother’s Day, can you share a few stories how your mother has been a part of your success story.

My mom is everything. She dreamed of learning classical dance but couldn’t, so she made sure I did. She found my first guru, Sumathi Kaushal, and has supported every part of my journey, styling, video feedback and attending shows. She’s known as Mama Kumari now. Without her and my father’s support, I don’t think I could have made it through the ups and downs of this career. I dedicate everything to her.

How did this idea to launch your album “Kashi to Kailash” in Nepal happen?

This was my fourth visit to Nepal but my first time performing Kashi to Kailash. On previous trips, I came for travel and learning, with one earlier performance. But this time, I felt a strong spiritual connection. The idea to perform here came from being invited on a Nepal tourism trip. I thought of a historical space, and Pashupatinath felt perfect. As a classical dancer, I’ve always performed in sacred spaces like Chidambaram and Tirupati. I wanted this album to live in the mandir, not the club.

How did this concept for a spiritual album “Kashi to Kailash” come about, compared to the work you are usually known for?

This direction has always been part of my music. On my first album, I had “Mira,” which explored my spiritual connection through classical dance. In 2016, I included Sanskrit mantras in ‘Believe in You’. This album was a decision to fully embrace that path. I brought in traditional instruments, like Puneri Dhol recorded at YRF, and combined them with 808s and bass. It’s a graduation of everything I’ve done before, now presented in a cohesive way.

Is there any element of storytelling in your songs on this album?

Absolutely. Every mantra and puja I chose reflects my personal spiritual journey. For instance, I observed the Solah Somvar fasts, and that experience inspired ‘Lingashtakam’. I made Afro-pop to reflect the joy I felt during that time. The goal was to blend ancient Sanskrit compositions with modern sounds. I wanted these mantras to feel like part of everyday life, something you can play on your regular playlist—not just during rituals.

Your real name is Svetha Yallapragada Rao, inspired by a Hindu goddess. Has this motivated you to do a spiritual album?

Definitely. My name, Svetha, means ‘pure white light’, and Raja Kumari represents a protector spirit — like Kali. I’ve often explored divine feminine energy through my work. With Kashi to Kailash, I returned to my roots. These chants were part of my consciousness before I learned Telugu or English. I truly believe I’ve heard or sung these in past lives. This music feels like part of my dharma — bringing the ancient to the future.

Has your training in classical dance helped you on this album?

It played a huge role. For ‘Shiva Tandav’, I worked closely with tabla and dholki players and even wrote parts of the drumlines myself. Years of dance training gave me a strong understanding of rhythm, which helped me translate traditional structures into modern music formats. It also opened me up to scoring and full-scale production work.

In terms of melodies, your compositions have been inspired by a lot of unconventional influences. Can you share a few examples?

That was the goal. The album is like a spiritual “charge-up” - a digital darshan. Even with Sanskrit verses, the beats carry modern appeal. For example, ‘Shiva Tandav’ transitions through 808-heavy hip-hop into garage. I hope listeners, even if they’re not Hindu or Indian, feel the power of these frequencies. One of my American friends listens to ‘Mrityunjaya Mantra’ daily, it shows this music can move anyone. This wasn’t made for just one community; it’s for the world. Bob Marley’s influence runs deep—reggae and raga have shared roots. Rastafarian and Hindu spiritualities have parallels. You can hear that in the Afro pop layers of Shiva Tandav. I’m also deeply influenced by mythology, Ravana, and Adi Shankaracharya. I’ve even done DNA tracing to understand my ancestry, it all feeds into my creative process.

With this album do you perceive a spiritual element in your musical output?

Yes. Even in my early work, whenever you heard me go “oh oh oh,” I was often saying “om.” I’ve always been mindful of the energy I’m putting into my songs, whether they’re about victory or self-love. Performing Kashi to Kailash made me realize I’ve been conveying these messages all along now, I’m just saying it in Sanskrit.

How has your rhythmic concept evolved over the years from a hip hop artist to bringing out a spiritual album?

My sense of rhythm has deepened. Early on, I discovered the power of jati (rhythmic syllables), and now I’ve expanded on it. I used modern pop production techniques like harmonies and background vocals and applied them to mantras. It’s a fusion of traditional structure and contemporary sound.

A few years ago, you were on the AMA live carpet and now you're nominated for the ‘Arcane League of Legends’. How excited are you?

It’s a blessing. As I step into my tenth year as a recording artist, I constantly have to evolve and prove myself. This nomination for ‘Renegade (We Never Run)’ right after Kashi to Kailash was released, reminds me that I can still make an impact across genres. It’s a confirmation to keep going. I once interviewed artists on the AMA red carpet, now I’m among them as a nominee.

Raja Kumari with her mother Shaila Rao

You complete 10 years as an artiste this year. How do you reflect on this last decade and what are your goals for the next few years?

The past decade has been a whirlwind, from being hungry and proving myself, to acceptance and growth. Looking ahead, I want to focus on music education and infrastructure. I see so much talent in India, the only difference between me and many artists is opportunity. With Godmother Records, I want to support young female musicians, not to create mini Rajakumaris, but to help all kinds of artists flourish. I also want to deepen my study of folk and classical music and continue expanding my own vocal and artistic range. There are so many instruments and languages to explore. This is my dharma.

How did you go about with the song themes of this album and what was your songwriting process?

Thematically, the album explores the divine masculine and feminine energies, and my personal relationship with God, or as I like to say, “Sky Daddy.” The writing process wasn’t traditional—it was more about channeling. After my 2023 tour was canceled, I found myself lost and questioning my path. Then, I had a recurring vision of Kedarnath Temple, a place I had visited at the start of my music journey 20 years ago. That vision became the catalyst. I returned to Kedarnath with friends and, as I stood before the Trishul atop the temple, I asked, “What do I do now?” The answer I received was simple: “Surrender.” And so, I let go. The songs that followed became a form of worship in my own voice, a voice I’d once believed wasn’t suited for devotional music. Creating this album was about reclaiming that voice, surrendering to my purpose, and offering something from the deepest parts of me.

You collaborated with Nacho La Raza. Share your experience on working with La Raza and what inputs he brings to the album. How long did this project take to complete? And are there any musicians' collaborations on this album?

We met just before the pandemic, and over time, he became an integral part of my creative process engineering, mixing, and even spiritually immersing himself in the music. I nicknamed him “Nateshwar,” because Nacho means “dance” and he absorbed these mantras and sonics so thoroughly. From start to finish, the album came together in just 28 days, unheard of for me. It felt like the music made itself and wanted to be born by Maha Shivratri. We also had the blessing of collaborating with incredible musicians, flutists, violinists, tabla players, a women-led Puneri dhol group, and even elements from my childhood classical dance days. I played ghungroos, the damaru from Kedarnath, and incorporated singing bowls from my mother’s travels. Every layer of sound was intentional. Nacho even joined me in Nepal, where we performed together at the sacred Hanuman Dhoka in Kathmandu. Watching him walk those temple grounds, I told him, “Look where your music has brought you.” It was a powerful moment of cultural and spiritual exchange.

You visited Kedarnath and also Mahakam. What prompted you to visit these holy places and have these visits given a new meaning to your life in the future?

When I first visited Kedarnath at 18, I founded Ganges Flow Music, committed to blending my culture with my art. After the pandemic, like many, I went inward, did therapy, meditation, archery, stillness. These pilgrimages helped me reset, reminding me of who I really am beyond industry expectations. Today, as I perform at sacred sites, from Art of Living in Bangalore to the Ganga Aarti in Rishikesh and temples in Nepal, it feels like a temple tour, guided by Shiva. I’ve always wrestled with being “too Indian” or “too American,” but with Kashi to Kailash, I finally feel understood. It’s my offering, my prayer, and ultimately, my freedom.

Quick bites

Most expensive gadget/thing you bought - in ear monitor

Craziest fan encounter - in the Triyogi Narayan temple - on the way to Kedarnath temple.

Your favourite rapper - Lorren Hell

Favorite food - Mexican Food

When not working, what do you enjoy doing? - I love studying and reading ancient history

Are you seeing anyone? - No

One unfulfilled bucket list - I want to do all of the Jyotirlingas // being on an archeological dig.