Amid the electric hum of raw energy and unrestrained chaos, SKRAT’s Circus Act emerges as a sonic manifesto of rebellion and storytelling. For more than 15 years, Chennai-based band SKRAT — comprising Sriram TT (guitars/vocals), Tapass Naresh (drums), and Jhanu Chanthar (bass guitar/mix/master) — has been carving out its own space in India’s independent music scene. With their latest Extended Playlist (EP), Circus Act, the band takes an unconventional approach, recording live to capture the unfiltered energy that defines their sound. By redefining its recording process while deepening the mythology of its universe, the band continues to rise up in an industry dominated by polished pop and commercial expectations. TNIE speaks to Sriram to discuss the philosophy behind this raw recording style, the evolving story of their fictional universe, and the future of independent music in India.
Circus Act is your first live-recorded EP, embracing a raw, garage-band aesthetic. What inspired this approach?
Our band has always been a three-piece rock band. Traditionally, recordings are done in a studio setting to get a clean, polished sound. But for us, that process never fully captured the energy of our live performances. Whenever we recorded in a controlled environment, the songs felt too sanitised, lacking the intensity we brought on stage. So, we decided to flip the process. No metronomes, no layered tracks, no isolated instrument recording — just a pure, live performance inside a garage. There’s minimal soundproofing, just enough to shape the natural acoustics. The goal was to break away from the polished, clinical approach that often contradicts the essence of rock music.
The title Circus Act suggests themes of chaos and spectacle. How does it connect to the band’s larger storytelling universe?
Our music has always been set in a fictional universe, and Circus Act is another chapter in that world. Over the last five releases — including albums like The Queen, Bison, and Bring Out the Big Guns — we’ve introduced characters and events unfolding in an alternate reality.
This EP acts as a prequel to the Bison Wars, a major event in our universe. The title Circus Act works as an adjective — like saying, “This is such a circus act”— reflecting the chaotic events leading up to the war. It also introduces Slingshot, a former circus performer turned mercenary, whose journey is at the heart of the EP.
Recording without a metronome or additional layers is a bold choice. Did this make the process more challenging or liberating?
Surprisingly, it made things easier. When you don’t rely on a click track or digital editing, you’re free to focus purely on playing. We don’t use a metronome live, so why do it in the studio? Of course, we had to play each song multiple times — sometimes 30 or 40 takes — to get the right version. It was physically exhausting but never mentally draining. The process felt natural and true to our style.
The tracklist — Flashbang, Slingshot, Circus Act, Radicade, X Human — feels intense and interconnected. What’s the story behind these songs?
The EP follows Slingshot, a circus acrobat forced into mercenary work. As circuses decline, she takes on a high-risk job that goes wrong — leading to her arrest and a decade-long imprisonment. When strange events unfold on the planet’s surface, the same authorities who locked her away now need her help.
Flashbang depicts the moment she’s framed for murder.
Slingshot explores her resistance when approached for the mission.
Circus Act is her realisation that she’s only valued when needed — questioning her role as a mere spectacle.
Radicade follows her leading a covert operation into enemy territory, only to discover that the emerging threat is more than just legend.
X Human sees her transformation — she joins the Bison’s army, shifting allegiances as the Bison Wars begin.
The EP is a deep dive into the lore of our universe, connecting past albums to future releases.
Will this stripped-down, raw approach define the band's future sound?
Absolutely. We love jamming together, and that’s when our best ideas emerge. Overproduction dilutes that energy. Moving forward, we want our recordings to feel as alive as our performances — raw, spontaneous, and immersive.
The independent music scene in India often struggles against corporate-backed mega-events like the recent Coldplay concert. Do you see these festivals as a challenge or an opportunity?
I don’t think these festivals overshadow independent music; if anything, they create opportunities. The real issue isn’t Coldplay — it’s that mainstream Indian audiences still equate music with Bollywood. Big international acts often have Bollywood stars opening for them, sidelining local independent artists. That’s the challenge. But at least these events prove that people in India are willing to pay for live music. Festivals like Zero Festival and Bandland do more for independent bands than commercial pop-driven gigs.
What are the biggest challenges for Indian bands today?
Infrastructure is a major issue. Outside of cities like Mumbai and Bangalore, getting permissions for live shows is a nightmare. There’s bureaucracy, bribes, and a general lack of understanding from authorities. But in most of India, if you carry a guitar, people assume you’re a Bollywood session musician. There’s little awareness of independent music as its own scene. The people making decisions — whether it’s entertainment ministers or event organisers — just don’t get it.
The band has gone through many phases — motorcycle tours, bus-top gigs, and now this raw live EP. What’s next?
We’re focusing on expanding our universe. We don’t want to rely on traditional industry structures; instead, we’ll keep creating new stories, pushing the boundaries of our live performances, and collaborating with artistes across different mediums. The goal is to make our shows an immersive experience — not just a gig, but a fusion of music, storytelling, and visual art. Think of it as a live, interactive exhibition rather than just a concert.