Born of the migration of South Asians to the UK from the 1960s onwards, the Asian Underground movement gave voice to their children by the time they came of age in the 1990s. They were a new generation of British Asians growing up in a racially diverse society and reflecting the diaspora culture they experienced: from mixing clubland’s bass culture with bhangra polyrhythms, to blending English-language vocals with Punjabi hits, the Asian underground formulated a musical lexicon of their own. Centring on east London’s weekly club night, Anokha, run by producer and tabla player Talvin Singh, plus west London’s Outcaste—which hosted composer Nitin Sawhney—the Asian underground soon started to gain traction as the ’90s progressed. Chart hits were spawned by Cornershop and Panjabi MC, while Singh’s debut album, OK, went on to win the Mercury Music Prize in 1999, and Sawhney’s Beyond Skin was nominated the following year. There were also equally interesting experiments occurring on the fringes of the scene: the head-scratching mix of ragga, synths and Indian classical in the Asian Dub Foundation; the sitar-electronica of Black Star Liner; producer Bally Sagoo’s Bollywood remixes; and the time-stretched drum ’n’ bass of Tabla Beat Science. While the movement receded from the charts in the mid-2000s, recent years have seen a rebirth, spawned by the next generation of British South Asians. Collectives like Daytimers—so-called after the daytime parties that first-generation kids would attend in the 1980s—have promoted dancefloor staples from the likes of producers Ahadadream and Yourboykiran, while South Asian influences are prominent in Surya Sen’s R’n’B, Riz Ahmed’s rap and Jaubi’s jazz classical. The music may not be underground no more, but there is clearly much more to be heard.