Meet Jambutek: the long-running face of Sri Lanka’s underground

Sri Lanka has rapidly emerged as one of Asia’s most exciting and up-and-coming destinations, drawing attention not only for its stunning landscapes, culture and food, but also for its thriving music scene.

Often dubbed as “The New Bali”, many think the country and its music scene seemingly popped out of nowhere into the limelight, but that’s far from the truth.

For over a decade, Jambutek has been at the heart of Sri Lanka’s underground electronic music movement, being the first underground label out of the country, championing local and regional talent, all while pushing the boundaries of the scene. Through their label, events, workshops, artist residencies, and unique collaborations, Jambutek has shaped the country’s soundscape and built a dedicated community of creatives and music lovers.

Ahead of their highly anticipated label showcase at Dots Bay House, in collaboration with Mixmag Asia, we caught up with the collective’s founder, Asvajit, to dive into their journey, reflect on the growth of Sri Lanka’s scene, and explore what’s next for Jambutek.

Firstly, how did you come up with the name “Jambutek”?

The name comes from the jambu, a bright pink local fruit that I’ve always loved for its sour taste and unique look. Jambu is not commonly available commercially—it doesn’t have much culinary use, perishes quickly, and is highly seasonal—you usually need access to a tree and don’t really see it in shops, making it kind of ephemeral, which I think is cool. I wanted to name it something local but avoid any cliches and this seemed like an obscure enough reference that had some meaning to me.


How has the label transitioned over the years?

Jambutek has gone through a natural evolution over the years. When I first started the label, I was still relatively fresh in my own musical journey—I hadn’t fully developed my taste, and our roster was mostly limited to just a few local artists. The sound was more open-ended back then, reflecting that early phase of exploration.

A big turning point was when Nigel joined in 2017. Having someone else to collaborate with made a huge difference—it brought fresh energy, new ideas, and a stronger sense of direction for the label. Over time, we started working with more and more international artists, which helped refine our curation and expand our reach.

Now, Jambutek has transitioned from being primarily a platform for Sri Lankan artists to a more internationally recognized label. The sound has become more focused, and we’ve built strong connections with like-minded artists and labels from around the world. But at the core, the ethos remains the same—supporting unique, forward-thinking music and creating a space for underground electronic artists to thrive.

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How has the landscape of Sri Lanka changed since you started 10 years ago?

When we started Jambutek, the scene was barely half a decade old, and the civil war was still fresh in people’s minds. There were only a handful of local producers, and the infrastructure for electronic music was almost non-existent.

Now, there’s so much happening in terms of music. The scene has grown massively, with more producers, DJs, and collectives pushing things forward. Unfortunately, a lot of it leans toward a more homogenous sound, but you can’t deny that it’s flourishing.

Outside of music, Sri Lanka as a whole has changed in big ways—politically, socially, and economically. The past few years have been especially tough, with economic crises hitting hard right after the pandemic. That said, there’s a sense that things might be improving.

Jambutek Recordings emphasises collaboration with various creative disciplines. How has this multidisciplinary approach influenced the evolution of Sri Lanka's underground electronic music culture?

Jambutek has always been more than just a record label—it’s a space for collaboration across different creative disciplines. From the beginning, we wanted to connect music with visual art, design, and storytelling, and that approach has shaped how we engage with Sri Lanka’s underground electronic music culture.

Over the years, we’ve collaborated with illustrators, filmmakers, and digital artists, expanding the way electronic music is experienced here. It’s also helped open doors for cross-border collaborations, bridging Sri Lanka’s underground scene with global networks.


Jambutek’s visuals—hand-drawn artwork, limited-edition merch, and vinyl releases—create a strong aesthetic. How important is this identity to your music, and what’s the philosophy behind the design choices?

Jambutek’s visual identity is a huge part of what makes the label unique. Both Nigel and I are designers, and we run a design studio in Colombo called Fold Media Collective. So naturally, the way we present our music is just as important to us as the sound itself.

Each release and podcast features custom hand-drawn artwork by our illustrator, Ruwangi "Roo" Amarasinghe. We wanted to put real effort into the visuals, giving every release its own distinct identity rather than just slapping on a generic cover. At the same time, we never wanted to take ourselves too seriously—there’s a playful, organic quality to the artwork that reflects our approach to the label.

We’re also really lucky to have such a talented artist on board, and the only reason this whole thing is sustainable is because we do everything in-house.


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Your artist residencies and workshops invest in the next generation. What gaps in Sri Lanka’s music ecosystem made you take this approach, and what’s been the most rewarding success story?

When we started doing artist residencies and workshops, it was because we saw major gaps in Sri Lanka’s music ecosystem—especially when it came to resources, mentorship, and community support for electronic musicians. There weren’t many spaces where emerging artists could experiment, learn from each other, or access the knowledge needed to take their music further.

A big issue was the lack of infrastructure—not just in terms of physical spaces, but also in education and industry connections. Many young producers were working in isolation, without access to proper production techniques, live performance setups, or even a network of peers to exchange ideas with. That’s what pushed us to create these programs—to provide a platform where artists could develop their craft in a more collaborative environment.

One of the most rewarding success stories has been seeing artists who started out in our workshops go on to release music internationally, play at festivals, or even start their own initiatives within the scene. Watching that ripple effect—where knowledge and opportunities get passed on to the next generation—has been one of the best parts of what we do.

What are some of your favourite other labels? Is there another label that inspires you, and why?

One of our favourite labels is the Dutch imprint, SlapFunk. Also like a lot of the output from Berg Audio, Talman Records, Rubisco and the French label, Daydream.


What have been some struggles, and successes of Jambutek over the past decade?

Jambutek has always been a labor of love and passion, but like any independent label, financial sustainability has been a constant challenge. We’ve never run it as a commercial venture—it’s something we do because we love the music and the culture around it. Balancing the label with work and life has also been tough at times, but we’re proud that we’ve kept it going for over a decade.

One of our biggest milestones was our first vinyl release in 2019, which was a huge step for us. The response was incredible—it’s now on its third pressing, which is something we never expected when we first started. Beyond that, we’ve put out over 70 digital releases, working with musicians from all over the world, and in the process, we’ve built meaningful connections with like-minded artists in other countries.

A big part of what drives us is giving a platform to local artists who want to go against the grain. When we started, there weren’t any outlets for electronic producers in Sri Lanka, and we’re proud to have contributed to changing that in some small way. Looking back, the struggles have always been there, but the relationships, collaborations, and impact we’ve had on the scene make it all worth it.

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Can you share with us any of Jambutek’s upcoming projects?

We are currently preparing the third edition of our vinyl compilation series, JambuWax. It's been a couple of years since the last physical release and we are super excited to get this one out the door. It’s been a challenging few years with the pandemic, economic crisis, shifting global dynamics, and other creative projects having significantly affected the consistency of our output.

However, we are getting back on track and pushing forward with fresh energy this year and beyond with our quarterly digital releases, label nights and plans to work with our partners on more workshops and creative collaborations.


You’re playing Dots Bay House this week, what are your thoughts on the spot? What have you got in mind for the label showcase?

The curation of DJs at Dots Bay House this season has been outstanding, featuring lineups that align well with the stylistic direction of the label. There’s a real overlap in style, which makes it the ideal setting for our label night. What makes this even more special is how rare it is in Sri Lanka, where bookings often skew safer and more mainstream.

This will be the first time Jambutek has done a label showcase on the south coast, and we’re super excited. Dots has built a solid reputation lately for hosting cool underground music, cultivating an audience that is perhaps more receptive to diverse nuanced sounds than other local venues.


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How do you see Jambutek’s role in shaping the culture and providing a platform for artists?

Despite being (as far as we know) the first dedicated label for underground electronic music in Sri Lanka, Jambutek occupies a stylistically niche space in the local music scene. While over the years we have provided a platform for like-minded musicians through our releases, gigs, workshops and artist residencies—building a small but dedicated community of dancers and musicians in the process—another important aspect of our mission is also to provide an alternative take on music and nightlife in the face of an increasingly homogenous and commercialised dance music scene.

We believe multiple perspectives are important in all aspects of life, with music being no different. We actively seek out and support/nurture local musicians who, like us, want to go against the grain, encouraging them to pursue sounds that resonate with them personally, allowing for authentic and diverse expression of music.

Henry Cooper is a Writer at Mixmag Asia. Follow him on Instagram.

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