Prerna Singh

Born and raised in New Delhi, India, she grew up in a household where her parents were doctors. Her love for music began in the 6th grade when her mother bought her a Sony MP3 Walkman. "I used to download songs every day and had a playlist of almost 1,000 tracks," she recalls. This early passion for music led her to join her school's orchestra band, "Dhwani," as a choir member. She fondly remembers spending her days in the music room, often skipping classes to immerse herself in the vibrant world of music. "It was beautiful to spend my time surrounded by musicians, listening to the sitar, guitar, drums, and various percussion," she said. Little did she know that this auditory training would pave the way for her to become an inspiring techno artist, courageously blending Indian classical sounds with the hard energy of techno.

During her days at the School of Planning and Architecture, she stumbled upon the mesmerizing world of psytrance. "My friend Karthikeyan introduced me to Shpongle one evening, and I was spellbound, playing their music on an endless loop," she reminisces. As she navigated her final year of architecture, her workspace was filled with the entrancing beats of Charlotte De Witte, the pioneering sounds of Kraftwerk, and the hypnotic rhythms of Astrix and Mandragora, all of which became the soundtrack to her creative journey. Later, during the COVID-19 pandemic, her mother gifted her a DDJ 400 and a MIDI keyboard, marking the beginning of her career as a DJ and music producer. In 2024, Prerna released her debut EP, "90's Acid," showcasing her experiments with acid sounds, industrial tunes, and a distinct Indian vibe.

Before embarking on her journey to the Royal College of Art and Imperial College London for a master's in Innovation Design Engineering, she carved her niche in the vibrant techno scenes of Delhi and Jaipur. After arriving in London, she collaborated with curators to craft unique sets for exhibitions and queer parties, her music weaving seamlessly through the fabric of each event. Her talent echoed beyond borders, gracing the renowned clubs of London—E1, EGG London, and Venue MOT—each performance a testament to her evolving artistry.

How did your journey into Techno begin?

It wasn’t too long ago, back in 2020, when I first heard Charlotte de Witte’s Ensemble. My brother, always the curious one, was deep into discovering new music and had just started exploring DJing. At that time, I was completely immersed in psytrance, listening to artists like Shpongle, Astrix, and Mandragora. But something about Charlotte’s sound hit differently. It felt like something I had been searching for all along or perhaps it had been searching for me. The repetitive, hypnotic beats and haunting vocals resonated so deeply that it sparked a desire to mix and create techno myself. I was drawn to how acid techno could say so much without a single word. That moment was the beginning, and since then, there’s been no looking back.

Is your biggest inspiration your environment, other artists, or something else?

My biggest inspiration is the urge to express the parts of myself that have been silenced - by society, by norms, by history. It's a deep, ancestral rage too. Being from a Dalit community, I carry stories and struggles in my blood. Techno has become a way for me to reclaim power, to turn the most tender and feminine parts of myself, often seen as weak into something radical and strong. I draw inspiration from all kinds of art, not just music. I’ve been lucky to be surrounded by fierce, brilliant women whose energy fuels my own creativity. Techno helps me break linearity, push boundaries, and create something that speaks for the unsaid within.

How did you create this release, were there any defining moments in the creative process?

How has your background and life experience influenced your music?

Regarding your musical journey, where do you want to be in 5 or 10 years?

Kaal was born from loss of hope - specifically, a heartbreaking incident in London where I wasn’t allowed into an event I helped promote. The security questioned me, implying I didn’t look the part or belong there. One even asked, “Did you drive here or take the bus?” I felt invisible - as a woman of colour, as someone who didn’t “look fancy.” Instead of lashing out, I channeled that hurt into Ableton and Serum. Kaal became a form of catharsis, my dignified response to discrimination. It’s a sonic expression of resilience and belief in my vision. On the flip side, Akaal came from a place of joy and warmth. Created while working with Nli and Joel from Adhesive, it reflects balance - yin and yang. Where Kaal explores death and letting go of negativity, Akaal speaks of timelessness, a celebration of light and positivity.

I’ve never quite fit into boxes. In school, I wasn’t part of any one group, I was always experimenting, always curious. I was also in a school band called Dhwani and spent countless hours in the music room instead of classrooms, soaking in the energy of live instruments and raw talent. Though I had some Indian classical vocal training, it wasn’t formal but the roots stayed. Psytrance showed me the beauty of experimental, hypnotic sound. Now, I bring those influences into my music - sitar, tabla, ghantam, flute, santoor, and even violin samples, layered with my own electronic textures and synth work. You’ll hear echoes of psytrance and spicy Indian sounds but what ties it all together is storytelling.

In the next few years, I want to deepen my musicality. I’ve already started learning the violin and soon I’ll begin learning the sitar. My dream is to compose my own melodies instead of relying on samples, and to collaborate with classical artists from different traditions. I also want to create a label - one that uplifts FLINTA artists of colour, giving them the space and platforms they deserve in the global techno scene. I see myself curating charity raves to support low-income communities impacted by climate change, using music as both resistance and healing.

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