Ahmed is just one of the guest voices on “More Arriving”: The album connects the dots between myriad collaborators to “prove that there is no one voice that represents the community,” Korwar said. Some songs feature the rappers from India’s burgeoning hip-hop scene; another uses the words of the author Deepak Unnikrishnan, who was born in Kerala, India, and is based in the United Arab Emirates.

“We’re in a revolutionary period for South Asian music,” said Bobby Friction, a broadcaster with a long-running show on the BBC Asian Network radio station. “It’s being made all over the world. There’s South Asians all over Canada, two generations in, all over the U.S.A., three generations in — and over here,” he said, meaning in Britain, “we’re four generations in.”

What Korwar was doing was interesting because it was “multiregional,” Friction added: “He’s working with Marathi-speaking rappers in Mumbai, and then some guy from the East End of London.” These were people who would probably have difficulty communicating with each other, he said. And yet, he added, on “More Arriving” they were “essentially talking about the same things.”

The last time a collision of South Asian traditional and contemporary music came to prominence in Britain was during the 1990s, with a group of artists collectively known as the Asian Underground, including Talvin Singh, Nitin Sawhney and Asian Dub Foundation. Many of them paired the sounds of Indian instruments with electronic beats.

Singh won the Mercury Music Prize, a prestigious British award, in 1999 — but then “the door closed again,” Friction said. Very few South Asian musicians have managed to puncture the mainstream here since.