Mumzy Return with Stranger ‘Corey’

It is a type of homecoming for the British-Bengladeshi rapper, singer-songwriter, and record manufacturer Mumzi Stranger recently released ‘Kori’ (‘What can I do’ in Bengali in Bengali), which features American artist Muza. In an interview, Mumzi says that ‘Ki Kori’ is not just another music experiment, but a deep personal, global statement. He opens about the manufacture, creative cooperation, its development of the song, and why he still moves forward in shaping the global South Asian music.

Excerpt from interview:

What happened to build ‘Ki Kori’? Was it a song, a beet, or a conversation?

The first spark for ‘Kori’ came during a studio session when DJ Lean (British lyricist and producer) placed a beet loop that immediately resonated with me. I started vibi and dropped a raga on the spot, which made the entire team excited. Later, we sat with the author and talked about the moments in relationships where you feel helpless, ask yourself, “Kori Kori?” Or “what can I do too?” That emotional place became the heart of the track. Everything was systematically swept away from there.

You have always mixed R&B and South Asian sounds; What new elements did you consume it to ‘Kori’?

When mixing R&B with South Asian sounds, my music identity is part of my music identity, I have targeted to elevate that fusion. I focused on a deep emotional tone, both music and lyrically. DJ Lean’s Beat added a fresh cultural stretch, while I bent into a moody, minimum raga. We gave Bhavna a production place to breathe. Vokli, I kept it raw and honest, weaving in Bengali phrases for cultural prosperity. The results are still me, but more and more stripped, emotionally real, and cooler in tone, some yet more developed and universally trusted.

How did a new yorker work with Muza, affects your creative process on this track?

Working with Muja brought a new dimension on the track. His clever, Sharp New York Energy, a creative lead pair, which further carried the Vibe. This was not just a specialty – it was a cooperation that brought me my own parts with more energy and ease. Chemistry was natural, and the session flowed easily. His inputs actually helped ‘Ki Kori’ to resonate some more dynamic and globally.

Was it always to be a cooperation, or was the idea of ​​bringing Muja on the way?

‘Kori’ began as a personal project with my team and was not initially planned as a cooperation. But when Muja was in the UK for a show, we were connected in the studio. I played her track, and he immediately worked with her. I suggested that he jumped, and he was all inside. We recorded its share before flying outside. It came together naturally and easily that it seemed that it was always a cooperation from the beginning.

How was the storyline planned for the video?

I handed Sameer a creative rebellion in the desi trill – he got a look for visuals. He created a fun concept, which corresponds to the energy of the song, which focused on approach, style and performance rather than just a breakdown of the heart. The result was a clever, cinematic, performance-driven video.

Sometimes a video can completely move how people experience a song. Was there any balance that you thought of consciously?

Absolutely. With ‘Kori’, I wanted the video to complement the spirit of the track, not dominate it. The listener’s relationship was to increase without distracting the rawness of the target song. We simmerly hit the scene with the right energy to elevate the visuals, powerful, perform-based, elevate the vibe.

You were one of the first people to bring South Asian influences in Britain’s urban music. How do you see the global South Asian sound developing?

It is incredible to see how South Asian sound has increased. When I first mixed it with Britain’s urban music, it was still niche. Now, it is a global power. Artists are fusing traditional devices with electronic beats and cultural tunes with modern vibes, making the sound more dynamic and accessible. It is no longer limited to a place, it is everywhere. The world is finally appreciating the prosperity and versatility of South Asian music. This movement is expanding rapidly, and we are only scratching the surface.

When you think about your early hits such as ‘One More Dance’ or ‘Come My Way’, how do you feel that your voice and story have developed till the time of ‘Kori’?

The ‘another dance’ was about breaking the obstacles, being a South Asian artist in R&B and we prove. With ‘Aao My Way’, I started a combination in my languages, experimenting with identity. There were no rules, just a drive to try something new. By ‘Ki Kori’, that journey matured. The sound became more sophisticated, the emotion deeper, and the story stories. I am still combining cultures, but now with clarity and purpose.

In these years, how has your relationship with your Bangladeshi roots develop through your music?

Initially, my Bangladeshi roots were greater than a background effect as I focused on creating waves in the UK view with R&B, Grim and Dancel. But over time, I grew up to embrace my heritage. The involvement of Bengali language and the sounds in my music deepened my relationship with both culture and fans in the diaspora.

Is there a story behind Muhammad Mumith Ahmed who is changing the name of his platform for Mamzi Stranger?

‘Mumzi’ came naturally, it was a surname that the people of my region started using quickly, and it simply got stuck. Later ‘stranger’ came out. I always felt that I was doing something different – an outsider was not common when it was not common with an outsider with South Asian roots. I was stepping in places where no person like me expected. Therefore ‘stranger’ represents being unique, does not fit the box, and owns that identity.