Some music lovers who felt like roaming around the city is nothing different but to sail into crowded urban duelers’ sea formed Shironamhin. They were not much ambitious yet eager to practice music; casually singing with a simple acoustic guitar & clapping or beating on table tops started their musical voyage in 1996. At first they used to jam & perform in the campus gossip areas & street crowd. In course of time, they started to perform in the campus stage live performances bringing in some inevitable changes in the use of instruments. Introduced plugged guitar & sarod along with drums. Fortunately they’ve got enough encouragement from the audience that motivated them to give some serious thoughts about releasing an album. They hardly covered other artists. Most of the songs they used to perform were their own songs which were completely new for the audience & earned some respect for the lyrics & tune, specially the lyrics on short timeframe & having the colour of magic realism. They had more than 50 songs & we compiled 10 out of them for their debut album “jahaji” that was based on some urban struggle makes someone thinking he is a lonely sailor sailing around the known streets of the city in quest of life.

Initially Zia formed the band with Jewel (guitarist) & Bulbul (vocal). They continued for 4 years with same approach which they couldn’t manage to do in course of time. Shironamhin tried to record their own compositions time to time in various studios that didn’t work in a result for a complete album. Tuhin Joined Shironamhin in 2000. He was from the same university (BUET) & same discipline (architecture) with Zia & they tried to carry the ship along with Farhan & Tushar who joined in 2003. Shafin was practicing drums, eager enough to prove himself as a musician joined Shironamhin in 2003. Diat (guitar) & Rashel (keyboard) joined in 2009, 2010 respectively.

Shironamhin started their live performance journey by performing at the TSC auditorium, Dhaka University along with the stage drama performance of Podatik Nattyachakra. They started with a total acoustic approach & have applied changes for solid performance’s shake later as they had to perform in front of thousands people lately. Acoustic feedback possibilities might ruin the sound quality in that case. But they didn’t give up the acoustic approach. They have played sarod in their live performances & they still do for the TV/FM radio lives. Farhan used to play sarod. After icche ghuri he left Bangladesh for higher studies that made shironamhin think different for compositions. In the album Bondho janala they have used silver flute & esraj in the compositions with the help of guest artists though farhan played sarod in one song communicating & sharing thoughts with shironamhin through internet, recorded his instrument in an Australian recording studio. In 4th album Shironamhin Rabindranath which was a tribute to Tagore shironamhin has changed the total approach in composition. 39 acoustic instruments were played in that album which they had to arrange from all over the globe. This passionate practice on acoustic instruments encouraged the young musicians to learn acoustic & classic instruments instead of using easy downloadable loops & cheap software based music.
Shironamhin worked for self-titled album with a 2.5 years musical effort & recording process. This time they tried to do every playing on their own. Zia & Shafin have spent some sweat on learning to play sarod. Zia had to learn playing violin, cello & contrabass too. Shironamhin has changed in approach, tried to input matured thoughts & musical experience on their self-titled album. After 17 years of a musical journey Shironamhin could dare to release their self-titled album.

Shironamhin effectively created a very complicated hepatic quality of lyrics by putting side by side contrasting allegory of urban myth, morose state of human soul and their expectation from life itself. They have tried simple metaphor on urban lifestyle or the basic need that people can experience in their daily routine. Shironamhin paints ruthless landscape in the context of life, scale of urbanity; they depict the rustic rural within a controlled yet personalized emotional content. The nature that made Shironamhin the talk of the town band is their achievement of being self-sufficient in every way. The construction of lyric, tune & composition, the live sound producing, the album production with technical supports, the presentation of graphical skill & design made them one & only in Bangladesh.

Shironamhin believes that a perfect tune can only grow through crawling up the body of text and breed only within the ontological situation of human uttering. They also believe that only by using the proper rhythms of Bengali diction and through an extension of that rhythm it is possible to find a proper tune (body) for a proper lyric (soul). And probably this new understanding of music can change the common trend of Bengali band music culture which will offer a new era of communicative music.

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