Shironamhin started their journey in 1996. At first they used to jam & perform in the campus gossip areas & street crowd. They have presented their musical approach & lyrical pattern on urban cultural fabric till their first program at TSC auditorium, Dhaka University on Pohela Boisakh with Podatik Nattyochokro. They participated in the final round of the 2nd ‘Star Search Competition’ arranged by Benson & Hedges. The listeners’ feedback made them feel the urge to frame their creations into an album. At present, Shironamhin has achieved enormous popularity to become pioneer in their own style of untitled genre & the most popular band in Bangladesh. They have performed uncountable live stage concerts nationwide & abroad. Shironamhin released 3 albums & participated in 5 mixed albums within 5 years (2004~2009) with their own unique lyrical vocabulary that could catch the intellectuals’ attraction & the simplicity could render a dynamic image on listeners’ mind. They have developed of their own unique style of successful blending of the popular western instruments like Guitar, Drums, Bass and Keyboard along with the traditional folk instruments like Bansuri, Dotara; Indian classical instrument like Sarod, Esraj, Scottish instruments like Bodhran, Banjo, Silver flute, African instruments like Mondo Mo Fa Head, Rainmaker; Western classic instruments like Violin, Cello, Trumpet, Coronet, Saxophone etc. 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. Besides, they paint 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.
After Jahaji and Icche Ghuri, “Bondho Janala” is their third album. It has been released on 13th February, 2009. It has been Recorded & Produced on their own recording studio named as “Praay Shironam”. Some works has been done in Bengal studio, Studio Auchin & Studio Greg Pigott (Australia).
Zia: Bass, Guitar, Keys & Drums Midi sequences.
Farhan: Sarod, Dotara