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ARTCELLISM LIVES ON

In the dim light of a cosy studio, the air thick with anticipation, I found myself face-to-face with the rock legends of our country. The members of Artcell, clad in their iconic black band t-shirts, lounged before me with an air of casual camaraderie that belied their status in Bangladesh’s rock pantheon.
MAHIYA TABASSUM
As I was preparing for the camera to roll, a humbling realisation struck me—this band had been crafting sonic masterpieces before I had even mastered my mother tongue. Their creations, like— Oniket Prantor, Onno Shomoy, Obosh Onubhutir Deyal, Amar Poth Chola, Dhushor Shomoy —had become the soundtrack to a generation’s hopes, dreams, and rebellions.
Twenty-five years. A lifetime for some, a blink of an eye for others. For Artcell, it represented a journey etched in power chords and poetic lyrics, a reflection of their enduring impact on Bangladesh’s musical landscape.
As four members from the current lineup—George Lincoln D’Costa, Kazi Faisal Ahmed, Kazi Asheqeen Shaju, and Iqbal Asif Jewel—graced The Daily Star studio, they talked about their 25-year celebration, recent tour, future projects, and more.
To mark their silver jubilee, Artcell embarked on an ambitious international tour. Lincoln shares, “We kicked off our celebration with a tour starting in Australia, followed by performances across nine Canadian provinces.”
The Canadian leg proved particularly significant, with shows in major cities like Toronto, Vancouver, and Winnipeg. Notably, Artcell made history as the first Bangladeshi band to perform in St John’s, Newfoundland, and Regina, Saskatchewan. Band member Saef Al Nazi Cezann, currently residing in Australia, rejoined the group for this tour.
Shaju highlights the unique connection experienced during these performances. “We reconnected with fans from our RCC days, many now settling into careers or pursuing PhDs. It’s a rare opportunity to engage so intimately with our audience, something we don’t often experience during larger gigs back home.”
The tour, organised by Toronto-based MNC Entertainment, allowed Artcell to showcase a broader repertoire. Jewel explains, “In Bangladesh, mixed concerts often limit us to our greatest hits. In Canada, we had the freedom to play extended sets, as long as two hours, including deeper cuts like Rahur Grash, Otritio, Bhul Jonmo, and Dhushor Shomoy .”
“ Bhul Jonmo wasn’t even on our list. The crowd started chanting it and we had to play it on the spot,” shares Faisal.
In 2023, Artcell released Otritio , their third album, following a 17-year hiatus since the massively successful Oniket Prantor . “Conceived over a decade ago, it explores the destination, something that we search for. The destination may seem incomprehensible, miraculous, or unreal at first, but it can be the only truth, to be comprehended in the future,” says Lincoln.
“Lincoln is being cryptic with the answer,” interrupts Jewel with a playful smile. He then goes on to elaborate, “This is a concept album, there’s a lot of room to think for the listener. This is a story set in the future, blending science, fiction, as well as spirituality.”
The band acknowledges that Otritio hasn’t resonated as strongly with audiences as their earlier work. Shaju explains, “We deliberately departed from our conventional approach. As a progressive rock album, we knew it might not immediately appeal to younger listeners. Our goal was to create a conceptual album and make a statement as a band, that would remain in history.”
Discussing the current state of local music industry, the band reflects on the challenges of creating timeless classics in today’s fast-paced, content-saturated environment. Shaju notes, “It’s too early to say we’re not getting enduring hits. Oniket Prantor was released in 2006. It was around 2012-2013 when it became a hit or achieved its classic status.”
The band also discusses the double-edged sword of digital platforms, which have democratised music distribution by labels but led to content oversaturation. “People are constantly looking for dopamine hits, even videos are becoming too long for their attention span. So, they are switching to reels with a shorter duration. This way, it has become difficult to find that space to grow a loyal fanbase for a song or band. But quality songs are being made, tons of them. We need to listen to them sincerely,” he adds.
Jewel further emphasises the collective responsibility to promote quality, “Instead of making low-quality content viral, we must promote quality ones. Otherwise, not just the music industry, art, film, and every other form of media industry will suffer.”
On the topic of AI in music creation, Jewel expresses measured scepticism. “While AI has its uses, like restoring old recordings, it can’t replicate the emotional depth of human-created music. It’s a tool, but not a substitute for genuine creativity.”
Artcell hints at several upcoming projects, including a corporate collaboration featuring a music video. Jewel reveals, “We’re developing six or seven new tracks and have plans for more. Our creative process is organic; we don’t rush to meet external demands.”
Reflecting on their enduring success, Lincoln attributes it to “perseverance, consistency, dedication, and passion for music.”