1. What first drew you to music direction and composition, and who were your biggest inspirations along the way?

Growing up, I never imagined I’d become a musician or music director—my dream was to study automobile engineering. But life had other plans. When our father passed away in 2006, everything shifted. My siblings and I had to come together and support each other as a family.

At the time, I just needed some pocket money. My brother Arafat Kirty, who was involved with Radio Foorti as a sound engineer and had a deep fascination with sound, became a source of inspiration. Watching him explore the world of audio sparked my own curiosity. I was also raised in a culturally vibrant household—my uncles had a rock band named Nova, and music was always in the air. I started playing tabla at the age of two or three in family hangouts and began learning classical Tabla techniques by the time I was in Class 3 from my master musician Ikram Hossain.

After our father’s death, my brother and I decided to set up a small home studio, which we named Studio 58. One of our first projects was creating the signature tune for Radio Foorti. That’s when my interest truly deepened. My first professional gig was composing the title music for a program on Channel 1. I was just 14, and the idea of earning money through something that felt like play made it all the more thrilling.

I started paying close attention to the music in commercials—especially jingles. A close family friend, Rajib Ashraf, a gifted lyricist, wrote the lyrics for my early songs. Then, at 16 or 17, I landed my first major commercial project – an advertisement for Banglalink and released my first studio album with collaboration of a new artist at the age of 19.

My musical journey has always been deeply rooted in my environment—the influence of my family, my uncles, and my grandfather, who all had a strong connection to culture. That foundation has shaped and guided me from the very beginning.

2. You have contributed significantly to many projects like Surongo, Toofan, Borbaad, Daagi and Taandob. How do you typically navigate the creative process with directors to ensure your musical vision complements their overall cinematic goals?

My perspective on cinema changed when I started traveling abroad. Watching films in theaters—where the full cinematic experience comes alive—opened my eyes. Unlike in Bangladesh at the time, where foreign films weren’t easily accessible, those experiences felt like entering a whole new world. The sound, the stories, the way emotions were conveyed—it all felt real and deeply immersive. That drew me toward film music in a more serious way.

When working on a project, I often provide music in advance—before shooting even begins. For example, in Surongo with Raihan Rafi, I gave them an original piece early on, which helped guide the mood of the shoot. I always try to understand how music can enhance a scene’s emotional impact, and I work closely with directors to shape that experience.

Each film demands a unique approach. In Taandob, I planned for an electronic sound from the beginning, aligning with global trends. I even composed a four-minute track just by reading the script—before any visuals were shot—for a one-take hospital scene in Tofaan. That piece influenced how they designed the entire shot. I believe music should tell a story too. In Taandob, the melody that plays at the beginning returns at the end—it’s Mikhail’s sound, creating a subconscious emotional link for the audience.

At the end of the day, it’s a team effort. The director represents my work on screen, and we all collectively represent the actors. And in turn, the actors represent us. It’s all connected.

3. What role do you believe music plays in the overall success and impact of a film? Is it more about enhancing emotion, driving the narrative, or something else entirely?

Music plays a vital role in both the emotional impact and the success of a film—especially in South Asian cinema. Take Daagi, for example. The promotional title track I created, featuring Afran Nisho’s vocals, gave the film a huge boost in visibility. Fame and recognition can help, but the right music truly elevates a film’s presence.

Even when the acting and visuals are strong, audiences still want to feel more—and that’s where sound and melody come in. It’s the responsibility of both the music director and the filmmaker to craft the right emotional tone.

Each genre demands a different musical tempo—whether it’s horror, action, or drama. The director’s vision also matters; a commercial film needs a very different sound than an art-house project. So, music isn’t just background—it’s a key part of the storytelling.

4. Given your extensive experience, how do you view the current state of the Bangladeshi entertainment industry, particularly in film music? What excites you most, and which areas do you believe require further development?

Today, audiences consume more content than we, the creators, do—and that’s actually a positive thing. It raises the bar for us, and that pressure is both healthy and necessary. Audiences today are incredibly savvy—they understand every element of filmmaking, from color grading and sound design to music, acting, and writing. That heightened awareness is what’s driving the industry forward.

We’ve made remarkable progress over the last decade. Viewers are now more informed, exposed to international content, and expect global standards. The culture of going to the cinema saw a real resurgence after the release of Poraan and Hawa—I witnessed packed halls that reignited excitement. That momentum carried through with hits like Damal,Surongo and Tofaan, each bringing fresh narratives and evolving cinematic styles. We’re also seeing more collaboration with international artists, which is an encouraging sign.

Yet, there are critical gaps we must address. Film is the soul of the creative industry, but we still don’t have a proper film mix studio in Bangladesh—one that supports high-quality sound design, foley, and professional mixing, often outsourced due to limitations in VFX capabilities and tight production timelines. This is an area that urgently needs investment and development.

If we can establish world-class mixing studios and build robust post-production infrastructure locally, we won’t need to depend on external resources. The talent is here—it’s time we bring the tools and facilities home.

5. What are your thoughts on the emergence of digital platforms, artificial intelligence and their influence on music creation and composition, particularly for artists like yourself who work across various mediums?

AI has been part of music creation for quite some time—it’s just become more advanced now. I don’t see it as a threat. Whether it becomes a creative partner or replaces us entirely depends on how we choose to engage with it. Even crafting a good prompt takes creativity; a prompt written by a true artist and one from someone without that imagination will never produce the same results.

Technology will continue to evolve, and that’s not something we should feel insecure about. At its core, it’s just a tool. The real question is how we use it—either to elevate our work or to let it take our place. That choice is ours.

6. Reflecting on your body of work, what musical signatures or techniques do you feel define your style, and how has your compositional approach evolved over the years?

I don’t follow a fixed musical style. I enjoy mixing genres and creating something unique each time. I’ve never limited myself. Back in my band days, I played heavy metal. Later, I composed for advertisements and even played drums at a café where legends like Ayub Bachchu and Hassan Abidur Reza Jewel performed. I like everything from metal to emotional Bangla songs to Hindi melodies.

I love blending sounds. For example, in Taandob, I fused classical sitar with electronic music—simply because it felt right. For me, it’s never about sticking to a formula; it’s about what sounds good and fits the emotion.

I’m still learning, still evolving. I constantly question my work—what I’m doing now, what I want to do next—because in the end, my work will speak for me. That’s why I stay focused on creating music that truly matters.

7. Looking ahead, what are your aspirations and goals for your future projects? Are there any new areas you’re keen to explore?

I’m currently venturing into filmmaking. We recently completed a project—directed by me and written by Raba Khan—that will soon premiere on Chorki. Alongside this, we run a content hub called Merge Creative, where we focus on developing stories for OTT platforms, with the long-term goal of working on full-length cinema.

Over the past 4–5 years, I’ve been producing commercials to gain hands-on experience with the production and shooting process. That journey has been instrumental in preparing me for larger fiction and film projects.

One of my key ambitions is to expand the landscape of cinema music—bringing in more musicians, growing our creative team, and increasing budgets to enable bigger, bolder productions. I want to build a space that encourages collaboration and creative freedom for everyone involved.