In this era of TikTok, where musical trends shift with the speed of digital streams, Elita Karim remains a constant, a bold voice that resonates across generations of audiences. Whether channelling the soulful melodies of the 2000s, exploring cutting-edge sounds, or even crafting compelling narratives through acting and writing, her artistic range is as impressive as her undeniable impact. Adding to her diverse body of work, Elita Karim has recently released her new 4-track EP, ‘Chini Der Chamoch,’ a collaboration with lyricist Shahid Mahmud Jangi and composer Pilu Khan.
How did the ‘Chini Der Chamoch’ EP come about?
The album, ‘Chini Der Chamoch’ is unwittingly a Chatgayya love child, as I like to call it. It all began with Shahid Mahmud Jangi, who asked his dear friend, Pilu Khan to set his lyrics to music. And then, the question came up: “kare diye goijjum?” Who shall we get to sing these songs? Luckily, they thought of me.
The recordings at Bappa Mazumdar’s studio felt like a true Chatgayya reunion; Bappi Da – our recordist, Jangi bhai, Pilu Khan, and I share our roots in Chittagong. After laying down three tracks, ‘Prem Hobe Din Sheshe,’ ‘Bhalobashi,’ and ‘Projapoti’, I suggested adding one more to make it a proper EP. That’s when Jangi bhai came up with the lyrics for the fourth track ‘Chini Der Chamoch’. I couldn’t resist teasing Jangi bhai about his scandalous one-and-a-half teaspoons of sugar with his tea. And when we released through Aajob Records, Jangi bhai, with his wonderful sense of humour, named it after our little joke.
Working with Pilu Khan and Shahid Mahmud Jangi, these titans of the 80s Bangladeshi rock music scene, was an absolute honor. They have created iconic songs for legends like Ayub Bachhu, Partho Da, Samina Chowdhury, and many more. For me to lend my voice to their compositions? That’s monumental. Naturally, the EP has a very nostalgic 80s-90s feel. Take the song ‘Chini Der Chamoch’ for example. It’s a witty back-and-forth between two people, but if you listen closely, you can sense the romance brewing underneath the surface. It’s that classic, charming style of songwriting. I absolutely loved bringing it to life.
How do you see your current work fitting into the broader arc of your musical career?
I always wanted to do either a song or an album with the iconic sounds of the 80s and 90s; I love the Bangladeshi band music from that era. So, this EP was really a dream come true, a way to pay homage to that incredible time.
Now, some might wonder if revisiting those sounds mean taking a step back, but I see it as more of a loving nod. Music, like memories, transcends time. There’s a whole generation, young and old, who appreciate and cherish those melodies, and I am happy to be able to connect with them through that shared love.
Then, in January, I featured on Pritom Hasan’s single ‘Bagan Bilash.’ That song has a completely different vibe – it’s much darker, more introspective. Inamul Ihsan’s lyrics, sung in a lower note, really captured the feeling of helplessness associated with OCD, which was so important for Jaya Ahsan’s upcoming film. On the other hand, for Mehazabein and Adnan’s wedding, I collaborated with Arafat Mohsin on two songs. While ‘Tumi Ele Ghore’ (Lyrics: Tonmoy Parvez) reflects more my style, ‘The Holud Song’ (Lyrics: Rasel Mahmud) is an upbeat, fun, item song kind of track. So, between the EP and these recent singles, I feel incredibly fortunate to be connecting with such a wide range of audience.
How do you see the music industry evolving, particularly with technological advancements, and how do you think musicians should adapt?
There will be shifts, especially in this industry. But at the heart of it all, whether you are a creator or musician, what truly matters most is music itself. Does it move you? Do the lyrics resonate? Does the melody stick with you? That’s what people connect with. Music loving people will embrace any format. So, as creators, we should be just as flexible.
Of course, the younger generation tends to have a head start with tech. We need to bridge that gap, blend musical erudition and technical skills. That’s how we keep the good music alive. It’s about collaborating, learning from each other, using all the tools at our disposal, but never losing sight of what makes music truly special. Ultimately, for me, the real measure of success is this: can someone put on one of your songs 20 years from now and still feel something? If they can, then you have done something right.
What’s next for Elita Karim?
With time, I have realised that I can’t just wait around for opportunities to come knocking; I have to create my own. I am glad I stepped out of my comfort zone with my recent singles and the EP. For someone like me, who’s used to working with directions, it’s always great when talented music directors come to me with exciting projects. But lately, I have been thinking why not approach them with my own ideas? I want to explore different genres, write and compose things that are uniquely me. And even though it’s a bit scary to admit it, I am putting it out into the universe – eventually, I want to curate and produce my own songs. I have been dipping into songwriting, and aiming to compose and release an entire album by the end of the year. It’s time to take the reins, you know?