How ‘Koshto’ crowned Ayub Bachchu a rock icon

"Then one day, on a full moonlit night, I too will depart—taking along the only certainty—towards the land of eternal harvest. I will come to know that 'everything arrives too late, reveals itself too late; and then suddenly, it disappears.'"

These words were printed on the cover of Ayub Bachchu's immensely popular solo album "Koshto", released in 1995. They were written by Niaz Ahmed Aungshu.

Although Ayub Bachchu had released two solo albums in the 1980s, "Koshto" was his first solo album after the formation of LRB. It was this album that firmly placed Bachchu on the throne of Bangla band and rock music.

But why did "Koshto" become so popular? Alongside Ayub Bachchu's exceptional vocals and the strength of the lyrics, a major role was played by his magical compositions. Interestingly, instead of using his own name, he credited the composition and music under his nickname, "Robin".

All the songs on the album are exquisitely composed. There are three songs built around the theme of pain, and all three are outstanding. In "Koshto Pete Bhalobashi", Bachchu creates a remarkable fusion of melody and rock. The superb interplay between keyboard and guitar, supported by minimal drums and bass, maintains perfect balance, complemented by Bachchu's naturally pathos-filled voice.

"Koshto Amar Ei Buke" blends hard rock with melody. Bachchu's guitar work here is of international standard. The song follows a middle path between hard rock and melodic rock.

"Koshto Kake Bole" is a pure mellow rock track. It opens with a striking keyboard intro that remains dominant throughout the song. Alongside it rises the anguish of Bachchu's soaring voice, spreading across the listener's inner world.

"Obak Hridoy" features subtle use of blues notes. The sense of emotional numbness in the song is further intensified through this blues-inflected approach.

In "100 Ta Shopno", the agony of unfulfilled dreams is expressed with greater force and intensity. To convey this, Bachchu turns to hard rock in the composition.

In contrast, "Jege Achhi Eka" is extremely soft. It cannot quite be classified as rock or even mellow rock. It is a tender, melody-driven song soaked in pain, reminiscent of the softer compositions Bachchu created for the band Souls.

"Hoyto Kothao" stands apart conceptually. In this song, the lover has already died and speaks to his beloved from the afterlife.

"Amio Manush" feels distinctly modern. This beautifully melodic song carries a cinematic flavour and emotional depth.

"Hridoyer Punorbashon" recalls the melodic modern Bangla songs of the audio cassette era of the 1980s and 1990s. Listening to it brings to mind the songs Ayub Bachchu composed for Tapan Chowdhury.

"Amar Jibon" is a fine example of a blues composition. At the time, such use of blues in Bangla music was rare. The blues style gives shape to the underlying despair of life expressed in the song.

In "Bhishon Byatha", Bachchu creates a truly unique composition by blending reggae and blues. It was highly unconventional and entirely distinctive for its time. Very few Bangla songs have achieved such a fusion.

"Bohudur Jete Hobe" is a song about moving forward in life after enduring pain. It begins with a long, beautifully crafted guitar solo. Alongside the striking solo, the song carries a strong sense of hope throughout. Bachchu blends melodic rock with a subtle blues flavour, reinforcing a message of overcoming sorrow and obstacles in search of peace and joy.

The album "Koshto" articulated the unspoken emotions of the youth of its time. It took rock music beyond its perceived boundaries and carried it into households everywhere. The album sold in record numbers, creating a sensation in the audio industry. Bachchu's vocals are at their most melodic here, showcasing his extraordinary musical talent and the depth, range, and power of his compositional brilliance. Even thirty years after its release, "Koshto" remains alive in the hearts of listeners—and will continue to do so.