Navaraj Gurung has stretched his limits of Tabla playing further in this album. In first few tracks, his mastery over the Tabla’s ‘rhythmic narration’ is profound. The fingerings and the flow of the movement is very much powered by his skills in precision – of tempo, timing and feelings. This clearly marks that he really ‘is’ the artist of his stature.
Santosh Bhakta Shrestha on the other hand has imbibed more fluidity in his ‘Ishraj singing’. His sensual bowing of this human-voice alike instrument, Ishraj, has sparked a deep resonance of beautiful feelings in each tracks. Santosh means content in Nepali, perhaps the style he has used in this album has reflected the feeling of his name too! Santosh uses a lot of small, crisp and articulate bowing and fingering technique which makes him one of the best Ishraj player around.
Sanjay Shrestha an upcoming soil-engineer and a versatile guitarist (who began music with Tabla playing) has harmonized his ‘western style’ into the Eastern feelings – not necessarily classical though, but a different genre of playing. His fingerings and strumming very much reflect the geared-up rock guitar licks however this very instinct has led Sujay to craft out a unique blend of guitar playing that dissolves well with the ‘fellow instruments’ in this album.