Reply to Ashu?s second post contd? Now the part about ?enough celebration? and chronological rendition: Music reviews come from all different angles. Some are only critical, some are only lauding; and some are both. Depends on the artists/albums reviewed and where the reviewer is coming from. But the one thing all reviews have in common is that they are about the music and about the musicians that create the music. Rolling Stone has not stopped publishing reviews of type "A" just because it has done so umpteen times before or because "spin" or "beat" magazines also do so on a regular basis. Frankly I don't get the logic here. Instead of harping on what?s not in the review why don?t you engage with some of the issues the piece does pointedly address: like, ? what really makes an adhunik geet work (or for that matter any geet)? Lyrics? Voice? or musical composition? ? Technology, fusion/borrowing in Nepal music and its +, - effects; ? are dhakal's composers doing justice to Dhakal's voice (like for example Gopal yonzon was to narayan Gopal?) ? Is ambar gurung unfairly maligned for insisting to sing most of his own songs, rather than farm them out to other singers? ? Do younger composers understand that very often less may be more in music -- said in relation to Nyhoo Bajracharya's style. (I got the "Sounds of Bliss" album Nhyoo did with Ani C. Dolma after I wrote the review. I think the album makes the point about less is more, much more effectively that I could ever say it in words. ) quick aside to nivaN: (The comments of nivaN about Ani Dolma are on the mark. You have good taste nivaN. As far as your comment, ?je paye tehii review about nepali music? , please refer to what I said about the artistry and compositional maturity of Nhyoo Bajracharya towards the end of piece. Apparently you agree that Nhyoo writes good music! If a mediocre composer had written the songs for Dolma there is no way she would sound so good. Kudos to Dolma for going with one of the best.). back to ashu: The order of musicians I talk about is roughly the order in which I watched them live in DC. So again, please don?t read so much into it. I see that you are engaged with Nepali scholars about Nepali literature and sense that there is some carry over from that discussion into this one. The text, context, and much else is different so please desist from drawing parallels, consciously or unconsciously with your other critical forays.) (BTW, I had the great honor of playing guitar for Deep Shrestha and Kumar Basnyat at their concerts in DC. I consider myself a mediocre guitarist by the standards of today?s young Nepali gen. But for my gen, I don?t do so badly! The portion on the Kumar Basnyat concert had to be omitted due to space considerations.)