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ABHEESHU DHUNGANA KARMA band has occupied a space in Nepali pop rock consciousness for over a decade now. With music that is characterised by influences of folk, incorporating local instruments such as the maadal, murchunga and sarangi, Karma’s popularity has, in large part, stemmed from its commitment to a unique sound, the kind that stands out amid the generic rock outfits that have dominated the commercial music landscape in Nepal. The group’s roots trace back to the year 1999 in Birgunj, with the release of their debut album Sahar Timro. The record didn’t prove the big hit the band was hoping for, however, and although the title song did garner them some attention, the album remained largely unknown. Present day vocalist Surendra Man Singh, the only remaining member of that original line up, had been a student at the time, and says their young age was a big factor in terms of the band’s stability, and admits that that immaturity had come through in the album, including how it had been marketed. It was a couple of years later that Singh returned to Kathmandu, having finished his education in Birgunj. He’d continued to work on his music in the meantime, and in 2002, the band signed with Samjhana Audio Video, a company with which they’ve stuck with through four albums now. SAV’s owner Sachin Singh recalls the day he first met the band. “There was so much raw enthusiasm about them back then. They were very eager to experiment in the studio,” he says. “Although their first album wasn’t too successful, they already had a winning formula of sorts, that unique fusion of folk and rock that we knew would amount to something in the end.” Their first album with SAV, Hukka, was released that year and was an instant charttopper. The songs Hukka Mero and Maunata Ma were particular favourites, and saw plenty of airplay around the country. Two years later came the band’s third effort, SMS, marked by the success of songs like Kaha Hola Gharabara, Maryo and Chhaina Maile.The album was also nominated for Image Awards’ prize for best album (Rock and others). The video for Kaha Hola Gharabara was also nominated in the best video category. From here on, it was a steady climb for Karma. Already enjoying a growing fanbase, the band toured the country, playing concerts from audiences all over, because, as guitarist Basu Shrestha says, “We felt that people of Kathmandu have enough spaces for live music while other people around the country did not have that luxury.” In 2007 came the self-titled album Karma, again offering a string of hits for the band’s repertoire, such as Supadi Dana and Yanimaya.Supadi Dana won best song of the year at the Image Awards. And international events soon came calling, and Karma found themselves performing at different venues abroad in cities with a substantial numbers of Nepalis. “It was not easy at first,” says Shrestha, revealing that the band suffered from financial difficulties during their early days. This, according to Shrestha, is a larger predicament faced by musicians in Nepal and the reasons are many. “Piracy has to be stopped, for one, if Nepali artists are to thrive in the music scene,” he says. Even with commercial success, musicians can barely depend on their musicmaking to sustain their livelihood. “Most artists here have a part time job or other income generating activities. And this while music is something that requires decades of practice if it is to be truly mastered,” says Shrestha. In spite of hurdles, Karma is set to release their latest album Naya Sapana later this year under SAV with its current line up that comprises—other than Surendra Man Singh on vocals and murchunga—Basu Shrestha (guitar), Anil Shakya (drums), Dharma Gandarva (sarangi), Anup Das (keyboard), and Sundar Maharjan (maadal). Four songs have so far been released as music videos. Additionally, one of the songs, Taremam, will feature in Asif Shah’s directorial debut Karkash—a film about a struggling band who want to make it big in the Nepali music industry. The band has also experimented with the gulan baja, a traditional Newar instrument played by the Shakya community during festivals, in this album. “We hope the public will buy our CD, because if they love the music, then it is their responsibility to give what artists deserve,” says Singh. “Uploading songs on YouTube will only prevent musicians from earning their royalty.” Singh’s comments echo the concerns of others in the music community in Nepal who have been hit particularly hard by weak cyber laws. “Recording companies here have difficulty sustaining themselves due to piracy,” adds Singh. Karma will gear up for a tour to Australia as soon as Singh returns from the US where he is currently on a solo tour. The band is looking forward to its Australia visit since they make better sales online— an overwhelming majority of which happens abroad. Band members feel that online marketing must be developed in Nepal if we are to sustain the lives of local musicians. Piracy has to be stopped, for one, if Nepali artists are to thrive in the music scene tomusic COMMITTED

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