Rupesh Shakya

Hailing from the picturesque hill station of Darjeeling, Nivangelo brings a breath of fresh air to the Nepali music scene. Now based in the vibrant city of Hyderabad, this singer and music producer isn't afraid to push boundaries. His musical style seamlessly blends genres, incorporating elements of Folk Rock, Pop, and even Hip-hop, resulting in a sound that's both unique and undeniable. Nivangelo's soulful vocals take center stage, whether delivering heartfelt ballads like "Timro Yaad" or weaving his magic on the more upbeat and evocative tracks like "Timi Bahek Afnu Vanne." With a string of Nepali songs already under his belt, Nivangelo is poised to make a significant impact.    

Kiran Kandel is a skilled musician, singer, music arranger in Nepali music. He has been in music for over 25 years. Kiran, who passed the voice test from Radio Nepal in 2051 BS, he has so far given music in 400 songs and has arranged music in more than 5000 songs. He is also a skilled music instrumentalist.

Bhupendra Rasaili is a Nepali Octapad player and drummer known for his dynamic rhythmic style and his work across live stages, cultural programs, and collaborative musical performances. His playing blends modern electronic percussion with traditional Nepali rhythmic patterns, making him a versatile accompanist for singers, folk ensembles, and contemporary fusion acts.

Manohari Singh (1931–2010), born in Kolkata to a Nepalese Bhusal family, is celebrated as one of South Asia’s finest woodwind and orchestral arrangers. Though globally known for his work with R.D. Burman, his Nepali heritage and musical upbringing in a Nepali household shaped his tonal sensibility, melodic phrasing, and emotional depth — qualities that strongly resonated with Nepali film composers.His mastery of alto saxophone, flute, piccolo, clarinet, mandolin, and bansuri made him a sought‑after session musician whose sound influenced the orchestral palette of Nepali film music in the 1980s–1990s. Many Nepali composers — especially those working in Mumbai and Kolkata studios — relied on his phrasing style, brass‑woodwind layering, and melodic counterlines as a reference point.Although he did not score many Nepali films directly, his arrangement style, brass band roots, and Nepali musical lineage helped shape the cross‑border sound that Nepali cinema adopted during its modern era. His work as part of the Basu–Manohari duo also inspired Nepali arrangers who studied Indian studio orchestration.