Symbolising the centre’s cruel mishandling of the current social and political crises of Manipur, the eagle (umaibi) on the cover of this album is synonymous to injustices that have crippled the region over the last decades. On other hand, Umaibi is an exact connotation of Indian army which flew across the nine hill ranges of Manipur and landed in the valley region.

The current political status of Manipur is nothing more than a chicken waiting for worm from its mother hen. The number Yenbongee Yenao is a picture of a helplessness of oppressed people of the suppressed Manipuri society. Every citizen in the region is under the prey of confusion of calling themselves whether ‘Indian’ or what? In this context, Tapta has the same question. But his question contains an answer of a free Manipur from any clutch of colonialism. Tapta’s dedication for his motherland in this album is something that cannot be simply expressed in plain words.

Power of Manipuri people has been paralysed long time ago. There is no civil right to utter the truth and nobody is allowed to raise arms against the oppression of fundamental rights. But this album vividly shows that Tapta is the only protester who can hoist a war flag fearlessly against all odds in the society. Yenbongee Yenao unfolds the pang of every Manipuri living under the subjugated social and political situation of the region.

Hari Nongnang in the album is haunting composition amalgamating a piece of Bangla folk element. Lyrically the song is one of Tapta’s poetic excellences; evening crimson sky in the backdrop, crickets sing around mountain bamboo grooves where lady woodcutters walk down through out the seasons without fearing the thorns lying around.