Release of Basanta Kainarabi Gulap brought a new trend in Tapta’s song writing style. First volume of the Series, revolves around melancholic love songs. Many critics claim that Tapta distracts himself from typical analysis of all malicious sexual contents in lyrics. On one hand, he terms Series as views on love themes. PRUCK, on other hand, is the reflection of his patriotic sentiments and Volumes as analysis of a degenerated society. The title track Basanta Kainarabi Gulab is a melancholic song of a broken hearted lover. Every song in the album including Nokpa Heijadraba Punsi, Kapliba Punsiboo, Inaktagi Lapkhrabi, and Inkatagee Lakthokhrabi have different notions about desperate hearts. Chinglon Laanna Leihoubi is a touching number of a restless lover who is far and away from his sweetheart for a long time.

Pretty girls in row dancing at Lai Haraoba¹ festival are quite attractive. Thangjing Lai in Moirang, just a few kilometres from Tapta’s village Naranseina, is a remarkable month-long traditional deity worship festival in Manipur. People from all city and towns in state throng at the festival held between May and June every year. Thangjing Laigee Laimangda in the album is Tapta’s narration of some boys rushing to catch the glimpse of dancing maidens at Thangjing Lai Haraoba temple premises. Unlike other carnivals in the region, Lai Haraoba has certain restriction over hullabaloo of audience. Thus the number narrates an incident of a naughty boy who was beaten up by volunteers and security personnel at Thangjing Lai Haraoba for breaking the norm. The central theme of the narration highlights a sensitive idea of the existing age-old Meitei tradition in the region. Despite all changes that take place in modern Manipur, Thangjing Lai Laimangduda attempts to delineate cultural norms and the impact of its application.