*Someone cracked my blog password and apparently added some erroneous stuffs on the review. Good thing i noticed the changes and was able to remove the added parts. Also i managed to change my good old password. I don't really know his/her intention, but my credibility not as a reviewer but as an album purchaser is a sure target.

I don't want to further elaborate on why things like these happen so as to keep the issue at rest.

ratings: 9/10

Karl Roy is notorious for aptly representing the rockstar status of any dimwitted, third world country. Drugs, sex, and uh… Never mind. He survived the 80's with post-Marcos band Advent's Call, and made a reputation out of his standout live performances via alternofunk outfit, P.O.T.  Karl with his band strut some hits including a remake of the classic hit "yugyugan na" and original compositions of charming ballads "panaginip lang" and "piece of this."

The rockstar life wasn't really easy for Roy. He engaged in several scandals, which eventually led to the break-up of the band. But music was the love of his life. Karl's career resurrected with the help of ex-Passage's/now Bamboo's Ira Cruz, ex-Rivermaya/now Bamboo's Nathan Azarcon, Chico Molina and Kjwan's J-Hoon Balbuena. In the heights of kupaw and nonsensical rap metal music, Roy and friends formed Kapatid – a band which mingled P.O.T's alternofunk sound with lo fi punk and socio-political lyrics. The band became an item for a while, but with the success of Bamboo band, Nathan and Aira's other side-project, Kapatid lost two of its members. Nathan and Aira left kapatid to concentrate more on their other band, Bamboo. Kapatid received bad reviews from critics with the release of their self-titled debut, Kapatid. Also, the world was all tragedy for Roy and the rest of his bandmates when news revealed lead guitarist Chico Molina's suicide.

It wasn't really easy for Roy to carry on with Kapatid against all the odds that's been happening with his band. But with the kind of spirit that he has, he and Balbuena pursued to continue the love of his life, and make music better the second time around. With the help of Pinikpikan/Blue echoes/Razorback bass guru Louie Talan and friend AnjoElemos, Kapatid is yet to prove that they're still there, alive and ready to provide good funking music that's easy to the ears and widely approved by any cynic critics.

Their gunshot, sophomore album LUHA is profoundly sincere, toned by emotions and reflective ideas about love, experience, politics and tragedies. The album's statement is obviously a retrospect of Chico Molina's suicidal death with a more mature leaning and improvement on the quality of sound, songwriting and experimentations on funk, reggae, blues, drum & bass, modern rock, and Manila sound. Definitely, the huge improvement from the first album was brought by the inspiration Chico Molina has left with the band. The drama forever resides, and with the drop of tears – Kapatid is all set to provide fire and water with Luha, and shock all longtime fans with their new visceral, rich sound.

After a spin, the sinking effect of Luha on me was flooding. I'm quite blown away by Karl's soulful and distinctive voice. It layers pleasantly with the dynamic rhythm section team of Balbuena, Elemos and Talan. Right away, you could attest that he's damn serious about the whole singing thing, and man does he got the soul and the power which is evident on the loud, Marley/Dylan-influenced "Grace,"  and the anthemic "buhay."

Carrier single "doon" was dedicated to Chico Molina's tragic suicidal death. I can't help but compare Chico's death with that of Allen. Greyhoundz was deeply inspired by the demise of their beloved member, Allen Cudal and managed to resurface again with the flamingly brilliant album APOY just last year. Same thing happened with Kapatid, it felt as if Chico's spirit relived with the path of LUHA, which in my honest opinion is what a consistently fine album should sound like. "nasa kalawakan na / ang kaibigan ko ngayon / kasama ng mga tala…" And you're sure the boy is guiding the guys with the eclectic riffs and the dynamic beats, all in the name of his spirit.

There are several standouts in Kapatid's sophie effort. The concoction of riot and charm of the jazzy-flavored "B 2 G," and the laid back, dancey-nappy "hangin' out" are indeed effective to the growing Kapatid discography, for the said tracks offer variety and the unreserved potentials of the band as a tight unit. Luha also features their last year's teaser single "Sunday shining" which sounded like an outcome when Quezo, RHCP and Jamiroqouai end up in a total mash-up, while "Swan Song" has Incubus and A Perfect Circle written all over.

The assorted tunes continue with the injection of 60's Motown soul with bassline grooves and funk to aggressive guitar riffs courtesy of "Banil" where Roy's doowoop vocals at the end was quite a bolt from the blue. With the influence of 80's folk singers Joey Ayala, Florante and Asin, Kapatid fashions it the moderate way via "telegrama" and the bittersweet, folk ballad "luha." The latter was on this writer's opinion so gorgeously written, that it end up being queued on his MP3. hehe. Talking about bias. And hey, how could I not mention the Prince-inspired "psycho love." Louie Talan's suave bass playing is quite a momentum, I could just hear the basslines soar smoothly above the mutiny of striking guitar solos and well-placed drum fills. And add that sexy vocal delivery of Karl Roy – you sure will know what the band is talking about over and over…

To complete the whole listening spectrum, let me tell you this. Luha marks Karl Roy's peak for adulthood not only as a musician but also as a striving individual. Certainly, it's unfair to credit the album to Roy as his bandmates shared their talents to take Luha on skyscraping heights. But looking back, you gotta give the props to the man whom all his time devoted hardwork and sweat to what he is known for – reinventing music.

Karl Roy despite the struggles, remained tough all these years... He is not only an institution in the Pinoy rock n' roll hall of fame, but also a true statue of a great man whose contribution to the local music arena is truly unparalleled and deserving to be rewarded.