checkout NYKO MACA BAND's myspace account.. there are downloads up for grab on that little page.
The new "it" band is composed of Nicole Severino(aka Nyko Maca) on vocals, Rick Sanchez on classical guitar, and Madz Abubakar(aka Neon8) on beats and bassline programing. for bookings you can email: sweetspotaudio@yahoo.com
cursed-- @ 07:53 pm |
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ALBUM REVIEW: THE BLEND (various artists) + rants on build-up genres acoustic and popcapella/acapella
rating: 6.5
In the tradition of naiveté, labeling what's what is simply a foreword to an inferior Pinoy music fan.
Entertainment-media hype is so intensifying, that each and every local consumers bite in to the "next big thing" and all the name-calling your favorite showbiz correspondent have been slating without even thinking. Who could've thought the Asia's songbird is someone who sounded like an angry woman whose approaching her PMS? Or the concert queen and king? Does filling the seating capacities of Araneta make you the apparent heir?
I guess in their ways, they helped to boost #s of struggling careers and enjoyed the paycheck the talent managers or the slew-in record label have offered and deceptively given.
Belief is highly principled. It is with shame that most are into the upheaval of the advantage, of the thing called money and belongingness. People on this category doesn't deserve the pen and the word of mouth to be transported on any public medium. We don't deserve to be fed up by these substandard ideas. We deserve to hear and see the real, and not the constructed reality they've made for the mass to embrace.
But then there's also ignorance and whatnot lack of knowledge. Dwindling on my part to criticize these pipz. I myself might be an existent epitome of these would-be journalists.
People on this category are sometimes self-assuming. They think they know about every theory in their forte, or their piece as of the moment. What they don't realize is that they might have a lapse, a wrong use of term, or probably an erratum on the information regarding the subject. Admittedly, I've experienced it most of the time. Yet to admit that you are wrong is as precious as saying I have to do better. Of course, from time to time you continue to learn and improve.
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But there are quite a handful of generics in music that everyone not only the would-be journalists or writers should know by now. "Acoustic" and "acapella" aren't genres. They're forms of a performance. Sure, the acoustic sound is recognizable enough – it could be piano-driven, acoustic-guitar driven or even with live accompaniment like a horn or string section. Oftentimes it is played live but it could also be recorded. However, it is not backed by subcultures like that of hiphop, reggae or let's say rock, not even a stand of its own because every single kind of music could be trimmed down into raw sets of acoustic, be it a basic instrument or a guitar. Same with "acapella" which is sung without any piece of electronic or raw instrument. These two (acapella and acoustic) are somewhat being build-up as genres by substandard local critics and the ordinary. Since both were mostly enthused by yuppies and those who drive all the way down to Aruba bar, Tapika, hard rock café or insert your favorite bar and lounge in the metro. It's a debatable thing, but at the end of the day talking about it is pure absurdity.
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The ACAPELLA story can be traced as early as the earliest human stage. Men talk. Talking is silly music. The moment we talk, that's the moment we sing shit and shabby, and learn kiddie rhymes like "close-open, close-open." Kidding aside, ACAPELLA music isn't really new in our vocabulary. Most rehearsed in acapellas before plugging in the rhythm section. Name the church choirs, the singing sessions you have with your friends, it is with pundit consideration an Acapella. But with the tradition of Boyz 2 men's "it's so hard to say goodbye to yesterday," there's simply no stopping Acapella. Acapella step its way into tracklists of Cd/cassette records. In the Philippines, the likes of The Company and 92 A.D. created a couple of Acapella-sounding music on their string of hits. Soon, local boygroups followed their footsteps, inspired probably by Boyz 2 men and other R&B/pop groups upon inclusions on the album and stage performances.
When the acoustic scene was in its boom, acapella was on its promise to be loved. About 4 years ago, TM magic 89.9, a pop radio station throw in a contest called "popcapella" featuring some of the best amateur groupies whom had an affection for blending harmonies and playing stupid with the then hiphop-flavored beatboxing. A group called The Akafellas, emerged as runner-ups. But with their college-boy looks and quite promising musical taste, they soon became popular among collegiallas and radio listeners. Actually, in my personal opinion, the Akafellas are the ones whom introduced acapella music on the Philippine mainstream music map, they were followed by other promising talents after their fruitful years of being signed, performing on the malls and classy bars, sharing the stage with both the rock and the hiphop community and getting recognized as the purveyors of Acapella music.
Here I go again, with the labeling.
Then after a sudden disappearance of the popcapella/acapella set-up, JAM 88.3 brings the nostalgia and produces an album (with Star records distribution) of cover songs, smoothly rendered in acapella format. Jam 88.3 never failed CD consumers for producing great compilation albums. I loved the 1st jamming with you CD which introduced me to heart-torturing songs called "like lovers do" and "settling." The other one with Sony-BMG at the helm (ultraelectromagneticjam) has been a past blast and a sure reminder that e-heads is the top band of the last decade.
The Blend, Jam's latest offering is a ten-track record filled with striking harmonies. The first track and the last though are quite a misfit. It seems that the two were made to fill in a ten-CD selection and are just compromised to promote the radio station and the station's interest. The move is and will always be an irrevocably bad insertion to any line-up as listeners pick up the album because of the songs and not those pumped up ads. There's the liner notes at the Cd sleeves so why not put it just there?
Interesting and not surprising, The Akafellas contributed five tracks in the album. One is a Francis M. original "kaleidoscope world" which I think they've given enough justice. Same thing with the sap yet soulful "one in me" and the loungy, bluesified John Mayer-original "your body is a wonderland." The latter has cool vocal renditions that evoke the guitar twang at the chorus, and DJ Mike's effortless beatboxing add some good vibe to the mix.
Bystander's version of Irish pop band The Corrs' summer hit "summer sunshine" splashes some enticing boy-group harmonies that made The Corrs song their own. The lush baritone meld beautifully with the bass vocals. The UVA Academical Village People also surprised me with their funkified live acappella version of Maroon 5's "this love." Dave Boholst's rendition of the gospel/mainstream crossover "I come" is one moving synchronization of well-placed vocals. I enjoyed playing this in a repeat mode over and over. Praises for the album for giving these pop hits a breath of fresh air the acappella way.
I didn't like how Live Sound, an all girl vocal group rendered in their own acappella direction that hot 90's R&B track by Des'ree called "You gotta be." This is no macho issue whatsoever, girls doing acapella sounds quite bland to me, or should I say that particular song. It's not that it is bad, but hearing it you know that the efforts being made are short of expectation. Favorite goes out to the jammed up version of PNE's "this guy is in love with you pare." The choice of song is perfect, all that hype and blending stirs clear-cut with the song's witty packaging. The vocals evocating the bass guitars are solid knocks, and the filler bading, bading is so compellingly original. Thanks to Kilyawan for providing that track.
Blend I have to say is a fun album to listen to. But it appeals only to a particular group or listeners, I myself included. So if you're looking for a twist of Acapella, try Blend. It is a sure stir. but in the case of compilation albums, it could all get tiring.
ALBUM REVIEW: THE BLEND (various artists) + rants on build-up genres acoustic and popcapella/acapella
cursed-- @ 01:02 am |
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News! News! News! the new SUGAR HICCUP album! (finally)
 For more details on their third album of tongues and thoughts released under bollyhoo records click here .
A review on this album will be available soon. For the meantime, you can storm Music One and Tower Records for this much-awaited third Sugar Hiccup disc. It's already out on the racks guys.
OBTW, if you're expecting to hear Melody Del Mundo's polished, ethereal vocals - I'm sorry to tell you that she's no longer with the band. (tol tagal na kailangan pa bang ibalita yan?, hehehe!)
News! News! News! the new SUGAR HICCUP album! (finally)
cursed-- @ 11:49 pm |
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ALBUM REVIEW: FIVE ON THE FLOOR - Sandwich
rating: 9/10
It's maniacal torture to decide which Sandwich album stood out the best, when each boasts calibrated selection of songs. STAND, GRIP, THROW and 4 TRACK MIND are equally superb while indie release THANKS TO THE MOON'S GRAVITATIONAL PULL showcased a well-crafted, chopsuey sound. But with the shirtless Marc Abaya out and furious axeman Mong Alcaras of bands Chicosci and Bitterpill in, there is more to expect on Sandwich with the newly released, back-to-home label-record FIVE ON THE FLOOR.
Guys believe me.  This is the album to beat and this will give Up dharma Down's fragmented an early match and a serious run of money. There are no leftovers in Five on the floor. From disc opener "Sugod" to the last track, "let your celphone shine" - no place is a whole lot cooler and hipper than staying inside the house, cranking up the volume of your resident stereo, listening to the bewildering, animalistic selections on Five on the floor. You don't need pot sessions to enjoy this. Five on the floor is already seventh heaven with a twist of humans spewing mints and lads n' chicks dirtily grooving to big, paranoid disco-punk beats. Try this: old Sandwich, Pedicab, Juan Dela Cruz band, Radiohead, The Strokes, Jack and Meg White, The Cure, Le Tigre, Mick Jagger - put them inside a compartment for a month. Observe the riot happening. Check the album cover, this alone is a riot overflowing with fine, paradoxical portraits.
Since "thanks to the moon's gravitational pull" affably maneuvered a more secure, cross-over direction towards the A to E crowd, Sandwich latest output follows the latter, and further injects excellent quality production as to not avail the "sell-out" accusations thrown by various parties. Credits go not only to superman/band-hater (what? Let me enumerate… E-heads, Squid 9, Cambio, Pedicab, SVC, and a lot more side-projects) Raymund Marasigan but also to longtime friend Buddy Zabala whom lend his talent throughout the recording of the new Sandwich Album.
Five on the Floor sans biases is contagiously transparent, wide-screen melodies and easy-to-cruise lyrical content are simple but smart and witty. This reflects astonishingly on first single, last song syndrome-ish "Sugod" which kicks-in with Mike Dizon's crazy drumfills evocative of Bloc Party's banquet. Sugod is high-energy performance with accentuated patterns and get-go hooks. It perfectly fits the spot as the opening signal - an access to Five on the Floor's moshing dancefloor. "sugod mga kapatid / tayo ay magsama-sama / iwagay-way na ang bandera / rock n' roll hanggang umaga" HALABIRA!
"Sunburn" follows next. Actually, this already live staple was the winning piece of the band to the recent Global Battle of the bands wherein they bagged the runner-up slot. Convoyed with thematic and pimping beach-bummer lyrics and appealing sunny shimmering melodies, the experience with "sunburn" is more therapeutic than skin toasting. You hear the delightful vocal backing of Myrene and rest of the bandmates, Raymund obnoxious of the metropolitan life sings at the sight of Boracay, Bali, Phuket. Truly, as half a people think; nothing is better-off than getting out of Manila.
"DVDX" steals the concept of Cambio's DV; instead of mentioning places in bebop, it has been replaced by specified or general "what-is-to-be-seen" on a pirated DVD. Also evocative are the gang vocals on the chorus where Raymund and bandmates tend to satirize DVD and act as if they took some lessons from a Mumbai cornershop.
The album slows down with "Photocopy" and "View monster." Both songs are sonically gorgeous in their own right, oozing with ambient to scratchy guitars that compliment the song's tempered and sometimes unsullied mood. "Walang kadala-dala" is a jagged pop exercise with balance trade-rolls courtesy of Diego Castillo and Mong Alcaraz. The basslines on "Walang kadala-dala" are too urbane and faultless. Thanks to Myrene Academia who managed to handle bass fluidly. Mike Dizon's percussive deposition on variety is also a remarkable feat; which adds solid conclusions to the band's rhythm section.
Personal favorite goes to the heart-wrenching "In case of Fire." The sappy, melodic lines are reminiscent of early Radiohead with indication to sound TTTMGP's "masilungan." The one minute-outro is beyond surreal character, a sort of a stun reaction when Ciudad's outro "Dance lessons" strikes alongside chaotic-yet-sweet meld of power pop. "Resbak" is an attempt to continue the legacy of "Sugod," but with guts to murder innocents in the name of rak n' rol. The short synth interplay in "Goodnight January" is a fine cast to the song's elaborative production. First you thought this was just an average sights-and-sounds record, then after some seconds - it's fast becoming more and more unpredictable, like that of a blissful mayhem.
"Kalendaryo" is a beautifully written ballad about desperation and longing. "andaming araw / andaming buwan / pikit ka lang mahal / pikit ka lang." If this is experience, then I wouldn't have second thoughts rolling the calendar. Yet Raymund's unparalleled desperation makes me switch into thinking that life was all about picturing yourself with days to come. I don't want to leave strong statements; this is such a hopeful song. "Marikina" is nonsensical and barrenly cute. The naming of bands/artists is no new subject. Long before Eminem dissed celebs N*Sync, Moby, Britney Spears, Fred Durst and Mariah Carrey - John Lennon came up with one of the most intelligently-made songs in the history of mankind, called "God" where he did mention the likes of Elvis Presley and his very own Beatles. In "Marikina," Sandwich has no means to diss. I'm guessing right away that mentioned local bands in the fashion of College creative writing-class are those whom the band valued and appreciated the most: Valley of Chrome, Sugarfree, Greyhoundz, Plane Divides the Sky, Sun Valley Crew etc.
There is no stopping Sandwich with the last airy track, "let your celphone shine." Raymund knew better about the lives of an ordinary mosh-rock fan; methinks he wishes to thank the audience for his 18th year career in the local rock scene funfair. We knew he could have been Paul Mc Cartney, and Ely the man next to John Lennon. Eraserheads just like The Beatles broke up. Lots of things changed through the passing of time. Celphones came, everyone moved on. But in the light of pop media and lavishing techno gears, Raymund appeals for the fans to stay with him, as the song says, "let the celphone shine on me…"
Five on the Floor despite the minor flaws is still one of the excellent releases in the last two years of 90's tunog kalye rebirth. I will hold on to this belief as I gamble my premonition of becoming a rockstar in the future. If i failed to convince anyone of you, fine. F%^$ Y@*!
ALBUM REVIEW: FIVE ON THE FLOOR - Sandwich
cursed-- @ 08:25 pm |
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ALBUM REVIEW: FRAGMENTED - Up dharma DOWN
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rating: 10/10
This is real News, far more concerning than Charter change or the recent disarray in Ultra.
After making a mountain out of a molehill, I own now  what could have been Pedro's answer to Uncle Sam's rapidly growing "urban-alternative" landscape. I don't know if it's a diss or genuine love but I think it's more of an easy-go salute. Congratulations! "Up dharma Down have already revealed they're one closet hippie band."
If one finds it libelous, feel free to sue me. I have Fragmented as a strong suit of evidence. In true indie fashion - Fragmented is enigmatically diverse, genres intertwined to capture a distinct sound. But the main reference here is Armi Millare's soulful voice, which is unmistakably reminiscent of Lauryn Hill, Jill Scott or Erykah Badu. It's like a time warp in the mid90's, where coined genre "neosoul" or new soul spawned a new, American subculture, take tracks "lazy daisy" "we give in sometimes" "Oo" "june." And "sleep talk."
Let the instruments talk. It's overkill shit to generalize the sound as neosoul. The breakbeats, the loops and samples, the effects (delay, contrast, layering, reverb, distortions, etc.) sturdily opens for total mash-up and experimentations.
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Track 1 – Layag (4:09)
It's no tagalog track. Don't say you haven't been warned. Armi here sings like she's claustrophobic; lots of echoes and delaying aesthetics…
Track 2 – Maybe (2:52)
The teaser single "maybe" is one of the best songs ever made last year. Textures, and shifts in the pace are very much abundant you hardly notice it's a short track.
Track 3 – Lazy daisy (3:55)
The orientation is very Miseducation of Lauryn Hill. Sylphlike vocals. Soothing chill-out song that suggests an ero mood and a sensuous aroma. Daisy's lazy, so what? She's too much of a pretty chick to get lots of attention.
Track 4 – We give in sometimes (4:47)
The foursome dharmas do have a weakness for writing balance and "in between" themes. "We give in sometimes" is over-the-top sweet, portraying a love-relationship between two contrasting personalities. "Sand and the sea / meet in between / Fire and ice / you and I."
Track 5 – Oo (3:59)
Personal favorite and probably the crème-of-the-crop in the album.
You wont expect lines like "malas mo, ikaw ang natipuhan ko" and "sana nakinig na lang ako sa nanay ko" to be versed in the UdD repertoire. This is confession ode of mutual love for a friend. I love how Armi phrases every line in this particular song, she really reminds me of an authentic black soul-singer.
Wonder why "Oo"? I don't know. Metaphor? But I remember Armi using "Oo" as vocal filler in this track.
Track 6 – Fragmented (1:08)
An instrumental, electronica track that gives a defining cinema of dancing pogos. Hehe!
Cool breakbeats.
Track 7 – June (4:34)
Ok, Terno-friend/member of triphop band Drip Caliph8 guests on "June." It's bleachy extro and atonal keyboard intros are spanking good and that's all I could tell.
Track 8 – Sleeptalk (7:04)
Dramatically insane! I love the tremolo guitars, the colorful vibratos and the way the textures meld; it's sinking me! Armi's a nagging girlfriend. She weeps, chants, and shouts like her boyfriend is the biggest thing next to hell. So to all the guys out there, don't sleeptalk. You might be caught by your words. Or vice versa? Hehe!
If you're compiling potential psycho-thriller soundtracks, "sleeptalk" is for you.
Track 9 – Pag-agos (3:22)
Have you seen the video? If not, then just listen to the song. IMHO, the video of "pag-agos" is probably one of the cheesiest videos out there. Swear.
Despite such, "pag-agos" I think is one of the well-written tracks in Fragmented. Trust me.
Track 10 – Broken mirrors and Screaming Turtles (1:39)
Another instrumental track. This one reminds me of Daydream cycle's instrumental ditty, "midnight eyes" from the album Underwater kite.
Track 11 – Malikmata (5:07)
Paul's groovy basslines and the ever-changing slabs of funky, dizzying guitars from thin to thick, and the unoccasional tempo-shifts gave this split-of-the-eye song a heavier, edgier twist.
Track 12 – The world is our playground and we will always be home (6:28)
The last two minutes of this song is a revelation. It's the same feeling I experienced when I play Morcheeba's crossover hit "Rome wasn't build in a day." POWER POP TRIPPING!
Bonus tracks:
Oo (fragmented mix) – sounds like a Bronx-street mixtape. It just proves that hiphop is really triphop's long-lost cousin.
Hiwaga – A lonely, Christmas song about hopes and dreams.
Lazy daisy (ascalto verson) – more upbeat than the original version.
Ok, let's make things clear. Neosoul constitutes the half fragments of the whole UdD sound, but the other half is divided into more mini fragments – triphop, post-rock, funk, drum n bass, jazz, indiepop. You name it. This album confirms Up dharma Down's fluid and expansive musical route.
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ALBUM REVIEW: FRAGMENTED - Up dharma DOWN
cursed-- @ 11:40 pm |
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COLOR IT RED - Color it red
rating: 8/10
Cover art could sometimes define the whole persona of an album. Take the new COLOR IT RED self-titled disc for example. Band member's faces were put inside the 6 bottles of wine, showcasing a cheesy illustration of pop art.
Don't lay such malice; I have no intention making fun of the band. Color it Red got my two cents respect.
From the debut Hand painted sky (1994) to the sensible hooks of Pop Fiction (1999), Color it Red's tight musical orientation has kept them going through the cavern of the ever-changing band scene in the P.I. A couple of line-up changes, the Color it Red today remains to sound Color it Red when we first heard "paglisan" and "na naman." I don't know if it's a good thing or not, but try to stick your ears to some local albums in the same vein that is female fronted pop-rock, you hardly hear the difference. Ok, they were one of the pioneers. The problem is, you expect them to grow and bring you new, eclectic offering to satisfy your longing. After all they haven't released any material for about seven years.
I don't want to conclude that this album was made to join the hype and success of the current booming of the pop-rock scene. Cooky Chua and her cohorts are all established artists, and there's no way in Earth for a man like me to disrepute this comeback album.
It's already past midnight. "if you loved only me" makes me sleep. Cooky Chua's warm, soothing voice lingers like tiny caresses in the neck… Spiced up with a flashy, guitar-driven soft jazz ambiance... then an emotion you are sure to experience when you plug the romantic Ella Fitzgerald CD… Accompany it with a candlelight dinner and a date. Voila! The night is set for some warm loving.
"Panalo" is a track so catchy my head keeps bobbing in a 360 degree-turn. The song is a drug-laced anthem, with hints of the old-fashioned Color it Red songwriting. Already out as a single, this one's quickly becoming a radio favorite. "Stay" and "ikaw at ako" are two infectious love songs. Hearing the two tracks for the first time is like daydreaming in just a click. You see right away the clear picture: two cuddling lovers in a seesaw proposing eternal love to each other.
Cheese.
More cheesy staples courtesy of "you." It's a little bit more upbeat, with cutesy, ear-candy melody good enough for your mama. "From the other side of the sea" on the other hand is earnest in its mod-pop stylings; driving from the other side of the sea with this breezy, unruffled music surely matches up a high-spirited mood and a bright sunny day.
So if you're up for a brief toast, try Color it Red's self-titled album. Let's see if you are man enough to gulp the same old taste.
Cheers!
COLOR IT RED - Color it red
cursed-- @ 11:33 pm |
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ALBUM REVIEW: MAHAROT - Kamikazee
rating: 8/10
Maharot is a 65 minute-circus; full of witty, fictional characters and musical exhibition of stories that range from the wicked to the odd. It showcases Kamikazee's growth as lyricists and musicians, and their penchant on fills, diversity and techniques surpasses the mediocrity of the first CD, which by the way was produced by 8 Toleran and Chito Miranda.
There is hardly a bad track in Maharot. Half are single-material, the other half are better off performed in live sets and open-field shows.
I'm feeling lousy today, so the only way to review the independently released Maharot, is to overview the entirety of the album track by track.
Track 1: Director's cut (4:50)
What a good way to start Maharot - lyrics that border from sick to depressing, and a catchy chorus that let's you jump out of the skin. "tumakbo palayo at iiwanan ang ala-ala mo.. sumigaw palabas at iiwanan ang ala-ala mo.." It's traditional emo without sounding too much oppressed and bloody-beaten.
Track 2: Seksi! Seksi! (4:10)
Coolness. This reminds me of Lakambini Bottom by Datu's Tribe. Jay showcases his vocal flexibility here, which I think is a maharot version of Bon Jovi or Axel Rose.
Track 3: Martyr Nyebera (5:25)
Kamikazee's really the premiere gay rock band. Pun intended. They know how to play with words, and man could it pass for a lingo. So sisters este mga pirata the word for today is Martyr Nyebera, an adjective which means "sufferer" or simply martyr.
And wait. Check out the pirates chanting, "Sponge Joseph, Square pants" at the end part of the song. I find it silly, but discreetly cute.
Track 4: Narda (4:44)
If radio is your thing, then you might have heard this sweet, punk-ballad. "awit na nananawagan baka sakaling napakikinggan.. pag-ibig na palaisipan sa kanta na lang dinadaan.. Nag-aabang sa langit, sa mga ulap sumisilip.. sa likod ng mga tala, kahit sulyap ng Darna."
If you'd go within the trenches of the song, you're a poet then.
Obviously, the lyrical structures are simple yet the metaphorical usage of Narda and her alter ego deserves some credits. Who says a band like Kamikazee can't write definitive songs, huh?
Track 5: Chiksilog (4:48)
One of the biggest rock songs of 2005, chiksilog became the anthem of almost everyone. If you don't know this song, then what country have you been? The Ragnarok-version is still the same material here in Maharot, but with the addition of a bastardized, pinoy classic "ikaw lang ang aking mahal" which exceeds for about 48 seconds.
Track 6: Sobrang init (4:19)
Jay almost complains about everything. In the past he complains about his lost slippers. Now, he complains of how hot the house is. The whining is out of control, you'd want to seal his mouth with a tape, pack him inside a box, and send him to Antarctica.
Track 7: AIDS (3:52)
Is this Kamikazee's attempt to parody Tweetums movies? Well, the Itchyworms successfully ridiculed the entertainment media particularly the Television Shows through an Album called NOONTIME SHOW while Jeffrey Jeturian's film, Tuhog made an exceptional, witty-bound satire towards Pinoy Conventional filmmaking. But whatever it is, I'm sure it has a connection with the title, which I find mysterious and peculiar.
Track 8: Shoot Dat ball (4:01)
It's pseudo-metal again for Kamikazee! Heavy-as-inferno guitars, groovy yet controlled basslines, and berserk drum fills. Add up an indoor basketball atmosphere, and then you have the mischief of shoot dat ball.
Track 9: Ambisyoso (4:09)
Sapatos na lumilipad, spaceship, kotse ni batman, x-ray shades at laser gun, wallet na hindi nauubusan ng laman, time machine… Bida sa sariling pelikula, ka-loveteam lahat ng seksi at magaganda sa showbiz, talent ni John Travolta sa pagsayaw, si Angel Locsin…
Ambition? Ya, in your filthy dreams.
Track 10: Discoskwela (5:48)
This is Jack Black's School of Rock in Kamikazee's musical orientation. The song kicks in and plays with the 80's synth pop genre, then with whip-of-the-air house music, then with the orchestrated goth/progressive rock instrumental, and ends with a minute of an already familiar, strummed Spanish guitar which was actually used as a musical backdrop to one of Pond's popular powder commercial.
Track 11: Petix (4:00)
Ok, let's continue with Kamikazee's exploration of musical genres, taking retro-reggae lessons this time.
Track 12: My tender bear (3:45)
Finishing this song was a faint on my part, in a good way. The pace of this song changes seconds by seconds, deciphering the different techniques/styles used is as if solving complex, mathematical problems.
Track 13: Apir Day (2:51)
Danceable, ska-punk song with endearing, rhythmic beats.
"doon sa amin sa Sikatuna, mahaharot ang mga binata.. isang araw na inaabangan, Apir Day na ipinagdiriwang… hawak-hawak kamay, Iangat niyo ang tagay, kahit sobrang lasing walang nag-aaway, kunin niyo na ang gitara lahat ay kakanta, kahit wala sa tono basta sama-sama. Apir-Apir day tayo paboritong holiday namin ito.."
Kamikazee for President, Apir day be implemented! Saya nun! Tapos sabay..
Oi..oi…oi.oi.oi.oi…
(The movie Bring it On introduced the "oi-oi" phenomenon… then by Sexbomb dancers/singers)
Track 14: KKK (6:44)
Angsty, angsty, angsty… is this Kamikazee getting even with every Pinoy's catastrophe? Well, it sounds as if they're just tripping.
Track 15: Narda acoustic version (4:41)
I couldn't imagine a Kamikazee song accompanied by warm, woody guitars and too-clean-for-your-mama string arrangements. But then again, everything's possible. With this song, such became real.
And the result: beautiful.
As of this writing, my eyes were turning gritty over the Pacquiao-Morales match. The triumph of Pacquiao is truly anticipated, just like the success of Maharot, which I think has the solid punch to win people over. With that, I rest my computer…
ALBUM REVIEW: MAHAROT - Kamikazee
cursed-- @ 03:28 am |
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ALBUM REVIEW: GREATEST HITS - Rivermaya + Teeth
Paying a homage to artists are oftentimes a sheep's clothing of every record labels; where inside the skin resides the need to store money, lots of it. Reputation follows next, representing the skin, the relationship with consumers and the object of honor. They make strategies that likely blind us, especially fans whom adored the object of honor from day one up to the very last day and of course those curious ones tracing the roots of the object of honor's good-old, glorious days.
Then after buying, you gripe about the price, the low-end quality and the expectations never met. But you are blind from the start, and sourgraping is like arguing with your parents on how in a wicked world you were born with that kind of face. It's your fault. No it's the artist's fault for creating bedlam music. No it's the record label's fault for they're too much of a clever to brought you on your nearby store and purchase it with a commence of satisfaction. And the endless blaming goes on and on and on…
Still, the artist carried the name. They're the one's being pegged to sell. Their contribution to music, their image to people and media, and their raw talent were best remembered and worst attributed. And these were major factors or detriment to the interest of the public, especially the listening public who rave and rant for music sake.
But whether it's a tribute, b-side and rarities compilation, or GREATEST HITS album, the record label still has the last and the most forceful gunshot. They are the brains to pick the right songs, to maneuver artists and producers, to promote the piece.
Yet, at the end of the day everybody's a verdict, and the subject of blame.
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Rivermaya and Teeth are two acts that enjoyed the boom of alternative rock in the mid-90's; where Seattle-based bands reinvented themselves, Kurt Cobain committed suicide, Grunge music died. Also, it is the common place where Pinoy rock reached its peak, and served as the biggest rival to mainstream powerhouse Regine Velasquez and Ariel Rivera.
Both Rivermaya and Teeth are also the current victims of the Greatest Hits strategy, but with will and contract (the label owns the song) of course. Rivermaya, whose 90's career was in head to head battle with the Eraserheads, have already two greatest hits released earlier (one of which is the HIMIG NG DEKADA NOBENTA COMPILATION). But the earlier GH is carried along with name of Bamboo Manalac. Now that Bamboo's with the Bamboo band and so as Nathan, and Kokoi is stinting with Barbie/Pido Cradle – the name of Rico Blanco is becoming the center of public attention.
The Rivermaya Greatest Hits 2k6 is the old-fashioned way of queuing songs. The
popular ones and the most recognized are served, so as to mark the success that made the post-Bamboo Rivermaya a surefire hit to the listening crowd. Two new songs also made into the cut, "posible" an anthemic passage of positivity and confidence even made a circulation to the radio and music channels, and also became the SEA Games 2k6 hymn. The latter also reminds one of the trouble-free hooks of another anthemic song, "liwanag sa dilim," which is also part of the Rivermaya Greatest Hits compilation.
"241" is obviously a sequel to "214" a.k.a Am I real. This continues the sentimentality of the former, but with Rico ready to let go of the past because as the lyrics states, "somebody owns you
now." Rivermaya with Rico makes good sentimental ballads, but with a touch of immature and often bastardized Coldplay melodies. The thing is – you still are aware that you enjoy every bit of it; the carefree and smooth melodies, the deceptive, warm guitars and Blanco's voice so gentle it leaves you wanting for more. That basically speaks for "balisong" probably the best OPM rock-ballad of the decade.
"Umaaraw-umuulan" describes the early sound of the Bamboo-led Rivermaya – guttural, yet full of air. It is the time when they're starting to build again the name, and make maya's wings fly again. However, the band appears to dive very low-lows with "makaaasa ka" an inclusion so unforgivable I want to hit the stereo with the thing I'm holding. Commercial songs make bad reputations and worst if its sick of forced, sloppy guitars and overused, predictable lyrics.
However "Ambulansya" makes a statement that let me forget "makaaasa ka." I remember watching that Maui Taylor-flick GAMITAN, where this song was being played at the end part of the movie. The siren effects add an emotional texture, and the delicate piano lines give the impression of a good closure to one's chapter… "Abulansya" defines the latter Rivermaya – where it takes a tragic break-up to move on and continue what they have started.
Teeth has enough credits under its belt. They spawned national anthems like "prinsesa" and the beer ode "Laklak." The former charted the number one position on the now-defunt/legendary alternative rock station LA 105 for a death-defying 12 weeks, which also joined Eraserheads' "alapaap" to the center of Senatorial call for banning. Their self-titled album turned double platinum, and the two follow-ups Time machine (1996) and I was a teenage tree (2000) bore with a platinum-gold stature.
And now Teeth has all reasons to smile. Their efforts are at last recognized with this 18-track CD. Teeth's Greatest Hits is a collection of razor-sharp, in-your-face music that's bold, heavy, and addictive. It depicts an age of long-haired species who swear life is all about angsty music and rebellion against the sophisticated and the norm.
Drugs, sex and alcohol – who says it could all get bad? Well, Teeth's youthful presence states it isn't. The energy fuels through every song's backbone, oozing with fun, regret and sometimes anger, but they're one of those who write with no blot ink and a lot of confidence. They write with experience about love and getting hurt, about the harshness of life and the means of enjoying it. They were never pretentious yet these led to an end that will truly be remembered.
Most of the songs are all-out grungy and hard-edged. Anti-technique and lots of textures are also showcased – sort of a balance or a gnashing-of-teeth style for the band. It is the offspring when you mash-up Nirvana and STP with classic Pinoy punk-rock, which ends out to be straight-forward, tunog-kalye rock. "Laklak" exemplifies this melting point of teeth's sound. Reverb-heavy but a sure melodic blast.
There's so much grunge-sounding on Teeth that you would mistake them for Soundgarden or even Nirvana. "Unleaded" and "Time machine" describes this obvious patronage of the band to the Seattle-based gods. Instead of growls though (not the metal kind), it's been replaced by tame anger and sing-songy melodies. While "Dogs can fly" is comparatively but subconsciously Wolfgang-ish and Razorback-ish with a great drum work courtesy of their drummer Mike Dizon who is now with Pedicab and Sandwich. On the other hand, "galit sa Mundo" is like attempting to steal the success of "laklak." The most structure of the song is very much "laklak" except for the lyrics. I don't know, I just notice it.
There are a lot of nice material in this GH album. One is the psychedelic "super human" and the often, patok-jeepney murdered "prinsesa" but the main laurel is well deserved by "tugtugan na" and one of the soundtrack of my life "shooting star." "tugtugan na" was never a huge Teeth song, but most of my cousins (in their 20's) knew this song. it kicks with guitar machismo and groovy basslines then it blows with the title line. I enjoyed head-bopping with this particular track, especially on that instrumental part where Jerome's soloing is brought to by energy of orgasm! "Shooting star" is sincerely and unarguably one of the best OPM songs ever made. Six years ago up to now, I still can't get over with this song. It's not just about wishes, but rather about fulfillment. And that's how I interpret it. The sound may be mope, and of the melodrama kind yet Teeth's experimentation on such is a risk that turned out to be successful.
Rivermaya - GREATEST HITS 2K6
VERDICT: 7.5/10
Teeth – GREATEST HITS
VERDICT: 8/10
ALBUM REVIEW: GREATEST HITS - Rivermaya + Teeth
cursed-- @ 11:14 pm |
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2006 updates / review of SILVER SHINY JEEPNEY (various artists)
Updates! Updates! The first quarter of 2006 is jam-packed with great and hefty releases, with Up Dharma down, Kamikazee, Cheese and Moonstar 88 as frontrunners. Sugarfree's coming up with a repackaged album, while indie acts like MATILDA, SKYCHURCH, LOQUY, PIN-UP GIRLS, GINILING FESTIVAL, NYKO MACA (yes, you heard me right) and JUAN PABLO DREAM are expected to dish out new materials this year. Biggies last year – Orange n Lemons, Imago, Hale, Sponge cola and Pedicab are writing new songs for a sure 2k6 follow-up.
As of now, Rivermaya's post-Bamboo Manalac Greatest Hits album has already hit Gold (15,000 copies sold) in just a span of a week, same thing happened last year with Bamboo's Light, Peace and Love and Parokya ni Edgar's Halina sa Parokya.
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Supposedly, I was about to review Rocksteddy's new record. But my mind tells me to skip it, and leave it first on the racks.
Then I muse myself into considering a various artist compilation. Last year, I scored the Ultraelectromagenticjam/eheads tribute album and EMI's full volume set. It's quite a waste and a feed for satisfaction at the same time. Maybe the waste thing about compilation albums is that they provide too much variety that you end up cold-shoulder with some months of scratching and overplaying.
Then appeared a lo fi, mush-of-a-corn art cover. Too gay colors, a jeepney, and a subtitle of "an all indie band compilation" – everything's distinctively pinoy on the album skin including song titles like "brownskin people" and "fried brain."  Not unless you look skin-deep through your contemplative brain (if you have) and not notice Eraserheads and the tagalog tracks or even that little bolded writing called "Sariling atin." Well, that speaks for one fried brain. Aptly titled "SILVER SHINY JEEP," the album states for what could describe the local indie scene in the country, laid on silver platter and looking all-out shiny. It's brawn of a whopping 20-tracks that will hitch you on a ride of great OPM selective. Not only that, each tracks has its shining moment, and a characteristic sound to share unlike some compilation album, which dulls you all through out with its selection of monotonous-sounding songs. I'm not saying that "Silver Shiny Jeep" is one perfect compilation album, as everybody does, it still has its own flaws and faults.
I screened the songs one by one, and here's what I've noticed.
Track 1: Party song – Coffee Break Island (2:36)
Academic rating: 95.%
The context has been a major verdict. It really is, and without a doubt a PARTY SONG! "aaaaw-aw" barks like one wild dog, and the percussion beats are vulnerable to berserk, a steady berserk filled with dogs, beach babes and hunks, talking sunrise and sunset. Best served with maracas and a horny bed.
Track 2: You make me – Eraserheads (3:24)
Academic rating: 92%
This is Eraserheads sans Ely Buendia. Kris Dancel sluts in the band camp singing, "you make me, you make me, you make me feel good." The encore is a result of merry-making Fatal Posporos-lead taking disco-punk lessons with left-footed Marcus, Buddy and Raymund.
Track 3: Bihag – Imago (4:12)
Academic rating: 95.5%
No biases, just personal pits. Hehe! Naah, who could go wrong anyway with a Gab Alipe (urbandub) collaboration and a brilliant songwriting equivalent of a Metropop slot? Huh, tell me! Aia, Zach, Myrene, Tim scores it again with this brooding, dark lovesong. Gab Alipe and Aia De Leon – two powerful vocals, and just imagining Gabby stinting with tagalog lyrics, man it's a first; first heard it here on "bihag" which is included on Imago's sophomore release, Take 2.
Track 4: Inaasahan – Melancholics (3:57)
Academic rating: 92.5%
Don't expect the sound. It's not Melon Colie and the infinite sadness ala Smashing Pumpkins or that overrated sad, epic ballads filled with pop-rock dynamics and suicidal lyrics. This one's simple, on the road track about life and future. Enter your 80's protest folk singer and your not so modern-rock guitar distortions, then you have "inaasahan" by Melancholics.
Track 5: Kahit na – Bridge (4:18)
Academic rating: 95%
Again? This song again? Ok I can stop telling how of how good this song is. I've been telling everybody here how I like Bridge and its branch of Jack Johnson-ish melodies with a bluesy, jazzy twang. This particular song however has a special place on my heart, it's like an anthem I'll keep singing with my special someone… "kahit na, oras-oras tayong 'di magkasundo.. kahit na, lagi-lagi tayong may tampuhan.. kahit na, tayo pa rin di ba…"
Track 6: Jive – Fat Elephant (5:00)
Academic rating: 87.5%
It's a country-rock number with a smooth libido of funky guitars and a tame soundbox that's recorded obviously in a lo fi approach. Still sounds slightly above par to me.
Track 7: Brownskin people – 18th issue (3:19)
Academic rating: 93%
The Beastie Boys are the obvious influence on this particular track. Funkier though. Writing a song for the "kayumanggi race" is a not so original concept, but the sheer meaning keeps this song a standout. I couldn't help but agree, that Pinoys know how to live life the fullest.
Track 8: Di ko na alam – A.D.D (3:45)
Academic rating: 90.5%
If you badly need an energy-booster then this song has the right dosage and the right answer to your century-aged questions.
Track 9: For the moment – Squall (3:42)
Academic rating: 88%
So you expect some nasal-whining band that gorges and hammers lyrical passages about tortured hearts and dressing or acting like a Mohawk punk in your nearby street. Well, Silver Shiny jeepney has Squall's for the moment to satisfy you. I'm not mocking here, Squall's far greater than your garbage kanto-pop/rock sensations simple plan or yellowcard. No wonder, there's too much talent here in Philly.
Track 10: Hey Body rock – Hemp Republic (3:50)
Academic rating: 94.5%
Cool, clinkering, backbeats. It's rocksteady vibe filled with cutesy melodies that evokes an espresso-like liveliness. This song is one of those you can jive and get wild along. Just remember that there's still tomorrow and you still have a breath to catch.
Track 11: Hello my friends, hello – Bleud (3.39)
Academic rating: 93.5%
Bleud reminds me of my favorite local indiepop band, Ciudad. Especially on this track, where they sound like melody nerds and bunch of college-rock bastards who are deprived of radio even if they do have the guts and the sound to receive an airplay.
Track 12: Palm of my hand – Cattski (3:29)
Academic rating: 94%
Ok enough of Cebu's music scene (oops! I just mention it) to provide an entrée to this great band. I have a problem with theories, but with this one I'm quite sure that it follows the legacy of the underrated kiddie-rock, which Eraserheads introduced to us upon their writing styles of witty, simple, playful lyrics with a nursery rhymes-y approach. Well, Ciudad and Parokya ni Edgar has followed such trend to some of their songs, so what's there to bother. David Gonzales of All Music Guide actually theorized this "calling" and not me. So don't blame me for such stirrings. Going back to Cattski, of course everybody knows that they're being led by a female vocalist and on this particular track, the rocksteady backbeats are evident – so if you think you know how they would sound on this one, then better grab a copy of Silver Shiny jeepney. I'm just making things complicated and adulterated here. Heheh!
Track 13: Traffic - Bob Balingit (5:02)
Academic rating: 95%
This is no Joey Ayala clone. "andaming stoplight, andaming mga police, may traffic," that lyrical passage sucks! First impression, given. But as soon as I hammer through the depths and heights of the song's message, I can't help but to sit still and give it a repeat mode. Balingit used "traffic" as the perfect metaphor to describe the situation of every Juan dela Cruz. I, myself couldn't help, but agree.
Track 14: Kusina – Narda (5:17)
Academic rating: 96%
At first I though the lyrics are the sick kind. And it really was, in a way of nonexistent clever and elegance. Spice it up with Katwo's confectioner's sugar vocals and an ill-humored melody that's unlikely, dangerous but deceivingly sweet – man, It's one great aural treat.
Track 15: Damn – Centerfold (3:33)
Academic rating: 89%
I convinced myself right away that it's not Wyrd (remember those bunch of not so pretty, teenage sensations whom delighted us with a song called "scream") but actually it's an up and coming band who called themselves Centerfold. Nothing really fancy on this song, but it's all good and bittersweet. Unless you have this enormous penchant for sad, sad, songs. Well, I do have actually.
Track 16: High – Matilda (4:08)
Academic rating: 94.5%
Matilda copying Sugar Hiccup copying Cocteau Twins? It aint right. Though "high" is obviously a leaning for dreampop and light, hypnotic, shoegaze. And I always admire Matilda for that, for not confining their music to just one pace. I knew then that they really have the balls to be heard and to be introduced, not only in UP and some Club happenings.
Track 17: I wanna know – Brownbeat all stars (5:03)
Academic rating: 92%
It starts with snippets of news item then a blast of Skarlet's injection of Ska-ntaneous vocal vigor. But the next thing, you'll get is the usual reggae interplay of unpredicted tunes and manifesto.
Track 18: Fried brain – MOYG (2:55)
Academic rating: 95%
Short but loud and full of unpredictable heavy galore! It's too short that you scream out at the top of your lungs for more, more, and more kick-ass, dope, and intelligent hardcore-punk music!
Track 19: You're always right – Monsterbot (3:11)
Academic rating: 93.5%
Do I hear the synth bleeps again? The angsty bebops and the barrage of rancid, foul-smelling guitars? Man, who am I anyway to dislike such brand as Monsterbot's. Still, this track is a part of Monsterbot's hyped art-punk sophie, Rhomboids.
Track 20: Come on – Neighbors (2:44)
Academic rating: 93.5%
A good, ska/boogie-woogie song to flee some sense of closure, I mean it's original to be happy than to leave some unsolicited streams. Right?
--
Bonus!
Check out the video of New jersey-based, fil-am band Bleud's video of Hello my fiends, Hello! (http://www.bleud.doesntexist.com/)
Click here to watch the video
Download Quicktime
2006 updates / review of SILVER SHINY JEEPNEY (various artists)
cursed-- @ 11:15 pm |
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*Re-issues, EPs, compilations, greatest hits, b-sides/rarities and live releases are not included. However albums out in the latter 2k4 that made an impact to the current are subjected to the deliberation list.
*It can be argued that there are some fine albums around deserving a spot on the list; but the ranking is limited to those releases, which I happened to spin, deliberate, and pass judgment on.
*Sadly, acts like art-punk outfit MOYG, Powertools, Agape, Sleepyheads, indiepop surrealists THE PIN-UP GIRLS, kool ka lang-famed/now am-based PRETTIER THAN PINK, folk legend JOEY AYALA, the much-praised JOHNNY ALLEGRE and the AFFINITY GROUP, INTROVOYS, CIUDAD (the new one), Peacepipe, 18th issue, Boy Elroy and other well-deserved "should-be" names whom released full-lengths this year never passed the judgment as I haven't got the chance to hear the cuts and deliberate it the way it should be.
30. Hibiscus, STONEFREE
Tight pop-rock anthems about love and life.
29. Halina sa Parokya, PAROKYA NI EDGAR
Still the old fashioned, chock-a-block gimmickries that well, made them an institution to the local, comic "rock n roll" hall of fame.
28. Mantra, AGAW AGIMAT
A noteworthy comeback album from one of the 90's pioneer of the alternopop movement.
27. Hale, HALE
"Fair enough, I'm excited to see this band grow up. Of only a year in the scene, they've proven how contagious their song could get and how they've touched too many people's lives with their lyrical sensibility."
That was I seven months ago after a not so good take on Hale's self-titled debut. Up to now, I still feel the same way. Nothing's changed except that there are far-greater releases than this one.
26. Kiko Machine, KIKO MACHINE
"Gabi" is a revelation; it features great string accompaniment that sets the mood of the album in a bittersweet closure. On the other hand, crowd-drawer themes like "barkada trip," "Mc Gyver," and "Takeshi's Castle" are strong, power pop materials reminiscent of the classic humor that was Parokya ni Edgar's.
25. Tala, PARAMITA
Never mind that Ria Bautista's into the multi-tasking department: singing, drumming, conscious on how people will react on her little theatrics.
Never mind that the band sounds like Jamie Rivera's fronting her own pop/rock band.
Never mind that the obvious influence to this album is either The Corrs or that groundbreaking debut album of Imago called PROBABLY NOT BUT MOST DEFINITELY.
The album's good, and that's what you need to know.
24. Simple Changes, THE AMBASSADORS
It's punk, it's snotty, and it's not about dressing code 101, the Mohawk style. The lyrics are not the flowery type, accessible indeed for those who are more conscious on killer melodies.
23. Far side of the world, DRIP
Fans of Portishead, Morcheeba and other female-fronted triphop bands should dig this. After all, it's above quality and not underproduced.
22. Underwater kite, DAY DREAM CYCLE
lo fi, dreamy indiepop with glittery touches of electronica and space-jam themes. "Daisy tongue" though sounds like that new song from Jamiroquai called "seven days in June."
21. Love and devotion, VALLEY OF CHROME
This is old school metal and nu metal combined, with the inclusion of really emotive lyrics.
20. Fuseboxx, FUSEBOXX
A nice introduction to anything prog-rock. Techniques, complexities and discipline are showcased in this debut. Plus of course Albert's suave shredding – a work of an axemeister!
19. Beautiful Machines, PUPIL
Ely's wife Dianne wrote "nasaan ka?" and shares vocal duties on the title track of the album. Ely wrote most of the songs, and sung the majority of it. But what impressed me the most are the songs penned/sung by lead guitarist, Yannie Yuzon. Yannie's brooding contributions "Mary" and the ever depressing "Lost guide" reminds me of Wilco and a beatlesque Radiohead, with VERY much potential on radio and critic's approval.
18. Love from Lust, BRIDGE
If Ben Harper, Jeff Buckley and Jack Johnson are your thing, listen to this. It has some of the finest, bluesy cuts I've ever heard in my entire life. Also the brass section has got some deep soul that can release every beaded tension inside your body.
17. Formika, NARDA
If Ciudad has a female counterpart then it would obviously sound like no less than Narda. Both indiepop bands create great saccharine music that's downright tasty and easy to digest.
16. Rhomboids, MONSTERBOT
Bebop-art punk using heavy amounts of synth bleeps like it's 80's synth pop again!
15. Party pipol ur on tv, JUNIOR KILAT
Cebuano lyrics. Crazy afro-militant beats. Reggaeton of energetic songs that's funny, intimidating, and sometimes socially-overpowering. What else do you need to know about this great feat of an album, huh?
14. Paghilom, DICTA LICENSE
There is more to its social commentary lyrics that made this particular major label debut a standout. Checkout further the English tracks like "complex" and "the enemy."
13. Saydie, SAYDIE
Kathy Taylor's vocal aerobics are quite exceptional; She can effortlessly strike an intense note and can still provide chirps, some caterwauls and some of the freakiest tortured screams to ever blast your stereo component.
With this album, the band has it: an insane vocalist, a tight instrumentation, and a quite good writing department.
12. Light, Peace, Love, BAMBOO
"As the music plays" is still the Bamboo album to beat. This one's well, still a laudable effort. Most of the tracks though will put you in the coffee shop mood; however songs like "hallelujah" and "F.U." might hint you of that old Bamboo live histrionics.
11. Comet's tail, CYNTHIA ALEXANDER
Cynthia's always consistent with her albums. Unlike her brother Joey, Cynthia explores no boundaries. She's done every experiment that she could, and on this particular album she tried to add Indian music and some odd, mantra-ish flavor to her already complex cream. Still, "rippingyarns" is the best Cynthia album for me.
10. Take 2, IMAGO
If I were to make a list now of the best local albums of the past 5 years, PROBABLY NOT BUT MOST DEFINITELY will surely be included on my top 3 list. Imago might have failed some loyalists of their PNBMD days, but still this album (take 2) is no exception of a great repertoire. Fans like me whom waited for almost three years now have a taste of the new Imago sound, and whether they like it or not – Imago's just here to stay and play.
9. Apoy, GREYHOUNDZ
A newly improved Greyhoundz! This recently found fire has fueled their spirits to write and create above-mediocre songs.
8. Strike whilst the iron is hot, ORANGE N LEMONS
Visitors of my blog voted this as the second best album of 2005 right after urbandub's EMBRACE. Well, the voting is still not finished and the list has at least SEVEN more record above this quite excellent The Smiths-ish album.
7. God Bless the Child, MISHKA ADAMS
You don't have to be inclined to the elitist ranks of Jazz aficionados to tunnel out the beauty of God Bless the Child. Mishka's calm as the seas voice is a plus, but the sessionists here are something worthy of the credit.
6. Flowerfish, SHIELA AND THE INSECTS
Some people are trying to label them "THE CURE" rip-offs, and that don't make any sense. You can hear echoes of post-punk heroes The Cure, Joy Division, New Order and even Stone Roses, but those critics might be deaf enough NOT to hear the intricate subtleties of the band's new offering called FLOWERFISH. Insert tracks like the miserable "Maude" and the ultra-catchy "quick to panic" if you're ready for a blistering Goosebumps.
5. Is that Ciudad, yes son it's me, CIUDAD
Glad that I discovered the music that was Ciudad. If I'd sink in biases and personal pits, then this album might make it to the number one spot. This album by the way is a late 2k4 release, and their new album "IT'S LIKE A MAGIC!" is yet to be discovered. On this album though, every song is a WINNER. From the Kris Dancel duet, "How did you know" to the cutesy "that guy from nirvana is now with the Foo fighters" and the tribute to nursery rhymes "Change the 6 counts then back to 5 then back again." BASSTTTAAA!! Lahat dito winner!!!
4. Tugish, Takish, PEDICAB
The album that introduced the potentials of disco-punk vibes and tagalog-laden lyrics. This one's best serve with dark rimmed glasses, retro attire, and an attitude that can last on an over-hyped dancefloor. "Madaling sakyan" indeed, as to quote the band's description of their sound.
3. Alon, BAYANG BARRIOS
Isa ako sa mga nagpatangay sa ALON, sa hampas nito na nagpaanod sa akin sa iba't-ibang lugar, sa iba't-ibang emosyon na hindi ko kailanman napuntahan…
Call it pepperoni cheese or whatever, but the album's a therapy to me. Folk ballads like "isipin mo na lang" and the anthemic "sa piling mo" are almost perfect, and this time around I'm not overexaggerating. Pick up a copy to relate on what I'm talking about.
2. Embrace, URBANDUB
This surpasses my expectation; EMBRACE, though a crossover album has an excellent selection of modern rock-driven songs, which could spare a battle with foreign bands such as Taking Back Sunday, A Perfect Circle or even Thursday.
1. Noontime show, ITCHYWORMS
Define an intelligent and an honest album, and I'll give you an instant answer – NOONTIME SHOW. This brilliantly made "concept full length" defines the situation of what could have been the power of all powers, the mass media. And no one can quite do it like the Itchyworms. They injected parodies, humor and drama to simplified melodies that's easy to comprehend and well, like.
   
cursed-- @ 09:06 pm |
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