It's final! It's official! Here's my list of the best OPM songs of the year 2005. These songs were either released as a single, a soundtrack, an album teaser or a part of a compilation. Songs subjected for potential release on 2006 are not qualified.
100. Stay real, APRIL - Forget Kyla. EMI's got a replacement anyway.
99. Gemini, SPONGE COLA - cheesy song, but well loved.
98. Ikot, STONEFREE - one of the best songs on HIBISCUS.
97. Desire, INTROVOYZ - a silent comeback? Ask the Filipino Community in the U.S. for answers.
96. Miles Away, SLAPSHOCK - this is the cock-rock posterboys' attempt to cross mainstream radio. Not bad. I missed the caterwauling and the growling shit though.
95. Maling Akala, BROWNMAN REVIVAL - an eheads rendition that launched them to stardom.
94. Lihim, MILK N MONEY – from GRADUATION DAY, this one's a real tearjerker.
93. High, THE SPEAKS – "Patok/Masa" radio stations made a killing through overplaying this.
92. Masilungan, SANDWICH – the video treatment has caught my attention rather than the melody. Music video director Quark Henares is turning to be the Kuya Germs equivalent of the rock music scene.
91. Tumatakbo, MOJOFLY – Speaking of music videos, this is a sure winner.
90. What if, MENAYA – "stonefree, ikaw ba yan?"
89. Razor cut, THE AMBASSADORS – no wonder Cebu's music scene is getting too much attention.
88. Much has been said, BAMBOO – I'm in a coffee shop mood baby.
87. Ligaya, KITCHIE NADAL – if not for her cutesy laugh on the line "ilang ahit pa ba ang aahitin, Oh giliw ko" she might not have entered my list. Heheh!
86. Staying this way, FASPITCH - an indie act to watch out for, from Cebu.
85. The real, SUN VALLEY CREW – nice of them to copy THE ROOTS.
84. Alay sa nagkamalay noong dekada nobenta, DICTA LICENSE - what a very long title.
83. Cool off, SESSION ROAD – "palayain ang isa't-isa, kung tayo, tayo talaga." It makes sense to me.
82. Humanda ka, SANDWICH – from the OST of Tantra.
81. Ewan ko, SOAPDISH – a lollipop-lick hit! One great bubblegum song!
80. Twilight, KJWAN – this has the word 'sex" written all over it.
79. Sun and the rain, AGAW AGIMAT – save for the tag-lish lyrics, it's the presence of barefooted QT Nadela and her arrogant political sermons that makes the band, I mean the song memorable.
78. Mang Jose, PAROKYA NI EDGAR – I'll still go for Mr. Suave…
77. Kuwarto, SUGARFREE – Hankie please.
76. Sakayan ng jeep, NIKKI GIL – heheh! Guilty pleasure. "doon sa sakayan ng jeep.."
75. Takipsilim, PARAMITA – 1st single from TALA. This one's a total snubbed.
74. Gin Pomelo, RADIO ACTIVE SAGO PROJECT – SUBTERRANEAN THOUGHT PARADE is a cool read; this song, well, I don't kinda feel it. The horn section's a pretty slack on this take. Wait! Notice the connections?
73. K fine, JUNIOR KILAT – "sige bay, sige bay lobat na ko.." as of this writing, yeah, I am.
72. You'll be safe here, RIVERMAYA – whatta sweet song. =')
71. I wonder, MONSTERBOT – one of Monsterbot's three entries on my list.
70. Tulog na, SUGARGREE – it's already past eleven and I'm about to sleep.
69. Sweet, SOUTHBORDER/JINKY VIDAL – phenomenal collaboration from two of the most sought-after showbands (Jinky being with Freestyle).
68. Questions, ARTSTRONG – play this and you'll be in the mood for some warm loving!
67. Change is breaking us apart, THE DAWN – a song that's full of hope without the cheese factor.
66. Narda, KAMIKAZEE – another moshpit favorite from one of the best live acts in the Country.
65. Anino, IMAGO – some like it, some don't! And, I like it! Snotty, playful and a novelty-punk crossover – this is definitely a contrast to what fans of Imago had digested during their PROBABLY NOT BUT MOST DEFINITELY days.
64. Barkada trip, KIKO MACHINE – this is the sound when the members of eheads met up and jammed with the boys of Parokya ni Edgar. RIOT!
63. Akin ka na lang, ITCHYWORMS – I don't get it. Of all the songs in NOONTIME SHOW, Why the hell did the band decided on this song as the album carrier? If you chanced upon NTS, you'd notice that the album's a chunkful of impressive songs. I'm not saying that this one's a crap (if it would be then maybe it's not on my list), but there are lots of better single-material on the album compared to this one.
62. Epekto, MONSTERBOT/DONG ABAY – smart move of Monsterbot to collaborate with the legendary Dong Abay of defunct socio-rock outfit, YANO.
61. Jueteng Shed, PEPE SMITH – and the legend goes on and on with the forefather of Pinoy rock n roll, Mr. Pepe Smith.
60. Ulanarao, FUSEBOXX – Like the Itchyworms, there are greater cuts on their debut CD than this. Albert's guitar shredding on this particular track though is one detailed work of a virtuoso!
59. A day before pisces, FASTPITCH – this is what I call chaos…
58. Bakit part 2, MAYONNAISE – depressing…it makes me turn off the radio. ='(
57. Monica, CIUDAD – Wanna have a taste of candy-punk? Go to CIUDAD.
56. Patlang, CAMBIO – "di na masaya, pagod na ako, tapusin na natin ito… paalam na…" happy melodies can sometimes be deceiving. And this song has it, that kind of drama that can put anything solid and moving into trance.
55. Nahuhulog, SANDWICH – bouncy, moshpit-friendly, daring… what else can you expect with Sandwich?
54. Let you go, COFFEE BREAK ISLAND – This is reggae-rock with a heavy dose of funk.
53. Dizzy boy, PEDICAB – dance beats that can keep a drunken guy going in a mobbed hype of darkness and ecstasy!
52. Jopay, MAYONNAISE – Monti's tribute to sexbomb lass JOPAY of course.
51. Alon, BAYANG BARRIOS – a radio-crossover from the lady who's often compared to the likes of Cooky Chua, Grace Nono and Cynthia Alexander.
50. Spoliarium, IMAGO – great, great cover of that eheads song. They made that Juan Luna piece darker and creepier.
49. Patawad, CHUBIBO – one of the catchiest songs of the year from the catchiest band-moniker I've heard in my entire life.
48. Forever Young, VALLEY OF CHROME – insane arrangements! This one's a moshpit drawer…
47. Phoenix, TYPECAST – I was thinking that "forget" deserves to be on my list because it became popular only this year despite the fact that it's included on Typecast's 1st album released some years ago. But then they have this track called Phoenix, which is included on the soundtrack of the Online game, Ragnarok. Not as brilliant as the poignant "forget" but this one is somehow a point of consideration. Heheh!
46. Hiling, PARAMITA – "nanlalamig na ba pag-ibig mo..?" this song is for the martyrs.
45. Lie, SAYDIE – this song showcases lesser growls/shrieks and more whining, I mean singing on Kathy Taylor's part. The video is already making rounds on the band's official site http://www.saydie.com
44. Nasaan ka?, PUPIL – don't dismiss the sound of Pupil by hearing this "patronage-to-the-eheads" kind of radio-friendly material. Yes, you can hear the echoes of the kiddie-rock sound of CUTTERPILLOW or other eheads signature catchy hooks but then Pupil's BEAUTIFUL MACHINES takes you to a whole new level of guitar-driven rock that owes its influences to the likes of the radiohead and well, those 80's shoegazer acts.
43. Pag-agos, UP DHARMA DOWN – When Lauryn Hill tries fronting an acid jazz/postrock band…
42. Happenstance, Sheila and the insects – I've been looking for some reasons on why the band named their fourth album, FLOWERFISH… not until I heard this track. =')
41. Para sa iyo, PAROKYA NI EDGAR – Is this "halaga" part 2? Some similar structures on the song, but I would have to say no. mmm… Caught the video? Hahah. Nice of Parokya to create a parody out of that famed PINOY BIG BROTHER show with a little help from the unpopular housemate Racquel. Hehehe!!
40. Huwag kang matakot, ORANGE N LEMONS – Mind you, the foursome has four entries on my list including this eheads rendition. I'm just wondering why the heck did "Julie tearkjerky" and "tikman" get into the line of this particular song. Now, I understand why they were dubbed as "masters of rip-offs..." heheh! A corny joke number you got there.
39. Song number 9, DRIP – the video that delights my sense of taste. I love Adobo.
38. Chiksilog, KAMIKAZEE – When the boys from Kamikazee are about to play this live, prepare! This is a sure mayhem you don't want to miss! Promise.
37. Mr. Politician, PEACEPIPE – this is every TIBAK's soundtrack.
36. 108 eyes, CYNTHIA ALEXANDER – major disappointment. Where's that unpretentious Cynthia that we once loved on "rippingyarns" and "insomnia?" I really don't get this one.
35. Malas mo, PROTEIN SHAKE – surprise, surprise, surprise. Do I see some raised eyebrows? This one reminds me of post-Marc Abayan Sandwich.
34. Blue moon, ORANGE N LEMONS – the Morrisey-ish touch on this song is a much raved. This is a confessed repeat mode on my CD Player.
33. My Favorite things, THE LATE ISABEL – a haunting, theatrical piece of a Julie Andrews classic.
32. Ang ating araw, DICTA LICENSE – Pochoy and his tongue are the main machines of this song. He tells it all: the positive vibes, all hopes and unison, things that will bring mankind into one huge force...And right through his lines, you know he's damn serious about it – about spreading the vision to his countrymen, through music.
31. Where do we begin, MISHKA ADAMS – good combination, jazz and world music. No wonder she's the new "it" girl of international jazz label, CANDID – cater to established artists such as Stacey Kent and the ever popular Jamie Cullum.
30. Apoy, GREYHOUNDZ – "sunog lang ng sunog, sunoooggg!" and "ba't ka ba nagpapasunog sa sarili mong apoy…" powerful lines that can set the mic in a heat mode. Allan Cudal must have been proud, Greyhoundz have grown from a lame kupaw band to one of the most powerful acts in the rap/metal scene.
29. Reality, THE AMBASSADORS – Eping Amores' energy is quite a rare treat! This is Cebu's finest punk offering, dishing a flavor of fun-loving poison to the senses.
28. the art of letting go, VALLEY OF CHROME – When fans look for a substitute to Cheese, they look forward either to Kamikazee, Typecast, Chicosci or Valley of Chrome. Valley of Chrome who has released 4 EPs to date managed to include "the art of letting go" in their 1st full-length debut, LOVE AND DEVOTION. In this song, the band stirs the 80's glam metal feel of their gods, IRON MAIDEN with their expansive knowledge on chord progressions, tasty textures and modes…
27. Heaven knows (this angel has flown), ORANGE N LEMONS – songs like these are better off as soundtrack to sappy films "If only" and "A walk to remember."
26. Malayo man, Malapit rin, BAYANG BARRIOS – She's got it all: a world-class, award-winning composer/husband, a reputable name in the musicbiz, a share on Conspiracy Café (with Joey Ayala, Gary Granada, Cooky Chua, Cynthia Alexander), and a music often used as soundtrack to the likes of Encantadia and the 2005 SEA Games. This song on the other hand, is used as a musical backdrop on PINOY ABROAD, a show hosted by Rea Santos and Ivan Myrina. Still, it's on the late 2004 indie release, ALON.
25. Nico, NARDA – The Cardigans… Barbie's Cradle… It's Narda actually. The lo-fi approach on this track is an ace, for no reason at all. I don't know, but I really like it that way.
24. Alert the armory, URBANDUB – not as strong as "soul searching" or "new tattoo" but this continues the legacy of what could have been one of the most powerful mantra in the local rock scene. Just don't forget to shout the now immortal "Mayday! Mayday!" every time you see the band play this staple live and encore.
23. Sweet cheeks, DRIP – Finally! I saw the video. They used to play this on their terno gigs.
22. Broken Sonnet, HALE – I admit up to this date that I still love this song. First time I heard this, I thought hale was a Christian band; you know Caedmon's Call or something like Jars of Clay.
21. Takeshi's Castle, KIKO MACHINE – "ang hirap mo naman ligawan, ang daming pagsubok na dapat daanan, daig mo pa ang sumali sa Takeshi's Castle…" this was never a big single despite its killer chorus and its tickling lyrics.
20. Hallelujah, BAMBOO – one of the most popular songs in the country this year. It even became a center of spoof on EAT BULAGA, with Jose Manalo's often-funny imitation of Bamboo's distinctive yet dynamic stage performance.
19. Ako si m16, JUNIOR KILAT – I don't really understand why people are questioning the liability of this song as NU Rock Awards' song of the year, when in fact it's been well-received not only in Manila but as far as Cebu and Davao. Ok, the fact that they used the intro of that Inspector Gadget movie scoring as the foundation of their brass section is given, but the captivating hooks can get you dancing all day long.
18. Fever, MONSTERBOT – this is a prescribed drug for all you attention seekers out there. "I need special attention, someone get me love and affection…"
17. Roses and Cadillacs, DAY DREAM CYCLE – great chill-out song. Kathy Meneses' soaring vocals are perfect confectioners; no need for sugar just the right amount of temperature and relaxation.
16. Superproxy, FRANCIS M./ELY BUENDIA – the updated version I think is better than the original. Francis M. sings with all conviction, and his sharp tongues can blow any one away by the split of seconds. Ely on the other hand shares his rapping skills with enough fluidity that could at least spare a match with Francis'. Excellent job for these two musical geniuses.
15. Quick to panic, SHEILA AND THE INSECTS – When I say it's ultra-catchy, I'm exaggerating it. Not for this particular track though.
14. Asan na, TWISTED HALO – A breather from the multi-textured, complicated Halo song. This folk ballad brings lots of moods that may put anyone into a sleep. Especially that vocals courtesy of Vin Dancel, a reminiscent of Gary Granada's.
13. Kahit na, BRIDGE – lots of blues… Lots of jazzy flavor and lots of comparison to Mr. Jack Johnson. From LOVE AND LUST, this relaxing song is the better substitute to such boring acts such as Paolo Santos, John Mayer, or even Damien Rice.
12. War of the skies, MISHKA ADAMS – airy, angelic vocals that can beat every Sarahs (Sarah McLachlan, Sarah Brightman) in a podium.
11. Koro, GREYHOUNDZ/FRANCIS M./GLOC 9 – hands down collaboration of the year!
10. Dito tayo sa dilim, PEDICAB – drugs, sex, alcohol… whatever dark means to you, it's still cryptic to me. And wait! It sounds very Juan Dela Cruz band to me with ofcourse that dance punk beats that evokes early gang of four and B54.
9. Jeepney joyride, JEEPNEY JOYRIDE – can't wait for the album. They're awesome live act performers on stage, kind of watching a circus and an energetic theatrical piece at the same time. That made me wonder why didn't they won the most coveted prize in the Global battle of the bands, Philippines.
8. Krolithikah, SAYDIE – go to any Saydie gigs and you'll know what I'm talking about.
7. Hanggang Kailan, ORANGE N LEMONS – the highest-ranking ONL song on the list. What's so special about this song is the often slaughtered, but very much adored "umuwi ka na baby.." this is like Rey Valera or the Apo Hiking Society fronting the British lads, The Smiths.
6. Call it a flick, CIUDAD – the best local tweepop songs I've heard so far. Great lullabies for sleepyheads out there.
5. Akap, IMAGO – TAKE 2 never did surpass the ingenuity and the hype that was PROBABLY BUT MOST DEFINITELY. But it open the doors for Imago on a more experimental, heavier sound that made them one of the toughest acts to beat this year around. And "akap"' is one of those brainchild of a still great album. This song is one emotional rollercoaster-ride, and I admit I'm one of those who enjoyed that little trip…
4. No ordinary love, URBANDUB – I'm saddened that it's not even included on the eleven-track, third album, EMBRACE. This cover of a Sade hit is no ordinary pastiche; Urbandub actually made it a song of their own and you can hardly notice the similarities except for the lyrics. Heheh! I'm not making sense here.
3. Nice Place, JUAN PABLO DREAM – No wonder why mobile mogul SUN CELLULAR bought the ad rights of this song. This one's a cool, jig-along bopper, especially if you're in need of damn solid party!
2. Maybe, UP DHARMA DOWN – need I say more?
1. Lullabye of the Wind and tree, LOQUY – can't wait for the album to drop by 2006. This Kevin Roy-powered outfit/side project has everything unique to it: stripped down/warm melodies, a flutist, and moving, socio-lyrics.
cursed-- @ 02:06 am |
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my disc review: Urbandub 's EMBRACE
"Parked Car, this night sky makes city lights shine like diamonds. Our song plays on the radio. We're living it up make this night ours. We own the world, I wish this lasts forever."
Man! "First of summer" sticks like wet paint! No song knew the operational meaning of abrasive partying and a hell-of-a-shindig moshing than this. Its summery, college-rock weight has added a feat that more likely will impress, than surprise both hardcore and first-time listeners of Cebu-based outfit, URBANDUB. Lalay Lim kicks in a spurt of vocal back up, and Gab Alipe hyped as ever, sings with all glee and energy – it's like a pause, a drowning in the calm sea, where your ears are steadily locked to the melodic genius that was "First of summer."
If this was Udub's attempt to go radio-ready, then they might have found the right timing, the right record and the right direction. The decision to join Bamboo, Hale, Sugarfree, April and Nikki Gil in the roster of EMI "dream team" is no such deal. I happened to play their third record EMBRACE for about two weeks now and I was quite blown away by their new sound that fuses the ethnicky-moderny of their debut BIRTH and the extremely emotional sophomore release, INFLUENCE. With this fusion comes a fierce record of ten brooding tracks and an interlude, inviting growth on the songwriting capabilities of lead lyricist Gab Alipe that matches their new atmospheric hybrid of modern rock, Emo, ART METAL and surprisingly College rock.
The album cover also is a revelation. A cute, innocent-looking five to six-year old girl of Chinese-mestiza descent, standing with pride on a tropical backdrop of thick shrubs and green grasses. It's like the child's ready for the new world outside the forest, ready to face and embrace the adventure of her lifetime. Well, that's me trying to decipher the album art meaning without putting too much thought. Heheh…
Then "An interlude between closeness" entrées, alarming a military configuration to start and attack, opening a warning to the dueling exercise of the overpowering "Alert the armory." Urbandub's trademark of complex textures and shitty drum fills induces another great job again for this song. It's intensity reminds one of an intricate mayhem, where shouting the immortal "mayday, mayday!" is a guaranteed pleasure. The drama behind the war continues as the angry "frailty" and the hypocritical, anti-alcohol, anti-lust, anti-money "When heroes die" provide an exceptional treat of bloody visions and relaxing, sonic palette that shred and kill an ear, in melodic and pleasant terms.
Oftentimes, vocal fillers like "parapapa" are cranked to provide a moving mood that no distinct word could describe. On "safety in numbers," the filler 'turututututu" is too much of a guilty singy-songy trademark, but what makes this song soaring and better yet moving is the poignant-laden, layered guitar shreds and its shoegazing basslines that steadily brought sentimental response to the exceptional vocal range of Gab Alipe. That also acquiesces with "Endless, a silent whisper," a bitter track that has gotten me an emotional breakdown. "Is this the beginning of our last dance? Once around the floor, can we do it again? I feel the thrill from words we say, I love you.." ='(
The attack of "reveal the remedy" and "the arsonist" is truly a design plan of noise nerds that rely on basic, melodic hardcore dynamics instead of a bitchy, overdriven guitar work trembling hard to please. Same with the jarring but enjoyable "the end of something" which one might trace on the predecessor album, INFLUENCE.
Triphop/art rock is a fraction influence to Urbandub's trance-inducing, sleeping pill-ish "A city of sleeping hearts." Astonishing effects, excellent violin "twang" ala Bjork's "all is full of love," a small yet warm orchestral set-up complete with the usual band set-up, and an oh-so-powerful, angelic voice that can move mountains and break seas. What could you ask for? While modern rock fans might not like this kind of experimental, open minds are sure to laud this wonderful, opus track. Definitely, the best song on Urbandub's history of creating, well, quality music.
the mogul's take: 10/10
my disc review: Urbandub 's EMBRACE
cursed-- @ 03:14 am |
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my dics review: 6cyclemind's PANORAMA
An hour or less of a joyride in a patok jeepney is an ultimate experience, or a horror of a lifetime. To be able to absorb the deafening, dinosaur flatulence of the stereo blast one must have a scandalous motormouth that can match the… take a breath,, the torture of the jeepney playlist, the cocky driver's tackiness, and worst, those thugs who might have a thing for your over-exposed cellphone and wallet. Be ready to scream, to argue or worst to call upon the crowd/police's attention, if you're up for a bright day…
But patok is never really about the awful experience that might strike you of disgust, it is, as passengers coin it, about "masa music" mostly bordering from the ultra-mega volumes of remixes be it tagalog rap, labsong, new wave, or hiphop (mostly sampling Mary J. Blige's FAMILY AFFAIR, hehehe!), up to the cheesiest radio stations that oozes the guilty chuckles in you especially when you hear the famous lines…
"Kelangan pa bang imemorayz yan, bisyo na toh?"
"Mula ng makilala ka, ako ay napaakit mo…"
And without a doubt, the latter has turned your regular jeepney ride an interesting one. Secretly and guiltily you're starting to hum along its stray of songs be it the standard type or not.
Not until recently since I find it odd anymore to listen on those ilk of "masa" stations. It's certain that I'll pinpoint that radio programmers in this hype have gone open-minded or better yet have become smarter than ever before. They seemed to reformat the playlist from crap to slightly crap, but still it's the same crap that everybody would love and like. My assumptions though gave another idea regarding this whole new platform that "masa" stations are trying to flesh out on the airwaves. Maybe the relationship between record executives, musicians and radio itself has becoming integrally solid that each has its share of support and not just basking songs after songs instead of just trying to play it and let the "masa" judge its replayability.
Hence, it's no surprise to hear both awful and considerable acts upstaging the "masa's" heart. Nowadays, you can hear Imago, Pedicab, Orange n Lemons, Paramita, Bayang Barrios and other noteworthy acts at your nearest, frantic patok jeepney. And might quite alienate you to the idea that "masa" stations, as pa-sosyal and pa-cool label it, is all about JOLOGS. Well, Radio is.
 Then here I am picking up a copy of PANORAMA, 6cyclemind's 16-track, sophomore effort. I happened to hear its hauler single, "sandalan" almost everyday in the "patok" jeepneys. The simple dynamics, pop-rock feel has gotten me in more ways than one, exhausted. I couldn't take it anymore. Seriously. Bands are attempting to sound like it's the 90's again, which gives you the impression of what a safe/surefire hit/copious ditty has gotten a 'mediocre' band into superstar status. I don't blame the radio, I don't blame the people, I blame it all on the trend that continues to devour the rock music scene like a large amoeba. Yet there is a need to argue, that there are still those of the "same kind" that deserves the laurel that they are getting now. Unfortunately, 6cyclemind is not one of those whom I'd give another try on my CD player. Maybe considering it as a Christmas gift might ease the burden, money wise.
Don't get me viciously wrong; Panorama is still a good record this year around, even better than its predecessor, Permission to Shine. But the growth is felt with one eye closed and the other one opened. This record could've been a tight one, needless to say. Its sincerity on cult-like hits and power ballads is of a great catch, however it limits the band to hone their marketed sound into something nifty.
On tracks like the beerhouse-laden "trip," the trouble-free pouring of "landas" and the optimistic "naghihintay" (which includes a short reggae interplay after the 1st chorus), I'm more likely to smile than to grunt. It's one of those songs one could easily relate to, in both their happiest and most depressing time of the day. 6cyclemind's good at it, really. And it's easy for a band to come up with a good melody rather than an impressive melody that makes for a great hook. Ok, given a fact that "l" and "clown" has got some serious tearjerky material going on with it and that "touch" can let anyone croon along with its strain of down-in-the-dumps vocals and jangling acoustic guitars, but that doesn't measure my outlook towards Panorama as something not worthy of a second listen. While hardcore 6cyclemind fans might bitch me of how slanderous my motormouth has become, some might actually love this tiny opinion of mine.
It's like riding a "patok" jeep, one must have a scandalous motormouth to cope up with the whole journey.
the mogul's take: 
my dics review: 6cyclemind's PANORAMA
cursed-- @ 01:32 am |
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my disc review: fuseboxx 's FUSEBOXX
Call it a classic feat or an inventive musical machismo, DREAM THEATRE's brand of on-the-ball and lengthy arrangements and suave chord progressions that tend to soar and dive impulsively – has gotten them a global recognition, and a stamp to imprint their heads on as the finest logicians to ever teleport a dreamy piece of instrumental extravaganza into the realist's world of theatrical display. Yet my nose tend to smolder some breathy smoke when people go gaga over a "dream theatre" conversation like this band is of a great concern than the stubborn price hike of motley necessities. Not until recently since I felt indulged listening to some Jethro Tull, King Crimson, Rush and others that showcased that same ingenuity that I happened to figure out as something spine-tingling when Dream Theatre's Octavarium pops in and out of my stereolab. Even Phil Collins' early prog-rock band Genesis has captivated a part of me, more than singing into my favorite Collins' classic, "another day in paradise."
Progressive rock.
I happened to enjoy every slick of it: the pride to sound grand, sophisticated and operatic, and the beautiful fumes of traditional Beethoven or that of the Bachs combining through the air of Jimi Hendrix and other guitar gods – the result, a well-ventilated genus of rock and roll music that's got some elite musician standing and applauding.
Here on our local shores, few minds tried to copy and borrow the prog-rock attitude in their sleeves. One was FUSEBOXX, whose superb live performances earned them a winning spot in the 2003 Muziklaban league, the country's utmost battle of the bands. With co-Muziklaban achievers Mayonnaise and 18th issue releasing an earlier full-length album, fans of FUSEBOXX are nothing but hungry upon the release of Fuseboxx's self-titled, independent debut. And luckily, the distribution deal with Universal Records fed the fans' starvation as the album made its way on stores just a month ago.
Inspired by the likes of Dream Theatre and other prog-rock dramatists, Fuseboxx's baptized, eleven cuts on the album has got some serious delivery of striking guitar solos and crazy licks, choral and orchestral penetration, cascading notes, soaring basslines, light but meditative drumming and a moving mood that borders on a dark, ambient texture. This strip-away balance has poised them to go experimental, not limiting them to voyage on a broader musical scope. Yes, they're not prog-rock purists. And progressive rock is not really about being mean and being conforming, as it is more on discipline and technique. It could go along from funky to glam, from groovy to just merely trite.
Whatever it is, Fuseboxx simply is the perfect embodiment of an A class local prog-rock act.
They could pass out as a pseudo-Goth band via the hair-raising, album-opener "switch" and Abby's playful vocals on "breathe" might as well include the track on Bjork's greatest hits album which in some weird aspects tend to sound like "they come from the future and they sound like they come from 100 years ago," as Flaming Lips' Wayne Coyne tells it. On "ulanarao," I felt that Abby's attempt to sing an all-out Tagalog track wasn't such a good idea. The orchestral touch though helped revive this thumbs-down song. And with her crooning the last high part, she fails to bring that diva in her unlike when Aia De leon of Imago belted out "Alay" or "Akap" effortlessly. The recitals on the mystic "11:28" will fetch you to the book of Matthew of the same verse. Also on this take, you'll be petrified with the great, great guitar solo part courtesy of Albert which speeds out an excess of 90's glam-rock playing. Also, check out the divisions of "outlet." It reserves seven subparts (outlet 1 to 4, an interlude and two radio edits) and mutable moods that surface their affection for morose chants and extremely dark tunes. I have nothing else to reserve on Fuseboxx's effort to nip their creative juices. And like what I've said earlier, Fuseboxx is without a doubt an A class local prog-rock act. Not as good as Dream Theatre but better than any other band that, well, attempts to copy Dream Theatre's brand of sly prog-rock.
the mogul's take:  
my disc review: fuseboxx 's FUSEBOXX
cursed-- @ 01:04 am |
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my disc review: itchyworms ' NOONTIME SHOW
It’s the same old joke. Talking rubbish and all, barren ideas tending to look radically ripe, accusing and nitpicking the next piece of crap while disclaiming one’s own fault not realizing that all we have is a dead planet like Earth and not that dreamy landscape of the ostensibly perfect Utopia. Those made me boldly believe that we are born to badmouth and wear a badge of insecurities to pass off as a human rather than a Martian, as to how every self-proclaimed Mother Theresa secretly fondle their priced “armors” in the night of the sleepless and the abandoned.
Accepting the fact though, is a different challenge for people who knew nothing but their Weberian cum Marxist lingo. We are playing the realists’ game, and if you’re not, then where (planet) have you been?
Despite the ruins, the bloods, and the deads that were served fried through differences, mankind remains firm with what he deems to as tasteless and weak. Predicting the next years to pass, I should utterly direct my words in sheer…denuding trees, leaves withering away to extend their goodbye to its motherland, while postmodern thoughts will preoccupy the mechanical mankind like what a warped blackhole does with stretching to the fullest a not so flexible material. Yet, it won’t make up for a revolution, for all we see is a regressing society, sharp of one person pitted against the other. And as history repeats itself, all things will turn medieval and prehistoric. New species will soon replace us, and create another story that could fare or stray from their long lost legends. Being the legends that we are, our story will soon be wiped away. And those mouths that blabber like one loser will rest into peace. Including mine, of course.
Old jokes could turn out however into half meant bitching just to seek attention and by just merely trying to paint the blue and dark world with the shades of pink. Like the route of mass media today, the television to be particular - it’s pretty creepy, serious and becoming too boorish. All you see in your local boobtube channels are nothing but violence, sexual suggestiveness, foolhardy thoughts that spellbind viewers to follow the latest shit to nail one’s money at. Quality control would define an answer to this ill, but media conglomerates are ought to pit what the surefire hit struck the masses most. And like most of each and everyone, I’m a victim myself of the formula fed by the television dynasty. It’s cultural Imperialism as what they coin it, and I can’t help but to embrace its substandard efforts to please me for I’m but a weak and helpless guy who finds joy even in the slightest juice of things, even if something valuable is barred into it.
I know I’m not making sense here, and to reciprocate with my silly, dramatic ideas-turned-into- merely “pouring out” will just be as ambiguous as to how I discovered comfort and strange nirvana by murdering the Itchyworm’s latest pet project, NOON TIME SHOW. Incalculable spins, considering it as a sleeping pill to the weeklong sleepless nights, granted that it’s boxed with bright musical concepts having fun – I have yet to love NTS day by day.
And whether you label Noontime show as socio-commentary, political statement or blast critiquing, the album sharply makes up for great  melody and a feat for lyrical ingenuity as honed and preserved by drummer/vocalist Jazz Nicholas (also of the band, BOLDSTAR). The same old joke to perceive here is something, which you’ll find really disturbing but digestible and if you’d just allow yourself be swept by the holistic message that it has been attempting to channel, you’re free-spirited to say that NTS is more than or beyond a smart-ass Comedic/theatrical wonder. It’s safe enough to say that Itchyworm’s follow up to its debut gem, little monsters under your bed is what literature experts might just term us “black comedy” or “dark farce” while some leftists and anti-commercialists might cue it as a hymn to sung at contrary to those that label Noontime show a tribute to the likes of Tito, Vic and Joey or those famous mainstays of the Noontime shows. If you’d just probe into the straightforward yet thriving lyrics of most of the cuts in NTS, you’d think it’s actually an anti-Noontime show or better yet an anti-mainstream television album that’s created to wake the people’s sensibility towards the trite drama that left our eyes glued and sticky. But whatever interpretation one might have in mind towards NTS, it still is, and will be the album to beat this year around.
An obvious comparison to the Eraserheads though might piss some E-heads fans whom happened to not relate of any Itcyworms’ song. Relatively, both the e-heads and Itchyworms drown their creativity from their brand of great pop hooks and sonic masterpieces, which in return could tariff cult following both from the masses and those with the heart of a true critic. Also, itchy’s potential hits like “akin ka na lang” and “buwan” evidently tags along a number of influences, recalling Weezer’s maladroit (seriously! Go grab the album and go whip on a song called “island in the sun”) and any cool, summer song from The Cars or some Apo Hiking Society.
Going back to the album’s spectrum, the 17-track sophomore effort from the band has some serious hate-crash towards the system that television shows doomed to throw at the innocence of viewers across the Philippine islets. There’s the unapologetic “theme from the noontime show,” the loser’s ode “contestant number one” and the anthemic “soap o pera.” But those who engage themselves watching flicks and tweetums shows of Mark Herras-Jennylyn Mercado team up or their slated contemporaries (whew! Showbiz.. hehe!), better take a peek at the infectious “loveteam.” You’re sure to agree with its brevity:
“sinungaling ka, kapag may tao ay nilalambing mo ako / pero pag wala, ay sumasama ang turing mo sakin ay parang hangin, bitin na bitin / ‘di mo lang alam na sa dulo ng tagpo hindi na patok ang mga linya ko / nag-iiba ang iyong asta hanggang sa susunod na eksena / sana wag mo ko sisihin…”
“Salapi” and “everybody thinks you’re crazy” also erupts into full explosion with its attempt to go hardcore while still has its foot on the land of radio-friendliness while “one ball” balls out some chunks as the tune slows down in limited proportions to impress.
Then, I happened to reserve my last favorite three songs on the lower spot of my review. “mister love” ranked as third, with its fresh, Motown-y voiceover of “leave your life a little, fold it in the middle and sending out to mr. Love…” The song endears with Boy, the 39 year-old letter sender asking tips for mister love on how to get a girlfriend and experience that kind of magic lovers could only attest. Then the exchange would soon contract between mister love’s candor and harsh feelings towards love like one experienced guy and Boy’s earnestness to feel it whether it could end up in a bitter way. But the two agreed to each other with the immortal lines “everybody in this world needs love.” Cheesy indeed, but the cascading pianos and the chord progressions seemed to add spark on the naiveté of the song, which clocks out sadly at 5:18. The second favorite track of mine went out to the depressing, drinking session anthem known as the “beer song.” The gigantic chorus could give the Eraserhead’s pare ko, Parokya ni Edgar’s inuman na and the guilty pleasures of 6cycle mind’s sige a place in the beerhouse backseat.
“ibuhos na ang beer sa aking lalamunan upang malunod na ang puso kong nahihirapan / bawat patak, anung sarap, anu ba talaga ang mas gusto ko? / ang beer na toh oh ang pag-ibig mo..”
the almost twelve minute interplay of “production number” scored the top position on my list of NTS favorites, and at present – the best OPM song of the year albeit the number of guest musicians (Ebe Dancel, Aia De Leon, to name a few). If it wasn’t marked as an Itchyworms’ song, it could probably pass off as a tribute song to Philippine Entertainment's ineffectiveness in delivering quality program, and its barrage of apologies that may put any television freak/followers near to tears. The principal geniuses above the lyrical attacks are those extravagant musical numbers by those fictional characters that has its equivalent on the local showbiz fanfare of today: Rodel “Jukebox” Rodrigo spoofs April Boy Regino with a stint on the song grabeng pag-ibig, the pretty boys Wackie, Cholo and Paeng recalls the “pacutie” boybands, a guy whom escapes my mind tries to copy Bayani’s rehashed novelty “otso-otso” by a short ditty penned as apat-apat, then my favorite spot on Production number bembang bebots and jimboys (baywalk bodies? Masculados?) exchanging the accusations “bastos-laswa” to both parties. What irritates me though on this take was that part of Kris Dancel’s (Cambio, Fatal Posporos) where her vocal part tends to burry her other co-Bembang bebots. Anyway, that’s not even a thing to bother. Also interesting characters who made the list are that of Ramil Ramirez Jr. promoting his Justice Vergara story (Magpakailanman, Maalaala mo kaya?), the gang vocals from Akin ka na lang casts, Lol Amor Reyes and Aisheteru’s Fuji Nakamura and Yumi Nakayama’s bastardized version on Itchyworms’ song “beer,” Sago and Carlos Santana band’s effort to sound “rock and roll” and Dr. Groove’s injection of 70’s flashback funk to the Noontime show dance floor. The production number chorus, which was repeated 4-5 times, has diverse structures per blow, with the first one sounding like a foxtrot vibe then the second one like a European polka, then the third showcasing the style ala showdown (think: divos and divas strutting their vocal prowess via “sapawan”) and the last one being an old school discotheque that recalls VST’s sumayaw, sumunod. Call it grand or impressive, the orchestral touch on the twelve minute ride smoothly gushes through the whole appeal of production number, especially on its last few words that put humor in theatrical extravaganza.. “lahat ng ito’y kasalanan naming / hinain naming sa inyo kahit di wasto..”
Then after finishing some rounds on NTS, you’ll understand why old jokes are left at every corner of the tongue, that you admittedly swallowed it with the taste of a “stand” rather than a sense of pride. And what’s funny is you see yourself sitting on a couch writing some of the dumbest thoughts that somehow distill the blood in you like torrential stream… and you point your early statements as a joke considering how whiny you are of things you never really knew in the first place, when all you really want was to essay your opinionated alter-ego whom all this time tried really hard to pluck that loser in you…
Call NTS influential, who knows? I might as well look for television for the answer.
the mogul's take:
my disc review: itchyworms ' NOONTIME SHOW
cursed-- @ 06:00 pm |
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my disc review: SHEILA AND THE INSECTS' Flowerfish
Before we were introduced to the rebirth of post punk in the 00's by Interpol (with the 2002 debut Turn on the bright lights and the much praised follow-up Antics), Moving Units, Modest mouse, Bloc party and The Killers - We were given a free local taste of what's it like to revive the sound that put an end to the good old punk rock (which opened for the new wave/4AD movement), via bands Pin-up girls and the Sheila and the insects. We swoon with their songs "down" and "everyday drive" yet we left some tears falling as both bands temporarily left the scene for some personal reasons.
NOT until this year since we last heard of them. Pin-up girls is hats off upon their successful penetration of the College rock/indie scene in the U.S. and is currently enjoying their second American indie outing, take on the weakened sky (which is also available here) while the whiz kids from the island of Cebu, Sheila and the insects managed to reissue the Manipulator this year which in its occasional release some three years ago, was not available on the record stands of metropolitan Manila. While the boys of Pin-up girls are hyping through consistent airplay on various East Coast College radio stations, Sheila and the insects are nearing to exhaustion, as their tight schedule and ceaseless promotion of the manipulator and their new collection of 10 stark pop songs, FLOWERFISH are sure to keep them no amount of sleep.
And an amount of sleep for fans whom waited for their timely comeback.
Speaking of FLOWERFISH, the record seems to rebel with the heavy renewals of the Manipulator. But as far as tight playing is concerned, it still has that same SATI attack that gravitates on energy, power and tied-up minimalism. With the addition Boobop Nunez (bass) and Jeross Dolino (drums) to the line-up, SATI's Flowerfish has morphed the band's outlook to rediscover their past sound in plastic eyes, static minds and garnish it with a mature, futuristic eyeing. Still, the strong pursuits of post punk heroes Joy Division, New Order and The Cure are evident to the mix, yet echoes of 90's post grunge acts as Smashing Pumpkins and Sonic Youth are also layered to the new level that FLOWERFISH happens to reach - bright ideas, broader scopes, all woven to bring a landscape of freshness.
If that seethes sophistication to you, might as well check the shoegaze-y slash space syndrome-y of "violet" and its cousin "luna grace." These two songs remind me of bald-haired geniuses Moby (damn, strike your "18" and "Play" CDs..) and R.E.M's Stipe both vocally and in some vivid cues, even on their releases. But Orven Enoveso's lush baritone is too flexible that it tends to alter on "Lemerson" and the disc-opener " maybe only maybe" where you're reminded of a vocal mishmash between an almost anti-punk (Bloc party's Kele Okereke) and an almost anti-post punk (Greenday's Billy Joel Armstrong). Credits are to be given when you haul into the ultra-catchiness of "quick to panic" which lets you hum of the etched "you don't turn me on, you don't turn me on." Its recognizable hooks are a brainchild of Ian Zafra's undeniable experiments on psychedelic and angular guitar playing, and polished by the trade rolling of Boobop's pensive basslines and Jeross' discreet yet absorbing pounding of the skins. At present, quick to panic is ranked # 6 on the NU 107.5 midnight countdown, proving that the song's meandering on wide-screen melodies paid, very well. "Just in case" on the other hand, is cozy and has that feel-good vibe that's good to hear when you wake up in the morning.
Tweaking bass dubs and squeezed out riffing coincides at the background of "happenstance" while good percussive treatment courtesy of Jeross drench delightfully with Orven's whiny and shrilling escapades to "the disco machine" where you are sure to pamper with Orven's crooning of "disco is dead, disco is dead." I myself can't help but to sing along. The big deal here though is a song called "maude" which I have to admit is, a current soundtrack of mine. If you find that cryptic, then just check out the lyrics (too simple for you to understand) and you might as well dig the track.
And with that, I must say that I've eaten every bare sentiment that FLOWERFISH has indeed accomplished. Which in all candor, deserves another main course on my table.
The mogul's take:
my disc review: SHEILA AND THE INSECTS' Flowerfish
cursed-- @ 03:58 am |
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my disc review: DICTA LICENSE's Paghilom
Kids who consume their soles and their almost epileptic bodies on the sweaty moshpit would always want a square to those hippies who tap their feet with their priced bling-blings on the most fancied clubs in the metro; the other strums his guitar singing out of tune while the other one phrases out his lines at an imaginary beat box. He thrash-talks of how bollocks those hoodlums are in the nearby street, the other one condemns of how tacky those guys are in their black tees and in their usual Chuck Taylor snickers. HIPHOP and ROCK. Pure epitome of two contrasting cultures, where claims disputed from two races - the Caucasian and the Negro-born. And I'm saddened by how until now this ancestral fight have sustained the crooking path that bathed blood among its cult followers. Not that I blame it all to the purists or those with shut minds, I mean I have to believe that things are what it is…different. All set to war. Prejudiced. This had brought the world in labyrinth and people took it not just as a challenge but a lifestyle. Yet, I'm satisfied with those who knew nothing but to understand the meaning of respect and appreciation. They tilted their eyes in more ways than one, seeing beauty in directions of two or more.
Beastie boys and Eminem niche their way to the black-dominated Hiphop/rap scene, Lenny Kravitz on the other hand inched on top of the white-dominated modern rock charts. Even last year's hit, "hey ya" (by Outkast) crossed the mainstream/modern rock charts.
As the old radio plug goes, "it's not about the color." It's about self-expression, about finding value in an almost valueless material. Hence, to root the hostilities of the said contrasting parties will only be a commotion to self-expression, where finding your own voice is as if finding fault to others.
Some odder instances however plucked obscurity between the confines of HIPHOP/RAP and ROCK. In the early nineties, Run DMC tried to add some lathered guitars on their well-received single "rockbox." Since then, the formula of blending smacked lines through rapping with heavier or if not, guitar-driven materials that's being tied up by the usual four-man band has become recognizable among some outfits. Thus, the terms "rapcore" (hardcore and rap) "rapmetal" (rap and metal) "rap rock" (rap and rock) and other uniformities were born out of the marital relationship of the two conflicting music genres. And when we speak of our own country, Francis M, introduced the whole hodgepodge with the favorite College album "Yo!" earning him the right to be declared as the "pioneer of Philippine raprock." Conversely, the dawning of the 00's and the dying of the 90's decade brought power to the muddle of rap and rock. Bands like Slapshock and Greyhoundz popularized this sub genre, to which the coined term "kupaw" was used to incorporate bands that sound well, very RATM-ish. It permanently died though when the 90's sounding pop-rock bands alienated the 04's up to the present with their sure top40 ditties.
 But "never say die" as what their story goes: Greyhoundz hit their 1st independent disc "Apoy" largely on the stand of the record bars, and been there done that collaborations between rap artists and those of the rock/alternative genre befall as singles (Imago and Ryan of Sun Valley Crew, Urban dub and Dice n K9, Parokya ni Edgar and Gloc9/Francis M). But what's rippling the pacified waters of the rap rock genre is a band who's making an immense comeback this year. Boogie Romero on guitars, Kelly Mangahas on the bass duties, Bryan Makasiar on drums and the law student Pochoy on vocals and of course on the rap task, collectively known as Dicta License are about to prove that rap rock is still alive and kicking!
After the release of their self-titled EP two years ago (which contains my all-time favorites "criminal," "burning streets of love and hate" and the Cypress Hill-ish "falling earth"), the boys whom worshipped Zach Dela Rocha are up to the undertaking of their 1st label major debut "Paghilom," pungent of ten cuts that borders on social grievances and its wake to raise consciousness among people dying out of poverty and oppression. It's political yet in blatant showing, is in fact not reproachful. I am claimant of it after towing some four-time spin on the opus, and as I pour down every emotions that hammers between Pochoy's phrased-out tongues and his point of conveyance - I find the record an honest one, one that gives you the right impression to know responsibility and society, where healing takes place and hope counts a time for a new beginning… that's what songs like "Daloy ng kamatayan," "Ang ating araw," and the pulsating candor of "Sugat" are about to tell us: that life is all about second chances and that defeat will always be a lesson toward our growth as individuals. Their poetic cum passionate songwriting appends cleverly on the makeshift of Boogie's colossal-like/Led Zep guitar riffing, which compliments Bryan's gaudy pounds and surprisingly, on Kelly's groovy basslines that brings soul to the mix.
If System of A Down's BYOB subconsciously mingle tribal music with art-prog rock, Dicta's "DOTFB" on the lighter side trims down neatly the Motown "old school soul" with an emotional measure of Zach Dela Rocha-like phraseology - the result, one of the best RATM songs I've heard that's written by no less than a Filipino. * Laughs * But having heard "Alay sa mga nagkamalay noong dekada nobenta" my heart melted like some kind of a heated butter. It's pro-youth, pro-me, pro-change yet cliché-ish. I mean to talk of youth's reservation of power to the future seems overrated. The statement had been fed up, used by the past generation to wake the siren's call, but nothing happened. All is but a myth carried through oral decays.
With the floating touches of the slow, glam-defined "Complex" I can't help but compare the song's relativity to that of Urban dub or when Sandwich impressed us with the "stand, grip, throw" album. This song unarguably is a standout, but when you lend your ears upon the knitted drum n bass/triphop swaps over the heavily large-scaled tempos of the chorus, you have come across "The Enemy," probably the best song on the "Paghilom" record. With that, I condemn those who compare their sound to RATM. Save for their social commentary lyrics, Dicta's own style have grown into a band that strays away from the RATM/Paparoach irks. Indeed, "PAGHILOM" as what rap rock is all about, have probed the true meaning of self-expression. Bold. Sincere. yet not trying to be a know-it-all.
the mogul's take:
my disc review: DICTA LICENSE's Paghilom
cursed-- @ 10:31 pm |
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my disc review: JOIN THE CLUB's Nobela
I first heard of alterna-pop band JOIN THE CLUB on my friend's FULL VOLUME CD Compilation released by EMI summer of 2005, which includes hale's broken sonnet, urbandub's cover of Sade's no ordinary love and typecast's forget. Their contribution in the compilation is a song called "mahiwaga," and quite incongruous to the song title, nothing mysterious or enigmatic if truth were told, is there to expect with JTC's offering of their branded sweet pop convenes with a bitter rock material. Taking it literally, its pop-rock with a bittersweet tale, best served with painkillers and a hankie.
Now, with an album of dozen songs, I still feel the same way. Nothing really new and edible. The album is NOBELA and the roots had its debt to Sugarfree's widely received discs "Sa Wakas" and its sophie effort "Dramachine." And blankly in my mind, that's  how I perceived almost the dozenhold song. But my mind tells me that it couldn't be Ebe Dancel at the center stage, vocal style speaking. Maybe it's something vocally merged, by Wheatus' Brendan Brown and Rico Blanco with barefaced minimalism on the crooning duties. Nevertheless, the tight instrumentation vis-à-vis the smooth drumbeats and the heartfelt stratum of the basslines and the toothed yet simple guitar riffing is a point of downright consideration. If you like Simple plan and those pseudo-punk/pop punk groupies then you must glue your ears on "My Way with you" "Minsan pa," "Tinig," and "isang minuto sa buhay ko." A little less whiny though, for the latter. Save for their catchy tunes, it's pretty much obvious that each song sounds like the other one, and by that you can predict the tune of the next song. And it's not bad at all. But the monotony and oneness gives you that impression to frown, for it lack that certain catch of "spank" and you feel like listening from one track to none that you'd end up gratifying to just one or two songs in the album. "Emotional overdose" for example, pleases great audibility and its dosage is one tearjerker to add up on your very own break-up CD collection. "ano ang say-say pa ng suyuin ka ngmuli, di na mababalik ang iyong damdamin pa muli, hangga't maaari ay limutin ka sandali / hanggat maaaari ay limutin na…" title-track "nobela" and "Lunes" also has that potential knock of rerun, both of which tells you a tale unanswered by fate, to which the dictates could only be reigned by the smallest unit of emotion – the heart.
If that doesn't count to you as something melancholic, then leave it all behind to those who rant about their loved ones be it their past or their present. After all, this world is a whirlpool of emotions, with each and everyone of us playing their very own game of win and defeat.
THE MOGUL'S TAKE: 
my disc review: JOIN THE CLUB's Nobela
cursed-- @ 05:01 am |
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my disc review: Monsterbot's RHOMBOIDS
It's punk; it's a three-chord dimension. But it's virtual, it's blatantly synth-oriented and much to its framework, liquefied by some reverbs in your latest music control program.
More aptly, it's experimental, straying from the clutches that's often regarded as conventional guitar playing. The sound? Very futuristic, transmitting your aural penchant to the epoch of mechanical robots, of human cloning or nastier, on a world where humans themselves are the gods and goddesses. That, as far-fetched is gullibly possible, just don't * bleep * play Monsterbot's rhomboids and all will falter into dusts.
Though, ironically they tend to claim that noise punk meets digital, electronic music, which pull some of their bowels on one definitive hardcore barrage that's fresh but somewhat naïve.
Still their discernible nuptial of punk meets post punk (sex pistol + joy division) is coalesced on the new Monsterbot effort, as for the elemental upbringing of their  debut Destroy! Destroy! had made some preachy strokes for the band to go D.I.Y and attempt to hat on the independent way. On the bad yet considerable note, the vocals on some tracks like "robots" thuds too brittle and a bit restrained. But as I've said, it's only a puff of blunder that's way too insignificant knowing that they're now an indie band providing their earned bucks for the recording and somehow the minor hassle enigmatically plunge some good dives on the synth apparatus, and on the over-all, space-jam feel. "Fever" surprisingly, is a sure moshpit favorite, and a dance floor anthem at the same time. The almost erudite lyrics are humbly no tearjerker, but will delve you into desolation and a hunger for one laudable love once you wheel into the song's medication, that is, if you don't have one. "I need special attention, someone get me love and affection, I need immediate prescription, I'm tired, tired, all I want is you.."
Piping in with crashing but starved drums, and surreal flaws of synths and heavy guitar locomotion, and some techie/electronica add ups, is "all for this, all for nothing" and serving some cold rants is the angry "you're always right." These two tracks swing in a merry-go-round, after being dosed with dizziness, forgetting the ride is the sought thing to do. Best taken with sleeping pills, is the emotional "burning." The downtempo stirred an attack to the songs I'll-get-over-you-loser, but still has that edgy, tough instrumentation. "burning your letters right now, burning your pictures today…" If you worship NU 107 like Godzilla then you surely had heard of their current radio ploy "I wonder mannerisms" and if you've purchased Rhomboids already then you have probably locked your ears on hardcore lethargies such as "better days" and the innovative, honest flare-ups of "let's get paid." The said three songs will pluck you're nosebrainers in the rancid of 80's. Slicking some arrogance is a collaboration with Yano/Pan frontman Dong Abay setting aside his political statements for a moment and enjoying the fun with the blaring, head pounds of "epekto," a song that's currently hyping your local music televisions an hour at a time. "Doodoot" on the other hand, is a nauseous electronica outing completely set with pensive layers at the absence of a single vocal.
And if that's not Monster for you, then expect what is there to expect for their third release. One thing's for sure though, Rhomboids is here to stay, to provide you some of the jerkiest and rowdiest variety of cyberpunk music, the Pinoy style.
the mogul's take:
my disc review: Monsterbot's RHOMBOIDS
cursed-- @ 08:19 pm |
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my disc review: Mishka Adam's GOD BLESS THE CHILD
Imagine Joni Mitchell pinning her eggs on a jazz record. How about Norah Jones, or let’s say Diana Krall trying to embellish their artsy gamut with a sprinkle of “new age” and “world music.” (Enya would be a familiar example of what new age is all about. World music, being a collective term, is used to incorporate ethnic, folk, reggae, continental, Indian et al.)
The product: A young, British-Filipina crooner, who’d rather spend her day reading the cryptic flaws of a Bach oeuvre, or lending her porcelain ears to some of old school’s greatest jazz and blues singers like Ella Fitzgerald and the pioneering queen of “the music for the elites and the intellects” Billie Holiday. My conjecture, as it is. But arrogance is not what she tries to mirror, for one fact, Mishka springs out of her chest in some of her interviews that Jazz is not just for those people who could afford buying concert tickets at a price of a thousand bucks or those degree holders of music conservatories. Jazz, as she claims is a universal sound, that’s been an upstart as a root of what looks to be rock music today.
 Signed under international Jazz label, CANDID; the same label that made Stacey Kent and Jamie Collum a landmark in the mainstream, neo-jazz hallway, Mishka proudly displays the Pinay soul in her, transcending beautifully at the minimalist yet new-fangled GOD BLESS THE CHILD, a collection of eleven cuts, original and remakes. Guest sessionists on the album is of dignified names, some of which includes Pinikpikan/Razorback bassist Louie Talan, SPY’s Sammy Asuncion, Mr. Egay Avenir, Noli Aurillo, Michael Guevarra alternating on the sax duties with Mishka herself, Ria Villena on Keyboard duties (the sessionist of the Bamboo-famed “masaya”) and many others.
After a spin of two at GOD BLESS THE CHILD, I felt nobler than ever. It’s as if a therapeutic massage driving away some of the worst, summoned spirits that ever resided my body. And she preyed me like a flag swaying to the mustangs of the air, with her every blow I’d be in my bending form.
Above all, it’s not being too safe and not being traditional contrary to what her contemporaries have been slating. Hence, hers was borderless, a crisscross between dark and lite, between being pop and being anti-pop, between love and suffering. All rolled into one to bring an adventurous record pitting against the must-be-label kind of attitude. A better case would pattern her hauling, radio friendly single “where do we begin,” a great summer song jumpstart. To think that it’s only September.
Mishka’s rendition of Judy Garlan’s often slaughtered “somewhere over the rainbow” is downright tasty, yet the record didn’t strip its original feel of overcastting simplicity and the vocals, as they say it are of airy galore. “Marrakech” is also commendable, the sax-medleys are brilliantly palpable, and her vocals would ring you somehow of Filipina Jazz-pop artist, Isha (also Pearlsha Abubakar of PULP). Eerie is an atmosphere for the Benny Goodman original “autumn leaves” humming at the commence of ethereal vocals, and drowsy basslines yanking with the almost salsa-sounding sax. All to bring the dreamy, ambient pop at the sustenance.
The hefty presence of percussion beats on “green dolphin streets” and “when did you leave heaven’ surprisingly blend the blues and jazz with the classicisms of boogie and surprisingly, swing while “body and soul” would fit as a perfect makeout song, with the matching, strip-along pianos that’s winding sultry. “War of the skies” on the notable side, is probably the best cut from the almost dozenhold. And like what the song teaches us; rather than trashing, that the war is not about the good against the bad, the eradication of nonbelievers and believers. Instead, it’s all about ourselves, our other half that defines how we should act, or how we should be viewed upon as settlers of this ravaging world, which will somehow diminish once the skies have called for its closing day. The day, when his judgment takes over our path. Truly, pain is a healing.
But let’s not depart some sad truths on the wake of Mishka’s eleven track debut. Instead, lets remove some clots, and enjoy the stories that jazzes out how the sky have blessed the child, Mishka who’s more than a promise of a future.
the mogul's take:
my disc review: Mishka Adam's GOD BLESS THE CHILD
cursed-- @ 04:14 am |
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