10 most promising musicians of 2006
Your guide to the low-cred, self-indulgent list of soon-to-be breakthrough acts is well scrutinized according to the standards set by yours truly, Ian Urrutia.
Based on grapevine raves, press releases that puff up every now and then, forum discussions and the blog-author's level of fondness, the selection of ten promising talents in the local music arena stirs further into the decisive factors of obscurity, popularity, and cult-following potentials. Soon-to-be Signed, distributed by a major label, or simply going indie – it doesn't really matter. The list gives one a peep of future hitmakers from diverse musical styles whether punk, rock, hiphop, or electronica.
P.S.
The writer has the substantiated means to influence readers and support this up-and-coming roster of artists. Although it's too early to tell and predict who's who will rip success this year, the list by all means was made to divert attention to these newbies. Also, some artists under the list have established reputation on the underground scene but are queued and adopted since it's the "debut album" or the budding single-material that baptize artists in the admittedly, cynical world of musicbiz.
runners-up: Too late the hero, Concrete Sam and faspitch.
10. Point Click Kill
 The wave of Southerners brought primarily by wider radio access, Internet and online-audio streaming arrived at the tail end of the 90's. Bands like Sheila n the insects, Junior Kilat, Urbandub, Smooth Friction, The Ambassadors and Cattski amazed the whole nation with talent that could surpass their Manila equivalents. Up to now, the wave opens a lot of opportunity to artists from the Southern lands particularly larger metropolitan venues Cebu and Davao. Recently, Cueshé hit it off big time by staying in Manila while some bunch of considerate acts are getting a whole lot of attention, airplaywise on music channels and even mainstream radio.
Iloilo-based outfit, Point Click Kill is one of those acts chopping the rock scene slowly. Backed with a new CD, a single rounding the NU 107 playlist, and a slot in this year's biggest rock-pilgrimage, the PULP SUMMER SLAM – Point Click Kill is in no doubt a band to watch out for this year.
9. Live Tilapia
Joey Ramone in strong Filipino accent, wearing action-star clad ala late Fernando Poe, ranting rather than raving how beautiful life is, here in the country despite the surrounding hullabaloos that make us all filthy ill-bred.
Well if you'd ask me - its just crazy, rollicking, Strangebrew host Tado sharing the VIP bill with Jeepney Joyride vocalist turned guitarist Norman. With a line-up like that, how can you go wrong with Live Tilapia, when all you need is to swim through their laugh trip, surf-punk music and enjoy catching their live set in the most euphoric way!
8. Sunflower day camp
Joining the elitist ranks of Muziklaban winners Fuseboxx, Mayonnaise and 18th issue, SFDC is set to release a debut effort sometime soon. With an odd name that fuses musical stoking on witty, diverse and dynamic stage presence, SFDC is ready to pave its way on higher grounds.
7. Ritchie Paul
Cocky, celeb boy makes a debut in the souring community of Philippine hiphop. With Brother movie superstar Richard Gutierrez backing him up, Ritchie with full confidence might be the next overplayed poker in boobtube music channels and whatnot, on radio. Sure he's no equal to Mike Swift or even speedy-talking machine Gloc 9, but with the boy-next-door looks, the genuine bling-blings that sparkle up crazy and the mad drive to take him on top, he's already a winner in the game of shoddy rap.
Have you seen the teaser video "igalaw mo lang?" which features cameos of Bianca King, Chynna Ortaleza, and other hot, celeb chicks? Man, dangling their curves is a sight to see. Lucky RP.
6. Bloomfields
No, they're no queer eye for the straight guy nor postpunk revivalists like Interpol fashioning for Mancunian suits like it's the official corporate attire. Then who are they? Just your frustrated John Lennon, Paul Mc Cartney, Ringgo Starr and George Harrison playing feel-good, 6o's pop with comic facial features. It's beatlesque that's pure Beatles cornucopia.
5. The Bitterpill
Riot it is to pick member/s from established outfits Join the Club, Sandwich, Cousin Ed and Ciudad to form a band that sounds like dance-punk nerds dabbling on power pop sprawl. With charmingly disharmonic gang vocals, and bundle-of-nerves choruses, The bitterpill will give you a shot of dim once you discover the side effects of drowning into their musical escapism. Further inject their set-closer song "Jopet" and experience the upshot of their lustily made capsule.
4. Giniling Festival
Toti Dalmacion and his empire, Terno recordings knows how to separate talent from exceptional talent. They plucked the raw of all coolness ranging from the free-jazz exploits of radioactive sago project, the expansive musical couture of up dharma down, the mod-pop brilliance of Juan Pablo dream and the electronica penchant of bands drip, daydream cycle and Brian Cua. Now Toti's got a new member in his A-class chamber. Weird moniker outfit Giniling Festival went straight to Terno's party posse with the determination and the exceptional talent. Currently, they're rounding up the studio with a much-anticipated release this year.
4. Hilera
After winning a certain collegiate band competition, Hilera's brilliant stage performance turned the heads of EMI execs to sign them up with an exclusive recording contract. Soon, they will join EMI's roster of talented bands, which includes Bamboo, Urbandub, Sugarfree, Sandwich and Hale.
2. Nyko Maca
Born with the shoes of a true diva, Nyko Maca hunches all the expectation set by the critics who not only love her well-polished vocals but also the unique persona of her band. Given that she didn't win ABS-CBN's Star-in-a-million tilt, nevertheless her keen drive to pursue music not disinfected by commercialized ruling earned her a reputation in the closely knitted indie scene. On their up and coming album, which will be due late 2006, the Nyko Maca band will be more upfront on experiments with different genres world music, electronica, lounge, indie pop and Latin. The band also tries to concoct Caribbean and Brazilian instruments to fuel the intensity of their debut record's expansive taste.
1. Kala
They are probably the latest band to hit your local radio. Their brand of steady funk-rock-soul truly is infectious, and with their gnashing-of-teeth singles "piso, pisong paraiso" and the nostalgic, Manila sound "jeepney" – you are right away sure that they're the next big thing to conquer both the heart of the masses and the cynics. Can't wait 'til the album drops by!!
10 most promising musicians of 2006
cursed-- @ 01:31 am |
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ALBUM REVIEW: LUHA - Kapatid
*Someone cracked my blog password and apparently added some erroneous stuffs on the review. Good thing i noticed the changes and was able to remove the added parts. Also i managed to change my good old password. I don't really know his/her intention, but my credibility not as a reviewer but as an album purchaser is a sure target.
I don't want to further elaborate on why things like these happen so as to keep the issue at rest.
ratings: 9/10
 Karl Roy is notorious for aptly representing the rockstar status of any dimwitted, third world country. Drugs, sex, and uh… Never mind. He survived the 80's with post-Marcos band Advent's Call, and made a reputation out of his standout live performances via alternofunk outfit, P.O.T. Karl with his band strut some hits including a remake of the classic hit "yugyugan na" and original compositions of charming ballads "panaginip lang" and "piece of this."
The rockstar life wasn't really easy for Roy. He engaged in several scandals, which eventually led to the break-up of the band. But music was the love of his life. Karl's career resurrected with the help of ex-Passage's/now Bamboo's Ira Cruz, ex-Rivermaya/now Bamboo's Nathan Azarcon, Chico Molina and Kjwan's J-Hoon Balbuena. In the heights of kupaw and nonsensical rap metal music, Roy and friends formed Kapatid – a band which mingled P.O.T's alternofunk sound with lo fi punk and socio-political lyrics. The band became an item for a while, but with the success of Bamboo band, Nathan and Aira's other side-project, Kapatid lost two of its members. Nathan and Aira left kapatid to concentrate more on their other band, Bamboo. Kapatid received bad reviews from critics with the release of their self-titled debut, Kapatid. Also, the world was all tragedy for Roy and the rest of his bandmates when news revealed lead guitarist Chico Molina's suicide.
It wasn't really easy for Roy to carry on with Kapatid against all the odds that's been happening with his band. But with the kind of spirit that he has, he and Balbuena pursued to continue the love of his life, and make music better the second time around. With the help of Pinikpikan/Blue echoes/Razorback bass guru Louie Talan and friend AnjoElemos, Kapatid is yet to prove that they're still there, alive and ready to provide good funking music that's easy to the ears and widely approved by any cynic critics.
Their gunshot, sophomore album LUHA is profoundly sincere, toned by emotions and reflective ideas about love, experience, politics and tragedies. The album's statement is obviously a retrospect of Chico Molina's suicidal death with a more mature leaning and improvement on the quality of sound, songwriting and experimentations on funk, reggae, blues, drum & bass, modern rock, and Manila sound. Definitely, the huge improvement from the first album was brought by the inspiration Chico Molina has left with the band. The drama forever resides, and with the drop of tears – Kapatid is all set to provide fire and water with Luha, and shock all longtime fans with their new visceral, rich sound.
After a spin, the sinking effect of Luha on me was flooding. I'm quite blown away by Karl's soulful and distinctive voice. It layers pleasantly with the dynamic rhythm section team of Balbuena, Elemos and Talan. Right away, you could attest that he's damn serious about the whole singing thing, and man does he got the soul and the power which is evident on the loud, Marley/Dylan-influenced "Grace," and the anthemic "buhay."
Carrier single "doon" was dedicated to Chico Molina's tragic suicidal death. I can't help but compare Chico's death with that of Allen. Greyhoundz was deeply inspired by the demise of their beloved member, Allen Cudal and managed to resurface again with the flamingly brilliant album APOY just last year. Same thing happened with Kapatid, it felt as if Chico's spirit relived with the path of LUHA, which in my honest opinion is what a consistently fine album should sound like. "nasa kalawakan na / ang kaibigan ko ngayon / kasama ng mga tala…" And you're sure the boy is guiding the guys with the eclectic riffs and the dynamic beats, all in the name of his spirit.
There are several standouts in Kapatid's sophie effort. The concoction of riot and charm of the jazzy-flavored "B 2 G," and the laid back, dancey-nappy "hangin' out" are indeed effective to the growing Kapatid discography, for the said tracks offer variety and the unreserved potentials of the band as a tight unit. Luha also features their last year's teaser single "Sunday shining" which sounded like an outcome when Quezo, RHCP and Jamiroqouai end up in a total mash-up, while "Swan Song" has Incubus and A Perfect Circle written all over.
The assorted tunes continue with the injection of 60's Motown soul with bassline grooves and funk to aggressive guitar riffs courtesy of "Banil" where Roy's doowoop vocals at the end was quite a bolt from the blue. With the influence of 80's folk singers Joey Ayala, Florante and Asin, Kapatid fashions it the moderate way via "telegrama" and the bittersweet, folk ballad "luha." The latter was on this writer's opinion so gorgeously written, that it end up being queued on his MP3. hehe. Talking about bias. And hey, how could I not mention the Prince-inspired "psycho love." Louie Talan's suave bass playing is quite a momentum, I could just hear the basslines soar smoothly above the mutiny of striking guitar solos and well-placed drum fills. And add that sexy vocal delivery of Karl Roy – you sure will know what the band is talking about over and over…
To complete the whole listening spectrum, let me tell you this. Luha marks Karl Roy's peak for adulthood not only as a musician but also as a striving individual. Certainly, it's unfair to credit the album to Roy as his bandmates shared their talents to take Luha on skyscraping heights. But looking back, you gotta give the props to the man whom all his time devoted hardwork and sweat to what he is known for – reinventing music.
Karl Roy despite the struggles, remained tough all these years... He is not only an institution in the Pinoy rock n' roll hall of fame, but also a true statue of a great man whose contribution to the local music arena is truly unparalleled and deserving to be rewarded.
ALBUM REVIEW: LUHA - Kapatid
cursed-- @ 01:39 am |
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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.
***
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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