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@*!