2024 was the year where Filipino musicians and artists valued the full-length release. There are bands that shot for the moon right away by releasing an album with 12 songs while others released a mixtape like it was 2013 all over again. Streaming platforms like Bandcamp and Soundcloud are important in searching for those who wish to push the envelope in releasing new music. There are no limitations when it comes to releasing an album; you can create a “season” of your own while another up-and-coming local act is cooking something up behind the scenes. Music deserves to be heard in the form of an album (or at the very least releases that have more than 3-4 songs) The Flying Lugaw crew would like to make a wish that in the year 2025, or any year for that matter, more albums, EPs, Mixtapes or any other release with a collection of songs would be pushed more for artists, by artists. 30. Pat’s Soundhouse – Khaen Solo Vol. 1 (anika) Heavy on instrumentation, this one’s for long car rides. Maybe when you’re stuck in traffic or driving through the freeway. Poignant, with a touch of elegance, the sound of the khaen is brimming with liveliness as if embodying the spirit of a human within its chords. Encapsulating the aura of what it feels like to stargaze, Khaen Solo is rich with vastness in tone. LINK: https://open.spotify.com/album/2webH6kaLadcVoHd6uBEET?si=HJaFOd1-S_SNL6x2qq-D1w 29. To love everything ever again – Nineveh (aly) Emotional, vulnerable, brooding yet hopeful. In his first EP, “To Love Everything Ever Again,” Janpol Estrella, who goes by the moniker Nineveh, bares his soul by intricately weaving gut-wrenching lyricism with glitchy synthesizers, noisy distortions, playful drum beats, and chamber pop elements to uniquely capture an emotion and to tell a story. Referencing biblical characters and verses throughout the EP, Nineveh questions his relationship with his faith as he boldly shares his internal struggles, even if his voice shakes. LINK: https://open.spotify.com/album/1ZLfneo1HaEkbv4g7a57Gn?si=cdb26387ac754144 28. Soldados kan Tios – Walang Titulo (nikolai) More than a post-metal sludge release, ‘Walang Titulo’ is a protest. With heavy contributions from renowned artist and activist Alex Pinpin, this newly formed hardcore band decries in the album the plight of farmers whose lands are taken by the elite class. LINK: https://open.spotify.com/album/046CsHH1cBlsg411TmmRgF?si=668f301ae3bc4dbe 27. Tydings-Mcduffie – s/t (louis) Ever imagine a period piece coming back as a message to the present times? Tydings-Mcduffie takes you on the highs and lows of the Philippine Commonwealth Era. Amidst the brief ride, the tides of their self-titled record zoom into its protagonists and all they have to dream, experience, and sacrifice – paired with smooth jazz compositions that give you a tune to remember. Tydings-Mcduffie provides a penchant for what the past believed in: an optimism that persists beyond melancholia. LINK: https://open.spotify.com/album/35vNlk6c2W6c3SXPS8ka1W?si=11d57ae092e04085 26. Haley Heynderickx – Seed of a Seed (anika) Folkish and devoted to the nature of Oregon, Seed of a Seed projects the gentleness of trees, flowers, and insects when brought into a tender symphony. Like ripples on a river, doused with rainwater, Seed of a Seed introduces an organic approach to composition. Bringing in Heynderickx’s ability to produce poetic lyricism, she enkindles the profuse vibrance that one can find in mundanity. Surrounded by lush imagery, the musicality speaks for itself when it wants to convey that sense of fullness. LINK: https://open.spotify.com/album/5WjjIOn40MG9kLfaeHBS5a?si=03125d230e504161 25. PRY – Resignation Letter (jax) Pry is aggressive and unapologetic in their female rage, in their sophomore album RESIGNATION LETTER, which slices through indie rock, alternative, punk, and noise rock with emotional edge. The constant surveillance and judgment for their non-conformity to established concepts of femininity and identity are anathema to the band. Unlike their debut “The Party’s Over,” which leaned heavily on riot grrrl and cathartic screaming, their new sound now explores more lilting rhythms, slower tempos, and stickier textures. This evolution is a goodbye letter to their anguish like a lump on their throats, but still, fitting in their principle of being punk. LINK: https://prymusicph.bandcamp.com/album/resignation-letter 24. Switchbitch – Silang (jk) switchbitch’s bombastic debut release sets the stage aflame as they solidify themselves as Filipino Conscious Rap heroines. Women rapping about peasant and working-class advocacies sounds exactly as badass as it looks on paper, Silang is just another way of getting their points across. Heavily equipped with sardonically blunt quips and fast code-switching, the lyricism is wildly compelling at riling people up and igniting the simmering anger we already feel. It evokes inspiration and anger—one out of frustration and one out of hope, all in the sense of creating a better nation. From the current state of affairs in the Philippines, it seems that this isn’t the last we’ll hear from them. They said it best in their outro, “Ako at sila ang magtutuloy ng pagpunla sa pag-asa hanggang sa makamtan natin ang tagumpay.”; as long as there is injustice, there will always be a switchbitch spitting bars on the oppressor’s face. LINK: https://open.spotify.com/album/3TfSuIKsQfT6R1LFJ1f6FS?si=155c9dca615a4302 23. Brickcity – We the Forgettables (nikolai) Kinetic energy and deep angst envelope the room in Brickcity’s ‘We the Forgettables’. For 25 minutes, you are treated to pure skramz goodness with not a moment to rest besides ‘Pretend’. A must-listen if you’re into bands like TNG. LINK: https://open.spotify.com/album/6wBzB53uUrFW32BtxSpwnp?si=f263574b8ce94259 22. vice* – syzygy (louis) ‘syzygy’ is a notebook scribbled with every idea that vice* can execute with the hand of a careful adept. An EP that crosshatches glitch pop illustrations with emo-pop doodles notably aware of his influences, yet using that knowledge to establish his style within. What results is a melting pot of bassooning beats; fractious guitars; and bending vocal stirs that tie up into prismatic melodies. All chaotic pieces, linked into one mesmerizing frame. LINK: https://open.spotify.com/album/3wthcVGeUFteuz3gNZnPDC?si=0b713105c79f4788 21. sci fye – who knows? (jk) Something needs to be said about the beauty in mundanity. As an open hate/love letter to the buzzing existentialist cityscapes of Manila, who knows? captures its worldly essence to a tee—but not without unwittingly writing an ode to its intricacies. From the sweltering afternoon
Author: TFL
The Flying Lugaw presents: THE 𝗕𝗘𝗦𝗧 𝗙𝗜𝗟𝗜𝗣𝗜𝗡𝗢 𝗦𝗢𝗡𝗚𝗦 𝗢𝗙 𝟮𝟬𝟮𝟰
The year was met with an overwhelming amount of new artists releasing amazing tracks everyday. 24/7 we are experiencing another golden age of local music from Luzon, Visayas and Mindanao. We have surf rock riding the waves in the lo-fi scenes, electronic music merging with the alternative and grunge community, and hip-hop greatly influencing pop music for the better. It’s that time of the year to celebrate the greatness that is the Filipino Music scene, both from the mainstream and the alternative. These are the songs that have caught our attention and hopefully they get to catch yours. Hear everything from January to December 2024. 40. r0xxy – Fashion Killa (jk) Clocking in at about a minute and a half, “FASHiONKiLLA” waits no time in grabbing your attention and stringing you along for a little ride. Alongside ethereal and lush beats, the character r0xxy portrays here is swag, in all sense of the word—striking as the type of guy walking inside a grocery store in a full-on silver chrome hearts drip. He knows he is cool, he makes sure you understand that. And then, in between the busy dairy and meat produce section, he’s gone just as quickly as he arrived, leaving you interested and asking for more. Link: https://soundcloud.com/r0xxstvr/fashionkilla-prod-fuctjin 39. Polkadots – unstuck (aly) Straight from the Bay Area, Polkadot is back with another tweemo soundtrack befitting the precipice of a new year. Four years after releasing their debut album “Feeling Okay,” they teased their sophomore album “…to be crushed” with a track called “Unstuck” following their lead single “Pulling Threads”. Unlike the songs in their first album, “Unstuck” banks heavier on the angsty, emo sound with heavier guitar riffs, fuzzy distortions, and profoundly reflective lyricism from Daney Espiritu. The track is vulnerable and honest to boot, with poignant melodies and nuanced vocals that aren’t meant to get easily “Unstuck” in your head. Link: https://www.youtube.com/watch?v=hVSipia8gUI 38. Arkyalina – readmymind (elijah) “readmymind” is a diary entry written in digital ink. You get flourishes of guitar, Tavin Villanueva’s frustrations translated in the ether, and earnestness addressed via audio call. The track is 2-step crossed over with shoegaze influences, wandering and glitching into the world of Arkyalina’s mind palace. We just so happen to live with it. Link: https://open.spotify.com/album/5hNFl261HfMy1ZB7dvDus3?si=1a7e35bec89a4f0e 37. A piloto – in light (anika) Picture this: you’re a stem major, who’s truly an art student at heart, but the world keeps pitting against your favor. In light calls for poetry written on converse, the guidebook to surviving your early 20s when they tell you to cut your overgrown hair. If an ‘angel lost its wings’, A piloto reignites the ability to fly. Fuzzy with reverb and overdrive, “in light” beckons to the feeling of burning the midnight oil at Mow’s, all the while wishing you didn’t have to go home. Think stickers on a Stratocaster, timeworn. Link: https://soundcloud.com/user-877377412/in-light 36. Uncertain specimen – I knew you then I knew you now (anika) Primarily a soundcloud-based artist, “I knew you then I knew you now” is a synthwave project at best. Uncertain specimen, clearly functions within a tiny keyboard, and that’s where a lot of its DIY aura comes from. Lots of bells ring in this track, as if a ringtone you would have picked up from an old Nokia. Link: https://soundcloud.com/uncertain-specimen/i-knew-you-then-i-know-you-now 35. Lomboys – Spartan (elijah) Rhythmic chants are heard across the streets of Palangoy, Binangonan, Rizal Province. “AHU! AHU!” were made clear through small alleyways and eskinitas, but we’re not talking about actual Spartans charging towards an army. These are real life gangs arriving on the street like it’s a normal Sunday afternoon. “Spartan” by Lomboys could either be the equivalent of The Imperial March in boom bap form or the natural progression of Rizal’s storied rap history re-emerging into the scene. Link: https://www.youtube.com/watch?v=GUnszWGjRlM 34. YiYi – Jasper Jeans (jk) Among the standout trends of the year, it seems that a cultural shift has gone towards making “cringe” and “heartfelt” art once again. Despite being overly simplistic and soppy, “Jasper Jeans” allows us to view it as an edge. Showcasing how a little goes a long way, the track wears its emotions on its sleeves for all of us to see and it’s nothing short of endearing. For YiYi, sentimentality is a bullet that pierces through all. Link: https://open.spotify.com/track/2EfCPxDimVgTqzATke3dSp?si=752bcf0652c945bd 33. Felip – envy (elijah) Felip belts out a remark that could win a breathing contest, but this isn’t just a casual braggadocio. He’s an equestrian reaching a higher bar for the sole purpose of being the dark horse of his own league. SB19’s Felip balances elegance, opium-pilled juvenile astonishment and a brash presence that’s far away from his boy group image in “envy”. Link: https://www.youtube.com/watch?v=zq2l7PJJFMI 32. Shanni – Kdrama (anika) In a world of ‘fandoms’ and whatnot, it’s easy to daydream your idealized version of a story. “Kdrama” is a track that extends those feelings toward longing, yearning, and wishing for a happy ending where everything falls into place. Endearing and melodious, Kdrama sets the tone for seeking the ethereal within reality. That experience of binging on a Kdrama with someone, one episode to the next, as the rest of the world fades into a standstill. Link: https://open.spotify.com/track/7xOdR15gtoAH1B4KYkcDqR?si=08533594885049c4 31. Cherry Society – Recluse (jk) If there was one song that Kat Stratford from 27 Things I Hate About You played after her iconic poem scene, it would definitely be Cherry Society’s “Recluse”. This is the main appeal of the track; the deliciously lively instrumentals and feminine angst dialed up to 11 create the perfect backdrop to having your weekly “nobody likes me” moment. Being the band that brands their music “adjacent to a 2000s teen movie soundtrack”, the quartet knows exactly what kind of music they want and is not afraid to make it. Link: https://open.spotify.com/track/2OC4bmeBYQ7Nn6GOEyMlOB?si=8b10e7521dae473f 30. dizzy.FM – mary_jane (+ku1buk0l +mr.kupido77 +peew33 +ocsiber! (prod. sandin x wintfye! x warheart) (louis) This song can only come from a vape-doused romanticism. It is the sonic equivalent of typing too much
ALBUM REVIEW: Ely Buendia – Method Adaptor
Written by Faye Allego Without a shadow of a doubt, Ely Buendia has an iconic and notably one of the most recognizable voices in OPM. His wordplay, chord progressions, and a whirlpool of psychedelia you feel after reaching the coda is top-notch during the Batang 90’s era of OPM. But now I ask myself: Is there a dark cloud of doubt in his newly released record, Method Adaptor, in the rearview? When Buendia released “Bulaklak Sa Buwan”, his lyricism shone through, continuing to create parallels and paradigms conveying themes of delusions, misconstrued mindsets, and the irony of fantasy. That being said, this body of vulnerability as a whole could constitute as a throwaway Eraserheads mixtape from the ‘ole Cutterpillow days. The lead single itself is a wonderful homage to the batang 90’s sound. It surely brings exuberance to fans who have been there during Buendia’s early rise to fame and have witnessed his impact on the OPM genre in real-time, however, like (almost) every artist who goes solo after years of being in a successful and impactful band, their past reputation precedes every lyric their future solo albums has to say. In Method Adaptor’s lead singles, you hear what Buendia feels, but do you feel it too? It’s there to sing and dance along to, but not enough to swoon over Buendia’s typical magical ingredients that make his songs linger. In multiple interviews pertaining to the release of Method Adaptor, Buendia created this album out of reflection on fame and life- and the stresses that come with it. It’s an inside look into the mind of someone who spent a long time pondering what it means to have lived a life ruled by youth, art, and irrevocable passion. In tracks like Faithful, however, it seems like the thought was there, but emotional umph was stagnant. In fact, he even communicates this precariousness in the same track: “There’s so much that I wanna say/ I just don’t know if I can say it this way” The narrator of the song is tired and in limbo, yet, the tune he plays lives on, almost never-ending. As one may know, if it’s Buendia on vocals, it’s almost guaranteed that the listener will hear an upbeat hymn that may tell any story out of the ordinary. A great example of this out-of-body experience that you feel when listening to Buendia’s voice actually comes the song titled “Shallow Breathing” from his debut solo album, “Wanted Bedspacer”. With Method Adaptor, “Tamang Hinala” is a song that exemplifies Buendia’s lyrical and instrumental devices and approaches that fuel this album. You get a repetitive yet addictive chorus as well as verses that show off stimulating cadence such as “Ang tanim ay siya ring aanihin/Guguho ang kastilyong buhangin/Madulas ang balbas parang Hudas/Ganyan lang talaga ‘pag minalas”, Every instrument seeps perfectly into the chorus without sounding overpowering or underwhelming. The appeal of tracks like “Chance Passenger” or “Deadbeat Creeper” is colorless to the point where certain verses like “And you wear your spirit well /Satisfy the clientele /Make me want to set her down” as well as vocals that are bordering on the stringy spectrum that confuse the narrative of the song. It feels like I’m reading a notes app poem- there’s nothing wrong with a notes app poem, however, translating feelings of desire into melodies is critical to transform filler songs into album staples in an album like ‘Method Adaptor’. Alternatively, if Buendia continued or even interweaved his experimental sound and velvety vocals highly executed in his previous songs, namely “Monday Mundane”, “Hotchik”, and of course, “Ligaya”, I could have understood and truly felt the thematic undertones of reliving youth, regret, grief, and desire more deeply. Overall, Ely Buendia’s distinguished and seasoned love for songwriting is definitely evergreen and everpresent, his music legacy will always be a pillar of inspiration for generations to come, but his reflections seen in his second album, Method Adaptor, seems to translate into feelings of muffled confusions that almost glaze over what could have left a lasting memory of his caliber of a voice and mind. Support the art & the artist:
EP REVIEW: sci fye – who knows?
Written by Anika Maculangan For those of us who grew up in Manila — a love/hate relationship often prospers. We carry so much frustration toward the city, yet also a fondness for it. With experiences like staying past curfew, hopping on the LRT right when it’s about to be full capacity, and sipping a cold San Mig along Manila Bay, we’re mostly indecisive on what to think of it. So what comes out of our subdued thoughts when we hear a song like i hate manila from sci fye’s latest EP entitled who knows? I don’t know, who knows, at this point? Maybe that’s the solid aimlessness it tries to convey. Like a pseudo-Cobain with more of a local undertone, sci fye highlights a grimy, snappish texture. Like washed-out graffiti beneath the underpass. Or scraps of crumpled receipts and candy wrappers along the tunnel. Think baggy jeans that reach the concrete, and skateboards with loose pivots. Densely immersed in distortion and fuzz, tracks like deadbeat generation extend a darker impression of rock. Although a debut, sci fye moves itself with its own surprising capacity for good mixing and stable production — something a lot of debuts are usually still shaky with upon their onset. However, the duality that is provoked within the songs’ reverb-studded guitars and brash, shrill drums is something that can be titled as imposing, for its harsh yet punkish accents. More soppy tracks like hanggang sa walang hanggan yearn to wake up just in time to see the sunrise trickle through the seams of transmission towers and billboards. What is another thing to observe in sci fye’s debut is the different personalities that each track seems to embody, distinct from one another. Although there is still symmetry somewhere along those varieties, since they still all fall within the same relish for dissonance. Songs like whiteflower and magulang profusely releases its greatest bouts of dread and foreboding malaise toward the city’s chaos. Perhaps it communicates the desire to escape its madness. Repeating the lyrical lines “Ako’y nahihilo sa ikot ng mundo”, what we can discern is the want for a pause, a break, or a ceasing halt to all the babel. Maybe sci fye is called that for a reason, because it suggests so many dystopian themes, perhaps through the language of lengthy bridges and Brutalist condominiums. Like putting on your tangled earphones one sweaty afternoon, who knows proffers the emotive features of parking next to NAIA, to watch airplanes either land or leap off the ground. Every track is a tribute to grunge in one way or another, placing emphasis on garage-metal basslines and riffs. Sci fye instigates a static-doused tonality, one that matches Manila’s musical palette for enkindled overdrive. Gritty and loud, like the engine of a retro Corolla about to ride down Aurora Boulevard, they amp compression over to its appendages, for waveforms that defy frequency. What they ultimately bring to the table is the age of a post-Pearl Jam, or even Soundgarden noise range, making a name for its own Manila equivalent, in light of pondering over journal entries in pieces of yellow lined parchment paper. Support the art & the artist:
TRACK REVIEW: Cherry Society – Recluse
Written by Aly Maaño It’s 2009 again. I’m wearing an Artwork shirt, a plaid tennis skirt, and my favorite pair of black Chucks with rainbow-colored laces for a meet-up with my date at the local park. He would teach me how to skate for the first time, and I would let him read the pretentious poems in my journal. After a few weeks, we would stop seeing each other. I would never learn how to skate. This is how Cherry Society’s “Recluse” opened this long-forgotten time capsule in my brain. As an elder emo, I easily resonated with this song as it perfectly encapsulates an era when all the bands headlining When We Were Young were being blasted off from a Nokia Xpressmusic (if you still had one) or one of those early Samsung smartphones. Think of female-led bands like Paramore, Hey Monday, We Are the in Crowd, Tonight Alive, or Courage My Love. Sonically, “Recluse” draws influence from new wave, pop-punk bands from the posthumously coined “Defend Pop Punk” era like Neck Deep, The Wonder Years, Knuckle Puck, etc. With its cutting guitar riffs, thick, jangly bass tones, and energetic tempos, it could easily be the soundtrack for an angsty Y2K movie or the background music of an amateur skate video. Kuki’s strong, raw vocals balance clarity with a punch, evoking lyrics with adolescent themes involving relationships and heartbreak. Although some elements could still be polished, Kuki, Miya, Kat, and Lisha were successful in crafting their signature sound straight from Cherry Land—the kind you’ll dance and sing along to in your room or mosh to with your friends at the pit. If “Recluse” was released in the 2000s, I wouldn’t mind getting malware from illegally downloading it on Limewire just to listen to it on repeat. Support the art & the artist:
TRACK REVIEW: 25hearts – HEARTS
Written by Aly Maaño If you’re missing BROCKHAMPTON, 25hearts is the collective to watch out for this 2024. Formed last year, this seven-piece ensemble, consisting of Never Paco, Bankyu, E.J, Wan, Nix, kyleaux, and k1ko, has been teasing us with early releases like “NAGA FREESTYLE” and “PUMAPALO” in collaboration with other up-and-coming hip-hop artists, including RB Slatt and Papayasoak. In their latest single, “HEARTS,” the group introduces a fresh and vibrant sound — a culmination of each member’s style and artistry and their journey as a collective. Never Paco’s catchy freestyle hook is a nod to BROCKHAMPTON’s signature style, with its pitched-up vocals rolling off suavely over kyleaux’s production. Surprisingly, the beat is sampled from ABS-CBN’s “Family is Love,” and layered with bounce house elements and bluesy piano underscores that swell around Bankyu’s short but sweet verse. E.J delivers probably one of the most significant lyrics in this track, “Take me back to these moments / Let me do it again,” which celebrates how far they’ve come and can still go. And while each verse presents its own flair, Wan’s effortless flow stands out like a magnetic string pulling you to get up and 2-step along to their sonic odyssey. Another noteworthy part is kyleaux’s wistfully melodic verse smoothly transitioning to Nix’s heavenly voice—a perfect match to their infatuation-heavy lyricism. Nix’s hyperpop-influenced vocal charm is a key element in completing the sound they aim to capture in this single. More than the vibes, “HEARTS” reflect the members’ experiences on love, relationships, and their solid bond as a group. Sweet and upbeat, this track echoes the passion they have for their craft and how they have fun in the process. As we anticipate more projects, we’ll definitely be dancing the hula with 25hearts! Support the art & the artist:
EP REVIEW: rosh – cotton mouth
Written by JK Caray If you were also a hip local music listener back in the 2010s, you understand how crucial music websites like Bandcamp and SoundCloud were in experiencing the height of that underground, lofi scene brewing inside people’s own houses. While home recordings have always been a thing, the format of these sites provided the internet a front-row seat to the unfiltered, underproduced music some passionate strangers online made in their free time. Among these lie hits and misses but in 2016, Roshelle Munez released her first release “gitling,” which became an instant hit on SoundCloud. Following the virality of “gitling,” Manila-based Alt-Pop artist Munez, aka rosh, became an indie darling overnight—however, it would not be until 8 years later that she released her debut EP entitled “cotton mouth.” Serving as her serious venture into the music scene, the release—a long-awaited debut effort consisting of her unseen works from 2016-2022—allows us to take a peek into her diary as an extension of her psyche. “gitling – 2024” reinvents the original with more polished production and a clearer sound direction that fits right in with the rest of the EP. The addition of groovy drums and harmonies gives it a more laid back and playful vibe, as if having given it space and time to breathe. In stark contrast to this, “human goo” introduces that wall of angst that lingers throughout the entire record. It picks up the pace with driven drums, rosh’s fatigue embodied in her vocals buried beneath eclectic bass synths and the harmonic dissonance of guitars. “rainbow road” steps back from the heavy noise, favoring to experiment with lush, dreampop-like sensibilities. The lyrics echoing her heartbreak are cryptic yet very familiar, something everyone has felt but nobody could pinpoint. Lastly, “nevermind” closes the EP at the zenith of its turmoil. The instrumentals weep with a sense of deep longing and yearning; she’s begged and begged, but somehow it’ll never be reciprocated. Errors decorate the track alongside distorted guitars, creating the perfect backdrop for the emotional breakdown that follows. rosh ends the EP with a “never mind,” too tired to care anymore. In cotton mouth, each song is a confession; all the anguish and hurt hidden finally surfacing after years of being bottled up. Maybe that’s why despite its heavy, angsty nature, cotton mouth feels freeing. It’s the words you couldn’t say and the stories you try to forget after years of running away. Ultimately, rosh’s first foray displays a remarkably promising future for Manila’s star-sign-loving, alt-pop rockstar. Support the art & the artist:
ALBUM REVIEW: FERVIDS – SONIC BOOM
Home to some of the spiciest dishes in Philippine cuisine and the beautifully shaped Mount Mayon, Bicol’s music scene is just as hot and active, with many names making strides from within and beyond their home province; DWTA, for example, has seen major success as of late, going as far as making it to the 2024 Wanderland Music Festival’s lineup. Bicol’s success in cultivating a vibrant music culture can be attributed to the efforts of its many community-based art collectives that are constantly ideating and collaborating to produce high-caliber releases and events that give Bicol its formidability as a producer of some of the best local artists in the larger music ecosystem. One such collective is Legazpi City’s Children of the Mist. Fervids is one of the major players under Children of the Mist. This young and exuberant rock band is no stranger to explosive live sets – no matter the distance – and their sophomore album SONIC BOOM embodies that destructiveness down to the T. It is not the first time we at The Flying Lugaw have set our eyes and ears on Fervids. In my initial review of the band’s material (see: TFL’s review of “SWEET TOOTH ACHIN’”), though middling, I saw potential – one that they have not yet fully embraced but the traces of it they had already worn on their sleeves. I was excited. Now, with a full blues rock-inspired album in their catalog, stage notoriety among the Manila crowd following an electrifying performance in TFL’s 2023 anniversary gig (Damn, if their set doesn’t get you going, then I don’t know what will), newfound inspiration from different styles of garage rock, and sharper songwriting experience in their toolkit, Fervids has never been more exciting. As exciting as it comes, though, the band does not immediately let on with their new style, as “SONIC BOOM” was teased with “ANNIHILATION” as some sort of a sequel or a spiritual successor to their self-titled debut album: a riff-heavy hard tune that draws primarily from the British Invasion era of classic rock. Even in the mastering of the album, this trend is evident. It isn’t until the third track ‘TRUE’ that their influences from modern contemporaries begin to flourish. This progression makes for an enjoyable listening experience, as “SONIC BOOM” is filled with banger tracks in this confluence of styles, each waiting to ignite. “THE VAMP AND THE SHEIKH” is a good example of a song that takes classic rock as the prominent element and elevates it to match the wavelength the band operates on. The result is something that Pete Townshend would approve of: a constant flow of kinetic energy pushing harmoniously against each other, and a sweet guitar solo from Andre you can never go wrong with. “I WANT YOU ALL THE SAME” operates similarly to “THE VAMP AND THE SHEIKH,” serving as Fervids’ take on a power ballad. This time, garage rock takes the driver’s seat. “EGO’S GRAVE” is easily the best track on “SONIC BOOM” and arguably in Fervids’ entire library thus far, only behind ‘Foolish Notion’. One of the few instances where the band donned a punk veil, “EGO’s GRAVE” shows Fervids going back to the drawing board and throwing out the window a lot of the things that made the band the renowned Bicolano blues-rock sensation they were known for. As a result, they made a song that was so emotional and dramatic despite its simplicity that it’s almost criminal that it only lasted for a little over two minutes. Its aggression almost reminds me of Comedown Machine. SONIC BOOM is a product of Fervids’ unwavering authenticity. Though it may have carried some of the characteristics that I marked as criticisms in my review of “SWEET TOOTH ACHIN’” two years ago, they are definitely working in their favor now. And given their prestige as some of the most electrifying young bands in the underground live scene today, each new song will only add more to their growth. But as tempting as it is to draw a connecting line between their growth and the evident success of SONIC BOOM as a rock album, there’s another comforting thought that I’d like to believe in. I want to believe that SONIC BOOM is Fervids’ way of proving us wrong. For thinking that wearing their influences on their sleeves would be to their detriment. For doubting them the first time around and showing us that their methods work, like the rock stars that they are. Support the art & the artist:
ALBUM REVIEW: Amateurish – A gentle reminder to rest
Baguio is quickly becoming the new source of music in the Luzon archipelago, birthing the likes of Dilaw and Turncoats. From the most unexpected of places comes a new entry into the math rock/emo/pop punk ring: Amateurish. Don’t let the name fool you, they are nothing but. With tight instrumentation and relatable lyrics, the quintet hailing from the mountains of Baguio has made a name for themselves by blending elements of math, emo, and pop into an addictive sugar rush that comes with a post-rush emotional downer. A lot of math rock and pop punk influences are used throughout the album – notably in the single releases – but also some alternative and funk sprinkled in to keep the listening experience fresh, specifically in some acoustic parts in the title song towards the end. The rollercoaster of emotionscoversr a plethora of feelings such as indifference, heartbreak, depression, and resilience with heavy metaphorical drug references – each song providing an intense but quick dosage of each emotion in each song. This places the title track as a fitting end to the whole experience: a somber reminder of getting back to reality and rest. The band’s recent signing to Offshore Music is a well-deserved milestone for the band. They are currently planning a multi-stop tour to promote the release and is a no-brainer for any avid music fan; their live performances are a sight to behold. One thing is for sure, though – they are not amateurs. Support the art & the artist:
TRACK REVIEW: Umo – Cream Flower
Written by Aly Maaño “Gutom na naman ako, alas dos ng umaga. O grabe na to…” I don’t know who I relate to more: the cat or the owners. After releasing their debut album last year, Cream Flower is back with a new single titled “Umo.” The dreamy track shares the POV of the duo’s orange rescue cat, Umo, who apparently doesn’t let them sleep unless they give him food. Although it started as a joke, the duo is successful in luring the dream pop/shoegaze/cat-loving audience with this new anthem. Surprisingly, the lyrics are sung in Tagalog; a shift from their usual choice, which adds a sentimental charm to the track, making it even more relatable. When listening to “Umo,” Celina’s wistful, reverb-drenched vocals echo similar to how a lullaby is effective in your 2 a.m. sleep routine. Instead, the room swirls into a hazy, distorted dreamscape while you let your ears soak in Jam’s fuzzy, textured riffs overlapping with emotive chord progressions that invoke a somber mood. The song builds up to a grimy, distort-heavy guitar solo carefully subsumed with rippling modulations and delay. When it ends, the echoing juxtaposition of tones lingers for a moment, enveloping you like a cat’s warm, furry embrace. “Umo” is a hypnagogic hallucination. Surely enough, Cream Flower is another testament to Bicol’s electric and diverse music scene. From Sgt. Pepper’s Club in Legazpi to Quezon City’s favorite underground gig venue, Mow’s, this indie-pop duo is bringing noisy, colorful, crooning, and hypnotic textures of sounds to the stage from the Luzon’s North and South. Support the art & the artist: