Written by Louis Pelingen Edacity’s gradual shift towards hyperpop this year has lent him more potential for something to work with in the future. While the past cuts he pushed out in recent times still find him wading through the bubbly soundscape of hyperpop, ‘comethru4u’ puts his lovesick vibe splash through a flashy hook, glimmering synth notes swirling around buzzy beats, and Edacity’s vocal carrying a heartfelt delivery that works nicely within this short song. It ends on an upward slope, where the added blasting percussion and pitchy multitracking allow the overall tune to pop at the right moment. It’s a track that at least found a neat, but not incredible landing for Edacity going further into this sound as he works on his upcoming project. Where even Edacity delivers what he needs to do in order to make this brief song go off, thanks to the balanced mixing and the sweet atmosphere composed well; the hollow percussion textures and the sticky albeit dull melodies hold back the track from creating a bigger impact. The overall tune may create a nice splash, but with the curiosity to experiment and tweak his style, Edacity could make something that can stand out even more. Support the art & the artist:
Author: TFL
ALBUM REVIEW: Alyson – DEFINITELY LOVE
Written by Kara Angan Metro Manila-based band Alyson shed their indie rock sound for Japanese city pop in their debut album ‘DEFINITELY LOVE!’. After sparse releases and landmark self-titled debut EP over the past years, the 5-piece band and their continuous championing of Ateneo’s music scene basically rebranded themselves; evoking the nostalgia of 80s Japanese fashion and music. The inspiration is clearly seen in the aesthetic surrounding the album—from the Japanese letters on the album cover to the fashion choices for their music videos for “Kiliti” and “Feel So Good” featuring beabu. At its core, this record is a faithful love letter to the genre and aesthetic. ‘DEFINITELY LOVE!’ opens with “Kiliti,” the band’s first single off the record. It starts off strong with a brass riff that introduces the overall feel of the album. Lead singer Pio Ligot’s voice is accented with backing vocals that continue the strong city pop influences of the LP. The upbeat, horn-led sound is consistent throughout the first half of the album. “My Love” and “Ginhawa” feels reminiscent of the sound off their 2018 EP, but with a stronger synth presence. The second half of the album opens with the second single, and arguably best track of the album, “Feels So Good” featuring beabu. The track evokes the spirit of Michael Jackson and Stevie Wonder-style 70s-80s pop ballads, and has the catchiest melody that becomes instant earworm-material. beabu’s lower register vocals is a great complement to Ligot’s falsettos. The bridge of the song is a solid climax as the two voices sing over each other, ending with beabu’s strong belt and Ligot’s riffs. The latter half of the album is the stronger of the two halves, featuring a more diverse-sounding set of songs. Aside from “Feels So Good,” “Summer Nights” open with a Japanese city pop-style spoken intro, “Fool” leans into 80s motown, “Babalik” opens with an a capella intro before segueing into the album’s prominent city pop sound, and “Underpass” is a strong record closer despite being a slower track compared to the rest of the album. It also includes Japanese dialogue during the interlude, which parallels their 2018 EP track “Telescope.” ‘DEFINITELY LOVE!’ is a cohesive-sounding album. However, this can be a double-edged sword—with the cohesion comes the pitfall of tracks sounding a tad too similar and borderline indistinguishable, such as the first three songs of the record. The latter half offers a better selection of diverse sounds, especially with strong tracks like “Feels So Good,” “Fool,” and “Underpass.” The city pop elements distinguish the band from their contemporaries, and is the proof of their more mature sound compared to their 2018 release. If the band continues to explore more of the 70s and 80s era music, it could offer more diverse and standout releases that still sound cohesive without being too similar in arrangement. Overall, this is a good debut album and a great reintroduction of Alyson to the local scene. Support the art & the artist:
TRACK REVIEW: Antemundane – A Throbbing Unbearable Thing
Written by Louis Pelingen Reality is often filled with environments and situations that are always changing and adapting, leading to crises that confuse and frustrate everyone. Antemundane, the solo project of Ivan Brosas from The Strangeness, steps into this lead single feeling the exhaustion of reality itself. A gentle slice of alt-country with nods to easy-listening vintage pop is a rather elusive one. Entering the scene with this bubbly, psychedelic synth before it tempers itself with these solemn synths, quaint piano progressions, and shuffling drum and bass groove helps carry Antemundane’s own tiring trudge about reality as he starts questioning his memory and his own existence alongside it. The pacing of the melody and how it weaves around the calming instrumentation is just right to allow the short, yet poetic songwriting to linger, especially when the track ends with the horns slipping through the forefront. It is a curious one, to say the least. While not exactly remarkable – where Antemundane’s delivery could’ve used a bit more flexibility on expressing this theme and the song overall feels like it opens up a lot of questions surrounding what the album will be about and might hit better in the context of the record – there is a lot to look forward here based on the minimal poetry and the gentle instrumentation that it presents. It may be a piece of a bigger puzzle for the time being, but it’s one where it’s intriguing to see where it opens up eventually. Support the art & the artist:
ALBUM REVIEW: The Purest Blue – All is True
Written by Louis Pelingen The past we have left behind manifests through still memories that have comforted us through the paths of growing up. The small bike that was used to roam around the neighborhood, the color blue that reminds us of comfort puffing in the skies, the dollhouse that embraces the imagination of a child, and the gentle warmth that gathers when we see our parents and loved ones in front of us. And even when those moments pass through us, it doesn’t mean that there is no opportunity to find comfort in them when we do get older. For Pauline Rana and her musical project The Purest Blue, that sentiment is a truth that we need to remind ourselves all the time. In the aptly titled debut project, ‘All is True’, the smallest and tightest of packages bring a lot to the table. There is a lot of tenderness and sweetness on this very record, where the production from both Pauline Rana and Sobs & Subsonic Eye member Jared Lim allows a lot of the instrumental textures to be crisp and splashy, allowing the melodies to glisten and soar, and make that return of past memories with a deeper appreciation from our present selves to really hit home. The glinting waves of synths that opens up ‘Stationary Bike’ as it sweeps through the bustling acoustics and Pauline’s cooing vocals is quite the breezy ride to start the record, which then proceeds to simmering shoegaze on ‘Blackie’ with the crystalline hiss from the guitars, the percussive breakbeats of ‘The Truth is Blue’ and ‘Carnation Pink’ that gives a lot of energy from the buzzy synth, organ keys, and lo-fi acoustic run of the former track and the sunny pop tune of the latter track, the undulating atmospherics of ‘Small House’ with the layers of melodies brushing up to the end, and the rather straightforward dream-pop soundscape of ‘Tenderness and Purity’ with the driving bass lines, soothing vocal melodies, and shuffling drums just before the soundscape breathes and moves close to the front of the mix. The only hiccup this record has is the synthetic warble of ‘That’s Us’, where even if it does fit with what the song is going for due to the swaying details of time, the synthetic vocal production doesn’t really mesh that well with the dreamy melodies and instrumentation. While this record takes that saccharine quality burst for the bright moments to shine, it doesn’t shy away from going through the grief that Pauline feels as she returns back to those memories, especially the ones that involve her past self and her father. She rolls through that grief on ‘Blackie’ and ‘The Truth is Blue’, where despite trying to find a sense of comfort on the opening track, she finds herself feeling a sting thinking through the loss she felt from past memories, overall making her feel blue, a color signified for sadness and loneliness. But that color also stands for comfort as well. In ‘Small House’ and onwards, those memories of the people and pets that she really missed from her childhood are still there with her, teaching her how to love herself and find the comfort she needs in her present self. To realize that what we feel like is missing is there somewhere in past memories, acting as truths that validate a positivity that we have to keep on providing not just to ourselves, but to everyone that we always meet and interact with. Overall, ‘All is True’ is a reflective record where the splashy quality not only resides with the colorful production and melodies from Pauline Rana and Jared Lim on the array of prismatic dream pop, alternative pop, and shoegaze, but also with the sense of finding one’s own joy from returning to the transitory space of memories even if having to find that joy also means simmering through the sadness that shakes us before. If you ever find yourself feeling like something is amiss within yourself, don’t be afraid to open the door of a past space, you might find the truth you’ll need to move forward. Support the art & the artist:
DEMO REVIEW: cheeky things – demo
In the local DIY community today, Metro Manila outfit cheeky things arrived in the first quarter of 2023. Their URL story started with a Soundcloud page – a lone Duster parody – and a couple of noise pop covers. The five-piece follows suit to the IRL, championing a tweemo backdrop with the help of their indie guitar heroes in live shows. And for a band that has been teasing their WIPs ever since the release of their little “demo” two months ago — by the way, a Bicol tour is already set in stone at this point — one would expect at this stage that a full-on record should be ripe for the picking. But hey, we now have a three-track demo, and it is packed to the brim with loud, grungy guitars, high-tempo drums, and the dreamy sensibilities that are commonplace in any track. But while this project certainly has all the makings of an EP, it is still a personal dilemma to me whether or not to make heads or tails of it as it is — a demo — and base my judgment of it on what it is, what it could be, or what it could have been. For the uninitiated, this demo is a gateway. The seemingly compact demo is a sonically massive 3-track project to look out for. It is raw, absolutely balls-to-the-walls, and unapologetically alternative. I would even be remiss not to mention how the oversaturation of the shoegaze-twee-alt-rock fusion bands writ large has made it all the more difficult for cheeky Things to come through as their own, but the result of which made the success of this release all the more commendable, and eventually carved a niche that is proudly one of their own. For the listeners who have listened to their plethora of influences and sensibilities, fans of the garage sound are in for a treat: tracks like “korean blackout curtains 7ft (1 pc, not set)”, a noise-rock anthem that has cemented its place as a favorite amongst the Manila alternative crowd, is Mellon Collie down to a T, and has a phenomenal intro that will transport you back to a time when you first listened to Psycho Candy. The song’s outing also meant the first for the band to incorporate Tagalog in their lyrics, making it an easy sell for many. While “smashing” on the other hand, while not as talked about, features some of the best dynamics between each member. Whatever your thoughts on this release, this cheeky Things demo serves as a litmus test for both the artist and the listener. In its current state, whether finished or unfinished, you either get it or you don’t. And even if you do, there’s still a lot to unpack in its heavily loaded arsenal; it does not hinder itself from pushing the noise level past its threshold. And who knows, maybe we have not seen the last of these songs and if we’ll still be as (un)accepting of them as they are now once we’ve witnessed them in their final form. But enough speculation. As far as I’m concerned, I passed the litmus test. Support the art & the artist:
TRACK REVIEW: CATBOY JEEPNEY DRIVERS – MAYBE MITSKI
Written by Kara Angan Laguna and Pampanga-based electronic duo CAT BOY JEEPNEY DRIVERS bares their drum and bass chops in their latest song “MAYBE MITSKI.” “MAYBE MITSKI” notes a significant departure from their more synth pop debut “LOSER.” The pair trades their electronic synth riffs for a fast-paced and prominent percussion line—a trademark of the genre. While “LOSER” was jam-packed with a funky bass line, synth and electric guitar riffs, and multiple vocal lines to fill the track, “MAYBE MITSKI” proves that less is definitely more. While the track is short and sweet, clocking in at only two minutes and 33 seconds, the vocal melodies and harmonies keep the track interesting over a repetitive drum track, bass line, and riff. The duo’s No Rome influences shine significantly in the song. Their vocals are layered with autotune and reverb, complementing well with each other as the track progresses along. There’s always something new to pick up when listening to the song multiple times—the subtle “oh’s” that pan right, adlibs, and more details that make the song instantly catchy and memorable. While the lyrics aren’t exactly out-of-this-world or revolutionary, what makes the song stand out is how CAT BOY JEEPNEY DRIVERS are able to round out a song through their production. The duo’s flexibility with genres makes them an act to definitely watch out for—and I’m excited to see where they decide to dip their toes in next. Support the art & the artist:
EP REVIEW: Shockpoint – Rhythm Zero
Written by Louis Pelingen Right from the jump, Shockpoint breaks things apart like a Titan pummeling its way through with its heavy fists. They demonstrate their handle on Metallic Hardcore on their 3 track demo last year, equipping themselves with all forms of rage that they can muster; shredding everything apart as the drums crumble, guitars seethe, and vocals thrashing amongst the decaying, fatalist destruction around them. If this is how much they can crush things down just based on their demo, what awaits their path in their future will be dealt with with more bulk in their core. In ‘New creature is born…’, the track immerses itself into what Shockpoint is heading into with this EP; the vocal sample narrating the crudeness that awaits them as they trod along with riffs sparking and grinding with the drum beating sparingly alongside it. In short, this EP throttles itself even further in chewing away the scums of the Earth, using fierce guitar riffings, rumbling drum beats, and anguished vocals to Shockpoint’s advantage. Within 15 minutes of its time, the band charges onward with no consideration for respite or cool down as they willingly brute their targets down with their violent ferocity; intensifying even further as they go deeper, humanity’s cruelty exposing itself at every turn. ‘Annihilating Your Dogma’ is essentially a takedown for pro-life mentality, the chugging guitar riffs and driving drums allow the shrieking anger of the vocals to break apart the individuals within that putrid mentality. ‘Fatal Impulse’ is based upon a video showing an interrogation of a rapist and the stabbing that comes afterward, a disturbance that makes its way to its violent imagery of the lyrics as the overall track stings thanks to its rapid guitar shredding, pulsating drum patterns, and howling vocals. Tracks like ‘Parasaethesia’, ‘Rhythm Zero’, and ‘Software Gore’ revolve around the performance art itself. ‘Parasaethesia’ takes to a slower yet noisier soundscape as the guitars get noisier and the drums get sharper. ‘Rhythm Zero’ cuts through religious pleas as the vocals are at their most unburdened and ravenous, accompanied by rapid-fire drum breakdowns and guitar ravishings. While the EP and its cavernous crushing atmosphere come in and out from time to time, “Rhythm Zero” mostly holds up due to its consistent takedowns of the caustic mentalities that surround in the most open and in the most subtle of places. It manages to not exhaust its formidable energy but to let that rage simmer and break apart the cruelty that wraps everything and everyone in its wake. Support the art & the artist: https://shockpointhc.bandcamp.com/album/rhythm-zero Rhythm Zero by Shockpoint
EP REVIEW: Goon Lagoon – Rocket Peace
Written by Nikolai Dineros Elev8 Me L8r has no shortage of young, explosive rock-oriented bands to their name, but Goon Lagoon’s unapologetic take on grunge harkening back to the genre’s ‘90s roots proves to be their one defining aspect. The last couple of years has also shown us bits and pieces of what the band has going for with their sound (with varying degrees of success), with 2022’s Machine Gun being their most notable. In one of our previous reviews, we highlighted the song for its off-kilter motif and chaotic twists and turns. Now, with the release of Rocket Peace, Goon Lagoon’s identity is much clearer — and what used to be the band’s best work is now a part of something bigger. As the Goon Lagoon hype ele8ed (sorry) with gig announcements alongside this EP launch, so did Machine Gun’s cult fame, while a slightly superior Down The Drain seeped through the cracks as the band’s best material to date. “Down the Drain” is in-your-face in almost every way, with its muffled vocals, infectious riff, and drowning levels of flangers. Amid the chaos and noise, the songs in Rocket Peace have a lullaby quality reminiscent of Sonic Youth, with guitar solos and synths aplenty. This is especially the case with the closing track “Pocket Grease,” which I assume is a wordplay on the record’s name or the other way around. ‘Rocket Peace’ is so full of surprises that it’s almost criminal of me to include that in this review, as the EP’s explosiveness is what the record is built upon; each surprise comes when you least expect them. And when they do, they hit you at just the right spot. SUPPORT THE ART & THE ARTIST:
EP REVIEW: Dilaw – Sansinukob
Written by Elijah P. The romanticization of the “universe” or the “universal” depends on the current conditions of the artist. Whether or not you come from a higher place in the Alps or from ground-level urban areas, this “universe” the artist is pertaining to might be a bubble that hasn’t burst yet. And this bubble we’re talking about is “Sansinukob”, a 6-track debut project from the fast-rising 5-piece outfit Dilaw. Coming from the province of Benguet, the then-Baguio duo of Dilaw has now expanded into a full unit, equipped with extra members to solidify their tighter material. What is left of Dilaw Obrero’s quips and qualms on the higher-ups and government officials made room for more material and slightly tolerable material about love, the galaxy being yours, or just being yourself in general. “Sansinukob” is an exhibition of Dilaw’s lyrical prowess and powerful stage presence both live and on record. With the title track suddenly showing its sudden double-time tempo right smack dab in the middle of the track, there’s experimentation sitting right in the bridges of Dilaw’s structures. The band isn’t a backing band; they’ve brought heavy and tighter skill to the table, and it goes without saying that the band has a lot to show other than their chief singer-songwriter. In “3019” and “Kaloy”, Dilaw ping-pongs aggressively back-to-back in tracks with the former talking about corruption (the numbers at the title literally mean Republic Act 3019, The Anti-Graft and Corrupt Practices Act) and the former taking the perspective of an individual on a downward spiral due to the surroundings affecting them. Both of these tracks sit right in the middle of the EP, making almost no connections or storyline threading to the previous title track, making not one but two sore thumbs stick out in the project. “Maskara” suffers the same fate as the two conscious rap tracks: defanging the biting power an artist has to call an initiative to go against the grain and demand for change. And now we get to the popular track — arguably the most popular track of the now — “Uhaw”. Backed by a ton of guitar licks, Obrero’s shivering and quivering journey for love. This shows that Obrero and company can write actual semi-ballads with no unnecessary tongue-twisting verses. But the need to have two versions in the same EP is cashing in on the hype, shamelessly including both the same songs just to reactivate some streaming numbers. Neither the defense of having two versions for narrative purposes barely helps in making “Sansinukob” any better. This isn’t a multiverse the MCU wants in terms of bringing two songs of the same feather. If anything, Dilaw’s shown so much impressive technical skill. Whether we like it or not, the band has the muscle and brain to think of cleverly written guitar lines, drum breaks, floating synths, and groovy basslines. However, there are songs that work to the rest of the song’s detriment, including the precious hitmaker. The EP is basically just “Uhaw” and friends. There’s nothing wrong with admitting that the EP is only in the public consciousness for That One Song. However, in what seems to be the most laughable twist of fate, the universe has a way of responding to its namesake. The band does not have the soul to breathe life to anything more than “Uhaw” Again, there’s absolutely nothing wrong with being a one-trick pony. However, for all its neighs and whinnies, this horse came out limping. Support the art and the artist:
TRACK REVIEW: O $IDE MAFIA & TUS BROTHERS – CRASHING
Written by Elijah P. The internet has long existed to demystify many different art forms. From showing its bare bones to even revealing what is there and what makes the material in the first place. In music, there’s an ongoing debate whether or not an unfinished track with little to no final mixes made by the engineer – or in short a “leak” – made it out in the open from trusted sources all over the ethernet is better than the final product. Take O $IDE MAFIA and Tus Brothers’ collaboration “Crashing” as an example. As far as my hearing is concerned, “Crashing” sounded a lot more tamer, sinister. And yet it feels a lot more collected with the trademark rage-y verse-carrying by none other than O $IDE MAFIA. With Tus Brothers’ classic contemporary voice aping overkill sticking out like a sore thumb in the mix, even if the beatswitch in the earlier versions from the leak wouldn’t save the track from being unbearably mid in the long run. “Crashing” was an experiment in collaboration. It was an attempt to make something work from opposite sides of different worlds trying to make sense of something on paper and yet fall flat on the surface. Gee, Cashman, and Madman have equally drawn their swords higher than ever, exceeding everyone else’s expectations presence-wise while Al Tus and Rudy Rude attempted to sound as piercingly sharp as their cohorts, but neither of the two would even come close to match O Side’s energy in the first half. From the internet’s obsession over TMI in IG livestreams to the inevitable leak of the earlier version – which is now gone from YouTube – “Crashing” did their best to keep the hype yet the leaks made sure that there are no such things as securing the element of surprise. Support the art and the artist: