Written by Elijah P. Catanduanes is a scenic town, full of vibrant shorelines, tranquil surroundings, and peaceful towns. You have natural talents coming from the small towns and cities, like in Virac – a 76,000+ population where they’ve had a history with several datus and colonized areas, giving the island character besides its idyllic beaches. However, there’s a sense of vibrance provided by their own homegrown talent, Mei Teves. By way of San Juan, Teves brands themselves as a simple school student, waiting for the campus crush to arrive before the bell rings and the human psyche brought by the pressure of their current upbringing. As makata pop takes a step back from the meantime, Teves relishes in the spectacle of storytelling flipping the script by deepening the narrative-driven singing. There’s a sense of wonder when you look closely at Teves’ songwriting, especially when you take a look at their Wishcovery performances, they’ve dug deep below the surface to explore darker themes, establishing themselves as one of the songwriters to look out for post-lockdown. Teves’ debut EP “/’hidn/” capitalizes on that spectacle of storytelling sung in intimate acoustic guitar, except they’re more optimistic, surprisingly lighter than their previous material showcased in Wish 107.5. This is a far cry from the yawps, from the theatricality that is “Sino Ang Baliw” or the cry-for-help intimacy of “Pakialam”. Instead, we got bossa nova influences of “Wala Lang” or the easygoing folk-pop of “Pangalan” and the ecstatic, grandiose “Senpai, Notice Me” – the last track that acted as a bonus track for how alienating it is for their audience to hear Teves’ channel their anime simpery. “/’hidn/” is a light exercise to Teves’ songwriting chops, whether or not they could shy away from the usual, heavier themes that are displayed in the Wish 107.5 performances, but this is the complete opposite of what the others wanted, the EP is a result of an artist playing-it-safe. A Happy Meal in the middle of an apocalypse; The wildcard seemingly giving their 100% but the sonic palette feels lacking; There’s a lightness to the bite that Teves used to bring to the table, especially when the EP drags midway, there’s little to no specialty besides Teves’ impressive voice twirling across the strings. Overall, “/’hidn/” might be Teves’ foray into different adjacent genres or soundscapes they want to travel to, but instead, we got something else entirely and the result was middle on the ground all the way. Nothing special as the EP ends. SUPPORT THE ART & THE ARTIST:
Author: TFL
ALBUM REVIEW: Blaster Silonga – My Kosmik Island Disk
Written by Elijah P. There are albums that collect singles, and compile every banger made by a band for the rest of their career. And there are albums that are built by the brains of musicians that are far better than their past material, way beyond that they are just artists inevitably shelved in online streaming platform playlists forever. Enter Blaster Silonga, the 23-year old composer of their own works that are as complex even if their solo career has spanned less than a decade. In “My Kosmik Island Disk”, the debut album of solo artist Blaster Silonga, there seems to be a hiding “clock”, ticking in the distance as every moment bursts in sonic technicolor. But whatever that imaginary metronome might be, there’s a lot to take in his debut album – that is, dissecting this album and its admirable elements. As the runtime justifies its lengthy tracks, Silonga and the company have built themselves a magical portal that will become known eventually in ‘OPM’ worldbuilding. Released in October 2022, this was a year-long pursuit for Blaster and the Celestial Klownz, studying every missing element that would shape their musicianship and their relationship as band-friends-partners. As Silonga puts it, the “lonely island” is brimming with mercenaries taking fellowship under the wing of the de facto captain. There’s a lot to take in for a solo artist releasing their debut album that’s nothing but influences worn on his sleeves, and honestly, there’s more to it than meets the eye. There are musical influences transformed into something more aesthetically consistent, and in return, the 9-track album came out of the ashes; newly inspired music based from the past, for the future. Tracks such as “NARARARAMDAMAN” and “DISKO FOREVER” are pop medleys jammed into one compact sheet note each: odd time signatures, guitar riffs on top of other riffs, sudden stops that call for an explosive instrumental outro, psychedelic hooks that are sung in either low and high timbre, and many to mention. “MAGUNAW NA ANG MUNDO” and “KOSMIK DREAM” are complimentary tracks that are meant to sit right next to each other; interludes like “ARMONYA” and “PRELUDE IN Eb MAJOR” are also standalone highlights that callback to Silonga’s knack for anything epic, both in a visual or sonic sense or in other words, “MY KOSMIK ISLAND DISK” is refined than it is flashy compared to the yore of their roots. Little tiny textures of synths are scattered like Easter eggs, flourishes of baroque-styled operatic synths and backing vocals are cued in moments that are in need to emphasize Silonga’s emotive expression (hear: “SA HULI ANG PAGSISISI” or “DISKO FOREVER”) and the results are less dizzying and more meticulously curated. “MY KOSMIK ISLAND DISK” is a treasure of cross-cultural influence assimilated in the lens of a solo artist whose ambitions are far greater than they were in the past. May it be inspired by the dusty crates of Cubao Expo vinyl or the neverending shilling of mid-2010s freak-pop, the album is a showcase of greatness, not a vulgar display of musical showboating. Blaster Silonga and the Celestial Klownz are building what remains and what holds for the music community at large. Support the art & the artist:
TRACK REVIEW: Sean Archer – Mamaya Na
Written by Elijah P. Deep within this giant cauldron of trends that is the For You Page, a Paranaque-based 1-man project called Sean Archer trends all over the cyberspace of APPPPC music book newsfeeds and Tiktok. His debut single “Mamaya Na” sounds anthemic, it looks rebellious, and it most likely caught the ears of those who’ve stumbled upon the single in their neighboring algorithm, the writer of this review included. But here’s the catch though: Sean Archer just feels out a lot of things about pop-punk and the music he’s inspired by and barely achieves the standard of big stadium pop music in his debut single. Unfortunately, Sean Archer’s performance and plugins sound like a bedroom project without thesis pressure or without the grit of a terror prof. It’s synthetic, everything about this is cliche as a Tiktok microtrend; the loud drums clip over the lazily written guitar riffs even if the more tamer parts switch to tender drum machines, undermixed as it is overproduced; the repetitive hook is hardly singable; it’s a fourth-rate Yellow Room recording rotting in the drafts. “Mamaya Na” is as textbook as it is frustratingly casual, nothing else adds up to its gang chant by the end of the track. LINK:
TRACK REVIEW: Emelette – Brave
Written by Elijah P. You don’t get tight alternative rock anywhere, not much in Biliran, East Visayas, no. In fact, Naval-based singer-songwriter Emelette De Leon Saclolo exists to prove all Manila-centric critics wrong. “Brave” is an indicator that unsophisticated, semi-gritty, lightly sung indie rock can work when the performances are tightly performed. Everywhere you go, you get heavy stalwarts like Taken By Cars showcase their wall-breaking kicks and emotive vocals and bedtime television’s slowcore-inspired passages, Emelette is cut from the same cloth but she’s shown more heart than brawn compared to her predecessors. Released back in August of this year and a music video launched around the month of October, Emelette sings in the middle of an empty basketball court in her hometown of Biliran. Interpolating the clips are two lovers running away from their hometown and taking charge of their own trajectories in life, symbolically leaving what’s mundane, and staying brave for the taking. Emelette’s “Brave” is filled with layers of guitar chords strung into different chords woven after the other, creating a textured moment that captures the feeling of overwhelming love for a significant other. There’s casual electric, fuzz-driven guitar, and there’s Emelette’s debut single taking up a notch for the greater good. Support the art & the artist:
MIXTAPE REVIEW: O $IDE MAFIA – O COAST
Written by Elijah P. The breaking news is what generates speculation and tension. We as terminally online human beings couldn’t resist the verification through live media. Normally one’s curiosity peaks at an all-time high when it’s game time. But a 3-minute “Freestyle” OMV and several provocative IG stories by a Malate-based trio were able to break the internet all over the hip-hop community; confirming that they are unfuckwithable. And that group turned out to be one of the most in-demand rap trios called O $ide Mafia. It wasn’t just game time for their members, namely Gee, Cashman, and Madman. It was game time for their entire district. After releasing bangers throughout the periods of lockdown in the country such as “Kinikilocs”, “Tokyo Drift”, “Yeah Hoe!” and their most recent hard hitter “Go Getta”, the trio have tested their haters by constantly releasing and proving themselves that they are hungry 24/7. Right around the corner are neighboring cities such as Pasay, Makati, and Quezon City. The group has reached a point where their hits have landed a collaboration with Laguna group Villa Mob, miles away than the usual 20-meter next-door kinship. Alongside the underground publicity O $ide Mafia was able to receive within the several months leading to their come up, their latest 5-track mixtape “O COAST” had a lot to say with regards to their current stature in the game, specifically for their de facto head honcho Cashman. Filled with verses that relate to their recent experience with the excess that comes with fame, gigs, and the urge to make content, Gee, Madman, and Cashman are equipped with the best resources at their disposal. “O COAST” to my surprise, is a tame project compared to their standalone singles. This doesn’t include the singles that were already out in the open in the past two years of their laborious string of releases. However, “Go Getta” is an easy contender for the best hook game of the year, wherein Cashman slides through every bar as if it were their DMs; “AMIGO” featured all three verses from the members, quietly scheme seamlessly in every syllable. “NO NET SHIT” is composed of one-liners that pinpoint the way of life as a hustler and effective code-switching. The darker edges of their sonic palette lurk around the production throughout the project. “Cold” is the operative word used by their producers Gee Exclsv and 808 Cash respectively, where their beats are led by simple nursery pianos plugins, and buzzing bass, and Gee’s unhinged flows are the highlight of each track, especially in tracks like “Go Getta” and “Cake”. But most of the pros in this mixtape aren’t really outweighing the issues in terms of consistency and overlapping themes of “O COAST”. O $ide Mafia have arguably emptied their tanks in terms of writing memorable hooks. Where we got loosies that aren’t included in the mixtape, we’re able to hear newer but minus the refreshing material. The listener got only a couple of smoky, calmer verses that rarely peak in each track. There’s rarely tension nor momentum built in any of these tracks, even though it’s embodied as a “mixtape”, you’d expect some sort of impulse of cohesion, but rather the mixtape felt slightly disjointed in terms of how slightly indifferent the other tracks sound production-wise. Overall, O $ide Mafia has showcased the new batch of tracks with an ample amount of promise and charisma. Cashman had the vocal presence, Gee had the production whiz and confidence, and Madman had precision and personality. This is enough to show that a mixtape like “O COAST” is a training ground for the relatively young group. SUPPORT THE ART & THE ARTIST:
EP REVIEW: Polyphonic Vision – Sudden Pictures
Written by Louis Pelingen The past 2 decades have seen a growing interest in artists using mostly instrumental motifs to archive downtime and the events that emerge in them. Strains of ambient music have touched upon these musings for quite some time now, but the emergence of certain electronic subgenres has done much more to delve deeper into this. Subgenres such as vaporwave and drone have explored musings of time, memory, and stasis of eras that have been forgotten and are clearing up the lens to find some appreciation for those stagnant, vintage stages of time. ‘That, alongside ambient music in the 2010s, has seen an emphasis on those concepts of time and decay, bringing along slowed-down samples, droning yet hypnotic melodies, and elongated track times to tell what needs to be said. It’s important to take note of these as they have been accompanied by the concept of liminal space and its own visual fragments of abandoned or even empty landscapes of places that all of us have commonly visited. It’s no wonder that the time of pure isolation brought about by COVID-19 in 2020 has elevated the concept of liminal space to the forefront, both in aesthetic and musical components. I bring all this up due to the fascinating debut EP from Polyphonic Vision, a synth-wave project from one-half of the dream pop duo Outerhope, Micaela Benedicto, as well as the mastermind of Big Hat Gang, Mario Consunji. The project came up during the isolation in the pandemic, the outputs now come out in a spontaneous burst, where the sonic snippets are pieced together during 2020 and 2021 and ready to be released for this year. ‘Sudden Pictures’ encaptures a holistic display of the past and the future in a time where the reflection of what was done before and what may happen after is now stuck in place. It’s an auditory mood board that wobbles through retro analog synthesizers, ethereal vocal recordings, and a soundscape that slowly modulates that relaxed yet contemplative mood for the entirety of its 22-minute runtime. It’s one whole trip to a fragmented memoir of memories, starting and ending off with instrumental murals like ‘Zoetrope’ and ‘Tides’, where the former track documents its purpose with its tapping fuzz of the percussion, the alluring echoing vocals, and the calming synth progressions, and the latter track tying things together with the layers of sweet analog synths that float amidst the stuttering percussion and cracking effects that entail the disintegration of those memories in the EP. Then there are the other tracks that frame its musings of memory with dreamy scopes. Starting from ‘Hemispheres’ with its pictures of cities and natural sceneries as Micaela’s shimmering vocals elicit the moments fading away from what she has seen and heard from those sceneries. It’s quite the dreamy song, with all of the cascading synth chimes balanced out with the whirring low-end and tapping drum patterns creating a relaxing mood. ‘Sudden Pictures’ focuses on the memories of someone that the protagonist still keeps, like a reel of film that pops out whenever they see them somewhere else either at close or far distances. That observation comes through with the cushions of gloss around the vocals and the background synths, accompanied by the layers of the quicker drum loops and deeper synth textures. ‘Submarine’ submerges itself into a slice of new wave, all with punchy percussive textures, blurry yet watery synth progressions, and levitating vocal melodies. Despite its watery imagery, it’s essentially an ode to the underground club scene and all the memories that we made and the people that we all meet there. It essentially archives what we have universally felt during the pandemic, reminiscing old memories, confronting past inner demons, as well as missing a sense of self as our social hubs have puffed for a while. However, with how the EP was made during the pandemic which is reflected even further in writing, the EP manages to hit an intriguing roadblock that has to do with oddly enough, timing. It’s a roadblock that specific instrumental projects like these have stumbled upon especially when they are also inspired by the thorns brought by the pandemic. Because as much as they have well communicated the fragments of memory through the ethereal, stabilized rhythms of the synths and vocal weariness, how it is going to age well in time and find resonance is a subjective and tangled discussion at best. Personally, it feels like a message that may possibly have been a lot more resonant if it was released during the isolation stages of the past two years. Because now that things are opening up and the lyricism focuses deeply towards reflections of memory and loneliness, it feels like a message that is sent two years late where with everything starting to open up, it personally makes the message feel less potent than it should be. It does not mean the EP has faults whatsoever. The ethereal waves of synths and vocals are composed with enough stable rhythms and loops to anchor the shards of memory and reflection that we all went through for the past two years. However, the passage of time has its funny way of letting us know of changes that we went through and our resonance with material focused on a specific event that this EP will have to go through. Because with 2022 opening up its walls, I wonder if this composed mood devised by the duo may work its peak of resonance during the time of isolation. Either way, the memories that the EP has captured still hold weight in a time when all of us are confronted to flip through pages of our past and contemplate through what may happen in our future, it’s just that, that resonance will be tested as time moves on. Listen to the artist:
TRACK REVIEW: CK YG – SO SICK OF SAD SONGS
Written by Elijah P. The definition of short and sweet can be applied to a certain kind of media that’s compact and delightful. CK YG – dubbed as the ‘melodic king’ of Pasay – did the unthinkable. Sampled after a Ne-Yo superhit of a single, “SO SICK OF SAD SONGS” was CK YG’s slyest and cleverest rap&b flip in recent memory. CK YG had the gall to tickle our nostalgia to his own advantage. But I’d like to think he’s had enough of sick songs even reaching to the point that the flip is only used to elevate his emotive expression at a handy pace. “SO SICK OF SAD SONGS” is a gem that surpasses its predecessors who’ve sampled classic r&b songs without any unique spin to it. It’s a ‘comp shop’ classic reborn in the 2020s. SUPPORT THE ART & THE ARTIST:
TRACK REVIEW: Kindred – Switch On U!
Written by Elijah P. I couldn’t think of any other explosive debut than the 7-piece boy band called Kindred. Offering more than just sound solutions, Kindred Music offers taste and eclecticism on all fronts. It’s explosive at a sonic scale, it’s ambitious from their conceptual process, and most importantly, their camaraderie is what’s shining throughout the 3-minute and 20-seconds of ear candy on their first official single titled “Switch On U!”. Opening the track is Fern. Official’s trademark emotive singing style manning the track’s hook, quickly transitioning to Cavill’s melodic talent at weaving in their verses; Punzi’s impressive timbre flowing in and out; VINCED, Slomo Says and Nouvul’s rap chemistry working like magic: similes on similes, charming one-liners, and slinky verse-trading whereas all members highlight their own unique spin on the boyband formula. Where lastly, Dot.Jaime provides rich, glossy r&b production. After several listens of their debut, listeners would realize later on that the track exemplifies the core ethos of Kindred as a group: it shows and tells you more than what’s on the surface, and “Switch On U!” goes beyond what a unit should be. SUPPORT THE ART & THE ARTIST:
EP REVIEW: medyo maybe – Porcelain People
Written by Elijah P. The Ilocos Region can rock everyone’s socks off. Yes, you read that right. The north side has something to say after all. Where the inflections of Will Toledo and the Boss Metal Zone guitar pedals rise from the collective bedroom and slide down their local sand dunes. It comes as no surprise that talent can come anywhere, everywhere. Enter medyo maybe – a solo project whose emotive sharpness is trained in Bandcamp and Soundcloud demos years prior to their latest release – is the indie rock sonic provider from Pangasinan out of all places. The 4-track EP is more than just a taste test. It’s a welcome party of all things influential for the songwriter, a love letter of sorts that span across the decade of 2010s indie treasure trove of guitar solos, freakouts, and all things emotionally direct diaristic lyricism. medyo maybe is ready in “Porcelain People”; no signs of any grazing rust, it’s promising beyond whatever jagged quality it had as long as the songwriter and their lead instrument make a great pair; it’s already made evident on the get-go that medyo maybe and their guitar is a dynamic duo. Tracks like “Don’t Ignore The Blame (Old Something Dies Hard)” drive the rhythms at a thrilling pace, and “Noiseless Noise Machine” has traces of noisy rock with familiar lines that resemble “Julie Tearjerky” at first glance, but the project distorts the iconic guitar line further with repetitive lines in the hook, making it something entirely theirs in the process, “Breaking The Plates” has synthetic synths and their lead vocalist sing in harmony across layers of riffages. This is only the start for medyo maybe and they’re going somewhere. SUPPORT THE ART & THE ARTIST:
EP REVIEW: SHNTI – ELMNT
Written by Louis Pelingen Ever since she started her career in 2019, LIAB Studios‘ very own SHNTI has been on her way to improving her skillset as a rapper and songwriter amidst her rise of success in subsequent years. Her laid-back delivery captures a sense of lowkey charm, a natural fit to her jumping points in lo-fi production that dips into jazz-rap soundscapes. Her melodic sensibilities are balanced out with loose flows, peppered with consistent rhyme schemes, flavorful wordplay, and honest writing that showcase the playfulness and introspection in the themes that are personal but are also resonant to a wider audience. These are the elements that she embraced ever since, and are working effectively well as she keeps on testing her limits as an artist. This year is a good year for her. Rerecording past songs from her increasing catalog is a sign of her growing confidence as a musician now showing through in spades. Additionally, provided that gigs are now available for face-to-face situations, it’s the right opportunity for SHNTI to put something out there, an anticipated debut project. And with ELMNT now released, it’s easy to say that the EP displays SHNTI’s artistic confidence in the best way imaginable. A collection of 6 tracks that nestles and branches out of SHNTI’s zone, embracing synth-inflected drum beats amidst lo-fi organic instrumentation that she smokes through effortlessly. Her signature relaxed vocals are prevalent, but they’re now oozing with an imposing attitude that was there before but is now refined, so far as standing out amidst the features in the EP. That attitude translates to her efforts as a songwriter, knitting together rhyme schemes and wordplay cohesively and attentively. In the 4 new tracks, SHNTI steps into the present, carrying an aura of confidence around her. “Bright” opens the EP with SHNTI shining through the airy synthscapes, additional backing and choir vocals, and pulsating grooves as she elevates herself and gives a middle finger on the past bonds that pulled her down. “ELMNT” lures you in as the addicting hook, snappy trap beats, and wobbly synth work are solid setups for SHNTI to just be in her element, allowing her slick flows along with clever wordplay to put her loose attitude to feel captivating, balancing out her garnered confidence with a self-aware discussion of fame and exhaustion. “Rhythm” displays her slickness into a flirty territory, her Doja Cat influence showing as she and Yorko’s playful and cheeky bars under punchy drums and pristine strings create a hazy and haughty seduction towards a woman that they’re into, a typically male-centric flirtatiousness that SHNTI steps into and makes it her own. And “YUH” featuring WAIIAN is the smokiest track on the record, reflecting upon their musicianship and how the criticism towards their work keeps them reaching for higher gains as their meandering flows slither around relaxed grooves and gloomy horn loops. While confident and strident, she looks back on 2 previously released tracks and polishes them to a new sheen, a reminder that she still puts introspection in the open. “Best Life” works through shuffling percussion aided by calming acoustic and bass guitar, allowing SHNTI’s laid-back flows to remind herself and everyone to not just live the best life, but put in the work to help other marginalized individuals have that same luxury. The EP eventually ends with “Could Be”, where the horn lines, textured percussion, and subtle bass, pianos, and strings swirl through SHNTI’s pensive musings of the realities of life. Realities that make her question existential thoughts, a question that she keeps repeating as the track glitches out, ending the EP abruptly. Personally, while it was an odd choice to put “Best Life” and “Could Be” on the tracklist at first more so based on worries that they might not fit in thematically and sonically. After a couple of listens later, however, they do deserve to be in this EP. Mostly because it reinforces the introspection that “ELMNT” and “YUH” provides, where “Best Life” sonically works as a cooldown before heading deep down into languid lo-fi jazz crannies of the last two tracks, and ‘Could Be’ acts as a great ending whose introspective questions linger past the EP, questions that may be answered sooner or later as SHNTI keeps on moving forward, as both an artist, and also as a human being. In short, I’ll admit that I’m trying to look so hard for any kind of nitpicks on this EP. But every time I look for anything to find flaws with, the elements in the varied instrumentation, balanced production, captivating performances and melodies, and deft writing just keeps snapping right back. And to quote SHNTI herself, she’s in her goddamn element, where the confidence that she built off for the past couple of years is paying off in great dividends. This is just her debut EP, and with the assured spirit that she has right now, I won’t be surprised if she keeps this streak up with a light that keeps on shining. Support the art & the artist: