Written by Louis Pelingen The first couple of notes that start ‘readmymind’ will immediately sink you deep into arkyalina’s striking soundscape. A producer, multi-instrumentalist, and composer in his own right, there is already so much going on with Tavin Villanueva’s composition work, bringing in so many ideas to bear. arkyalina’s tight and impressive pop punk-esque vocal runs quickly snap within the chalky breakbeat grooves, the sweeping guitar solo, and the feverish reverb-smeared piano and strings backdrop, a combination of tonal flairs resonating even further through arkyalina’s production and Calix’s mixing and mastering assistance providing potent clarity and color to the punchy melodies. This track is a case of a captivating song that once you’ve heard it, you cannot help but give it more listens a dozen times later. An on-the-spot stand out where arkyalina’s broad display of musical flair manifests within ‘readmymind’, colliding so many ideas that cohesively work together into this alternative pop wonder. Branching out many roads ahead, only arkyalina himself knows where he wants to go next, keeping us on our toes about whatever admirable aplomb he might release in the future. Support the art & the artist:
Author: Elijah Timothy Pareno
TFL presents: THE 20 BEST FILIPINO RELEASES OF 2023
The year 2023 saw a lot of shifts happening: the rise of scene kids coming from the FYPs and For You pages of yore and the steadily rising of attendees in DIY underground shows all over. In Luzon, newer collectives were formed via embodying the gothic, emoviolence sensibilities of Metro Manila’s newer heavy music units. Over at the Visayas region, genres like hiphop and dream pop are the talk of the town, making both soundscapes and cultures sought for newer heights. And in Mindanao, their scene becomes more and more solidified in terms of dance music and various alternative genres that goes beyond the expectations of a regular Imperial Manila listener. From Luzon, Visayas to Mindanao, we present to you a yearly tradition that the editorial team would always prepare themselves for; Not just because it’s the task that’s daunting, but it’s the journey and the result of 11 months of scouring the internet and gigs for the best of Filipino music. Here it is, The 20 Filipino Releases of 2023. 20. Lil JVibe – WHOLE LOTTA LUVSHIT Simply put, ‘WHOLE LOTTA LUVSHIT’ is the pop-rap EP that immediately puts Lil JVibe into this current space of inventive local hip hop. From Gem Records Production’s assist in balancing out the 4 tracks’ layered drill and jersey club beats, oodles of pop sample choices that are stitched amazingly well, and Lil JVibe’s ability to keenly blitz through these immense soundscapes is a big testament to his skill as an artist. ‘WHOLE LOTTA LUVSHIT’ is a bold, untethered, and sincere EP that’s just the beginning of Lil JVibe’s ambitious potential as an artist, one that all of us should pay serious attention to. -Louis Pelingen 19. Panjia – all the colors that make you!!! In the year 2023, you have a ton of shoegaze acts that can easily pass off as imitators of someone and something given the time and algorithm to figure it all out. Staying true to its title, this debut EP “all the colors that make you!!!” is a primer of what you need to know about Panjia; youthful angst in front of computer screen, yearning in a language fitted for the hell week tortured student and loaded with nu-gaze terminology. The solo project surprisingly brings tasteful riffage-writing and overall promise in the young crop of heavy gazers out there locally. It’s Zoomer Shoegaze Bingo and the first recipient of such game is none other than Panjia. -Elijah P. 18. Punebre – Ang Nasa Dako Paroon ‘Ang Nasa Dako Paroon’ is a compelling testament to the raw essence of old-school death metal. With influences echoing ‘90s death metal, Punebre skillfully intertwines a foreboding atmosphere, relentless energy, and concise, impactful lyrics in highlight tracks like ‘Itim.’ The result is a sound that pays homage to the horror genre, revitalized for a new era, with slight nods to Filipino horror filmology, urban mythology, and folk mythology—‘Balete Overdrive’ and ‘Shaken and Rattled’ come to mind. However, Punebre’s most exciting feat that further amplifies excitement for their music is their inventive approach to PR. I vividly recall ordering a copy of their demo CD, which included tracks from ‘Ang Nasa Dako Paroon’, and to my surprise, the package included a meticulously crafted autopsy report. I have since kept that piece of paper and plan to have it framed on my wall. Though I still feel tremendous regret for missing out on their limited release of blood-soaked Punebre shirts earlier this year, there’s always a reason to be excited for Punebre. -Nikolai Dineros Emo and punk band Irrevocable further show their ability to make face melting songs in this new release. They talk more about family influences and touching tributes while letting the songs breathe more resulting in a more engaging and expanded dynamic sound that doesn’t overstay its welcome – in fact, making the listener want more. -Janlor Encarnacion The aging process offers a different perspective even to veteran bands of the music scene. Oh, Flamingo! takes a look at timeless topics such as love and loss but with the added perception of being able to look back. Coupled with the use of our native language, the band is able to process emotions in a more connected way while still being distinctly Flamingo-y. -Janlor Encarnacion Toots’ debut depicts an expertly crafted adventure into self-discovery. The earnest vocals display a tenderness that contrasts with the loud-soft contrast of each song – showing a wild journey both lyricism and soundscape. This is an indie-rock/folk EP that deserves multiple listens. -Janlor Encarnacion Davao alternative rock and shoegaze crossover outfit Precal Dropouts have indeed traveled far and wide in their long awaited debut EP. The charmed life of Gavin, Jan Mark, Ben, Neilcon and Dee has been incredibly eventful. Singing about their gardens, dinosaurs and tidal waves, their sentimentality has reached from the Manila shores to the third floor of Suazo in their hometown. The project is a welcome gift for all new and old fans of the genre, servicing the classic tropes and new offerings of its sonic choices. Wherever you go, there’s a journey worth taking and that is listening to “Little One, Travel Far”. -Elijah P. Budots World is a compilation consisting of the dance genre “budots” in its different mutations, variations and traditional production style performed by different producers all over the country. It was an effort to unite all producers locally and thankfully Manila Community Radio were able to make the pioneering producer DJ LOVE’s dreams come true in this project. “Budots World” has a diverse selection and interpretations, resulting into 100 percent organic and pouring in 200 percent bust-a-groove energy. This is a mix that you shouldn’t pass on. -Elijah P. DJ Love presents BUDOTS WORLD: Bawal Umiwas sa Sayawan! by Manila Community Radio There are two different listening experiences to Promote Violence’s “Joyful”: one is hearing multiple synth screeches and feedback resulting into a cathartic release; The other is a story of how religious Fundamentalist approaches can break a
TFL’s THE 23 FILIPINO TRACKS OF 2023
Every year, something monumental happens in the music scene, whether it would be an army of alt-kids taking over a mall show, a rapper taking over the country by storm on Tiktok or a DIY venue at the verge of crumbling after two shoegaze bands. Genres have multiplied into bubbles, ecosystems emerge as newer venues from the highways of Cavite to the driveway of a basement at a Chinese restaurant. There’s a steady scene rising, amplifying louder one year after the other: 2023 is a year where those highlights have made made an impact beyond NCR. From Luzon, Visayas to Mindanao, we present to you a yearly tradition that the editorial team would always prepare themselves for; Not just because it’s the task that’s daunting, but it’s the journey and the result of 11 months of scouring the internet and gigs for the best of Filipino music. Here it is, The 23 Filipino Tracks of 2023. 23. P4BL0 – baka magalit mf mo In the “18 Commandments of the Boybestfriend”, there’s unnecessary fluff written along those ridiculous rules. However, P4bl0’s “baka magalit boyfriend mo” has this lasting effect delivered by its cloud-9 like production, ultimately writing one of the best pop hooks in the game now. It hasn’t been written on the scribes nor the tablets that South Metro Manila regular P4Bl0 made a banger track tailor made for the rebounds. Whether it’s the wacky gimmick of BBF/GBFs or the semi-ironic execution, P4bl0 has proven and tested that the undying concept of love and yearning can be done in a dreamy cloud-rap fashion. -Elijah P. 22. O Side Mafia – My Thang It’s been an endless streak of hit singles for O $ide Mafia despite the lackluster collaborations and disputes between territorial beef and fan leaks; “My Thang” is a victorious reaction to all of the success outweighing all of the group’s cons in the game. The simple old-school 2000s G-Funk influenced synths, the satisfying braggadacio three-verse combo and the killer hook is an all-time career highlight for the group and they just stay winning while all the haters watch. -Elijah P. KRNA expand on their infectious sound by expanding their soundscapes to include reverse guitar samples while pairing back on KCs vocal strength. The single shows the band’s mastery of making heartwarming music and a story of yearning that feels like a warm embrace being whispered while in a slumber. -Janlor Encarnacion Armi Millare announced her return to the music scene with a dissonant pop single – taking the time to show her own prowess in music creation with a tune leaning towards more pop and r&b. Roots signals the metamorphosis and re-emergence of OPMs signature voices and we can’t wait for more. -Janlor Encarnacion ‘Sonic Tonic’ is the long-anticipated debut that charges Suyen’s magnetic presence amidst the fray of fringed pop rock, a bottle of riot grrl and grunge blends where Suyen just sounds high-spirited in her craving for that adrenaline rush. Sam Marquez’s production is impeccable in bringing the heatwave atmosphere to ‘Sonic Tonic’, where the already remarkable chugging riffs and splashy drum work are vibrant and immense. Enough to keep everyone cheering along the soaring hook, ‘Sonic Tonic’ is a striking first cut from Suyen who is never afraid to jump first into action, letting her do anything to reach a gratifying emotion that will keep her feel alive. -Louis Pelingen ‘SOUFSIDE’ is a meteoric statement from the Cebu Hip-Hop collective ASIDE BOONDOCKS as they erupted through the scene with their tastes for boom bap and hardcore hip-hop. Flagrant in their hyperbolic expressiveness, that ecstatic flair allows each of their distinct flows to tumble through the stirring hypnotic beat that has a quirk of its own due to its swaggering bass lines and buzzy synth waves. ‘SOUFSIDE’ stamps a mark that will break further ground for the Odd Future-inspired Hardcore Hip-Hop ASIDE BOONDOCKS are leaning towards, where they’ll spark an explosion that you can’t help but feel its heat. -Louis Pelingen With Waiian’s recent return for his sophomore album, ‘SMILE’ is a track that has a familiar thematic trudge from this rapper who has a lot more to observe past his 2020 debut. In this pensive reflection on the mortality and bullshit of life, Waiian invites Yorko and U-Pistol to pen down their emotions on the table amidst a relaxed boom-bap beat and calming piano lines. As a result of that writing session, ‘SMILE’ ended up being Waiian’s best song to date where the melodies are tight and catchy on all quarters from Waiian and Co. No wonder that ‘SMILE’ is one of the lead singles for Waiian’s recent project for a reason, as it’s a respite that brings a gentle smile on constant repeat. -Louis Pelingen 16. PETTE SHABU – Bulbulin Ka Na As PETTE SHABU goes deeper into her experimental rap tapestry with every track she puts out, her transgressive lyricism and ferocious flows become more sharper. That in itself eventually led her to release dozens of challenging sonic bangers in 2023, with ‘Bulbulin Ka Na’ bringing the most sting out of her thus far. Through every whirling wordplay PETTE SHABU spits out, her flow turns impenetrable as PETTE SHABU confidently carries herself within horseboyy’s dense glitchy beat. ‘Bulbulin ka na’ is a bulldozer that keeps PETTE SHABU in control of her agency, lashing down everyone who comes for her without shame. -Louis Pelingen The dizzying hyper-pop artist known as AHJU$$I may have retired from that moniker, but his rebirth as Pikunin has those old bits and pieces intact, now ribboned with UK Garage rhythms and ticklish vocal flair. These characteristics manifest through Pikunin’s debut track, ‘Tadhana’, using Armi Mallare’s cooing vocals as the Jersey club beat tiptoes around it which also serves to be a bouncy springboard for Pikunin’s chirpy vocals and twee lyricism. Starry-eyed in nostalgia with a modern touch, Pikunin spins a refreshing take on the classic song that updates his eccentric brand of pop with gleeful yearning. -Louis Pelingen
ALBUM REVIEW: KINDRED – subset
Written by Louis Pelingen Amidst the up-and-coming music collectives putting their marks this year with exciting sonic palettes on their sleeves, KINDRED stands alongside them with the utmost glee. The eight-member boyband that, based on their singles, music videos, and live performances alone, the remarkable quality shines through immediately with how much they work together as a group, able to plug into a focused and genuinely exciting alternative sonic palette despite each member’s own brand of creative flair and perspective. It’s a tangible connection that eventually manifests through ‘Subset’, their debut mixtape being worked on in the oven for around 3 years. ‘Subset’ is a fitting title for the stacked tracklist on display, a mixtape that showcases a glorious array of OPM and Boyband material meshed in with UK Garage, Breakbeat, Alternative R&B, and so much more. Within the 15-track hour-long length of the mixtape, KINDRED’s ability to create joyous eccentricities is surprisingly consistent all throughout, allowing their experiments and flashy energy to easily let the melodies snap brightly, highlighting the boyband’s strength to focus as a unit even more. Just like the singles leading up to this project, the deep cuts are just as colorful and robust. The jersey club bounce of ‘KZONE’, the drum and bass beat leading into that stomping bass rumble on ‘Losing U’, the atmospheric bass knocks of ‘Afterglow’, and the one-two punch of ‘L Punch’ and ‘R Punch’ where the former’s electrifying guitar passages transitions to the latter’s calmer yet nevertheless sticky melodic flows are continuous instances of that creative flair popping away into exciting territory. The word ‘connections’ is something the boyband emphasized deeply in this project, not just on the romantic relationships that are filled with tender passion and sincere yearning, but also on the inspirations that led them to where they are right now and the bonds that they’ve made and cherished within their own group. ‘Megastar – Interlude’ is one of the two touching examples of this, where Sharon Cuneta questions her stardom that will inevitably fade as she observes her friends getting weary. Yet, she knows that the younger generation like KINDRED will play those old tunes, a message that’s executed dearly with KINDRED harmonizing beautifully with Sharon at the end. ‘Ligaw’ is the other example that speaks of the boyband’s sparkling synergy. Harking to the retro boyband sound where their vocal harmonies harness a sense of grace to that era, a dedication to that past as KINDRED glides towards the future with their bonds, their inspirations, and their relationships moving them further into something worth clinging on. With the dynamic swerves on display, KINDRED within their creative stronghold not only redefines the concept of a boyband where their bonds allow them to create such magnificent tunes all on their own control but perhaps even open up a new arc for what OPM can head into; infusion of genres that makes for a rejuvenating experience for both the artist and the audience. With the rise of interest towards certain dance-focused electronic genres in the local scene, ‘Subset’ does feel like a celebration of past influences mixed in with contemporary sonic landscapes that brim with a prismatic quality. Perhaps prismatic is the best word to describe the project, with each member’s bright light collectively scattering through different directions, they become varied colors that spark individually yet gleam together as one. Support the art & the artist:
EP REVIEW: Toots – Jargon State
There’s a lot to process in “Jargon State” – the debut EP of alternative-rock and indie-folk solo act Toots. For listeners, this may sound like the typical coming-of-age project in the form of a Donnie Darko-inspired backdrop. For Toots, it’s not easy being green; He embraces his own worth, the age that he’s in, and the surroundings that engulf the sonic palette throughout the EP as well. It’s as rewarding as it is an adventure to course through. “Jargon State” is a five-track debut EP worth keeping. Written and recorded during the periodic times of searching for himself in a strong emotional tidal wave; it’s either during the search for a peace of mind or wrestling against a bigger force. But in “Jargon State”, Toots has proven himself lyrically otherwise that it’s okay to let things sit, gradually waiting for the storm to turn into a calmer state of mind. From the alienation themes of closer “Jargon State” to the angsty dissatisfaction of the stellar opener of “Fall”, there’s a lot to pick up in terms of production and instrumental choices in this project. In “Hide and Seek”, the loud-quiet-loud dynamic has found a perfect balance; Acoustic guitars morphing into a heavier, more robust electric guitar. In “Memory is a Trap”, you have the intensifying yet gentle accompaniment of the protagonist’s vocals and his trusty guitar, “Shell” and its pop structure make you lift your spirits at an all time high. Toots’ varying levels of vocal delivery are the obvious highlights through and through. But on the surface level, the relationship between the instrument and the artist are its greatest assets in “Jargon State”. As you listen to the EP more, you’ll start to notice that he has triumphantly submitted several acts of catharsis whether it would be distorted vocals, plucked sections of intimacy and synths weaving across a verse filled with several trains of thoughts. “Jargon State” has all whatever variables of intimacy you can find in an indie-rock record. There’s vulnerability than there is shattering, off-putting states of emotion. A resolution with a fine-tuned ending. A heroes’ redemption arc with the added human, adulting themes. Carved like Ben Gibbard but determined like a Built to Spill narrator, Toots is in his own league in his debut outing. Support the art & the artist:
ALBUM REVIEW: PLAYERTWO – HAPPY ACCIDENTS VOL. 1
Written by Elijah P. Davao’s premiere hip-hop group PLAYERTWO is aiming to take over the Southeast Asian scene with their visceral take on the genre. They seemingly have the complete package of a unit: hooks that go on for days, a virtuoso mix of producers and rappers trading bar after every beat switch and a chemistry that is to die for. They’ve eventually landed themselves in a major label deal, marketing the group wherever they go in the country. Shortly after the release of the massively successful “That’s My Baby”, the group eventually went on to release an album; assume that it’s the first installment of a series of albums that’s reminiscent of the Saturation Trilogy by then hip-hop group BROCKHAMPTON – who also popularized the modern-day “boyband” formula in the West. But back here, we’ve witnessed a sea change of rap groups following this model from Manila to Pampanga to way South in Davao City. It’s a phenomenon that hasn’t fizzled out yet. In “HAPPY ACCIDENTS VOL. 1”, the group doubles down in the dynamic, following through what seems to be a long-term plan devised by PLAYERTWO themselves. “HAPPY ACCIDENTS VOL. 1” is a decent effort at showing what it means to be a “boyband” in 2023. With members Ivo Impreso, Luke April, Wave P and creative directors Ven Villariza and DJ PUHKEN serving a plate of hooks and bars, there are slight hiccups involved throughout the entire project. The distinct rapping style of Wave P is noticeably more charming than the rest of the group, making him consistently standout wherever the group lays the smackdown. But if listeners would notice as time passes, biases form: Wave P might be the only member sticking out in terms of writing clever verses and learning how to stick out melodically. In tracks like “THINKIN OF LOVE” and “TIKTIKTOKIN,” Ivo Impreso and Luke April got what it takes to follow up Wave P’s verses, but it oftentimes come out short in the long run. Sometimes, it comes off as confusing whether or not who is rapping in the verse. Funnily enough, listeners might even mistake that two verses may be one rapper all along In the smash hit single “THAT’S MY BABY” Wave P’s bridge instantly comes out as a highlight in the entire album. Beating the rest of the two verses that came before it. This is a case of hard carrying rather than it being a group effort. However, production-wise Ivo and Luke’s production has surpassed everyone’s expectations. In “SHOWER MUSIC”, there’s a percussive instrumental pattern, almost experimental if you listen hard enough, that is far beyond the conventional instrumentations from the rest of the album. “HAPPY ACCIDENTS VOL. 1” is an installment that shows promise of the group. It’s a project that is a rap showcase rather than a project being a separate body of conceptual work. It can function as a body of work on its own, but sometimes its quality becomes unbalanced due to the lack of cohesion and order. Hence, the album being a battle of verses rather than a team effort. PLAYERTWO shouldn’t be just a “PLAYERONE” in most cases. Support the art & the artist:
TRACK REVIEW: Oz Kabuhat – I Would
Written by Elijah P. Local artists need to straddle between genres more often. It opens a door for many to experiment, find their voice in the noise and maybe even conjure up a new sound that nobody has ever heard before. But there’s a risk in being too odd. It may also lose your sense of identity, playing with more inconsistencies than sticking to a uniform, realized sonic palette. However, singer-songwriter Oz Kabuhat defies those odds in “I Would.” Starting out in the electronic/pop realm in their earlier releases, MINT’s own Kabuhat goes beyond the grain in making formulaic pop music. Instead, “I Would” grows apart from its humble beginnings. Synthesizing layers of electronica over crispy snare and kick drums and capitalizing on falsettos that could run for days. There’s gold hiding in the sparse, more subtle moments of the track, but Oz doesn’t settle for less. He settles in maximizing in writing the most bitter-sweet sounding melodies ever known. “I Would” is a track that no one should sleep on. Support the art & the artist:
TRACK REVIEW: Ango – pull me up (break it off)
Written by Elijah P. Ango Paz’s own fusion of UK garage and Anti-pop is still making its way on the radar for many listeners all over. Heck, even Jung Kook’s hooky Seven or Pinkpantheress’ single worthy loosies or bootlegs prove to be more than just Tiktok worthy jams. Those tracks in particular are actual pop songs that’s built massive followings and influences for decades, regardless of formula changes and genre shifts. Pop music is a product of time and dopamine in the veins. Furthermore, Ango wants to slightly deviate in the formula by incorporating emotive vocals, explosive left turns in the production and another level of attitude in his latest single titled “pull me up (break it off)”. Fresh from the aunt robert collaboration, the latest single carries a similar weight in terms of clarity to Ango’s vision as a producer and songwriter. Surely you can tell from the influences from a mile away, but Ango wanted to let their listeners know that UK Garage can be a transmutative genre in pop music. It’s a sonic force that can pull you right in immediately for its mechanical form. From the 2-step rhythms to the melodic sensibilities, Ango smartly inserts structures and techniques that’s common yet effective today: the explosive outro by the second half, the acoustic guitars bouncing along to garage kick and snares etc. “pull me up (break it off)” is an example of an artist’s work showing great potential. It’s an advancement to both genres holistically. Support the art & the artist:
EP REVIEW: MAKI – TANONG
Written by Elijah P. Tarsier Records’ Maki ticks a lot of boxes for the casual pop r&b stan. Think of Jonas Brothers adopting Zack Tabudlo’s falsettos and the result of that amalgamation is the young singer-songwriter himself. After earning a fair amount of virality throughout Spotify playlists and movie soundtracks earlier in the year, the young up-and-comer has a lot of things to unpack and undoing in his debut EP titled “Tanong” – a 5-track exercise of questions that’s hellbent on asking the true meaning of love. Quite cheesy and cliche on paper. However, from the actual listening perspective of it, the EP is actually cut from the same cloth as his contemporaries – painfully similar yet eerily mimicking those who came before him. The EP opens with an intro titled “Sigurado?” – welcoming the listeners with a question albeit a weird fade out that interrupts the immersive listening experience. One thing that listeners should absolutely question is the mere fact why the intro is even necessary to begin with. Moving along to the flow of the EP are one-dimensional tracks: the viral hit “Saan?”, “Bakit?” and “Kailan?”. If the listeners would tell from the bright production, “childlike” and playful songwriting and neverending falsettos, they wouldn’t tell the difference of how easily distinguishable this sound palette is in the year 2023. Even if you pale this to Zack Tabudlo in comparison, you would go as far as calling them blood brothers of genericness at this point. There’s not even a single lick of difference or variety listening to “TANONG” due to the fact that Maki does not even dare to go outside of the box in this release. Although, there are commendable production choices such as the punchy, upbeat “Saan?”, but that’s about it when it comes to highlights more than there are lowlights, some parts of the EP might as well be called “midlights” just because they are substandard, mediocre and borderline background music for a normal Baguio trip. Support the art & the artist:
TRACK REVIEW: RONAN – INSOMNIA ft. Shuichi
Written by Louis Pelingen For those who are not aware, before his Kailan cover was put out, Raccoon Eyed Ronan debuted on SoundCloud with ‘INSOMNIA’, a mostly decent R&B cut that was underpowered due to the rough production and mixing & mastering elements. However, after the Kailan cover did get a lot of buzz around the indie circles – which has led to Raccoon Eyed Ronan now working under Twin Plaza Recordings – he eventually touched up this song with Shuichi helping along. And surprise to nobody, it’s essentially an improved version thanks to the hypnotic production with all of its psychedelic atmosphere from the synths and horns paired with the impeccable mastering allowing the course grooves to swell and then explode wondrously at the end. And for a song that’s about holding on to a relationship and asking with genuine care if there is a possibility of fixing said relationship, both Raccoon Eyed Ronan and Shuichi delivered exponentially where Ronan’s somber yet heartfelt vocals contrast well with Shuichi’s desperate expressiveness that works with how the instrumentation spills forth after his verse. There are a lot of welcome additions to this new version of ‘INSOMNIA’ that puts Raccoon Eyed Ronan as an artist to look forward to. Since now that he is under Twin Plaza Recordings, there is so much potential waiting to be seen here that it’s exciting to guess wherever he will go from here, especially with his brand of R&B that he can present with potent sincerity and layered melodic and production taste. For the time being, this track and the Kailan cover stand strong for what spark he’s yet to unleash, a spark that will keep us wide awake in the near future. SUPPORT THE ART & THE ARTIST: