ALBUM REVIEW: The Geeks – Sitcom Theme Songs

The Geeks hit their stride with their latest release – Sitcom Theme Songs! While their last EP “Weirdly! Relatable! Content!” explored the use of warmth by using tapes to re-record the EP, this album sees the band embrace contrast by singing about lost people and places brought about by the pandemic while having a trumpet section in the unofficial pandemic anthem “All My Favorite Songs”. Who else can talk about impending doom while using a cowboy aesthetic – complete with gallop foley – in the aptly named “Tragic Cowboy Theme Song” not to mention the eerie tunes found in “Mags’ Existential Crisis”. The band still touches upon topics consistent with their previous releases – self-doubt, lost romance, nihilism, existential crisis – but this time with more life in the instrumentation. Slow songs are less frequent now and replaced by more danceable pieces. These are also more singable but beware the despair of singing lyrics like “I’m dead all over again” or “Annabell, I think that you are going to hell”. There were also some interesting choices in the album. Aside from the cowboy-esque song, the use of a guitar slide in some songs jump out and add more fun to songs in a move that is not regularly seen outside of the blues. Also prominent in this release is the use of more vocal features such as Jillian of Formerly Maryknoll in “The Song of Yesteryear” who adds a bit more depth in the storytelling – providing the perspective of a partner. Multiple guests were also featured in “The Score” to emphasize the collective and ubiquitous experience of having doubt in a relationship. It’s been hard to put into words how great this album is – it’s the Geeks at what I think are their peak form. As a fan of happy and upbeat music, It’s funny to hear songs that talk about finding excuses for failure and self-sabotage but with instrumentals that make me want to bop my head. If you are a fan of the band, you’ll love this release and if you are not familiar, give it a listen and get lost in the happy-sounding sad songs. Support the art & the artist:

ALBUM REVIEW: The General Strike – s/t

Historically, the blues and folk rock music have always had this communal, almost spiritual connection to listeners all over the world. A genre that’s embedded in the African-American community in 19th century Civil War-era America and eventually imported by foreign distributors in the early-mid 20th century by vinyl or other sorts of cassette suppliers in the country. With bands like Juan Dela Cruz, Maria Cafra and Anak Bayan paving the way for the genre’s lyrical content and technical prowess, the power of blues and rock music have always had an effective collective effort in songwriting and craftmaking. Ever since the 70s, the blues and rock n’ roll has been well documented to a point where songs of the past and present are performed in various cultural nights and mobs all over the country. Be it from The Jerks’ “Rage”, “Giyera ng Bulag” by Kolateral or Ericson Acosta’s recorded poetry echoed in public areas in protests – later on in the years as the internet opened the floodgates for more genres to be incorporated by practitioners in the revolutionary music sector – sound palettes from different collectives like ARPAK’s “Walang Panginoon ang Lupa” and its assisting hardcore punk or experimental soundscapes or Tambisan Sa Sining’s “HINDI KO PRESIDENTE” and their selection of electronic and abrasive gabber production, both the former and latter expressed specific initiatives and emphasized on fringe genres in the 2010s. However, Blues rock five-piece The General Strike completes a trifecta of important releases, except it does not take the form of a compilation. Instead, it’s a full-length album that follows through different themes and calls from the peasant struggle, circling back to the roots of where revolutionary music has found its footing locally. An album that is 7-8 years in the making, The General Strike’s self-titled album was released last year in December at the UP University Hotel. The General Strike’s 9-track oeuvre covers important demands of the peasant struggle: anti-feudalism, imperialism and fascism, wage increase, justice for farmers who were unrightfully treated by the armed forces and the likes. Each of these calls have been asserted powerfully by the band’s vocalist alongside the lead guitarist and their harmonica player; “Sumpa” and the chant “Itigil Ang Pamamaslang, Katarungan Ipaglaban” became the album’s centerpiece; “Lakbayan” and its raging, electric guitar-thrashing outro is a moment to see live; “Pugon” and “Kawayanan” are examples of effective songwriting with melodies tied with national democracy calls and heavy emphasis on hooks for justice for the fallen Kentex workers tied together.  Other tracks like “Awit ng Mendiola” and “Hacienda” underline the more intimate playing and highlight the vocalist’s descriptions of rural life and the agricultural industry all over the Philippines. Both tracks are essential in lyric-writing in contrast to the aforementioned tracks’ more noteworthy sections of raw sonics and technical prowess. Overall, all tracks never hampered one another nor did they overshadow the performances of each other. In terms of accessibility, the album’s streaming platforms will effectively reach many of its listeners all over. The General Strike’s self-titled debut is an important listen. The self-titled album is essential in terms of learning from mass organizations and it should be championed for its longevity after 7-8 years of performing live. Support the art & the artist:

TFL PRESENTS: THE 25 BEST TRACKS OF 2022

The year had no shortage of spectacular tracks, may it be coming from a sprawling piece of ambient or a quick rage session with a posse. The releases keep coming as if bands or artists in general are to take back the two years of lockdown. Compared to what it was pre-pandemic, these tracks come out stronger and more effective than ever. Coming from a culture where lone recordings made the most imprints than an actual full length release, listeners would rather leave no track left behind. Covering the depths of internet post-punk from Bulacan to the trenches of drill in Pasay, here are the 25 best Filipino tracks of 2022. 25.) tidal – calcium The standout single from their debut album, the quartet paint a story of kindred spirits finding solace in the cracks of each other’s brokenness as the blasting drums of Tan Flojo and the bright guitar work of Keith and AJ lend the stage for Clarence’s ruminating vocals to deliver a heartfelt performance. -Janlor Encarnacion 24.) neytan & areli – FAR Out of all that Neytan has put out this year, he struck gold with this track. Bringing along Areli to put a shuffling beat and spiraling vocal touches to eventually create their Brockhampton-inspired cut is a sweet treat from start to finish. It has an anxious sentiment that these two exudes perfectly, a reserved attitude towards whether it is best to stay with her or keep some distance away from her. The track is quite the whirlwind, where even if that anxiety stays in your head, you’ll keep on pushing forward somehow. -Louis Pelingen 23.) Cowboy Country Club – Squirrel on the Line Amidst the journey of reflecting through connections and relationships, ‘Squirrel On The Line’ reveals a layer of that reflection in a prickly fashion. Within the cycling acoustic strums, waves of violins, and subtle synth layering comes this stressful set of emotional struggles that persists in one’s entire life. It’s a catharsis delivered in a simple yet moving passage, in the poignant way that Cowboy Country Club does well. -Louis Pelingen 22.) Turncoats – Future Fossil Baguio’s very own indie/dreampop trio shine in their latest offering of 2022 that is “Future Fossil”. With the mix of garage rock-inspired instrumentals and dreampop-tinged vocals, Turncoats yearn about self-doubt and self-worth thrown in the midst of the whirlwind of sound. The upbeat pace and reverb-drenched vocals mask the song’s relatable theme of acceptance and discovery in a world where trying to fit in and living up to expectations dictate an individual’s value to society. And in today’s society, devoted listeners need bands like Turncoats -Janlor Encarnacion 21.) Spacedog Spacecat – Jay Muscis Spacedog Spacecat, the indie crossover the entire Manila scene was not ready for, pushes their fuzz pedals to their limits on ‘Jay Muscis’. With a bright intro riffage, a dense rhythm section, polarizing dream pop vocals, and playful yet subtle counter melodies, ‘Jay Muscis’ is proof of the many utilities of the fuzz sound (get it?). And who wouldn’t say no to hearing Megumi Acorda in 2022? -Nikolai Dineros 20.) kindred – Switch On U! “Can’t stay at mad at you” says the boyband as they sing in the chorus.“Show me something new” says the boyband sing in the outro. Kindred strives for patience and virtue in their craft, and even greater – notably louder – energies in your nearest party.  There’s a throng of voices clashing against the bleeps and boops of their producers and there are pointpersons to every punchline. This formula that is “the boyband” defines their camaraderie during the pandemic and “Switch On U!” is evidence of their growth and fervor in the game. -Elijah P. 19.) Armi Millare/Munro – Take Me Stepping away from a project and returning to an old one, Take Me is the next step forward for Armi Millare. It’s the first shard for what will be a different side of her artistry, taking spare amount of instrumentation to fill in and elevate her impassioned voice. It’s baroque in its spare, atmospheric, and yearning form, with love displayed to be given even when the partner is out of reach. -Louis Pelingen 18.) Identikit – Dust Collector Identikit solidifies their unique sound with Dust Collector – filled with quirky synth hooks, a groovy bass, and Esber’s unpredictable guitar sound supporting James’ haunting vocals. As the band talks more about an android collection that is kept for show and is untouched by strangers, the lounge-y  vibe of the song round out the mystery in the lyrics and is a great representation of the uniqueness of the band. -Janlor Encarnacion 17.) Cheats – Morning After ft. Johnoy Danao “Morning After” is like watching a balancing act from the alternative-rock favorite Cheats. The tonal balance of the three vocalists – Sab, Candy, and Jim, accompanied with Johnoy Danao’s delicate vocals brought this track to a home run. Fuzzed-out guitars ringing in the back, commanding percussion leading the way and most importantly, the audio separation towards the end made the song a breath of fresh air. The lyrical abstraction of the “Morning After” is a chase towards self-reflection and unexpected realizations which exhibit the band’s progress towards shaping their trademark sound. Cheats honed a consistent sound across their discography. However, “Morning After” operates in its own defined space and introduces a new side of the band collaborating with other artists – which we are looking forward to in the future.  “Morning After” is a clear promise of what Cheats can establish in the scene. -Sab Aguirre 16.) Noah Alejandre – di man tinadhana In this industry full of male har-har and industry falsetto giants, only one artist was able to make it out of the dreaded rabbit hole: Ormoc, Leyte’s very own Noah Alejandre. Straight from the pop duo that is Reon, Alejandre tries his hand out in the formula, slowly but steadily throwing in his rendition of the style. And the result: a smoother, catchier and captivating vocal performance.

TFL PRESENTS: THE 20 BEST FILIPINO RELEASES OF 2022

This year was full of surprises: whether you look at it from the perspective of an audience member lurking in the underground or a casual music fan who happens to stumble upon alternative music in the mainstream. The year 2022 was the year where we met all different kinds of folks from all walks of music life, the ecosystem that is the Philippine music; we experienced a lot of crossovers and other unexpected turns that would change the trajectory of the listener and the artist. From the sudden reunions of a high-profile 4-piece to the sudden rise of 2010s indie-sleaze affiliate genres to the co-optimization of genres from larger than life platforms like Tiktok and Facebook. There was an emergence of grunge and goth culture, thriving on the image of Robert Pattinson lurking over Gotham City and makeshift house venues in The South turning into a crying session. The folks of TFL are more than honored to present to you releases that define the year that is 2022. 20.) Basalt Shrine – From Fiery Tongues Shortly after one successful and groundbreaking hardcore project, it’s almost hard to believe the Vivo Brothers could top their ABANGLUPA debut with a new venture. Enter Basalt Shrine, a doom metal quintet with a knack for the abstract that has quickly taken the metal scene aghast since its recent inception. Largely black metal inspired, their debut album From Fiery Tongues also incorporates stoner, sludge and drone elements in their dirge — and does so pretty damn well! The band has toured quite a few times this year, and you might have already seen their names pop up in underground venues. In any case, you should check them out! -Nikolai Dineros 19.) O.I Research Partners – Speed Milk “Speed Milk” is one of the more gratifying releases to be released exclusively via physical merch by way of tricky YouTube search (if you look hard enough). What caught my surprise is the mere fact that this is more than a project, it more likely transcends the need of a streaming site. Its a living breathing project that consists of cowboys from outer space, the Wild Wild North-North of Nueva Ecija and many more interstellar worldbuilding. O.I Research Partners’ penchant for borderline desert psychedelia and tin can folk comes in waves in every soundbite and plugin pedal. -Elijah P. 18.) Nullification – Kingdoms to Hovel This Laguna death metal outfit takes a lot of notes from its forefathers and applies all the right pointers into a full-length album. To say this album is formulaic OSDM would be a discredit to the effort in crafting a visceral record akin to the 1990s DM sound that manages to stay fresh by today’s standards. Tracks like ‘Negated Fields’, Sledgehammer’, and ‘Inside the Surreal’ are as gut-punching as any metal song should be yet so elegant in their presentation that you’d feel the destruction coming your way. -Nikolai Dineros 17.) Chimera Mix – My Pet Rat Patorikku’s musical project is a thaumaturge, releasing projects with songs that are folded and squeezed with enough spark of creative experimentation within vintage, lo-fi, and psychedelic pop that it’s quite a marvel that he has put this enough projects already. He only blitzes through yet again with My Pet Rat, an EP with four tracks that continues to push himself even further to something incredible. Psychedelic pop with nuggets of lyrical eccentricities now dipped further into compositions that get even more ballistic and unhinged on every turn. His albums already ooze with dizzying compositions and instrumentation, but with this EP, it just shows that even the smallest doses can create a mind-dazzling splash. -Louis Pelingen 16.) Mazerboy – Edge of the Bleak Guagua is a province that shouldn’t go unnoticed, especially for younger acts like Mazerboy who shuns every doubter of post-punk, psychedelic rock and alternative rock within imperial Manila. “Edge of the Bleak” is agitatingly catchy than it is dystopic – the project lingers in the mind of their listener – catapulting meteoric solos and textures, pummeling every indie band in the mainland today. -Elijah P. 15.) <S>andwich – No Goodbyes On the surface, ‘No Goodbyes’ presented a spotlight on the social challenges brought by the pandemic, some were in the same dilemma during the pre-pandemic from biking around the Metro to the state of working from home. Tracks such as ‘Buhol Buhol’ and ‘Negatives’ are standouts that proved to be a self-fulfilling prophecy for the veteran band. It’s stacked with excellent guitar work and rhythm that will automatically remind you of Sandwich. The juxtaposition of the whole EP was delightful and ridiculous, leaving any listener wanting to bite for more. -Sab Aguirre 14.) Polyphonic Vision – Sudden Pictures The otherwordly synth textures of Michaela Benedicto and Mario Consunji create a beautiful, blissful and groovy whirlwind of electronica. Polyphonic Vision’s first ever EP is, at parts dreamy and at other times, complex. The stems of “Sudden Pictures” are mosaic to the point where production create an unfolding image. The more these movements create itself, the more Polyphonic Vision’s music becomes a dancing image. Thus, conceiving one of the best electronica releases of the year -Elijah P. 13.) Ligaya Escueta – Laughing in Milk 15-year old indie rock prodigy Ligaya Escueta comes in many forms and eras in her debut full length album “Laughing in Milk”. In fact, the album continually rises in momentum and it finishes in a mush of feedback and fuzz, eventually manifesting her growth in this kind of songcraft in the long run. Even mentor Mikey Amistoso of Ciudad couldn’t resist in sessioning for her in live sets. That alone should be a testament as to how much everyone in her age should go out and check out adjacent acts everywhere. -Elijah P. 12.) Party Pace – Nauseous The veteran quartet of Party Pace released a stellar introductory album with Nauseous featuring a slew of instrumental tracks that are easily the most enjoyable music to pair with work or play. The

ALBUM REVIEW: Cheats – Houseplants

Written by Elijah P. After almost 5 years since their last album “Before The Babies”, alternative-rock 7-piece Cheats talk about everything that’s past after their sophomore album; everything that’s past the lockdown, and everything that’s past the grieving process in their latest album titled “Houseplants”. Housing over 12 tracks and running over at 49 minutes, it took a while for the band to let the songs they’ve written for this album to sit and simmer. Let alone some songs were written when their members were facing turbulent times of their lives, even pre-pandemic. If their debut was a honeymoon period for indie rockers and their denim jackets, “Before the Babies” were the millennial anthems and wishes that could’ve been, then “Houseplants” is a culmination of the band’s chemistry, both as a musician and non-musician perspective. Although lengthier and front-loaded than their previous albums, Cheats hold no punches when it comes to writing lines about appealing to a lover, asking for someone to stay even longer or to survive in a tragic event, and so on and so forth. “Houseplants” has all members grow artistically not just individually but also as a unit, especially for the tandem of vocalists Candy Gamos and Saab Magalona-Bacarro; Their layered vocals hit the notes on top of every single textured guitar riffage, possessing every bit of melody that’s been in the playbook of pop songwriting while surfing on a Broken Social Scene-esque template. In tracks like “Cans”, “Honey Calm Down”, “Kapit” and “Hakbang”, vocals shine throughout the entirety of its runtime, gracefully singing every anthemic hook after hook. “Not To Be Alone” and “Cake” are slower and gritty drum machine-assisted tracks where rhythm guitars shine the most. “Houseplants” has it all balanced to a T. But maybe those benefits won’t be able to weigh the actual length that it goes to finish the album in one sitting. Some tracks like Snooze (Pinto) and “Cashier Club” are slightly meandering and should’ve been cut from the album overall due to its least powerful performances, mostly caused by the anthemic and compelling tracks that come before them. Surprisingly enough, frontman Jim Bacarro takes a bit of a backseat in leading the album vocal-wise. And another surprise to mention is Johnoy’s Danao “Morning After” performance, calling back to The National’s Matt Berninger due to their brooding vocal tone. Overall, Cheats’ latest offering is a product of the band’s 2-year long wait. It all had the pros of a Cheats song: fuzzed-out guitars ringing in the back, commanding percussion leading the way and most importantly the three vocalists trading every line like it was a sport. And the cons are either the band not slightly surpassing the fervor of the previous albums or the performances that didn’t show any riskier moves or soundscapes. But this was an album or rather a period where everyone took their time to live a little, surviving most of the time. Then you have “Houseplants”, an album that could’ve been released any other time, but instead, it was released at a time where we wanted it the most. Support the art & the artist:

ALBUM REVIEW: Whereistome. – First Edition God Complex

Written by Elijah P. Some music journalists claimed “First Edition God Complex” to be a first glance at a “hyperpop” or deconstructed version of pop in the context of the Philippine music scene. Meanwhile, producer and singer-songwriter Tome. describe themselves vaguely to be “pop”. Maybe as a form of guessing for music writers or listeners just to create this sense of curiosity. And as the ears try not to deceive the listener, their debut album falls under the r&b and glitch pop canon. This album exhibits experimental production and sensual r&b that goes far beyond their usual sonic spectrum. But before anything else, Tome. doesn’t push anything further than aping already innovative production techniques from their influences or constant left turns in the mix that is already done years before. Rather, they advocate something than just mere “copying” – as some naysayers would mention. Tome. does it in ways where their emotive songwriting could expand the worldbuilding in writing in “First Edition God Complex”. After listening to the album in full, the listener can say that this is Tome’s own world and we’re just living in it. The first three tracks of the album, “gravity (intro)”, “ATLAS” and “iridescence”, give us a taste of Tome’s offerings, setting a precedent going forward to the debut album. There are copper snares, metallic-sounding percussion, and heavy synths that pale in contrast to their EPs 2 years ago. Album highlights like “AMOEBA”, “NO!!”, “BAKUNAWA” is designed to be played at an underground club filled with leather and flashing lights. Although not aimless, there are hints that Tome’s still getting there in terms of polishing their own sound. But in terms of the unrelenting “oomph” factor, the album’s production is tighter than most alternative-r&b records that claim to be the “hardest”, and Tome. does it with trial and error. The guests in tracks like “ATLAS” and “4LIFE” have significant misses in guests keeping up to Tome’s stylistic production and pacing. But that doesn’t diminish the quality of Tome’s r&b-accented music displayed in a conceptual hellscape somewhere in the middle of nowhere. This is heaven on earth more than it is a hellish experience lurking in the ears of its listener. Slightly leaning in a more promising direction, “First Edition God Complex” is an impressive feat for a debut album. And it’s not impressive without its big misses in between. You have underwhelming performances; production overshadowing the vocal lines every verse or two; the overall track arrangement isn’t as notable as their previous EPs. But looking at the bigger picture, Tome. can and will break through time and time again. This is a promising artist you folks shouldn’t miss out on and this is just the first edition. SUPPORT THE ART & THE ARTIST:

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:

ALBUM REVIEW: O.I. Research Partners – Speed Milk

Written by Elijah P. It is believed that Nueva Ecija-based art collective O.I Research Partners have found recordings of a different universe consisting of space cowboys, hieroglyphic spaghetti westerns, and literal drum machine worship. These findings are said to be secured somewhere in their facility, preserved to age like the best milk in town, kept sacred like genres that are made to be published by your nearest DIY label online. Label it as a psychedelic hyperdrive or a Filipino western dashing downwards a dune; “Speed Milk” is the complete package. O.I Research Partners is DIY written from top to bottom of every page in their playbook. Whether it is true or not, O.I Research Partners’ debut project “Speed Milk” have struck gold. There is marriage between fragmented recordings of Eva Yu’s cryptic narration of the world before her while Vik Laugo’s constant guitar switch ups and manipulated kraut-y influences. “Smell My Badge” has Ennio Morricone and Bad Lieutenant fragrance smothered over Laugo’s breath. Fuzzy freakout and folk passages explode all over the place in “Stage Warner”. “We Like Speed” and its rush of dirt vomiting out of the amplifiers is partially eerie and thrilling to hear in your speakers. Accompanying the music is also Eva and Vik’s exhibited visualization of their worldbuilding, an initiative that is to a certain degree impressive and intriguing: Horses stuck in the middle of a lava river while picture frames of a cow hang beside it, stonehenge prophecies on a drum head etc. The possibilities for the couple’s imagination could reach an entirely different universe at this point. O.I Research Partners have imagined a future wherein it is possible to live both sonically and visually. Musically, this is the future that we depend on even if it takes a fantasy research crew or a concept album made by mad scientists. Listening to music casually can be all fun and games until you find out there are badass cowboys living on drug-spiked milk. O.I Research Partners are the real deal. SUPPORT THE ART & THE ARTIST:

ALBUM REVIEW: Spacedog Spacecat – Fuzz Sounds

Written by Nikolai Dineros Spacedog Spacecat’s debut ‘Fuzz Sounds’ is a celebration of one of rock music’s most unique and divisive effect sounds: the fuzz. Notorious for its rich, grainy and exuberant tone, the fuzz box has been a staple among musicians across the decades. It is everywhere: from the early years of rock to the inception of metal (and by extension, many doom metal bands going forward), the grunge era, and literally every Jack White song ever. Spacedog Spacecat’s assemblage of fuzz-filled tracks is fun, colorful, and upfront. Each song features not just one, but multiple layers of fuzz pedals across different instruments. On paper, this may be overbearing, but the band knows that the unique thing about the fuzz is that it does not rely heavily on mid controls, which makes it a versatile effect that works on the foreground as much as it would in the background. The opening track itself, ‘Beach, etc.’, puts you right into the action with a gnarly intro riff that is elevated by synths and more layers of guitars that are drowning in the same distortion but to varying degrees – and with a bit of reverb to shake things up a bit. ‘My Midori’ and ‘Jay Muscis’ are two of the more palatable songs from ‘Fuzz Sounds’. The former stands out for its sweet melodies and its ever-present aggression, striking a nice balance between the two, thereby creating something reminiscent of twee pop, while the latter borders between power pop and shoegaze with its dense production and energetic instrumentals that are endearing to hear, nonetheless. In ‘Chronic Non-Surfers’, the band asks, “what else does go well with an ensemble of already thick and saturated guitars?” To which they answer, “Violins!” If anything, Spacedog Spacecat knows that paying homage to the fuzz pedal should not be hard. For all we know, they might just be having the time of their lives on this album. Because whatever they come up with, that Big Muff pedal is still going to electrify the entire crowd. The rest is up to one’s creativity, which is easier said than done. SUPPORT THE ART & THE ARTIST:

ALBUM REVIEW: Ruru – Glorious Miscellanea

Written by Louis Pelingen It has been two years since Ruru put out her 3rd EP, ‘The Odds,’ a short project that finds her inching toward jazzier blends in her melodies while retaining her lo-fi bedroom pop sensibilities and distant, fractured musings on the relationships that she describes in her writing. More so, it felt like her debut album was on the wings of being done, only possibly hampered by the pandemic interjecting every musician’s plans to release their records, delaying their supposed release dates for the next two years. And it was the case for Ruru herself, spending most of her 2020 and 2021 trying to finish her debut record that’s hanging by, which only increases the curiosity of what strands of sound and themes she will branch out next. Because as much as her brand of fuzzy bedroom pop combined with themes surrounding relationships and the personal reflection that comes with it is appreciative, it can start to feel a little stale once this palette has been repeated. And for Ruru’s debut record, she sure has switched that palette in a significant way. If ‘The Odds’ is the teaser for something new in Ruru’s growth, then ‘Glorious Miscallanea’ is embracing that growth. Said growth is shown in all aspects of this record. The instrumentation has been expanded further, bringing in more touches from the violins and woodwinds to help complement the organic texture of the guitars, drums, and synths. The polished production helps out the instrumentation and vocals give that needed fuzzy warmth that has been in Ruru’s pocket in her past EPs. The melodies and tunes have gotten more glee and energy to them now that Ruru has embraced more jazz and funk tunes in her sound, oddly reminiscent of acts like Dijon, Remi Wolf, and Japanese Breakfast. Ruru’s vocals have gotten more presence, allowing her softer vocal timbre to glide through the airy compositions pretty well. And the lyricism does step up as well, and while it still touches upon familiar melancholy, that melancholy is more internal this time. Focusing more on personal struggles throughout the scattershot moments in life and the numbness, disconnect, and frustrations that come with it. While it may not compose an arc that comes through, it does fit the meaning of the album title, where the collection of these small and mundane miscellaneous moments in life creates an emotional tension that takes time to process and reflect upon. Due to these improvements, the songs have so much spirit to them that it makes you want to return to their sweetness even more. ‘Chewing Gum’ with its jaunty grooves and woodwinds, ‘Strange World’ with its starry-eyed watery synths, ‘WYWD’ with its blissful tone from the reverbed guitars, glittery synths, and especially from Ruru’s hypnotic use of her falsetto, ‘Eyes of a Blue Dog’ with its soothing tune from the horns and the watery guitars, ‘It Matters Until It Doesn’t’ with these jaunty funk and jazz melodies from the woodwinds, guitars, and drums, ‘Jigsaw’ with the glitchier melodies from the percussion and sound effects that climaxes to Ruru’s mystical vocal harmonies at the end, ‘Serious’ with its summery and blurry cascades of guitars, and ‘Non-satisfaction’ wonderfully closing off the record with a lot of sweeping synths, guitar passages, and vocal overdubs. Even with the thin texture of the strings and some of the synths that can be distracting in some songs, and the fact that the momentum can slip away from the back half, those issues are still compensated with just how fleshed out these tunes are. While songs like ‘Moonbeam’ and ‘Snoozers’ don’t stand out as much as the rest of the songs, there are moments that still make them decent songs in their own right, with ‘Moonbeam’ coasting through those moody strings and ‘Snoozers’ using its brief runtime to showcase the wavy synths that are used majestically. Ruru’s debut album manifests a different splash of textures and colors in her already vivid world. Polished production that brings out the clarity of the vocals and instruments, Jazzy and Funky compositions along with additional instrumentation that provides sweetness and warmth to the melodies and performances, and songwriting that explores the scattershot moments in life and the whirlwind of emotions that comes with it. It’s a project that picks up pieces of memories and makes a collage out of them, a collage that is majestically put together. It’s a glorious miscellanea indeed, and it may hint at what else Ruru will create from these pieces in the future. Support the art & the artist: