Written by Louis Pelingen The smoggy bleak streak that Mazerboy started with continues forth with ‘Midfielder’, the newest cut that he has put out two years after he released his 2nd EP. This continues his brand of post-punk tapestry, all with a driving groove section and Mazerboy’s solemn vocal cadence, but the overall sound is treated a bit differently this time around. There is an implementation of dense layers of reverb on Mazerboy’s vocals as well as the jangling guitar feedback that sinks the atmosphere deeper into something closer akin to dream pop, an implementation that could have worked well if not for the sudden swerve towards the back half of the song, where despite the surf rock riffings, the overall result felt like piling up another tune fragment that does not effectively coalesce with the first half’s potent melodic foundation. For what it is though, it is still a solid piece of post-punk dipping deeper into dream pop atmosphere and surf rock melodies underscoring Mazerboy’s usual tempered delivery and lyrical flavor. A refreshing expansion that still focuses on what made Mazerboy’s material work in the past from both compositions and textures alone. The gust of atmosphere might be a bit cloudy and heavy, yet never fazing Mazerboy’s stance at the center of it all. Support the art & the artist:
Category: TRACKS
TRACK REVIEW: A. Piloto – In Light
Written by Elijah P. 2024 is buckling up for a new generation of alternative rock: bedroom pop turned into grungier, noisier tangents that are partly inspired by the likes of Duster, blue smiley and Alex G. There’s sleaze and pomposity to the charming and ridiculously new fashioned crowd of indie scenesters and A. Piloto is the new kid on the block. Partly hailing from the internet and the underground of a Chinese restaurant, indie rock neophyte A. Piloto released “In Light” as a debut single for an “upcoming something…” on his official Soundcloud account at a random New Year’s afternoon. “In Light” exhibits a build up wherein volume densely rises into multitudes of frantic, screaming chords as the track progresses. A. Piloto’s vocals ramble in non-sequiters, almost yearning for an apocalyptic ending while a number of bright and loud wiry riffages distort the track even further, making the single all the more enticing and transcendental as it goes on. It saves itself from being one-noted and remains to be a work of its own in the noisier tangents of the local rock meta. Surprisingly there’s a lot of promise shown in “In Light” and in A. Piloto’s music as well. It really is a high time to put in the work for a lot of artists who embody the peculiar and the increasingly loud sides of the scene. Support the art & the artist:
TRACK REVIEW: SABINE – Selfish
Written by Elijah P. SABINE sounds like she’s going all in with a full tank of ideas; both at an emotional high and a musical journey standpoint, “Selfish” has traces of rock and pop leanings, almost going towards an experimental tangent with soaring vocals, a blaring synth and multiple guitar tracks. The casual ear may find this an overwhelming sonic experience but for some actual supporters and the artist themselves, this is an experience all worth the taking. Taking notes from their rock and pop heroines of yesterday, Galagnara’s vocal prowess takes center stage, acting as a driving force for the musical accompaniment to their introspective lyricism that takes place in their own protagonist’s mind. The 4-minute odyssey may be a drag as casual songwriting structure is concerned, but the sheer weight of the track crashing down to you may come off as either a rewarding experience or an unnecessary kick to the shins without any comforting ending. For the case of “Selfish”, the production is commendable as a step forward in polished bleeps and ringing distortion. However, it may be slightly overproduced and pushing to its actual limits that would overstay its welcome, rendering it slightly ineffective emotionally. On the other hand, the track has its fair share of breathing room for it to build up once again. Galagnara’s powerful presence does not overshadow the rest of the musicality as it tips at an upward direction, regardless of its flurry of emotional demon metaphors sitting throughout its lengthy structure. Overall, SABINE has the right amount of star power between her talented current batch of musicians in MINT College, but the argument would rather be framed as “Selfish” being a step forward to nurturing a better, more promising sonic palette for the institution’s musicians in the years to come. Support the art& the artist:
TRACK REVIEW: Illest Morena – Slow Burn
Written by Elijah P. Illest Morena has the entire archipelago on the grip of her nails. Starting out slow and calculated in singles like “LOML” and “Faded (Raw)”, both of which propelled her to pop stardom. Her material doesn’t simmer down, but rather the generous giving of heat continues to burn all towering r&b pop stars of yesterday. She constantly drops the heaters until there’s no one left to follow in her own game. Like all competition, she’s achieved past the notion of going big or going home. Illest Morena’s newest single “Slow Burn” is an example of a walking oxymoron. In the track there are lyrics immediately contradicting her own checklist in a bootycall: “He’s sweet, but a lil’ spicy”, “Gusto ko nang barombado, pero may takot sa diyos”. Additionally, the pacing just goes straight to the show. Illest Morena drives the track bouncing, hydraulic-like melodies and cadence, all for the listeners to want in a track that’s centered in honest desire. There’s a lot to pick more lyrically compared to her more melodic cuts, but that doesn’t mean it is to dismiss it entirely. This goes to show how much there’s slight variety in cherry picking the best of her output so far. Support the art & the artist:
TRACK REVIEW: MISTER MEYERS – We Are Stardusts
Written by Louis Pelingen MISTER MEYERS makes sure to put something out when the opportunity still strikes hot – that is to say, the wave of releases on January 1st that you can see piled on obscure Bandcamp features or the early RYM year charts. While he has been putting out music for the past few years – leaning a lot more on his bedroom pop niche – his last released single back in December 2023, ‘GOOD GOD PENELOPE’, shifts his style in a 180-degree direction where he doused his melodic vocals with effects amidst groove-centric indie rock. Now entering 2024, ‘We Are Stardust’ boils itself to deep-fried textures that go on a consistent hot streak, tossed and turned over with MISTER MEYERS’ tripped-out snarkiness as the beat twinkles and buzzes on the hazy atmosphere before it suddenly suffocates itself with a heavier glitchy backdrop that eventually ends the song. ‘We Are Stardusts’ with all of its soaked-up dense production and warbled melodies completes MISTER MEYERS’ 360-degree transition into his eclectic hip-hop dabbled hyperpop flair that overall sticks the landing where his creative firepower and experimentation just charges throughout this song. His attempt to create stardust has been wrapped in pretty flowers before, but right now, he makes them combust with flammable chemicals. Support the art & the artist:
TRACK REVIEW: Arkyalina – readmymind
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:
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:
TRACK REVIEW: FEIFEI – MINATO
Written by Louis Pelingen Back in June of this year, FEIFEI returned back in the scene with a three-track single called ‘YUM’ that included two pluggnb cuts and a Jersey Club remix of one of those songs courtesy of Showtime Official Club’s production. Those cuts, alongside the Jersey Club remix of ‘let her cook’ center a lot towards social media aesthetics on the romance and honing into the bubbling Jersey Club and UK Garage adjacent soundscape that has gotten really active this year, with ‘discord pag-ibig’ hones in on the discord slangs that are used for lovey-dovey interactions and the ‘let her cook’ jersey club remix from Showtime Official Club leaving a mark of interest for FEIFEI on her sound moving forward. Three months later, FEIFEI eventually embraced both the UK Garage dance-pop beat and the colorful internet-laden flirtations on ‘MINATO’, a combination of aesthetics that leads to a ridiculously sticky single put together really well due to the quicker percussions, buzzing and swirling cocoons of synths, and ridiculously catchy melodies from FEIFEI which wiggles around the beat yet still manages to be composed and tuneful all the same. All of those elements paired with the lovey-dovey romance that comes off as colorful and silly due to how it sprinkles a dash of delusion as well as the internet-driven flair on the writing end up overall endearing. Endearing in a way that’s gonna make you cheer for someone to get with their crush while also gently making fun of that person for the harmless delusion they’ve put upon themselves. Not that it is bad to be in those situations, of course, but FEIFEI sure knows how to make it look fun and honest all throughout. Support the art & the artist:
TRACK REVIEW: Crimason – Enough
The online personality of Miya Villeno – or also known by their username and moniker Crimason – is far from their usual high speed slapstick content and Stan Tiktok phase. It’s so far to the point that the music they shill online inspired them to venture on a music career of their own. Their latest single “Enough” has been building self-hype as a pop ballad for the kids wanting to be – well, you guessed it – enough for each other. Moreover, the debut single of the 16-year old singer-songwriter has averted any risk or failed to stick out in their first attempt at songwriting. In “Enough”, it’s 4-minutes and a half of nothing but a sore thumb. Albeit a lazy hook and standard verse-chorus, Villeno doesn’t shy away from exhibiting their chops vocally; a noticeable tenor voice that’s suitable for their voice on rougher-sounding tracks. Whereas her presence is more akin to the Born Again Christian singing seminar if you’re thinking of a song that’s as uplifting as a Retreat camp cry session. “Enough” becomes more antiseptic as time passes, the sheer velocity makes the entire track unlistenable as a whole. The entirety of it is uninspiring, wealthy in clichés and one dimensionality. The emotional anchor that this track weighs is light and hollow. If you want to chase the algorithm in Tiktok, Instagram and Spotify, this track isn’t it. Support the art & the artist: