Written by Noelle Alarcon If you’ve ever spent even a fraction of a minute in Manila’s local underground, chances are you’ve already witnessed The Braille Flowers in action. Whether they’re offering stickers as they wade through the crowd, or creating sonic magic with their instruments under neon lights, there’s no doubt that the band’s members are a welcome presence in the tight-knit communities of artists and enthusiasts alike that run within the scene. These nights down under, usually characterized by a selection of beer bottles, sweaty moshpits, and yosi breaks in the cool evening air, breathe life into The Braille Flowers’ debut album: ‘Lilac Dreams of a Second-Degree Non-Conformist.’ Long as the title may be, it’s a name that only begins to make sense when you bask in that specific feeling, punctuated by the haze of the guitar pedals and the album’s constant desire to live in a moment that a pariah of society’s rigid conventions can find solace and romance in. ‘Lilac Dreams…’ is a release that mirrors its scene predecessors; The Braille Flowers’ ability to write about vulnerability in a manner that sounds like small talk about the weather is similar to the air of nihilism that echoes from the lyrics of The Geeks. On the other hand, the way they couple quirky male vocals with jittery, pop rock influenced drums is reminiscent of We Are Imaginary’s captivating, dreamlike musical style. The album’s singles show The Braille Flowers’ strengths; they’ve mastered the art of creating a cohesive album that still shows their variety and flexibility. “Lately” is a sweet train of thought that steadily grows louder as the infatuation continues to blossom. It’s a track that lends its attention to the high of being in love, not shying away from the intensity it brings as kick drum focused-fills gradually escalate the impact of its catchy, sugary guitar riff. “The Magician Was Shot Dead (Scarlet Rivers),” on the other hand, peeks out from the band’s “popgaze” box. The raspier vocals and whispers that accompany its palm-muted rise to the climax complement each other well. The sharper edge of ‘Lilac Dreams…’ contributes to its ability to invoke nostalgia, a callback to the preference of 2010s alternative music for squeaky clean, sharp production that’s tied altogether with the bow of a powerful rhythm section. The Braille Flowers’ debut is self-expression at its best; the concept even shines through in the serene instrumentals that serve as interludes for the next sessions of reflection and rumination. Perhaps it’s a release that focuses on the peace brought by honesty. But as a record that banks on the intimacy of being understood, it could probably flesh out the euphoria brought by such an experience through a wider range of sounds and expressions. At the end of the day, maybe the utilization of such a specific sound is what makes ‘Lilac Dreams of a Second-Degree Non-Conformist’ the record that it is-–a lush, fuzz-filled dream that everyone can hold up a mirror to. It’s a blueprint for every other non-conformist’s personal manifesto, ready to accompany you when you get feelings too difficult to put into words. Support the art & the artist:
REVIEWS
EP REVIEW: enfloeia – Saturnine Pursuits
Written by Aly Maaño Malaybalay, Bukidnon, dubbed as the South Summer Capital of the Philippines, is a city nestled between lush mountains and picturesque landscapes. These lands, which birthed forests and historical parks, are also home to emerging artists like Aleeza Dawn Ellevera. Calling herself enfloeia for this musical project, the 19-year-old fuses indie, pop, jazz, and alternative sensibilities to create songs that seem to be taken straight from her diary. After releasing her first single in 2024, enfloeia carefully planted the seeds to bring “Saturnine Pursuits” into full bloom. Each song in this six-track EP is like a flower petal pressed into the pages of a journal—its unique shape and desaturated color bleeding through the thin paper, revealing dark secrets and confessions. Starting with the track “Going in reverse,” enfloeia lets us pry into her thoughts through cellophane drums and guitars and lyrics that mark the “x” in existential. It’s an upbeat starter with melodies that careen playfully into the pre-chorus and build to the hook. After the sprightly listen, we are greeted with somber keys of “to…,” the artist’s debut single. In contrast to the first track, “to…” eases us into euphonious jazz-pop rhythms and vocals that carry a wistful undertone. “FROGCRUSHER!” is possibly one of the best tracks in the entire project. Here, enfloeia’s aptness for writing poetry shone the most. The lyrics are dark, brooding, and morose—the kind that makes you wish you wrote them yourself. In between ambient nature sounds, soft ukulele strums, abrupt violin tremolos, and frogs being crushed, enfloeia’s haunting vocals distort into overlays and harmonies that add a theatrical element to the song. If you listen closely, a part of the previous song’s melody is hidden in “FROGCRUSHER!’s” bridge, where enfloeia’s overlapping voices can be heard, figuratively illustrating the human tendency to push people away despite craving meaningful connection. The shorter tracks of the EP, “you/have,” and “Poor Dreamer,” share similar structures but carry different emotional depths. “you/have” expresses feelings of jealousy towards a partner for having the privileges of being a man, while “Poor Dreamer” is a peronal anecdote on the frustrations of being discouraged from pursuing what you’re passionate about. Even with the minimalist approach to instrumentation, enfloeia tugs on the listener’s heartstrings at every transition until the very end. In a full-circle moment, “In Pursuit of Greatness” brings us back to the beginning of this saturnine ode—in a frantic and confused state. Being at wit’s end, enfloeia further showcases her vocal prowess and versatility as she belts the chorus, a signature formula in the opening track. As it ends, the repeating line “I’ve become so saturnine…” echoes like the voice in your head you’ve been accustomed to hearing and accepted as a part of you. A testament to her commitment to music, “Saturnine Pursuits” is enfloeia’s attempt to remind us and herself that sitting with the discomfort and uncertainty of it all is part of the process. With this EP as a starting point, it’s exciting to know how she will continue to turn her garden of woes into a kaleidoscopic flowerfield. And if there’s one thing about enfloeia’s style, it’s the way she delivers lyrics that hit at the right moment. Through hushed verses and belted choruses, enfloeia evokes strong feelings that ponder on self-worth and the struggles of being a young musician. Support the art & the artist:
TRACK REVIEW: Gabriel Lazaro – slam dance
Written by Louis Pelingen In every new song that Gabriel Lazaro puts out, there is a drift that pulls him into a sandstorm. His hand at experimental jazz and rock continues to be tested at every turn. “Slam dance” is no different, as all the galloping drums and layers of ragged acoustics and electric guitars build towards a melodic crescendo that explodes, and eventually breaks off into a wall of gentle vocals that repeats their soft mantra. Besides the warping progression it creates, Gabriel Lazaro does not get subsumed, more so, keeps his foot on the ground as his raw tone provides a chilling command within the conversational poetry. Singing like a preacher, spreading absolute knowledge to those who will hear. Telling the listener to go through various changes and decisions, one that will set them free from the evils that they hide within themselves. For all that buildup, “Slam Dance” still feels like a part of Gabriel Lazaro’s journey in terms of truly landing the sound and mood that he’s been trying to craft for himself, where his direction with his compositions and intensity keeps wandering rather than truly hitting its mark. It’s a song that stumbles on pulling off its chaotic and serene dance, but does provide a semblance of hope towards getting close to a slam dunk. Support the art and the artist:
TRACK REVIEW: SAINT LAWRENCE – SO U
Written by JK Caray Sometimes, The Best Thing Ever™ disguises itself as something arbitrary. In the case of SAINT LAWRENCE, his debut track “SO U” first came from that familiar itch of needing to create something, despite all limitations. Made out of a awkwardly tuned guitar, a catchy hook, and the feeling of losing your spark, “SO U” is a song about burnout that ironically helped its writer avoid burning out. Right from the start, nothing could prepare you for the intense wave of emotions. The eclectic drum patterns and rigid glitches convey a sense of helplessness, being bitter at one’s predicament. The production is flawless for a debut track, with little elements like the occasional glitch adding to the steely vibe. Here, SAINT LAWRENCE’s performance is brooding yet intimate, carefully alternating between soft whispers and screaming with all the guts he can muster. Each detail builds into a satisfying breakdown that washes everything along with it. It’s a once-in-a-blue-moon moment whenever an upcoming artist defines precisely what they want to do with their music, but it’s as if the stars aligned for SAINT LAWRENCE, given how polished his craft is. “SO U” not only provides a backdrop of what’s to come, it shoves you headfirst into the mayhem that is SAINT LAWRENCE. Support the art & the artist:
SABAW SESSIONS: MATOKI
Mas Madali Huminga Pag Andyan Ang MATOKI Nostalgia has countlessly been labelled as the key ingredient to dream-pop, but how does the power of friendship and utter passion from the DIY heartthrobs of Matoki give meaning to the music? Written By Faye Allego When they were just teenagers, Vladymir Estudillo, Yancy Yauder, and Emmanuel Acosta formed MATOKI originally as a three-piece band. As the roaring 2020s rose to uncertainty, they found identity through the alternative scene and beyond the confines of their bedrooms – their stylistic sound of choice? Shoegaze that is desired to pour out dreampop melodies that send the listener into a Sputnik-like orbit of nostalgia. The trio then decided that three could turn into six, and thus entered Ivan Casillano on drums, Kiyan Leal on tambourine/vocals, and Kendrick Tuazon on rhythmic guitar. Recently, a Facebook post from the page “Local Music Watch New England” circulated across my newsfeed. It says something along the lines of: “They’re not ‘just’ a local band. They’re the soundtrack to your town. Support them like they’re already famous.” Throughout the trajectory of their journey, MATOKI has amassed over 8,000 monthly listeners and more than 300,000 streams of their singles, “Strawberry Girl” and “The Streets,” both of which belong to their debut album, And Mend All Your Broken Bones. Achieving these big numbers independently with no attachment to any big company or label and strictly relying on their authenticity and community within the underground music scene, the band captures the true essence of DIY through touring in and outside Metro Manila. Their live performance not only differ in stylistic choices of whatever they desire that day but they also differ in the range of venues they play whether its at your local venue in QC, Makati, performing at Marikina Heights during dinnertime, capturing the hearts of students at RTU, PUP, UP Diliman, UP Baguio or even supporting causes from ARPAK KMP, SAKA, and many more college gigs. Through their dreamy echo chambers of polyrhythmic guitars seen in tracks like “Sarado Na Ang Makiling Trail (At Wala Na Kaming Mapuntahan)”, coming-of-age anthems like “Lemon” and heightened senses of wonder in “Paotsin”, MATOKI stays loyal to their DIY manifesto. **This interview has been edited for clarity and brevity. FA: What’s it like touring outside Metro Manila (especially the Under My Skin tour), and what makes it different from performing in venues like Mow’s? Vlad: Sobrang kakaiba yung excitement everytime na tutugtog kami na malayo sa usual at unfamiliar sa amin. Yung thought talaga na “nasa lugar ako na ‘to dahil sa music namin”, sobrang powerful nya para sa akin. As a DIY band din gustong gusto ko palagi yung challenge, kung paano pagkakasyahin yung resources, yung pera at energy. Sa recent tour, sobrang humarap kame sa challenges financially kaya right there and then pinagusapan namin kung ano ang mangyayari. Ayun, na resolve naman. Palagi kami nagkakaroon ng lessons kung ano ang mga bagay na effective at hindi kapag touring outside Manila. Yancy: Personally, magkakaiba kami pagdating dito eh, ako kailangan ko tipidin yung energy ko, mula sa byahe palang kailangan ko na tipirin yung energy ko, hanggang bago tumugtog. May excitement oo, pero alam kong kailangan ko limitahan yung energy. Laging may bubulong na “Oop, wag muna magkulit!” unlike sa Mow’s, mas sanay kami sa environment. Usually mga kakilala rin nakikita namin dun. Nakikita ko kase sila Vlad kaya nila mag kulit kahit wala pa kami dun sa pupuntahan eh. Tapos naiingit ako kasi di ko kaya yun. Ken: As a DIY Band that has to, well, do everything by ourselves, we could definitely say that it’s financially, mentally, and physically draining. We just always make the most out of our very minimal resources and just doing everything with raw, pure, and unending passion. What makes it different from performing in venues that are close to home is that it’s always an experience. It’s always a mixture of excitement, anxiety, and serenity. But it’s a good thing that anywhere we go, the support from our friends and supporters are also there. Kiyan: Syempre excited ako parang looking forward ako sa ibang culture at eksena tyaka sa mga bagong taong makikilala. Isa pa yung pinaka favourite ko yung kulitan sa biyahe, papunta palang andami mo ng ma experience agad. FA: Yancy, may mga panahon bang naisip mo na sana lumaki ka sa ibang lugar o panahon yung mas buhay pa ‘yung mga music subculture? Yancy: Madalas namin yan mapagkwentuhan dati ni Vlad eh, bago pa ata mabuo ang banda. Hindi ko lang sure sa kanya, pero ako ‘di ko talaga naiisip yung sana lumaki ako sa ibang lugar o panahon, kahit pa mostly ng pinapakinggan ko at influence na din talaga dati e galing isa ibang lugar at ibang panahon nga, I can say na iaadmire ko sila pati na din yung buhay na eksena nila noon pero never ko naisip na sana lumaki ako dun sa lugar nila or sa panahon nila. FA: Naapektuhan ka rin ba ng mga alaala sa paraan ng pagtugtog mo ng bass? Yancy: Yes, kapag nagrerecord ako ng bass sa mga tracks namin, sinisikap ko lagi ipicture yung sarili ko na andun sa setting nung kanta, or ifeel yung ineexpress nung kanta, nakakatulong yon para ma-tap ko yung ilang alaala na kung hindi man kahawig e eksaktong katulad nung gustong iexpress nung mga kanta namin, tapos ayon mula don kung ano lang din yung maramdaman ko sa mga alaala na yun isasalin ko lang din sya sa bass FA: When composing a song, which members think of a melody first? Do you all have to be present IRL in the writing process? Vlad: Most of the time talaga sakin nanggagaling yung main idea ng songs, katulong ko si Kiyan madalas, then we build from there. May time na si Emman nagsusulat din ng kanta tulad nung “For Choco“, pero ngayon ayaw niya na eh. Joke lang haha. Pero usually talaga pag may naisip akong idea, kukunin ko yung gitara,
EP REVIEW: Organ Harvest – Desecration of Human Essence
Written by Adrian Jade Francisco A victim was slain by 12 minutes of “Desecration of Human Essence.” The suspect is identified as Organ Harvest, charged with first-degree grindcore. The 14-track EP from Manila act Organ Harvest checks every box on the goregrind autopsy report: carnage, speed, and lacerations in every frequency range. Marked by cuts such as “Silent Scream Symphony,” “Autopsy Buffet,” and “Post Mortem Salvation,” it epitomizes the horrors of forced organ harvesting through breakneck riffs, guttural explosions, and blastbeat trauma. Organ Harvest’s debut doesn’t reinvent the genre, but it doesn’t have to. Sometimes mastering a formula is more effective than breaking it, especially when that formula involves the precise balance of chaos and control that defines grindcore. It’s not about evolution; it’s about execution. ‘Desecration of Human Essence’ delivers no pulse, no mercy, no cleanup — just the sound of deathgrind done right. SUPPORT THE ART & THE ARTIST: Desecration Of Human Essence by Organ Harvest
TRACK REVIEW: MISTER MEYERS – LAYUAN MO NA AKO
Written by Jax Figarola MISTER MEYERS’ “LAYUAN MO NA AKO” is a heartbreak spiral. Compared to the glitchy, melodic sprawl of his hip-hop mixtape last year called Meister Eyres, this latest track keeps his signature eclecticism, but punctuates it with heavier percussion and a more confrontational edge. And just like his previous works, he scores his emotional distress with a soundbite from a pop culture ephemera: a Raffy Tulfo interview. The flow is magnetic and the rhymes are slick, sure, but there’s an uneasy flattening of the woman in question. The woman in question is a hollow characterization that leans into the cliché of the manipulative ex-girlfriend without interrogating the trope. It positions her as a moralistic foil, a one-dimensional saboteur in the story of his downfall. Her presence is merely symbolic for him to contrast his own fragility and effort. What makes it worse is how intentional the framing feels, how the song relishes in the act of blaming her, while dramatizing the wounds he claims to carry. Additionally, from any angle, it feels unlikable to posture and dismissively insinuate the woman as stupid. One of the lines in the chorus evokes a common trope in rap: that a woman’s inability to “get” a man justifies cutting her off. It’s reductive, but here, it’s delivered with such naked petulance that it becomes pitiful. Still questionable, but probably the least violent expression of the trope we’ve seen in Filipino rap in recent years. Then again, to give the benefit of the doubt, maybe that’s just what really happened. MISTER MEYERS might just be speaking from a place of hurt that hasn’t had the language to process itself with care. He sketches a masculine persona caught between ego and exhaustion, desperately trying to reassert control over his emotions as a man who was done dirty. Moreover, the effort to list sacrifices becomes a coping mechanism, rather than a flex, if juxtaposed to the rest of the song. If read this way, the song becomes less of an attack, and more of a portrait of someone performing strength in his own way. Nevertheless, it’s always a risk when narratives like this regarding women circulate. In Filipino rap, they can normalize certain emotional patterns as justified without being questioned. Still, “LAYUAN MO NA AKO” thrives as a track because of its production. It’s very hard to resist the theatricality of this bass-heavy bravado and the way the hook wriggles into your brain until you’re singing and feeling the masculine persona. Sonically, it’s just fun. It’s the kind of feel-good track tailor-made for those who’ve had their own crazy ex-girlfriend moment and just want to scream “bitch, teka lang!” Regardless of its lyrics, the track is undeniably a guilty pleasure with its impressive production. SUPPORT THE ART & THE ARTIST:
EP REVIEW: muckmedicine – Caspian
Written By Rory Marshall What do you get when you are in a dark bedroom, a Stratocaster, and being deep in the throes of melancholia? That’s what’s in store in muckmedicine’s newest EP “Caspian”. Spanning across 6 tracks are scattered thoughts and confessions left unsaid; a voice echoed through angsty indie rock. This EP is the second long-form release since Migs Tabilin’s debut EP “Inside Enclosures” back in 2020, and with this most recent project, he doubles down on his lo-fi sound. How muckmedicine differs from his sister band Fairview Far — which features more upbeat indie rock and playful lyrics — is that he takes the opportunity in his solo work to indulge in dejection. With Tabilin’s solo work, he explores his melancholy and puts his inner monologue into song, using the audience as a stand-in for the person he wishes to let into his psyche. It’s intimate lyrically, which is only accentuated by the lo-fi vibe that Tabilin has embraced wholeheartedly. “Warmth” and “Erase Me (I Hope She Listens to Modern Baseball)” feature lyrics directed to a once-loved one. As a listener, it’s akin to reading a letter addressed to someone else, and what’s found in those letters is pining and unreciprocated love. The songwriting varies on other tracks, reading more like vignettes of thought. Scattered ideas similar to ones that intrusively pop up in your head while trying to go to sleep. This is seen in songs like “Please Play Florist At My Funeral” and the intro “Pattern,” which features a monologue from Ice King of Adventure Time. It adds to the DIY aesthetic, harkoning to tiktoks where people put midwest emo riffs on top of random monologues from cartoons. True devastation is found in the combination of the two writing styles, which is no better showcased in the final track “Cut”. The song takes an even more sullen turn than the previous entries of the EP. It’s an unresolved goodbye led with resentment, and conversely, longing for what still could be. The abrupt and straightforward lines slice deep into the chest: “I don’t ever wanna see your fucking face again, I never wanted to see any of you again”. But the knife finds more purchase with the last line of the EP: “I never made a gesture, but I wanted you to stay”. The production of the project lends a lot to the intimacy of the overall sound; The lo-fi bedroom rock sound only adds charm to the EP, further emphasizing the vibe of being alone in your room with only your thoughts to keep you company. The vocals are, at times, passed through an EQ filter, reminiscent of hearing a voicemail left late at night, as seen in “Wednesday”. The crunchy distortion of the guitars adds depth to the morose nature of the music and adds to the swell of the breakdowns in tracks like “Patterns” and “Cut”. The sound is evocative of the pandemic-era boom of home music production. When before it was a necessity, muckmedicine uses it as a tool to capture solitude and isolation, both physical and mental. “Caspian” was an opportunity to say the things folks would never think to say out loud. To finally release the cacophony of thoughts and find closure in the music. The dedication on muckmedicine’s Bandcamp simply states “for our loved ones”, which could not be a more succinct description for the project. It’s an EP for victims of unrequited love and those who struggle to put into words the complex emotions they feel. Muckmedicine’s pandemic era sound was utilised beautifully in this project. As fitting as it was with the themes of isolation of the EP, it does leave the listener wondering if he’ll evolve his sound further in future projects. His style has been consistent to the point of stagnant with this EP sharing a lot of similarities from his initial EP which was released all the way back in 2020. 5 years later, it can be hard to tell if any time has passed at all. Knowing this, it just makes us even more eager to see what muckmedicine can come up with in his next endeavors. SUPPORT THE ART AND THE ARTIST: Caspian by muckmedicine
SABAW SESSIONS: Michael Seyer
Michael Seyer, Do You Have What It Takes To Be A Man? Interview by Faye Allego Music has been a diary for songwriters for centuries, and Michael Seyer is no different. But how does a man write his legacy? Memory is ever-changing and sometimes fails to hold still. However, when used in music, we can preserve them forever. In his latest release, Michael Seyer introduces an amalgamation of his memories and experiences on boyhood vs manhood, family, love, and ghosts in Boylife. For nearly a decade, Seyer’s rise from the bedroom music scene has been unhurried and steadily paced – his distinct lo-fi, jazz-tinged dreampop and vintage soul sound originated from his 2016 debut album, Ugly Boy, and is further intensified in 2018’s Bad Bonez. Seyer’s diaristic lyricism, as well as sentimental textures of Japanese city pop and the reminiscent glow of early OPM influences in his 2021 album Nostalgia and throughout his discography, he never strays away from an inward gaze of his identity and perception of love. Talking to Michael Seyer from one bedroom to another at different sides of the Earth felt like catching up with an old mentor from high school, you really learn the essence of ‘dudes just being dudes’ who are really in tune with their passion. During the interview, he mentions that music is all he really knows, and it was said in the same way that Alex G thinks he’s a very boring person, from the receiving end of things, it’s honestly far from the truth. **This interview was conducted in June 2025 and has been edited for clarity and brevity. FA: Do you know what Lugaw is? Seyer: That sounds familiar. You know what? I love the Philippines. I was born there, but I left when I was three or four. So yeah, I just, I didn’t do my very best to keep the good look in my mind. FA: So, Lugaw is Porridge. Where in the Philippines were you born? Seyer: I was born in Manila. FA: Is nostalgia a recurring theme in your work? What role does memory play in how you write music or understand yourself? Seyer: I write about memory for sure, but it’s not the most overtly “themed”. It’s more in the sense that I write [about] my experiences. So, in that kind of really far stretch of my experiences, are my memories. Mostly, I’m writing about me looking back at certain things, how I am now, you know? Memory drives the music. I tend to write songs or do things in a way where it’s the music that I have found the most fond in my memory; I try to make my music sound in that way, that whole nostalgia EP, I was really into a lot of the Japanese city pop and even a lot of OPM music. I have always been listening to that kind of stuff. Even as a kid, I remember listening to it. I would take things from music that have really affected me in the past and then use that as a jumping-off point. I guess for this recent album, I was writing… a good amount. One of the songs on the new album, “1995”, that’s the year I was born, [and] I wrote that song specifically about the Philippines. The way I remember the Philippines is not– I don’t have a very concrete memory of it. I left when I [was] really young, and I came to America. So, a lot of the stuff that I do remember from the Philippines is really just abstract, senses, taste, and maybe the few images that I do remember, they almost feel like an old film reel that’s [a] really colorful and nothing is really graspable. It’s really ethereal. I was trying to write a song about the Philippines with my very limited memory and my really abstract memory about it. So those are a few ways, I guess, nostalgia or memory comes into play. FA: Are there any Filipino artists that are from the past or present that you’re curious about, in terms of musical influence, and your new record label, Seyerland? Seyer: Yeah, that’s a tough thing, right? We’re in a kind of an interesting situation with Filipino visibility, right? There aren’t many artists to really pick from, especially in my lane of music [in the West]. We have that Filipino Pride…Once anyone’s a fucking drop of Filipino, we claim it. That being said, there’s nothing there’s not much range that I could pick from. Obviously, I love all kinds of music. So I am always listening to everything, especially with OPM, Hotdog, and Bong Peñera. My parents would always play Parokya Ni Edgar, Eraserheads. Yeah, it’s… A lot of old stuff. I would love to find some artists that are more contemporary in that lane, and we don’t have that many options to pick from. So I’m just always trying to find new music. and I definitely want to encourage Filipino artists to carve out a lane for themselves, and I want to discover more artists who are Filipino [and are inclined to make] great music. Because we’re a fucking–we’re a musical culture. Nine out of ten of us can kill it in karaoke and belt out of nowhere. FA: You released your new album under your new independent label, Seyerland. Are there any lessons and niches you have gained in the behind-the-scenes process of starting your own DIY label? Seyer: Well, you know what? I am only a month into it. I’m not sure if I have any lessons to give anyone, but [a] part of the reason why I want to do this is because I’ve been doing [music] for a really long time– almost 10 years now, and through that process of being forged to release on my own [music], because I haven’t really had any connections. I was just someone who threw a project on the internet and then fell into this. I
SOUNDS OF THE SEA: jorud (Singapore)
Singaporean musician Jared Lim has been playing a significant role in various mainstay acts over the past couple of years, whether in his local country or elsewhere. Being the guitarist and producer of bands like Sobs and Subsonic Eye, as well as providing production assistance for Blush and The Purest Blue are just some of those notable credits. His ear for production sticks in your ear once you hear it: blissful synth chops, colorful instrumental mixes, and crisp vocal emphasis. A balancing act of sharp melodies and sparkling textures that are never put out of scale. An ability that only comes from very skilled producers who know how to leverage the mix without disruption. At some point, if he can help produce these songs for these bands, certainly, he can write songs for himself, too. Soon enough, that is what he just did. Donning the solo project Jorud, he pulled together his debut album, aptly titled ‘The Song’. This is Jared Lim expressing the colors that he has brushed over before, now splattered on a sonic canvas that is his own. Whether that be the saturated 80s ambiance on “Am”, speedy waves of breakbeats on “Harm”, chilled out dance beats on “Wannastop”, or the chiptune accents across surfing guitars on “Have It”. He has these soundscapes all layered out. Of course, it is not just him who gets the play around in these songs. Pauline Rana of The Purest Blue, Cayenne of Sobs, and elo elo provide contributing vocals in most of the album, filling the prismatic space with their friendly presence. Creating this slice-of-life feel where wholesome connections create more smiles along the way—shining the brightest on the title track’s sunny indie pop, “Friend” with its coat of shimmery hyperpop, and the raving, glitchy EDM of “Wideview”. The word “joyous” is the best way to describe what Jorud has put together with his debut album. A brisk walk in the park is remembered most due to the unabashed display of melodies and textures that are overall jubilant and vivid. These might be just a collection of songs, but once you hear them, you can’t help but turn your frowny days into smiley days. *The interview is edited with brevity and clarity: LP: When I hear your artist name, Jorud, I imagine someone who’s chill and lively. What was circulating in your head when you were figuring out the identity of your solo project? Lim: Actually, this project is kind of the first real music project I ever did when I was 15. I picked a stupid name that I don’t want to change, because I have all the URLs on Bandcamp and SoundCloud or whatever. It started when I was 15, [I was] learning how to use Ableton, and [was] just putting out stuff that I made on SoundCloud. Yeah, [there’s] not much thought to it, but I guess now, it’s been 10 years. So, I just felt like, “Uh, I should kind of do this properly.” See how it feels like to make an album and put it out properly and promote it and stuff like that. Yeah. LP: You mentioned that you were using Ableton at the age of 15. What invited you to do production work during those times? Lim: Before I started making my own stuff, I was making chiptune covers of songs. I’ll put them on YouTube. I did a few like CHRVCHES [covers], you know the band CHRVCHES? LP: Yes! Lim: Yeah, I did a few chiptune remixes of their songs, and they posted one of them on their Facebook. I was like 14, I was freaking out. Yeah, that’s kind of how it started. I was just making covers for fun, and then it led to making my own stuff. LP: How long have you been conceptualizing and working on your debut project? Lim: Some of the songs on it actually started quite a while ago, maybe like a year or two ago. But I didn’t properly think I was making something until, I think, it was December last year. I had the idea to send this instrumental track that I made three years ago to Pauline from [The Purest Blue]. I had that instrumental on my laptop for a few years and didn’t really know what to do with it until I had a sudden spark of inspiration. I decided to send it to her because I thought she would do something cool, and she did. That was December last year, and then from then on, I spent maybe three months combing through old ideas and making new stuff, and I just turned it into an album. LP: Speaking about those collaborations with Cayenne, Pauline, and Elo Elo. Did you have them in mind while creating the album, or were they a last-minute afterthought? Lim: [It’s] kind of a bit of both because, honestly, this whole album was like a last-minute afterthought. I made everything really quickly, but I always had those specific vocalists in mind for each song. The song with Elo Elo that actually just came out today [July 10, 2025], [it] originally was a remix I did for fun for this band that I’m working with. And that was more than a year ago. But I liked it too much that I wanted to keep it for myself. And Hui Jun (Elo Elo) heard that remix quite a while ago, and she said she liked it. So when I started working on the album, I was like, “Oh I should reuse that and I’m gonna ask her to sing on it”, and she did. LP: You said that, for three months, you tried to quickly comb through your ideas for this album. During that process, were you inclined to listen to music a lot, or did you just completely lock in on what you had in mind and never listen to anything that might disrupt those ideas? Lim: I feel like, generally, just in everyday life, I