The year was met with an overwhelming amount of new artists releasing amazing tracks everyday. 24/7 we are experiencing another golden age of local music from Luzon, Visayas and Mindanao. We have surf rock riding the waves in the lo-fi scenes, electronic music merging with the alternative and grunge community, and hip-hop greatly influencing pop music for the better. It’s that time of the year to celebrate the greatness that is the Filipino Music scene, both from the mainstream and the alternative. These are the songs that have caught our attention and hopefully they get to catch yours. Hear everything from January to December 2024. 40. r0xxy – Fashion Killa (jk) Clocking in at about a minute and a half, âFASHiONKiLLAâ waits no time in grabbing your attention and stringing you along for a little ride. Alongside ethereal and lush beats, the character r0xxy portrays here is swag, in all sense of the wordâstriking as the type of guy walking inside a grocery store in a full-on silver chrome hearts drip. He knows he is cool, he makes sure you understand that. And then, in between the busy dairy and meat produce section, he’s gone just as quickly as he arrived, leaving you interested and asking for more. Link: https://soundcloud.com/r0xxstvr/fashionkilla-prod-fuctjin 39. Polkadots – unstuck (aly) Straight from the Bay Area, Polkadot is back with another tweemo soundtrack befitting the precipice of a new year. Four years after releasing their debut album âFeeling Okay,â they teased their sophomore album â…to be crushedâ with a track called âUnstuckâ following their lead single âPulling Threadsâ. Unlike the songs in their first album, âUnstuckâ banks heavier on the angsty, emo sound with heavier guitar riffs, fuzzy distortions, and profoundly reflective lyricism from Daney Espiritu. The track is vulnerable and honest to boot, with poignant melodies and nuanced vocals that arenât meant to get easily âUnstuckâ in your head. Link: https://www.youtube.com/watch?v=hVSipia8gUI 38. Arkyalina – readmymind (elijah) âreadmymindâ is a diary entry written in digital ink. You get flourishes of guitar, Tavin Villanuevaâs frustrations translated in the ether, and earnestness addressed via audio call. The track is 2-step crossed over with shoegaze influences, wandering and glitching into the world of Arkyalinaâs mind palace. We just so happen to live with it. Link: https://open.spotify.com/album/5hNFl261HfMy1ZB7dvDus3?si=1a7e35bec89a4f0e 37. A piloto – in light (anika) Picture this: youâre a stem major, whoâs truly an art student at heart, but the world keeps pitting against your favor. In light calls for poetry written on converse, the guidebook to surviving your early 20s when they tell you to cut your overgrown hair. If an âangel lost its wingsâ, A piloto reignites the ability to fly. Fuzzy with reverb and overdrive, âin lightâ beckons to the feeling of burning the midnight oil at Mowâs, all the while wishing you didnât have to go home. Think stickers on a Stratocaster, timeworn. Link: https://soundcloud.com/user-877377412/in-light 36. Uncertain specimen – I knew you then I knew you now (anika) Primarily a soundcloud-based artist, âI knew you then I knew you nowâ is a synthwave project at best. Uncertain specimen, clearly functions within a tiny keyboard, and thatâs where a lot of its DIY aura comes from. Lots of bells ring in this track, as if a ringtone you would have picked up from an old Nokia. Link: https://soundcloud.com/uncertain-specimen/i-knew-you-then-i-know-you-now 35. Lomboys – Spartan (elijah) Rhythmic chants are heard across the streets of Palangoy, Binangonan, Rizal Province. âAHU! AHU!â were made clear through small alleyways and eskinitas, but weâre not talking about actual Spartans charging towards an army. These are real life gangs arriving on the street like itâs a normal Sunday afternoon. âSpartanâ by Lomboys could either be the equivalent of The Imperial March in boom bap form or the natural progression of Rizalâs storied rap history re-emerging into the scene. Link: https://www.youtube.com/watch?v=GUnszWGjRlM 34. YiYi – Jasper Jeans (jk) Among the standout trends of the year, it seems that a cultural shift has gone towards making “cringe” and “heartfelt” art once again. Despite being overly simplistic and soppy, âJasper Jeansâ allows us to view it as an edge. Showcasing how a little goes a long way, the track wears its emotions on its sleeves for all of us to see and it’s nothing short of endearing. For YiYi, sentimentality is a bullet that pierces through all. Link: https://open.spotify.com/track/2EfCPxDimVgTqzATke3dSp?si=752bcf0652c945bd 33. Felip – envy (elijah) Felip belts out a remark that could win a breathing contest, but this isn’t just a casual braggadocio. Heâs an equestrian reaching a higher bar for the sole purpose of being the dark horse of his own league. SB19’s Felip balances elegance, opium-pilled juvenile astonishment and a brash presence that’s far away from his boy group image in “envy”. Link: https://www.youtube.com/watch?v=zq2l7PJJFMI 32. Shanni – Kdrama (anika) In a world of âfandomsâ and whatnot, itâs easy to daydream your idealized version of a story. âKdramaâ is a track that extends those feelings toward longing, yearning, and wishing for a happy ending where everything falls into place. Endearing and melodious, Kdrama sets the tone for seeking the ethereal within reality. That experience of binging on a Kdrama with someone, one episode to the next, as the rest of the world fades into a standstill. Link: https://open.spotify.com/track/7xOdR15gtoAH1B4KYkcDqR?si=08533594885049c4 31. Cherry Society – Recluse (jk) If there was one song that Kat Stratford from 27 Things I Hate About You played after her iconic poem scene, it would definitely be Cherry Society’s âRecluseâ. This is the main appeal of the track; the deliciously lively instrumentals and feminine angst dialed up to 11 create the perfect backdrop to having your weekly “nobody likes me” moment. Being the band that brands their music “adjacent to a 2000s teen movie soundtrack”, the quartet knows exactly what kind of music they want and is not afraid to make it. Link: https://open.spotify.com/track/2OC4bmeBYQ7Nn6GOEyMlOB?si=8b10e7521dae473f 30. dizzy.FM – mary_jane (+ku1buk0l +mr.kupido77 +peew33 +ocsiber! (prod. sandin x wintfye! x warheart) (louis) This song can only come from a vape-doused romanticism. It is the sonic equivalent of typing too much
REVIEWS
ALBUM REVIEW: Ely Buendia – Method Adaptor
Written by Faye Allego Without a shadow of a doubt, Ely Buendia has an iconic and notably one of the most recognizable voices in OPM. His wordplay, chord progressions, and a whirlpool of psychedelia you feel after reaching the coda is top-notch during the Batang 90âs era of OPM. But now I ask myself: Is there a dark cloud of doubt in his newly released record, Method Adaptor, in the rearview? When Buendia released âBulaklak Sa Buwanâ, his lyricism shone through, continuing to create parallels and paradigms conveying themes of delusions, misconstrued mindsets, and the irony of fantasy. That being said, this body of vulnerability as a whole could constitute as a throwaway Eraserheads mixtape from the âole Cutterpillow days. The lead single itself is a wonderful homage to the batang 90âs sound. It surely brings exuberance to fans who have been there during Buendiaâs early rise to fame and have witnessed his impact on the OPM genre in real-time, however, like (almost) every artist who goes solo after years of being in a successful and impactful band, their past reputation precedes every lyric their future solo albums has to say. In Method Adaptorâs lead singles, you hear what Buendia feels, but do you feel it too? Itâs there to sing and dance along to, but not enough to swoon over Buendiaâs typical magical ingredients that make his songs linger. In multiple interviews pertaining to the release of Method Adaptor, Buendia created this album out of reflection on fame and life- and the stresses that come with it. Itâs an inside look into the mind of someone who spent a long time pondering what it means to have lived a life ruled by youth, art, and irrevocable passion. In tracks like Faithful, however, it seems like the thought was there, but emotional umph was stagnant. In fact, he even communicates this precariousness in the same track: âThereâs so much that I wanna say/ I just donât know if I can say it this wayâ The narrator of the song is tired and in limbo, yet, the tune he plays lives on, almost never-ending. As one may know, if itâs Buendia on vocals, itâs almost guaranteed that the listener will hear an upbeat hymn that may tell any story out of the ordinary. A great example of this out-of-body experience that you feel when listening to Buendiaâs voice actually comes the song titled âShallow Breathingâ from his debut solo album, âWanted Bedspacerâ. With Method Adaptor, âTamang Hinalaâ is a song that exemplifies Buendiaâs lyrical and instrumental devices and approaches that fuel this album. You get a repetitive yet addictive chorus as well as verses that show off stimulating cadence such as âAng tanim ay siya ring aanihin/Guguho ang kastilyong buhangin/Madulas ang balbas parang Hudas/Ganyan lang talaga ‘pag minalasâ, Every instrument seeps perfectly into the chorus without sounding overpowering or underwhelming. The appeal of tracks like âChance Passengerâ or âDeadbeat Creeperâ is colorless to the point where certain verses like âAnd you wear your spirit well /Satisfy the clientele /Make me want to set her downâ as well as vocals that are bordering on the stringy spectrum that confuse the narrative of the song. It feels like Iâm reading a notes app poem- thereâs nothing wrong with a notes app poem, however, translating feelings of desire into melodies is critical to transform filler songs into album staples in an album like âMethod Adaptorâ. Alternatively, if Buendia continued or even interweaved his experimental sound and velvety vocals highly executed in his previous songs, namely âMonday Mundaneâ, âHotchikâ, and of course, âLigayaâ, I could have understood and truly felt the thematic undertones of reliving youth, regret, grief, and desire more deeply. Overall, Ely Buendiaâs distinguished and seasoned love for songwriting is definitely evergreen and everpresent, his music legacy will always be a pillar of inspiration for generations to come, but his reflections seen in his second album, Method Adaptor, seems to translate into feelings of muffled confusions that almost glaze over what could have left a lasting memory of his caliber of a voice and mind. Support the art & the artist:
ALBUM REVIEW: Haley Heynderickx – Seed of a Seed
Written by Louis Pelingen Looking back on Haley Heynderickxâs debut project is like observing a seedling grow into a lively tree, as there are a lot of elements within the record that keep on growing the more time passes by. Spanning across the pastoral writing wherein despite the generally loose themes – there is enough captivating poetry wading through, the rich performances that Haley Heynderickx offers with her striking vocals, as well as the well-produced and well-composed melodies that have enough enticingly warm progressions to allow them to stick a lot deeper. Since then, there has been a quiet period after I Need To Start A Garden, just before this year where she finally pulled together her sophomore record, Seed of a Seed. Within this long-awaited project, more awe-inspiring elements serve as an overall refinement of Haley Heynderickx’s debut output. The production is now much more organic in its mix where the expanded instrumentation and vocals nestle well to the point that it evokes a thrilling tone to these songs, the array of folk melodies have a lot of sticky charm from the instrumental refrains and the inviting chorus lines, and Haley Heynderickxâs presence as a vocalist soars further as she pulls more from her expanded vocal range that lands with ease – really letting these songs linger with charm from start to finish. The layers of strings, acoustics, and vocals render a harmonious touch on âGeminiâ as they go on these lush melodic swings throughout the song, the ramping rhythmic shuffle of âFoxgloveâ thatâs elevated further with Heynderickxâs rich vocal delivery, the emotive strings and the jangling acoustics on âSeed of a Seedâ that never sounds so comforting on their warm tone, the glorious escapade of âRedwoods (Anxious God)â where the grand swells are encaptured by the melodic progressions that never lose their sweeping momentum, the arpeggiated guitar structure of âJerryâs Songâ that builds into this heavenly crescendo that the vocals land splendidly, and the aptly titled âSwoopâ has these melodic structures from the acoustics and strings that swoops with a gleaming sway every time it goes to the chorus lines, ending the record with a gracefully strong finish. This is where Haley Heynderickx then also evolves as a writer, where there is at least a semblance of connecting themes spiraling within her mostly enthralling poetry. Still lingering within the pastoral touches that she has snuggled to a tee, yet there are some fascinating topics going through the details. The overall songwriting essentially grapples with the essence of growing older, whereas Haley Heynderickx is looking into a pastoral dream that may or may not be worth it in the long run amidst the indecisive frustration that comes with aging. Yet it is not just the only subject matter that she wanders through, where songs like âSeeds of a Seedâ, âMouth of a Flowerâ, and âSwoopâ, there is a lingering reflection of generational divides and how Haley Heynderickx acknowledges that she is in a much better space than where her father, mother, and grandmother might have been back then. It adds an extra context to the overall themes, adding a subtle anxiousness in reflecting on growing older and looking to search for those dreams. That, paired with just how robust and big the melodies tend to be, does impart how much she is willing to be tossed over to that uncertain flow, where even if she did find a sense of gratitude on âSorry Faheyâ, itâs not going to stop her on reaching towards greater pastures in life. Perhaps, the big frustration within this record as much as it is enveloped with so many gleaming compositions all around it, might be in the writing itself. Not that it takes away from the refinements within, but there is that pastoral framing that creates a barrier on how much Haley Heynderickxâs reflections will stick further. Because as much as that personal arc can be traced the more time spent thinking through the concise poetry, this brand of pastoral beauty can be a double-edged sword, leading to gleaming musings that gesture towards those personal emotive touches rather than fully touching upon it. But despite those personal nitpicks in the writing, there are a lot of exceptional moments traced within Seed of a Seed. Brimming with some of Haley Heyndrickxâs strongest songs to date that come from the overall array of performances, compositions, production, and writing, this sophomore output ended up amusing. Even if the overall personal touches could have been observed with a closer look, the improvements are enough to make the project stand stronger than her debut. It might be just a seed of a seed, yet how it grows is all up to its control. Support the art and the artist:
ALBUM REVIEW: LUSTBASS – inner space
Written by Anika Maculangan Having been in the game for a while, LUSTBASS delivers new intonations of soulful jazz and R&B modulations into the sphere of what is contemporary in style. A proclamation of lush beats, innerspace is the conglomeration of fruitful collaborations amongst the artist himself with other seminal artists like Jess Connelly, Jason Dhakal, Fern., Cavill, RJ Pineda, Waiian, Akio Rene, Nicole Anjela, and ((( O ))). Just when summer has ended, it makes us anticipate the next one even more, with this relaxed, beachy, and casual expression of sound. Effortless, wavy, and adjacent to chillwave, LUSTBASS explores the multitude of areas that the downward tempo scale of pop can encapsulate, if done right. With its easy-going, almost nonchalant ambiance, innerspace is a composed way of merging the stoical with the serene, in a more or less, leisurely mellowness. Known for his keen, cutting-edge approach to the assembly of rhythm, LUSTBASS best demonstrates this skill in this motley of modish, sophisticated indication of experience and background of joint teamwork with other fellow artists. Some tracks are more atmospheric than others like Yeyuhh, the album is transcendental in the sense that it touches every ounce of oneâs attention to notation. Motioning from one switch to the next, the songs in this collection flow with immeasurable poise and flair. Not often are producers given the full stage in most cases of how we laud them in the Philippine context, but in the case of LUSTBASS, this awareness of the man behind is well apparent. In LUSTBASSâ signature polishness, itâs swift for one to recognize LUSTBASSâ appeal to reverberation from a mile away. In addition, the vocalists he collaborates with in this album, bring out even more, the smoothness of his instrumentals. Having previously collaborated with some of these artists LUSTBASS displays his propensity to apply his personal touch in all of his projects â a sharp, crisp, melodious harmony of percussion and refined grandeur. This album comprises tracks that anyone could bring with them to a vacation, and not regret it, because itâs a concise dash of opulence that is not too pronounced but just the right amount to make the sky appear broader. Brightly colored, like fresh tangerine or sand along the coastline, LUSTBASS has a certain character to his musicality, that is funky, fun, and vibrant. It instantly brings us to our feet and makes us want to start the day with an uplifting temperament. If only we could make LUSTBASSâ interspace our alarm sound to waking up every morning â so that we’d be more energized to jump back into productivity. Support the art & artist:
EP REVIEW: The Revisors – SalagubangÂ
Written by Elijah P. The â90s alternative rock revival is in full swing, with Twosday channeling Britpop sensibilities, Panjia exuding youthful energy and charm, sci fye embracing grunge-era aesthetics, and The Revisors paying homage to the Eraserheads with their songwriting groove. But wait for just a second, this isnât a dig nor a reductive statement to compare the neophytes to an already lionized four piece. In fact, they are different. âSalagubangâ would beg to differ if it were to play the game. Their 5-track debut EP is worth taking into account. âSalagubangâ has a bevy of tracks that aim to reminisce an era and at the same time add something new to the formula: flourishes of guitar noise in âAlinaâ, the mixture of sunshine pop and chaos in âTake My Handâ or the rambunctious yet wholesome demeanor of âOK Lang Yanâ. – thereâs so much to pick in terms of highlights. Keoni, Raco, Ninja and Zell add a lot to the table with juxtaposing sensibilities of powerful vocal melodicism and fuzzy textures that add so much personality to their arsenal. Nowadays, the music industry is filled to the brim with vocalists and bands that overstay their welcome in terms of falsetto vocals and slow intimate pacing to add some sort of dramatic yet lazy, ineffective attempts. However, the band in question did it with a fresh mind and a redecorated take on the cliches that come with the conventions of standard âOPMâ singer-songwriter rock. And with the formula in mind, The Revisors played it to their advantage in âSalagubangâ. Thereâs an entire scene waiting for them, and the current modern-day power pop/pop rock circus is in good hands with the quartet entering the fold. Support the art & the artist:
ALBUM REVIEW: Shanne Dandan – Kung Iyong Mamarapatin
Written by Louis Pelingen Post-breakups leave everyone in touch with who they are. The pronounced pang of the breakup leaves a specific question on whether or not they are still worthy of falling in love, as well as if there is still a possibility of finding that romantic presence in the future. Itâs an internal reflection that one must try to think deeply not just by wading through their introspections, but also by looking for an outlet that will help them release those deep-seated thoughts. After all, the path to searching for that answer and peace is shown in different ways – through conversations, poetry, films, music, etc. In perusing through this heartbreak, Shanne Dandan uses the outlet of music to allow her emotional undercurrent to spill through. On Kung Iyong Mamarapatin, she embraces a balanced set of contemporary smooth soul and vintage Manila sound that careens through with her stirring vocal runs, paired with well-composed song structures and supple production touches to allow Shanneâs presence become languishing within these mostly pretty soundscapes. Creating a well-structured flow that provides momentum to stumble less and lets these songs glide with their comforting grace. The quicker rhythmic shuffle of âIyakinâ from the drum passages and bass licks accompanies the glistening synth patches and Shanneâs sparking vocal deliveries that always cut through the striking hook, the wistful introspection of âWhat do I do with you?â with the waves of sweet synths and keys flying through the gentle melodies, the soulful glimmer of âdi na babalik saâyoâ where the vocals pick up a self-assuring tone that very much fits with the sharper melodic snaps of the song, the genuinely pretty cover of Cherie Gilâs âBoy, I Love Youâ thatâs laced with charming vocal coos amidst the gentler set of grooves and synth swells, and âKung Iyong Mamarapatinâ ending the record with a newfound sense of confidence running through the layers of lead melodies, backing vocals, and soaring instrumental flourishes. This set of songs eventually builds up the arc that Shanne Dandan has placed down, focusing on moving past a break-up where she self-doubts if she is worthy of happiness and love within future happenstance despite keeping up that smile thatâs ever so fragile, yet she knows that itâs a step that leads her to slowly recover. Then, after âGemini (Reprise)â Shanne finally regains her voice where she can confront that ex-partner, leaving them behind as she now finds a sense of joy in finally being able to speak up for herself and taking the next step forward to moving past that memory. And it is in âKung Iyong Mamarapatinâ wherein, through writing these songs, it is a way for her to recognize that she is still worthy of being loved. In creating music, she can sing these songs out for herself and pave a path where sheâll finally be able to settle into a relationship that she knows she is worthy of being in. Although, as much as the melodies, writing, and performances do give this album its charm, two problems distract away from that charm. For one, there couldâve been at least a few more songs that could give more weight to the arc of the album, especially as the songwriting does go for broader lyrical details and the album is already running a bit too short to land the emotional resonance it wants to impart. For two, it mostly comes from the production and how it treats the instrumentation of the record, where the mixing only lets the drums and guitars sound way too faint, and how there are points where thereâs a lack of tender textural presence that would benefit certain songs – most notably on cuts like âKung Iyong Mamarapatinâ where the stiff drums are paired with thin sounding hand claps and âBoy, I Love Youâ that has these shaky vocal dubs that sadly pulls away from the magnetic presence that Shanne Dandan brings through her endearing performances. By the end of that, however, Kung Iyong Mamarapatin is sprinkled with potential that Shanne Dandan has showcased throughout the record, whether as a captivating singer and songwriter elevated further with melodies worth listening to. Itâs just a shame that the production and brief runtime donât build more of the emotional staying power that this album really wants to show, especially when there are moments where that resonance shines through in spades. Moving past that heartbreak reveals something special for everyone, validating their worth in finding that newfound love, and resurfacing the joy that provides everlasting comfort. Support the art and the artist:
ALBUM REVIEW: switchbitch – Silang
Written by Jax Figarola For rap duo switchbitch, subversion means crossing the boundaries within the existing political realities in the Philippines from the bottom up. Their debut album Silang â under the genres of conscious/political hip-hop and experimental hip-hop â focuses on making its listeners confront known truths of oppression and systemic inequality, particularly the struggles faced by them as part of the working class. They refuse to compromise their overt socio political messages with forced rhymes or flashy wordplay. Instead, relatable personal narratives of class struggle and resistance run through the lyrics that make the album symbolic yet accessible. There was no need for political jargon or buzzwords that people from all sides of the political spectrum can understand; just critiques of devastating realities that everyone endures under state-sponsored structural violence. With âKoroâ as an incendiary prelude and its dense layers of bass, the urgency to address the political realities is immediately established. It meant that the album and its themes should be expected not to be taken lightly. My personal favorites are âReklamadorâ and âAno Na Plano Mo?â, both expressing the precariousness of everyday life, especially for artists and laborers trapped in a system that strives for exploitation. While Filipinos are subjected to structural violence, this system demands our survival at the cost of accepted exploitationâand how the duo transformed lament and critique into performance shouldnât just be admired as is. Switchbitch wants its listeners to be moved to action by the intensity of the beats, the aggression of vocal delivery, and the sharpness of their lyrics. Yet Silang is not content with remaining alone in anger and resistance. The duo recognizes that vulnerability within the movement brings comfort. Loving oneâs nation also means wishing that the stateâs incompetence doesnât stand in the way of personal, romantic love, something switchbitch reflects in tracks like âIreneâ and âmy bb.â The former, reminiscent of their song âKang Seulgiâ from the Pasintabi EP, is referential to their love for K-Pop group Red Velvet as a couple of lesbians (and really, who doesnât love Red Velvet?). But nevertheless, itâs a pause from the relentless beats and rhymes, but the political theme never paused. Even a simple act like spending time with a loved one is undercut by the harsh realities of working and wanting money to survive in an unforgiving economy. Lastly, the title track and revolutionary song âSilangâ finally anchors the album with a tear-jerking vulnerability that many activists do experience in real life. Subdued guitar strums accompany the duoâs framing of sacrifice as both an individual burden and a collective responsibility, like seeds for future generations. A vocal interlude from different comrades of the movement closes the track and the album, delivering an uplifting reminder that everything will be worthwhile in the end. The unrelenting resistance embodied in the ten songs leading up to this moment carries the weight of fear and contradictions many activists face. Yet, through this powerful project, switchbitch urges everyone to stand in solidarity with one another in the face of those anxieties, emphasizing that even in fear of the state, the collective struggle must continue. Silang performs acts of resistance not just through its lyrics but also in the structure of its sound. The dissonance, the unpredictability, the stellar beat from a tin can drums in âBoboCop,â and the chaos of the production reject the polished aesthetics in mainstream Philippine hip-hop. However, itâs imperative to understand that not everyone may want to listen to harsh political truths or find revolutionary political hip-hop albums good or listenable. But for those who have the prerogative to be moved to action, the album becomes an invitation to reflect, resist, and ultimately, reshape a future grounded in solidarity and collective liberation. SUPPORT THE ART & THE ARTIST:
EP REVIEW: Pinkmen – Neptunes
Written by JK Caray Following a string of single releases spanning a couple of years, Offshore Music’s Pinkmen finally released their debut EP after a period of constant track launches within the past year. Far past their 2019 hit ‘Hanggang Sa Muli’, Pinkmen had the better part of 5 years to focus on progressively honing their distinct style within the music scene; however, the question still nags a few, was the long wait even worth it? The answer whether or not it was lies in Pinkmen’s dedication to their latest release ‘NEPTUNES’. With a runtime of 35 minutes, the EP begins with the track ‘Historical Revision ’24’; a reprise of their catchy political 2021 single ‘Historical’, consisting of even more tongue-in-cheek references and quips. ‘Di Pa Rin Sapat (Ang Sahod)’ drives the band’s stances even further, carried by vocalist/lead guitarist Giro Alvarado’s moving and powerful vocal performance over a somber instrumental that reflects the common folk’s everlasting problem. Third on the list, “Lately” includes droney, weeping guitars that decorate a thick wall of sound. The dense ballad structure makes it an unassuming first listen, yet it turns into a sentimental banger upon multiple listens, enough to be a solid pick for a break-up playlist. Oddly enough, ‘Art Song’ breaks the immersion that came from the earlier tracks. Its position momentarily skews the flow of the album, due to its nature of being a ‘nonsensical’ song, as it comes directly after two earnest ballad songs. Nevertheless, Pinkmen proudly wears their influences here, with the track being eerily similar to a ‘Sgt. Pepper’s Lonely Hearts Club Band’s song. In ‘Hourglass’, bassist Mark Armas animates the song forward with his highly infectious grooves and licks. Arguably one of the more enjoyable moments of the EP, the track seamlessly blends elements of neo-psychedelia and disco to form a fresh and distinctively unique sound. ‘Habulan’ sells a rich narrative as it features local rockstar Ely Buendia’s signature poignant songwriting at the center of the song. Themes of ambition and longing make up for an empowering track that makes ‘Habulan’ an anthem for hope and resiliency. Lastly, NEPTUNE’s last song ‘Miscom’ stands out as the resonant end to the entire release. Evocative and nostalgic, the song banks on classic feel-good musical conventionsâjangly guitars, dynamic drums, and compelling chord progressionsâpaired with bittersweet lyrics to deliver that familiar sense of melancholy. And it succeeds in doing so, with the entire track sounding like a trip to the past, a chat with people you’ve sworn to hate but have since forgiven with time. After years of waiting, we could only hope for the band to continue riding the momentum of the ‘NEPTUNES’. This release marks a milestone in their discography and has shown the band that they could make it; because now that they’ve proven themselves capable, nothing’s stopping Pinkmen from getting to higher heights. Support the art & the artist:
EP REVIEW: sci fye – who knows?
Written by Anika Maculangan For those of us who grew up in Manila â a love/hate relationship often prospers. We carry so much frustration toward the city, yet also a fondness for it. With experiences like staying past curfew, hopping on the LRT right when itâs about to be full capacity, and sipping a cold San Mig along Manila Bay, weâre mostly indecisive on what to think of it. So what comes out of our subdued thoughts when we hear a song like i hate manila from sci fyeâs latest EP entitled who knows? I donât know, who knows, at this point? Maybe thatâs the solid aimlessness it tries to convey. Like a pseudo-Cobain with more of a local undertone, sci fye highlights a grimy, snappish texture. Like washed-out graffiti beneath the underpass. Or scraps of crumpled receipts and candy wrappers along the tunnel. Think baggy jeans that reach the concrete, and skateboards with loose pivots. Densely immersed in distortion and fuzz, tracks like deadbeat generation extend a darker impression of rock. Although a debut, sci fye moves itself with its own surprising capacity for good mixing and stable production â something a lot of debuts are usually still shaky with upon their onset. However, the duality that is provoked within the songsâ reverb-studded guitars and brash, shrill drums is something that can be titled as imposing, for its harsh yet punkish accents. More soppy tracks like hanggang sa walang hanggan yearn to wake up just in time to see the sunrise trickle through the seams of transmission towers and billboards. What is another thing to observe in sci fyeâs debut is the different personalities that each track seems to embody, distinct from one another. Although there is still symmetry somewhere along those varieties, since they still all fall within the same relish for dissonance. Songs like whiteflower and magulang profusely releases its greatest bouts of dread and foreboding malaise toward the cityâs chaos. Perhaps it communicates the desire to escape its madness. Repeating the lyrical lines âAkoây nahihilo sa ikot ng mundoâ, what we can discern is the want for a pause, a break, or a ceasing halt to all the babel. Maybe sci fye is called that for a reason, because it suggests so many dystopian themes, perhaps through the language of lengthy bridges and Brutalist condominiums. Like putting on your tangled earphones one sweaty afternoon, who knows proffers the emotive features of parking next to NAIA, to watch airplanes either land or leap off the ground. Every track is a tribute to grunge in one way or another, placing emphasis on garage-metal basslines and riffs. Sci fye instigates a static-doused tonality, one that matches Manilaâs musical palette for enkindled overdrive. Gritty and loud, like the engine of a retro Corolla about to ride down Aurora Boulevard, they amp compression over to its appendages, for waveforms that defy frequency. What they ultimately bring to the table is the age of a post-Pearl Jam, or even Soundgarden noise range, making a name for its own Manila equivalent, in light of pondering over journal entries in pieces of yellow lined parchment paper. Support the art & the artist:
SOUNDS OF THE SEA: Hakushi Hasegawa (Japan)
Within the spaces of Jazzy and glitchy art pop that has spurred within the deeper subsections in Japan, there have been artists that are willing to become enigmatic in breaking apart usual melodic structures and getting ballsy in experimenting beyond usual musical instincts and embracing extremities between the chaotic and the orderly. Nowadays, there are more of those acts seen and heard than ever, creating music that dares to change expectations in a way thatâs simultaneously playful and joyous. Hakushi Hasegawa has shown to embrace this, with a discography that spills into the distorted and the comforted. Starting off in the late 2010s, their two EPS, IPhone 6 and Somoku Hodo EP immediately display the musical prowess that Hakushi Hasegawa puts into their work: playful jazz and IDM instrumentations careening to-and-fro, vocal work spilling through the mix with their bare delivery, and song structures that either spelunker into its wild adventure or stick into its linear path with efficiency. âSomokuâ and âTa hui xiaoxiâ from the latter EP show these elements in spades, with the former song thrumming along the shifting grooves yet always coming back altogether on the striking hook. The latter song takes its 7-minute runtime for the drums, pianos, and synths to rattle off in various directions, just before it goes into spirals into a blissful tune past the 5-minute mark. This, however, only starts where Hakushi Hasegawa directs their sound to its present stasis, as their debut album in 2019, Air Ni Ni, expands upon what theyâve showcased on their past EPs. The overall compositions get more wilder and fractious, textures burrow more towards glitchy electronica more than ever, and Hakushi Hasegawaâs control of their song structures have more dynamic swells that can build up from rapid fast rhythms to settling melodic exhales. Overall amplifying Hakushi Hasegawaâs compositions into exciting experiments, such as the overwhelmingly stuffy drum layers of âEvil Thingsâ and especially âItsukushii Hibiâ that soon goes to its grand solos on the back half, the slumbering grooves of âStamens, Pistils, Partiesâ that donât go away from its tempo, and the generally windswept wildness of âo(__*)â and âDesertâ. Things changed drastically for Hakushi Hasegawa for the next couple of years. Releasing the cover-heavy Bones of Dreams Attacked! that features Hakushi Hasegawaâs prominently plaintive yet wondrous skill as a pianist and being part of Porter Robinsonâs Secret Sky DJ Set in 2020; performing for Flying Lotusâ THE HIT back in 2021; joining the Brainfeeder roster, performing on Fuji Rock Festival, and soundtracking a TV Drama and a Fashion Show in 2023. Yet, the most noteworthy shift comes through with them showing their appearance as a way to redefine their identity – an aspect that Hakushi Hasegawa has also rummaged over in their past interviews as well as their overall songwriting, painting imageries of natural landscapes amidst details of the body shifting into an amorphous form. That recent redefinition spills forth to their recent album, Mahogakko. Showcasing a redefinition of Hakushi Hasegawaâs familiar musical sensibilities as they take their compositions into a balancing act of pretty tones and blasting rhythms amidst songwriting that has a much eccentric and curious texture towards motifs of love, the outside world, and the body. It merges the intimate with the frenzy that gives many of the songs a defined momentum as they glide from gleaming piano sections to spontaneously ragged segments. For a project that runs just over 34 minutes – their tightest album to date – Hakushi Hasegawa provides just enough time and attention for these songs to veer off into their distinctive melodic pockets. âMouth Flash (Kuchinohanabi)â has its glitchy rhythms shake asunder as the bass lines are tossed around, with Hakushi Hasegawaâs huskier singing makes for an enticing track. The punchy percussion of âBoyâs Textureâ adds a destabilizing tone to the otherwise remotely gorgeous vocal swells and gentle acoustic spills. âThe Blossom and the Thunderâ fits its title as it provides a clear picture of its two contrasting sound palettes: the hushed beauty coming from the vocals and muted sonic backdrop from the first half, slowly transitioning into the jittery synthetic breakdown of the second half that softens down for its sullen ending. And âKYOFUNOHOSHIâ brings back the wilder jazzy spark of their past projects as the horns and drums rapidly stomp along, gradually getting overwhelming over time. While those spontaneous chaos is fun to listen to, the more solemn and constrained songs reveal a softness that Hakushi Hasegawa has opened up to in clear sight, exposing more beauty and variety in its relaxing state. âRepeal (Tekkai)â and its bare soundscape allow their voice to seep through, their singing expressing a weary mood to their timbre. âForbidden Thing (Kimmotsu)â and âOutside (Soto)â continue for their voice to flexibly express freely, as the former songâs gorgeous piano cascades them conveying a fleeting, yet yearning tone to their singing thatâs elevated through the panting drums and layers of harmonies on the vocal melodies, and the former song modulates their voice to a heavier delivery, matching the songâs grand scale. Piling upon spikier effects and samples to complement the confident piano and vocal melodies, ending the album with a heap of strident confidence slipping through Hakushi Hasegawa. Like the album cover of Mahogakko – alongside the rest of their projects – there is a shifting nature to Hakushi Hasegawaâs entire work that never stays in one place. Constantly expanding off their jazz and glitch niches, a facet that allowed them to break through into a bigger net of musicians who have experimented in the general jazzy and electronic scenes. This release, it reveals Hakushi Hasegawa shedding away from the familiar into the new, redefining themselves and taking new avenues for their sound to other flexible tangents. Their overall discography may carry a constantly flashy and chaotic mood at first, but pay close attention to the details, and their magical wonder will reveal itself to you.