Written by Louis Pelingen Six years might be a long time, but the result is worth the wait. July XIV is an indie rock group whose debut project has been waiting in the wings for some time now. Back in 2018, they first put out “Hunger,”, their very first single that carries off a potent rock tune amidst Evee Simon’s tender vocals punching through the vigorous grooves and soothing melodic flair. That song is perhaps the only song they’ll put out in the open during that time, as they have been focused on performing live since then, with more songs that they will eventually bring onto the record. Some of those live songs will be then released in 2022, keeping that upcoming project still bursting with hope after all that silence. 6 years have since passed, and July XIV have finally put together their debut album, charmingly titled after that debut single, Hunger. Running just around 28 minutes, July XIV brought together a tightly-knit package of indie rock cuts, a straightforward enough descriptor executed well through the stronger compositions by members of this band, as well as the production, mixing, and mastering duties by Evee Simon, Kevin Ingco, and Megumi Acorda respectively. Allowing these cuts to have a consistent sound quality, even if the dryness can run together at spots. But nevertheless, the blend of punchy textures paired with contrasting moments between flashy passages and tender moments are at least solid, from the riveting guitar work and solid grooves of “Chainsmoker,” the aforementioned “Hunger” where Evee’s vocals spark every time the song hits the chorus, the grunge flair that pops up on cuts like ‘Belief’ and ‘Deus Ex Machina’ with the meaty guitars smashing through with aplomb, and the string accented ‘(with feeling)’ allows the album to end in a more solemn note as those weary strings anchors a welcome emotive presence within the instrumentation. Ruminating towards the lyricism, the album title “hunger” feels apt for what Evee Simon is reaching out within this album, as her writing focuses on yearning for so much more within life despite the sense of loss and hardships being felt and gathered over time. This focus sticks the landing due to the sharp metaphors intensifying the drive to live within a grounded reality. Clinging towards dreams, memories, and fantasies keeps the protagonist moving onwards which eventually culminates in “No Sugar” where the protagonist ruminates how getting older does make them wiser and stronger, yet that maturity still can’t drift away the pang they still feel towards losing some important to them on ‘Revelations I’. But despite all that, “(with feeling)” put things back to a much more hopeful but also complex scope, where despite questioning the overall spectacle towards what it means to be a musician, it still gives a reason for the protagonist to feel alive—perhaps creating a new dream that they want to achieve sooner rather than later. Despite the cut-and-dry approach to the production alongside the briefness that can leave the back half feeling less stellar as a result, the melodies that July XIV puts into have some invigorating moments, and the lyrical arc that observes and reflects one’s own hardships and yearning to hold on to better things have sharp details that are worth looking into. Hunger as an album might be a double-edged sword, keeping everyone who has waited for this album to feel satisfied on one side but also leaving too much empty space on the other. Yet, when the album does hit its stride – an exceptional one at that – it leaves us hungry for so much more. Support the art & the artist:
REVIEWS
EP REVIEW: Austri – the place where birds meet
Written by Anika Maculangan The place where birds meet, Austri’s first official EP release, takes one on a roadtrip across SLEX, through every province, with no destination in mind. It’s the stops at gas stations, piling up in the 7-eleven, and camping out at the back of the car, that tracks like “Circling” reminds us of. Purely acoustic, with the undertone of ambient tonalities, this is Austri’s initial venture into making music of his own. Once just making covers of Elliot Smith’s “Between the Bars” and The Microphones’ “My Roots are Strong and Deep”, it seems so that Austri has taken it upon himself to try his hand at finding his own original sound. His discovered sound, as demonstrated in this EP, is melodically tame, exemplifying a tender and gentle temperament. Perhaps still a bit demure and modest, from being the introduction to hopefully, many more music to come. Austri’s vocals, crisp and mellow, are able to counteract the deep essence of the lyricism. “Learn to live but first learn to die” he sings in “Thousand Winds,” which evoke the rest of the EP’s blithe and carefree nature. Austri takes risks in this EP, especially when it comes to the honesty he brings forth in his music. In the build-ups that progress to grander compositions, Austri links his folkish tendencies to more of an indie pop disposition. In this harmony of warm cadence and soft inflections of resonance, there is reference to the migration of birds — how they never stick to the same place, and are constantly moving from one place to another. In a similar sense, we too, humans, have this penchant for change. As time goes by, we find ourselves at different places, depending on where the wind takes us. In this EP, this is what Austri seeks to make us realize. It’s the wooden plaque or wall decal you’ll see somewhere, trying to pull you into being motivated and inspired again. Something that says life is a journey or whatnot, that feels cheesy at the moment, but holds its own true merits. Who knows, maybe in that moment, you actually did need the reminder, and you were only too stubborn to see it for its genuine validity. This project feels personal and intimate, and for Austri to confide in his listeners, feels like a special privilege of sorts, as we hold the key to this secret garden. It’s a kindred level of frankness we can also garner from other artists such as the likes of Adrienne Lenker and Phoebe Bridgers.The place where birds meet is an insightful look into what it might look like from above, from a bird’s eye view. It brings into perspective how things may appear on a larger scale, when looking at the bigger picture. For someone making their debut, this is the exact enthusiasm they may need to keep that ambition going. In Austri’s case, the sound of trees rustling and birds chirping somewhere in a wheat field is what incites his creative engines to turn. Though a subtly calm setting, this environment is what brings out these profound introspections from Austri’s end, unleashing a candid and sincere collection of songs. What The place where birds meet brings to the table is simple and light accents of sound which we need more of these days, most especially during these typhoon-ridden times. It’s home, it’s refuge, it’s a passage away from the noise. Support the art & the artist:
EP REVIEW: LONER – DROPSTAR
Written by Jax Figarola Stepping back from the energetic beats and quicker rhythms of drum n’ bass in Lean Ordinario’s sophomore album ‘Make Noise,’ LONER—his solo project—ventures into new territory with five tracks of mellow techno-trance music in his third album, ‘DROPSTAR.’ This shift in genre reflects the influence of Metro Manila’s underground rave and club culture, which has surged in popularity post-lockdown era. Transitioning from syncopated breakbeats and heavy basslines to faster tempos and ambient synths, LONER charts a new course while maintaining a kinetic pulse that keeps his old fans in the scene engaged. His shift from creating drum n’ bass, which is a genre relatively uncommon in the Philippine electronic music scene, to a more conventional blend of house and trance might initially seem like a move towards the familiar. Yet, ‘DROPSTAR’ defies expectations, proving to be anything but ordinary. While it might lack the novelty of his earlier work, it certainly rises above mediocrity. LONER still embraces the fast tempos characteristic of his previous releases, but this time, with a spirit of experimentation. He incorporated elements of house music, crafting seamless, repetitive melodic pounding of kicks and hi-hats against rich ambient synths, creating beautiful instrumental interludes. Furthermore, his charismatic and resounding vocals, especially on tracks like ‘Stop Playing’ and ‘Don’t Wanna,’ fit well in the project’s theme of noncommittal love and situationships. His voice feels like an invitation to an intimate, late-night dance—just you and LONER, lost in the rhythm, filled with moxie and mutual infatuation. The serene four-on-the-floor drum patterns where his vocals are absent offer a refreshing change of scenery. Beginning with the pre-game energy of ‘Stop Playing’ and building up to the dreamy crescendo of ‘Figure It Out,’ the album evokes a hypnagogic state on the dance floor. Each track during its instrumental passages offers a corrosive and psychedelic moment, transporting the listener to another world. My personal world was under the mushrooms in a forest, where I danced with Pinoy gnomes to a storm of spores. Despite the project’s brevity, clocking in at just under 15 minutes, ‘DROPSTAR’ quickly becomes an earworm especially after repeated listens. Each track, while distinct, contributes to a cohesive whole art piece. The ambient synths that dominate when vocals are absent beautifully complement LONER’s voice when it reappears, peaking the dance experience in standouts like ‘Bahala Ka Na’ and ‘Figure It Out.’ Despite the seemingly minimal production typical of trance, the production in ‘DROPSTAR’ is anything but minimal—it’s a profoundly sublime art piece in its entirety. With his amazing past releases and this new project, LONER’s contributions to the Philippine electronic music scene truly deserve applause. SUPPORT THE ART & THE ARTIST:
EP REVIEW: Yaelokre – Hayfield
Written by JK Caray Keath Osk, more known by their stage name Yaelokre, has captured the attention of the Medieval fantasy-loving, Renaissance Faire attending part of the online community—garnering millions of streams, likes, and even a fandom of their own. An all-around storyteller, weaving stories through music, art, and performances, the artist first showed promise through their single “Harpy Hare”. After a few months, Yaelokre follows up with their debut album “Hayfield,” the prologue to their ongoing musical centered around the world of “Meadowlark”. Depicted with gorgeous art and a strong stylistic direction, it’s clear that “Hayfields” is part of the love project that Keath Osk has been brewing for years. However, it is still the kind of art that can be hard for some people to digest due to its perceived peculiarity. As for the music itself, “Hayfields” is a tight and cohesive concept EP, with influences that range from The Oh Hellos to AURORA. Although it suffers slightly from its unpolished production, the picturesque storytelling paired with the eloquent almost Nordic style of singing proves effective at showing the points across. “Hartebeest” for one sets a thrilling introduction, hyping up the entire album aside from its cryptic lyrics. In it, the scene is vivid: it feels like running in a mystical forest that promises one-of-a-kind adventures. “Harpy Hare”, the more known single, is a catchy stomp-and-holler song about an overprotective mother told through interesting symbolisms and metaphors. The track carries the energy that Hartebeest starts with and adds more to it; Yaelokre’s headstrong voice being the center of the song, every word pristine. In “And the Hound”, the blistering tempo mellows down as it goes to a more ballad approach, featuring the most moving and most powerful vocal performances of the entire EP. Here, Yaelokre boasts their prowess in songwriting, the lyrics being equal parts morbid and captivating. The closing song “Neath the grove is a heart” starts with gentle flutes and builds up the song along the way. Compared to the other songs, the song is much lighter yet still as grandiose. Warmth is felt across the beating of its drums and the harmonious vocals in the end, innocent and magical. It is an enchanting ending that calls back to the start of the EP as it includes leitmotifs of “Harpy Hare”, and “Hartebeest”, further hammering the feeling of going home. By now it’s obvious that this kind of project does not mix well with some, but Yaelokre’s instant rise to success may have exemplified the amount of naysayers. Scrolling through the comment section of some of their posts, a horde of people express their disapproval of the concept calling it “cringe.” While the question of it being cringeworthy is subjective and varies from person to person, is it bad to just have whimsical fun? “Meadowlark” as a whole is a world built on childlike wonder, a time where judgment was not yet commonplace—would it hurt for us to revisit what it felt like back then? Sure, Hayfields and the rest of Yaelokre’s works may not be for everyone, but when it does hit, it hits you hard. Support the art & the artist:
TRACK REVIEW: Darren Cashwell – NUMBER ONE
Written by Elijah P. Pop duo Darren Cashwell has a colorful history, from creating remixes on the fly with top EDM DJs before the pandemic to transitioning into gentler, chorus-driven guitar pop, and finally crafting cool-guy pop music with “NUMBER ONE.” Ironically, much of that “color” in their music now feels somewhat dated, given the oversaturation of pop from the 2016-2019 era. For a track that aims to capture the feeling of love and being “wanted,” it ends up sounding one-dimensional and lacking the charisma needed to make a strong impact. The guitars and drums are standard pop-rock fare, and the rap-influenced style of the duo follows a familiar blueprint. This may be the effect of a major studio standard: evident in songwriting style and a lot of imagery that’s tailor made to look safe and barely reaching any newer ground. Their background of being music producers in the past still seeps through, coming full circle all the while being not sticking. This formula makes “NUMBER ONE” feel somewhat predictable, especially considering the duo’s seemingly contrasting styles. Neither member stands out distinctly, and their chemistry seems to be missing. The chorus, unfortunately, doesn’t quite stick with the listener. Star Music Philippines appears to have a tendency to feature artists who, like their roster, can come across as somewhat generic. SUPPORT THE ART & THE ARTIST:
TRACK REVIEW: Shan Capri – Past Flight
Written by Aly Maaño You may not know it yet, but Shan Capri might just be your next favorite alt/pop artist. Despite being new in the music scene, this artist isn’t afraid to push sonic boundaries by producing songs that reflect her eclectic taste. With her new single “PAST FLIGHT,” Shan lets us feel the rush and exhilarating feeling of meeting someone—an instant connection, a tender but fleeting desire. Drifting away from her soulful sound, Shan takes a deliberate turn to produce catchy hooks and melodies with a rich, flirtatious bass woven into her dreamy, sensual vocals. “PAST FLIGHT” begins like a summer adventure with its zappy riffs gearing into a playful chorus with an intimate delivery. It’s intuitive in its attempt to be soft but also impulsive. The song possesses a certain tenderness and vulnerability but is also effortless in being sexy. It’s short like most pop songs but just as it ends, you’ll want to impulsively hit play again. Support the art & the artist:
TRACK REVIEW: Liminal by Ruru
Written by Faye Allego Picture this: You’re twelve years old, your parents run an internet cafe down the street and you borrow your Kuya’s PSP 3000 to play The Sims 2. Your best friends come by to play the bartender game on Y8.com while Kuya is on an extreme DOTA battle. You’re not too keen on the fact that it’s the first day of school when you wake up but at least you’re having the time of your life now and who knows, maybe your mom might pack you Yan Yans or an extra bottle of Yakult for lunch tomorrow. You didn’t think of it then, but amidst all of the popular mid-aughts games, excitements, and leisures, “no one knows where they’re really going.” That lyric from Ruru’s new single titled “Liminal” transcends me into this portal of, well, liminal spaces. Spaces I had never thought would be so empty, yet full of life in retrospect. The song is upbeat, it does not contain the subtle mood of tragedy commonly heard in wistful chord progressions and melodies, however, the lyrics say otherwise. The song’s lyrics as well as perhaps the lack of strings, share key elements seen in the Hauntology genre; in the sense that something “lost” from the song’s features is haunting. Aside from channeling how the song feels sonically, this song looked like a kaleidoscope of every single one of those dreamcore, corecore, weirdcore, and vaporwave aesthetics I’ve seen across social media. Any lyric can be used to caption a liminal space photograph and evoke the feelings of longing for something you didn’t realize you’ll never get back as an everyday, mundane feeling. The worst part is that “something” can be everything from the past. In Ruru’s words, “We’re just way too in our heads/ Passing on acquaintances/ Some days I’m not quite myself / Yet I’m on my bed…” Liminal is also one of those unique tracks where you don’t need to actually feel a certain emotion when listening to it despite the existentialist lyrics. It’s a song that could pass as an Animal Crossing tune on a Nintendo DS. It can be your go-to shower song, or the absolute final song you choose to go on your Instagram story when posting to a monthly wrap-up collage template. I’d love to hear this track be a part of an album that explores the genre of Hauntology or even avant-garde electronic music that we don’t typically see in OPM. Additionally, the cover art for this track could pass for an album cover itself! It looks like Ruru’s self-portrait is taken from a driver’s license, exemplifying adulthood or the oversaturation that can suggest the technicolor that life brings in the mundane. Or maybe she just looks really good and so does her music. That’s what I think. Cheers to more Ruru! Support the art & the artist:
TRACK REVIEW: Fern. – SO FLY
Written by Louis Pelingen It seems as Fern. is now working towards his next solo project for the foreseeable future, with him steadily putting out songs that now linger within 2000s R&B that he fawned over, showcased through both the art direction and the music itself as there has been more intrigue towards the 2000s nostalgia more than ever before. But out of the three songs that he has put out thus far for this upcoming project, “SO FLY” is the one that struck the most within his delve towards this 2000s R&B flair. From the chalky drums, glittery synths, and warbling bass that carry a composed, pristine melody, Fern’s vocal touches ooze with so much charm and wonder that he manages to stick the landing towards creating a sense of inviting allure, something that his vocal flair alongside the abundance of harmonies and melodies able to encapture marvelously. Despite the drum textures sound a bit flimsy, this song’s melodic spark is remarkable from front to back. With every single listen, it never fails to fly high to something ever so spectacular. Support the art & the artist:
TRACK REVIEW: DIONELA ft. Jay R – SINING
Written by Elijah P. After almost hitting every note and scoring every possible R&B collaboration known locally, Bulacan-based pop singer-songwriter Dionela has finally hit the algorithm goldmine in streaming with their collaborative hit “Sining” alongside R&B royalty Jay R. Not too long ago, the same mainstream artist and respected industry titan passed down the “crown” to the young neophyte on live television. Dionela humbly turned down the offer by returning the symbolic crown to Jay R in the same segment. Looking back at that moment symbolizes a lot about Dionela’s output: clunky, laughable, and an overall striver that fails to follow up the greatness of any industry singer-songwriter from decades before. Despite numerous attempts to hit the sweet spot in choruses, the “all my life” line is more laughable than sticky in the sensual listening experience. “Sining” is as grating as sprinkling rotten cheese on a bad serving. The awkward use of Tagalog in the verses and choruses feels forced, much like the strained high notes. Meanwhile, the unbearable lows don’t cover up the shortcomings of Nelly’s Tagalog counterpart. When Dionela tries, they try hard, just like the chorus they’ve written. Jay R, on the other hand, turns the track around. However, when an industry veteran tries to steal the spotlight rather than complement the feature, something unequivocally goes wrong in the execution of the track. “Sining” neither looks nor sounds sexy; it’s a track that begs to make sense. Like a ribcage rumbling from the notes of a xylophone while rupturing longing feelings. Did that passage make sense? Not really, and neither does “You’ve turned my limbics into a bouquet” when your prefrontal cortex is fully developed. Support the art & the artist:
TRACK REVIEW: Cherry Society – Recluse
Written by Aly Maaño It’s 2009 again. I’m wearing an Artwork shirt, a plaid tennis skirt, and my favorite pair of black Chucks with rainbow-colored laces for a meet-up with my date at the local park. He would teach me how to skate for the first time, and I would let him read the pretentious poems in my journal. After a few weeks, we would stop seeing each other. I would never learn how to skate. This is how Cherry Society’s “Recluse” opened this long-forgotten time capsule in my brain. As an elder emo, I easily resonated with this song as it perfectly encapsulates an era when all the bands headlining When We Were Young were being blasted off from a Nokia Xpressmusic (if you still had one) or one of those early Samsung smartphones. Think of female-led bands like Paramore, Hey Monday, We Are the in Crowd, Tonight Alive, or Courage My Love. Sonically, “Recluse” draws influence from new wave, pop-punk bands from the posthumously coined “Defend Pop Punk” era like Neck Deep, The Wonder Years, Knuckle Puck, etc. With its cutting guitar riffs, thick, jangly bass tones, and energetic tempos, it could easily be the soundtrack for an angsty Y2K movie or the background music of an amateur skate video. Kuki’s strong, raw vocals balance clarity with a punch, evoking lyrics with adolescent themes involving relationships and heartbreak. Although some elements could still be polished, Kuki, Miya, Kat, and Lisha were successful in crafting their signature sound straight from Cherry Land—the kind you’ll dance and sing along to in your room or mosh to with your friends at the pit. If “Recluse” was released in the 2000s, I wouldn’t mind getting malware from illegally downloading it on Limewire just to listen to it on repeat. Support the art & the artist: