The second single from neophyte soft pop singer-songwriter Shanni is more enchanting than their debut by a lot. Venturing into dreamier soundscapes rather than city pop beginnings, Shanni’s “19” commands a slightly more consistent and somber approach to their tender sensibilities in pop songwriting. Shanni sings over the gentle compositions as if skiing on a mountain: It’s breezier than it sounds, and with its execution landing more consistently compared to “Sa Panaginip,” “19” feels like an ode to the influences worn on their sleeves. Call it derivative of Men I Trust or Faye Webster all you like, but Shanni is carving out their own lane in songwriting. It’s not theirs to claim just yet, but “19” serves as a proper stepping stone for the young pop star as they emerge from their creative shell. Support the art & the artist:
REVIEWS
ALBUM REVIEW: Fax Gang + Parannoul – Scattersun
Written by Louis Pelingen When reaching a sense of stability, there is no doubt that it’s sometimes a fleeting moment, a feeling that provides meditation and strength just before everybody has to push forward to the next phase of tension in their lives. On the last projects that Fax Gang and Parannoul have put out, this does ring true as they take a lot more effort to embrace the sense of the calm before the storm: Fax Gang offers more openly brighter melodies and textures on Dataprism and Parannoul moving away from the aghast distorted perks of his debut as he takes more dreamy wistfulness on After The Magic. So now that they’re both under Topshelf Records, the possibility of working once again since their collaboration on the last track of Dataprism feels like a star that can be reached, where the light keeps on burning brightly. And it sure does, as on Scattersun, Fax Gang and Parannoul merge their varying worlds in absolute delight. Within this project, Fax Gang and Parannoul’s musical chemistry bounces off in a way that resonates with their strengths as they leap off into various characteristics that morph into their own being – all filled with post-rock crescendos, eclectic sound design, distinctive production palette, and amorphous genre swervings that Fax Gang and Parannoul just makes it all work. Riding these risky musical ideas that both acts are willing to do, and create an exciting endeavor where those risks are rewarded tremendously, intersecting their creative worlds where they know which parts of their ideas will work and proceed to experiment even further outside of their comfort zone that also manages to stick the landing in a remarkable fashion. ‘Double Bind’ showcases this toast of ideas clearly, with the first half lurking within the familiar bit-crushed soundscape from Fax Gang with PK Shellboy’s vocals rummaging through that chaos, just before it slowly and sleekly transitions to the usual fractured distortion from Parannoul’s part on the back half that also has a jersey club rhythm implemented within, displaying familiar pieces of sound that work around with newer facets of experimentation. This experimentation continues further all across the project, from ‘Quiet’ where PK Shellboy joins within the crisp and bulky alt-rock palette that’s clearly Parannoul’s signature wheelhouse but is wrapped around with warping synths, ‘Lullaby for a Memory’ with the jaunty array of rapid organic breakbeats, wistful synth progressions, and galloping crescendos that spearthrows itself into the skies, ‘Wrong Signal’ where the warbling production creates a cacophonous black hole for Mudd the student of Balming Tiger and PK Shellboy to break through with anxious performances just before the production clears up into a danceable but still suffocating beat, ‘Circular Motion’ takes a mellower tone where both PK Shellboy and Parannoul’s vocals are cushioned within the spare lilting synths and chalky percussion that eventually collapses into a charged EDM instrumental passage that bolts to the end of the song, and ‘Soliloquy’ may as well be the absolute charming cut from album – filled with glorious melodic progressions that can fit into a rhythm game song selection as the sweeping drums and synths glimmer before it cracks and dishevels as it moves along, even adding a random jazz sample that swivels into the cut’s last ecstatic chorus. And even despite ‘Ascension’ and ‘Scattersun’ paling off for different reasons – with the first song that could’ve expanded upon its harmonies and the second song that could’ve sharpened parts of its transitions and melodies, they still manage to land with aplomb as the former cut’s fleeting calmness creaks from its fuzzy textures that never overshadow the performances of every vocalist – gatka’s soothing vocals especially – and the latter cut’s attempt on creating a 10-minute plugging, cloud rap, and drill epic is nothing short of impressive in just going along on that idea and just making it happen. This overall scale is also reinforced within the writing of the record, taking a grand leap as Fax Gang and Parannoul return back into exploring humanistic existential dread that they find themselves lurking within, all with an embrace of abstract metaphors that expound the exhausting emotions even more. There is a desperation to cling to the brighter future that they try to reach as much as possible even despite all the murk that keeps on piling up more and more each day, intensifying the anxious dread that they want to avoid for their sake. Yet it is an attempt of avoidance that they cannot do successfully anymore, especially with the doomed tone displayed on cuts like ‘Wrong Signal’ where internet doom-scrolling will continue to display the destructive parts of reality that they can’t risk to not care about anymore. Thus, it overall colors the bleak aspects within these deeper reflections, whether that be having to mature and moving past their inner child on ‘Lullaby for a Memory’, reaching out to friends and trying to help them out even if they themselves are dealing with their own struggles on ‘Ascension’, and just how accepting a defeatist mindset due to the constant effects of isolation, aging, and ennui in this devastating world soon collapses upon ‘Scattersun’, the darkest cut in the album as there is a realization where the process of reflecting through these harrowing moments don’t seem to make sense anymore and is easier to just find some release in self-harm – a dour thought that’s compounded from the continuous wallowing that pushes everybody else away, and leaves them struggling with not knowing who they are anymore. Eventually concluding on the aptly titled ‘Circular Motion’ as the null in this negative state of mind will persist, a stillness that may never be broken apart where loneliness seems to be the only relief for all of this. As a whole, there is an astoundment that swings around Scattersun and all of its elements. A collaboration that tries to break out of their comfort zone where Fax Gang and Parannoul embrace their wildly varied musical components and
TRACK REVIEW: Squaretoe – Subzero
Written by Louis Pelingen There is a chilling mist that Squaretoe – the trip-hop duo consisting of Mazerboy and Maggie – conjures within this newest cut as it immerses deeper in a glacial tone. Through its flickering synth pads, needle-sharp drum machines, and saturated guitar mixes swirling around Maggie’s haunting vocals that loom and bend around the general mix, it creates a dream-smeared atmosphere that drowns into gloomy moodscapes. Ever so carried along with the spare writing presenting a lingering cruelty that lurks deeper, a feeling that Maggie’s dreamy performance effectively brings as her voice rings all across the song. There is an assured quality that Squaretoe brings to ‘Subzero’ in an immediate way, sinking deeper into more layers of atmosphere that the duo lurks in slow, but curious spaces of mercurial triphop and frosty electronica. Overall resulting in the fleshed-out sonic ideas on the production and compositional side amplifying the atmosphere to a certain degree even if the briefness of this cut feels like the duo is still testing out where they would go in the future. Still, it’s potent enough to move the temperature to its freezing point, letting that sullen dread nestle in its unmoving place. Support the art & the artist:
TRACK REVIEW: To Love Everything Ever Again – Jonah
Written by Elijah P. In every scattered, programmed drum loop, bitpop-influenced keys, meddling string section, and vocal delivery, there’s an underlying sensitive theme at play in “To Love Everything Again” — the solo indietronica and chamber pop project of Janpol Estrella. The track exudes a tight embrace and a strong tug at the heartstrings. It’s quiet yet hauntingly melodic; there’s lingering depression yet a playful energy that hangs in balance with a grim foresight. “Jonah” is the debut single you shouldn’t miss. Singing about sensitive topics such as sudden urges of suicide and the like, Estrella carefully orchestrates an experimental thread of influences: electronica weaving through folk-inspired elements and such. While listeners groove to “Jonah,” it serves as an assuring sign of hope and a reminder of the reality we all must face eventually. The concept of “youth” remains central to the artist and its listeners, as experimentation and pushing the envelope exist on the fold, which is exactly what To Love Everything Ever Again is doing right. “Jonah” is a single that everyone should check out in the year 2024. Support the art & the artist:
TRACK REVIEW: 25hearts – HEARTS
Written by Aly Maaño If you’re missing BROCKHAMPTON, 25hearts is the collective to watch out for this 2024. Formed last year, this seven-piece ensemble, consisting of Never Paco, Bankyu, E.J, Wan, Nix, kyleaux, and k1ko, has been teasing us with early releases like “NAGA FREESTYLE” and “PUMAPALO” in collaboration with other up-and-coming hip-hop artists, including RB Slatt and Papayasoak. In their latest single, “HEARTS,” the group introduces a fresh and vibrant sound — a culmination of each member’s style and artistry and their journey as a collective. Never Paco’s catchy freestyle hook is a nod to BROCKHAMPTON’s signature style, with its pitched-up vocals rolling off suavely over kyleaux’s production. Surprisingly, the beat is sampled from ABS-CBN’s “Family is Love,” and layered with bounce house elements and bluesy piano underscores that swell around Bankyu’s short but sweet verse. E.J delivers probably one of the most significant lyrics in this track, “Take me back to these moments / Let me do it again,” which celebrates how far they’ve come and can still go. And while each verse presents its own flair, Wan’s effortless flow stands out like a magnetic string pulling you to get up and 2-step along to their sonic odyssey. Another noteworthy part is kyleaux’s wistfully melodic verse smoothly transitioning to Nix’s heavenly voice—a perfect match to their infatuation-heavy lyricism. Nix’s hyperpop-influenced vocal charm is a key element in completing the sound they aim to capture in this single. More than the vibes, “HEARTS” reflect the members’ experiences on love, relationships, and their solid bond as a group. Sweet and upbeat, this track echoes the passion they have for their craft and how they have fun in the process. As we anticipate more projects, we’ll definitely be dancing the hula with 25hearts! Support the art & the artist:
EP REVIEW: rosh – cotton mouth
Written by JK Caray If you were also a hip local music listener back in the 2010s, you understand how crucial music websites like Bandcamp and SoundCloud were in experiencing the height of that underground, lofi scene brewing inside people’s own houses. While home recordings have always been a thing, the format of these sites provided the internet a front-row seat to the unfiltered, underproduced music some passionate strangers online made in their free time. Among these lie hits and misses but in 2016, Roshelle Munez released her first release “gitling,” which became an instant hit on SoundCloud. Following the virality of “gitling,” Manila-based Alt-Pop artist Munez, aka rosh, became an indie darling overnight—however, it would not be until 8 years later that she released her debut EP entitled “cotton mouth.” Serving as her serious venture into the music scene, the release—a long-awaited debut effort consisting of her unseen works from 2016-2022—allows us to take a peek into her diary as an extension of her psyche. “gitling – 2024” reinvents the original with more polished production and a clearer sound direction that fits right in with the rest of the EP. The addition of groovy drums and harmonies gives it a more laid back and playful vibe, as if having given it space and time to breathe. In stark contrast to this, “human goo” introduces that wall of angst that lingers throughout the entire record. It picks up the pace with driven drums, rosh’s fatigue embodied in her vocals buried beneath eclectic bass synths and the harmonic dissonance of guitars. “rainbow road” steps back from the heavy noise, favoring to experiment with lush, dreampop-like sensibilities. The lyrics echoing her heartbreak are cryptic yet very familiar, something everyone has felt but nobody could pinpoint. Lastly, “nevermind” closes the EP at the zenith of its turmoil. The instrumentals weep with a sense of deep longing and yearning; she’s begged and begged, but somehow it’ll never be reciprocated. Errors decorate the track alongside distorted guitars, creating the perfect backdrop for the emotional breakdown that follows. rosh ends the EP with a “never mind,” too tired to care anymore. In cotton mouth, each song is a confession; all the anguish and hurt hidden finally surfacing after years of being bottled up. Maybe that’s why despite its heavy, angsty nature, cotton mouth feels freeing. It’s the words you couldn’t say and the stories you try to forget after years of running away. Ultimately, rosh’s first foray displays a remarkably promising future for Manila’s star-sign-loving, alt-pop rockstar. Support the art & the artist:
ALBUM REVIEW: Munimuni – Alegorya
Written by Louis Pelingen 5 years after its release, Kulayan Natin is quite the impressive musical landmark for the quintet band Munimuni. Not just because of the breadth of melodic phrasing and comfortable aura that it provides, but the fact that Munimuni was able to put their spin on progressive folk in the local scene and push the sound a little further where the rustic compositions unfold in a fascinatingly majestic fashion that allows the beauty of the emotional resonance from the poetry and performances to captivate with aplomb. However, the band has experienced bumps on the road, taking a needed hiatus due to the isolating lockdown in 2020 and TJ de Ocampo leaving after the band’s comeback in 2021. Since then, the band has taken their time to ruminate what had transpired beforehand as they carefully kept putting more songs on the road as well as adding their new member Ben Ayes in 2023 to contribute more flourish to the band’s instrumental beauty. All of this culminates in the long-awaited sophomore album of Munimuni, Alegorya, and how it mostly retains the progressive tapestries that are usually filled with wondrous melodic swells and buildups that end in fantastic quality, courtesy of the delicate array of woodwinds and acoustics that are twinkling as ever. But there is a shift in the compositions and performances this time around. Adj Jiao’s singing tries to push his vocals in more expressive ranges to pair off with the compositions that have more groove and textures taken from modern indie rock which makes the melodies more tasteful in their direction to go for more immediate swerves, a direction that can become a double-edged sword, especially when the production makes the textures and mixing bit too modestly pristine and tame for its own good and the melodic stripes all across the album may carry some of their usual dynamic progressive tapestries but don’t have the same impactful heft that the band managed to pull together back on their debut album. It doesn’t mean the band doesn’t carry it well enough as they still create flickers of melodic charm. The lilting air of “Sikat ng Araw” is soothing as the vocal harmonies, blurry guitars, and winsome flute melodies are soaked with a warm aura around it, Adj’s vocals build the sense of assured realization as he picks up more bombast on Alegorya, the layered melodic progressions on “Paraiso” successfully leads up to the frenetic solo guitar melody careening off at the end, the overwhelming instrumental freakout on “Alpa” is a welcome surprise as it slowly composes itself before it soars up to the skies with an ecstatic blaze, and the spare acoustics and flutes gliding around Adj Jiao and Barbie Almalbis’ gorgeous vocal harmonies on “Tupa” are terrific even if it could’ve been extended so the string section can have more presence to add more emotional swell to their harmonies instead of being used to accent the atmosphere at the very end of the song. The emotions that were written in the poetry also took a flip as well. Unlike the comforting tones that were embedded all across their debut, this album generally delves into musings of frustration and melancholy. Emotions that put the band in a state of creative burnout on “Respeto’, which eventually leads to the subsequent pieces of writing to feel like an exploration within that gloomy space, providing an introspection towards understanding the range of emotional raft in addition to the existential reflection towards love, life, and identity. All of these are tied together through the imagery of a cave that may serve as the metaphorical personal journey of the band’s introspective process, one that allows the insight and realization to parse through their mind but can also become a limit when it becomes a hideaway that never allows them to move past that melancholy. Yet, amidst all of that sorrow, there is still a consistent cling on yearning to the aspect of love, a presence that despite all odds, gives them hope to move on forward to that dark abyss and come out feeling much better at the end. Creating an emotional throughline that does have its resonance, yet the use of details and imagery could’ve been pushed forward, allowing the moving quality to be intensified as there are spots in the lyricism where the simplistic phrasings don’t exactly support the internal emotional insight that the performances and compositions try to sell. Moving into and out of the darkness, Alegorya pivots around with its sound, performances, and writing to create reflective pieces of the personal struggle that the band works through, pieces that eventually hold together when the specks of melodies and writing manage to stick the landing. As much as parts of the compositions open up the emotions to poignant places, the exploration of this pathos is less stellar, where the production, poetry, and progressions have a semblance of restraint that hides that poignancy rather than open it up much more. The allegory of this journey may be well-defined, but there is a hushness that keeps the feelings from echoing astoundingly. Support the art & the artist:
TRACK REVIEW: fuzzy headcoat – Czai
Written by Elijah P. Eastern Metro Manila has become cloudier and more ethereal than ever before. The solo bedroom project fuzzy headcoat delves into the ethereal wave, exploring the indie/alternative genres with its almost repetitive distorted guitar work, xylophones, and the gentle twee vocals of their vocalist. Drawing inspiration from the enigmatic “world music” netlabel and incorporating hints of Reed-isms in their vocal work, fuzzy headcoat partly satisfies expectations while balancing it with charming instrumentals. Although the track may feel hollow at points and repetitive for its own good, “Czai” embraces its transient nature, appearing fleeting and almost structureless yet meandering in its separate listens. This is an impressive take on jangle pop songwriting because it functions as a song and doesn’t delve too deeply into abstraction. fuzzy headcoat shows potential, but they still have a long way to go. Support the art & the artist:
TRACK REVIEW: Twosday – piyesa
Written by Elijah P. Malibay, Pasay, is a neighborhood brimming with musical surprises, and among them is a group of young talents from Twosday, a 5-piece consisting of friends from other friends in their neighborhood. And like all young upstarts, their influences are well-worn on their sleeves loud and proud from the very start. The neophyte’s knack for covering Smashing Pumpkins and Teeth tracks has prompted each member to showcase their own rendition, infusing the essence of 90s flair onto the forefront of the bustling 2020s stage. In “piyesa,” their homage has reached different heights: belting leading vocals, soaring guitar solos, and layers upon layers of rhythm sections pummeling and grooving to the grungy songwriting. The band may have several things to brush up on musically, but there’s no denying the camp when you hear the words “mahal parin kita” screaming high above the clouds. There’s genuinity thrown on the wall, and you could say it can stick quite well when you’re in a band that’s as unashamed and uncompromising. Twosday’s got a lot in the tank and “piyesa” is evidence of that fuel driving the band to where they are at the moment. Support the art & the artist:
TRACK REVIEW: gins&melodies ft. Hev Abi – Babaero
Written by Elijah P. The year is 2024, and we’re currently at a stasis in how culture perceives sampling as a taboo subject and interpolations as a dubious activity in songwriting overall. Regarding the aforementioned topics, Shaira’s “Selos” made an impact by sparking a discourse on interpolations, while massive critics of the song bombard comments about its original source. But by the end of the day, who cares? It’s a catchy track. No one can ever take away our enjoyment. The same can be said for “Babaero,” which interpolates the Randy Santiago classic of the same name. After all the discourse and disputes, all of this fluff of copyright and ‘gotcha moments’ is all thrown out of the window because gins&melodies and Hev Abi already have a classic on their hands right away. Gently singing along to the lyrics on a Mac webcam with hearts flying out of their heads, “Babaero” is cheesy as it is evidence of interpolation, bringing the hook to a whole entirely different meaning in its contemporary setting; It’s less of a variety show singalong and more of an intimate, much more effective terminally online earworm. Surely, this is a testament to the consistent hook game and charm to both Downtown Entertainment and pop songwriting at large. Support the art & the artist: