Written by Francine Sundiang Yaelokre understands that sounds alone can evoke fantasy worlds. Arguably the most exciting artist to come out of the Philippines as of late, Keath Osk’s musical storytelling project has rejected the overtly autobiographical tendencies of many songwriters, while still managing to be deeply personal through and through. If their first EP, ‘Hayfields,’ was an introduction to the world of Meadowlark, ‘Origins’ acts as an expansion of their worldbuilding. The first track “My farewells to the fields” starts with isolated strums of their guitalele, you are instantly taken somewhere else, to a scene in a land of fantasy, to a storyteller gathering listeners around in a circle, sharing a tale in hushed whispers that eventually turn into cries of triumph, a tale of leaving an old home and finding sanctuary in a found family. The track’s thematic richness manages to cut through to even the most casual listener. “Bird cage blue and yellow” is a track that exudes character, both that of the in-universe storyteller and that of Osk’s. “I can be different, I can’t be puppeted!” they both proclaim in a dramatic declaration of independence and self-determination in the face of the overwhelming pressure to conform. The artist’s heritage is on full display here as Osk softly sings in Icelandic and repeats lines in Filipino, a combination that wonderfully contrasts with each other while still being in harmony. While “To douse a scalded tongue” seems to promise to be a more mellow track compared to the previous two, that assumption is quickly proven wrong with an abrupt lofi vocal more akin to a condemnation than a song. It’s a call to action, inviting the listener to get up and refuse to stay silent. From here, it’s clear that Osk intends to keep the intensity up throughout the EP, never giving the listener a break from their theatrics and dramatic flair. The EP closes with “Kamahalan,” unique in all of the Yaelokre discography by being fully in Filipino. It is every bit as intense as all the other songs in the tracklist, but it achieves this through pounding percussion and a bassline that adds a subtle yet significant groove. While there is no lull in energy, it still manages to be a satisfying ending, and before you know it, the scene of masked storytellers in your head fades away as you’re taken back to reality. ‘Origins’ is a reinforcement of what the Yaelokre project stands for, which is fitting for an EP that explains the backstories of the four main characters. It is a desperate plea to you, the listener, to listen to your inner child, to unapologetically be your authentic self, no matter how much you are pressured not to. It’s just up to you if you have the courage to heed that call, a call made clearer in one of Yaelokre’s most compelling set of stories yet. SUPPORT THE ART AND THE ARTIST:
Tag: Chamber Folk
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: