Within the largest city of Myanmar, Yangon, lie small yet meaningful bands like Soft Things, who are waving the flag towards the dream pop and shoegaze flourishes that echo across the city. Formed back in 2023, this tight-knit band is composed of guitarists Kaung Khant Htun and Nyi Ye Htut, bassist Kaung SI Thu, drummer Thu Ta Aung, and vocalist Thet Htar Zin. Young fledglings finding their groove within the yearning spirit of the sounds they’re pulling from.
They sparked a flash last year with their debut EP, ‘Warm Blue Sea,’ a stirring wave of dream pop that washes over. It acts as a starting point that defines their spirit, a characteristic best represented on the first track of the song, ‘Asleep, Awake’. Punchy drums and serene pedal effects reinforce the tension that Thet writes on record. Looking into a lilting love that is either fleeting or everlasting.
This overall spirit carries through from song to song. ‘Zoo’ very much casts a lot of Cocteau Twins’ soundscape, especially how the guitars phase out in the mix alongside Thet’s vocal backdrops scattering all over the song. ‘I am not the one for you’ tests out its writing intrigues, letting glossy keys cascade over the protagonist’s affections with the women he’s loved in the past. The closer track, ‘Cherry Cola,’ delves into synthpop bits as buzzing synth pads trickle all over the song. It recalls and reflects upon the saccharine moments that can end up so bitter, like an unforgettable aftertaste
Of course, as heard through Thet’s delivery, the brute forces his vocal limits to a flinching degree on ‘I Remember You’, they wear their passion in their sleeves and embrace all its ups and downs as much as possible. Soft Things know that the world is in a rough shape at the moment, so they may as well hold onto those soft moments from the very beginning, and let it glow as they continue their path, charging their spirits to a much tender future.
How does one hold on to a moment that’s almost palpable but fleeting? How does one express awe in the face of something ethereal? Sometimes, words hold no meaning when the otherworldly presents itself in forms that make you hold your breath. Hailing from Davao, cosmic suns attempt to express these intangible feelings in their debut single, “Ethereal.”
In the world of shoegaze, pedals are tools for creating sensations that go beyond hearing. Cosmic suns know just how manipulate fuzz to achieve textured riffs that explode into microcosms of desire, longing, and turmoil. Their distorted guitars swirl and bend with other instruments while dreamy and distant vocals orbit around them like an invisible knot — connecting each conjured world into a single hazy soundscape. With these elements, “Ethereal” remains loyal to the genre. However, it finds itself treading into skramz territory as the chorus breaks into agonizing screams. But hearing a vocalist desperately screaming in a shoegaze track doesn’t break through the expansive wall of noise but merely complements its obscurity. Drenched in lush reverb and delay, the screams add a haunting effect that only intensifies the heavy emotions the song is channeling. When layered with clean vocals, the result is as visceral as a memory from years ago that leaves a lump in one’s throat. At this point, there’s no need to interpret; we must surrender willfully to the auditory frenzy.
Cosmic suns may still be protostars in the vast shoegaze universe, but they already formed the core of their sound in “Ethereal.” In their evolutionary stage, will they continue redefining the genre’s blueprint? For now, we can only watch as they traverse celestial distances one heavenly song at a time.
There’s a certain adrenaline rush that emanates from the psyche whenever one is en route; it’s a rush that can capture anxiety, urgency, or even the sense of ‘gigil.’ Cream Flower’s ‘Orbital Wound’ EP is exactly what should be queued during moments of movement, whether it’s commuting, traveling, or simply walking down a footbridge. On their third EP release, Celina Viray and Jam Lasin step into a wider sonic terrain, loosening their grip on shoegaze familiarity to explore something louder, stranger, and more expansive. They blend riot grrrl rage with explosive urban paranoia, crafting songs that feel perpetually in motion and perfectly suited for city wandering. Even amid the chaos and noise, the duo injects an unexpected motif: if a stray cat crosses your path, this EP insists you bring it to the vet.
The first three tracks form ‘Orbital Wound’’s most immediate stretch, buoyed by an upbeat momentum and Viray’s vocal effects that sound like it’s being broadcast through an airport PA system. “Cat Distribution System” and “Fever Dream” have a distant, metallic, and half-instructional tinge to them. The choice of turning the voice into the form of a public announcement rather than a private confession shows a sense of urgency that isn’t found in the typical dreampop soliloquy.
The sense of radio transmission becomes even sharper on the second track, “Dahas,” where radio static and intergalactic textures are lured in, giving the impression that the band is trying to communicate across impossible distances. The song is displayed like a broadcast meant for extraterrestrials, only to reveal itself as a message addressed directly to us as the listener. The lyrics cut through the noise to confront the realities, inconsistencies, and outright outlandish absurdities of the Philippine zeitgeist under the government’s rule. It initially sounds alien, but the repetitions gradually sound something more familiar: uncomfortable truths hidden within signal distortion.
Chillingly, the EP turns subtle and dreamy with its fourth track, “Orbs.” There, Viray and Lasin introduce acoustics that were absent from the beginning tracks, and lyrically, they tap into more introspective lyrics. In “Orbs”, Viray warps time and perspective as she describes being “engulfed in a fever dream.” The lyrics suggest a fractured sense of self, as if the speaker is watching their own thoughts from a distance and turning into never-before-seen shapes and geometric patterns.
What’s interesting is that the last track of the album, “A Violent Cry”, beheads all forms of stillness from the previous track, and the listener is put right back in that state of adrenaline that was introduced in “Cat Distribution System”. It’s loud in every sense of the word, but not flashy or indulgent, where it becomes an earache. By the time the EP moves beyond its opening run, it’s clear that ‘Orbital Wound’ is both an experiment in sounds and a tool in communication through noise, humor, and paranoia. The urge of wanting to hear more after the last track is ever-present, but in the meantime, aggressively slamming the repeat button will suffice.
If you’ve ever spent even a fraction of a minute in Manila’s local underground, chances are you’ve already witnessed The Braille Flowers in action. Whether they’re offering stickers as they wade through the crowd, or creating sonic magic with their instruments under neon lights, there’s no doubt that the band’s members are a welcome presence in the tight-knit communities of artists and enthusiasts alike that run within the scene.
These nights down under, usually characterized by a selection of beer bottles, sweaty moshpits, and yosi breaks in the cool evening air, breathe life into The Braille Flowers’ debut album: ‘Lilac Dreams of a Second-Degree Non-Conformist.’ Long as the title may be, it’s a name that only begins to make sense when you bask in that specific feeling, punctuated by the haze of the guitar pedals and the album’s constant desire to live in a moment that a pariah of society’s rigid conventions can find solace and romance in.
‘Lilac Dreams…’ is a release that mirrors its scene predecessors; The Braille Flowers’ ability to write about vulnerability in a manner that sounds like small talk about the weather is similar to the air of nihilism that echoes from the lyrics of The Geeks. On the other hand, the way they couple quirky male vocals with jittery, pop rock influenced drums is reminiscent of We Are Imaginary’s captivating, dreamlike musical style.
The album’s singles show The Braille Flowers’ strengths; they’ve mastered the art of creating a cohesive album that still shows their variety and flexibility. “Lately” is a sweet train of thought that steadily grows louder as the infatuation continues to blossom. It’s a track that lends its attention to the high of being in love, not shying away from the intensity it brings as kick drum focused-fills gradually escalate the impact of its catchy, sugary guitar riff.
“The Magician Was Shot Dead (Scarlet Rivers),” on the other hand, peeks out from the band’s “popgaze” box. The raspier vocals and whispers that accompany its palm-muted rise to the climax complement each other well. The sharper edge of ‘Lilac Dreams…’ contributes to its ability to invoke nostalgia, a callback to the preference of 2010s alternative music for squeaky clean, sharp production that’s tied altogether with the bow of a powerful rhythm section.
The Braille Flowers’ debut is self-expression at its best; the concept even shines through in the serene instrumentals that serve as interludes for the next sessions of reflection and rumination. Perhaps it’s a release that focuses on the peace brought by honesty. But as a record that banks on the intimacy of being understood, it could probably flesh out the euphoria brought by such an experience through a wider range of sounds and expressions.
At the end of the day, maybe the utilization of such a specific sound is what makes ‘Lilac Dreams of a Second-Degree Non-Conformist’ the record that it is-–a lush, fuzz-filled dream that everyone can hold up a mirror to. It’s a blueprint for every other non-conformist’s personal manifesto, ready to accompany you when you get feelings too difficult to put into words.
Nostalgia has countlessly been labelled as the key ingredient to dream-pop, but how does the power of friendship and utter passion from the DIY heartthrobs of Matoki give meaning to the music?
Written By Faye Allego
When they were just teenagers, Vladymir Estudillo, Yancy Yauder, and Emmanuel Acosta formed MATOKI originally as a three-piece band. As the roaring 2020s rose to uncertainty, they found identity through the alternative scene and beyond the confines of their bedrooms – their stylistic sound of choice? Shoegaze that is desired to pour out dreampop melodies that send the listener into a Sputnik-like orbit of nostalgia. The trio then decided that three could turn into six, and thus entered Ivan Casillano on drums, Kiyan Leal on tambourine/vocals, and Kendrick Tuazon on rhythmic guitar.
Recently, a Facebook post from the page “Local Music Watch New England” circulated across my newsfeed. It says something along the lines of: “They’re not ‘just’ a local band. They’re the soundtrack to your town. Support them like they’re already famous.”
Throughout the trajectory of their journey, MATOKI has amassed over 8,000 monthly listeners and more than 300,000 streams of their singles, “Strawberry Girl” and “The Streets,” both of which belong to their debut album, And Mend All Your Broken Bones.
Achieving these big numbers independently with no attachment to any big company or label and strictly relying on their authenticity and community within the underground music scene, the band captures the true essence of DIY through touring in and outside Metro Manila. Their live performance not only differ in stylistic choices of whatever they desire that day but they also differ in the range of venues they play whether its at your local venue in QC, Makati, performing at Marikina Heights during dinnertime, capturing the hearts of students at RTU, PUP, UP Diliman, UP Baguio or even supporting causes from ARPAK KMP, SAKA, and many more college gigs. Through their dreamy echo chambers of polyrhythmic guitars seen in tracks like “Sarado Na Ang Makiling Trail (At Wala Na Kaming Mapuntahan)”, coming-of-age anthems like “Lemon” and heightened senses of wonder in “Paotsin”, MATOKI stays loyal to their DIY manifesto.
**This interview has been edited for clarity and brevity.
FA: What’s it like touring outside Metro Manila (especially the Under My Skin tour), and what makes it different from performing in venues like Mow’s?
Vlad: Sobrang kakaiba yung excitement everytime na tutugtog kami na malayo sa usual at unfamiliar sa amin. Yung thought talaga na “nasa lugar ako na ‘to dahil sa music namin”, sobrang powerful nya para sa akin. As a DIY band din gustong gusto ko palagi yung challenge, kung paano pagkakasyahin yung resources, yung pera at energy. Sa recent tour, sobrang humarap kame sa challenges financially kaya right there and then pinagusapan namin kung ano ang mangyayari. Ayun, na resolve naman. Palagi kami nagkakaroon ng lessons kung ano ang mga bagay na effective at hindi kapag touring outside Manila.
Yancy: Personally, magkakaiba kami pagdating dito eh, ako kailangan ko tipidin yung energy ko, mula sa byahe palang kailangan ko na tipirin yung energy ko, hanggang bago tumugtog. May excitement oo, pero alam kong kailangan ko limitahan yung energy. Laging may bubulong na “Oop, wag muna magkulit!” unlike sa Mow’s, mas sanay kami sa environment. Usually mga kakilala rin nakikita namin dun. Nakikita ko kase sila Vlad kaya nila mag kulit kahit wala pa kami dun sa pupuntahan eh. Tapos naiingit ako kasi di ko kaya yun.
Ken: As a DIY Band that has to, well, do everything by ourselves, we could definitely say that it’s financially, mentally, and physically draining. We just always make the most out of our very minimal resources and just doing everything with raw, pure, and unending passion. What makes it different from performing in venues that are close to home is that it’s always an experience. It’s always a mixture of excitement, anxiety, and serenity. But it’s a good thing that anywhere we go, the support from our friends and supporters are also there.
Kiyan: Syempre excited ako parang looking forward ako sa ibang culture at eksena tyaka sa mga bagong taong makikilala. Isa pa yung pinaka favourite ko yung kulitan sa biyahe, papunta palang andami mo ng ma experience agad.
FA: Yancy, may mga panahon bang naisip mo na sana lumaki ka sa ibang lugar o panahon yung mas buhay pa ‘yung mga music subculture?
Yancy: Madalas namin yan mapagkwentuhan dati ni Vlad eh, bago pa ata mabuo ang banda. Hindi ko lang sure sa kanya, pero ako ‘di ko talaga naiisip yung sana lumaki ako sa ibang lugar o panahon, kahit pa mostly ng pinapakinggan ko at influence na din talaga dati e galing isa ibang lugar at ibang panahon nga, I can say na iaadmire ko sila pati na din yung buhay na eksena nila noon pero never ko naisip na sana lumaki ako dun sa lugar nila or sa panahon nila.
FA: Naapektuhan ka rin ba ng mga alaala sa paraan ng pagtugtog mo ng bass?
Yancy: Yes, kapag nagrerecord ako ng bass sa mga tracks namin, sinisikap ko lagi ipicture yung sarili ko na andun sa setting nung kanta, or ifeel yung ineexpress nung kanta, nakakatulong yon para ma-tap ko yung ilang alaala na kung hindi man kahawig e eksaktong katulad nung gustong iexpress nung mga kanta namin, tapos ayon mula don kung ano lang din yung maramdaman ko sa mga alaala na yun isasalin ko lang din sya sa bass
FA: When composing a song, which members think of a melody first? Do you all have to be present IRL in the writing process?
Vlad: Most of the time talaga sakin nanggagaling yung main idea ng songs, katulong ko si Kiyan madalas, then we build from there. May time na si Emman nagsusulat din ng kanta tulad nung “For Choco“, pero ngayon ayaw niya na eh. Joke lang haha. Pero usually talaga pag may naisip akong idea, kukunin ko yung gitara, tapos sabay ko bubuuin yung melody at chords. May times rin naman na magkakasama kami, tapos may mabubuo rin. Tulad nung unreleased namin na “Patiently“. Depende talaga sya sa motivation at araw kung makakabuo ng song.
FA: Emman, Paano mo nade-develop ‘yung sariling style mo sa pagtugtog?
Emman: Siguro malaking bahagi yung mga influences pagdating sa style ko. For the past few years na-solidify sa akin bilang main inspiration yung post-rock guitars na tingin ko ay bagay sa sound ng Matoki. Pero kung sa totoo lang masasabi kong main influence rin talaga sa style ko yung mga kabanda ko lalo noong nag-uumpisa pa lang kami, noong hinahanap pa namin yung magiging sonic identity namin. Malaking bahagi ng style ko ay nabuo mula sa mga music recommendations nila.
FA: Whenever you perform live, paano niyo nakakapa kung saan kayo mag lalagay ng improvised riffs that differ from yung original recording?
Emman: Pagdating naman sa live performances, sa totoo lang, malayo talaga kung icocompare yung live at recorded versions ng mga kanta namin lalo na yung mga older songs. Masasabi kong magkaibang realm yung live at recorded sound namin (compare Fine Lines vs. Fine Lines (Redone)), siguro dahil totally different environment at methods yung nag-eexist pag nagrerecord kami at pag nag-jajam live (dahil nga DIY recording lang maraming limitations lalo sa drums). At siguro dahil di rin namin strictly sinusundan yung recorded version kapag nagjajam sa studio. Malaya lang kami gawin kung ano trip namin idagdag pag live.
FA: Paano niyo isinasalin o ipapahayag ang komplikadong anyo ng pag ibig sa mga layered at textured na tunog ng musika ninyo? tulad ng riff mo sa “Fine Lines”
Emman: Sa tingin ko, nagmamatch yung songwriting ni Vlad sa mga soundscapes na nagagagawa namin. In the first place, pansin ko sa ethos ng Matoki, ay ayaw niya maging complicated, simple lang, barefaced at raw. Kahit pa di naman necesarily simple per se yung mga themes ng mga kanta. Kaya nagtatranslate din yung ethos na yun syempre sa tunog ng banda, simpleng riffs na melodic; parang galing sa isang “honest young heart”. Minsan droning reverbs, atmospheric na patong-patong na guitars, malaki yung sound pero di naman siya complicated, tunog “wandering young mind”.
Tingin ko [‘yong Scrapyard ay isa] sa magiging iconic na lugar pagdating ng araw. Napaka-modest at rugged, napaka-Filipino, kaya sobrang disctinct din talaga ng mga lumalabas na mga art doon. Meron talagang characteristic ng pure passion for music and community.
-Emman Acosta
FA: Paano naging tahanan para sa Matoki ang bahay ni Vlad sa Pasig? Assuming na marami kayong nabuong mga kanta, album, ep, etc. Doon, ano mga core memories niyo while mastering mga productions niyo kina Vlad?
Yancy: Mas effective na makapag work, sabihin na natin sa isang track, para sakin, kailangan maramdaman ko muna yung cozy na pakiramdam, o makomportable doon sa space namin kela Vlad. In a sense na pwede ka abutin ng umaga. Tapos di ka pa mag aalala sa pagkain, kase mejo sentro yung location ng bahay nila eh, malapit sa mga sari-sari store sa mga talipapa ganyan. Core memory ko palagi yung mga times na mag bbreak time kami sa pag gawa, tapos kakain kami sa almusalan na malapit o kaya bibili pandesal sa umaga, tapos everytime na ganun habang kumakain pinaguusapan parin yung kanta.
Vlad: Core memory ko talaga yung nag record kami ng “Lemon” tapos pinagkasya lang namin yung buong drumset sa kwarto ko na halos isang dipa lang yung lapad. Sobrang init nun tas shirtless kami lahat. Isang core memory din yung nilabas ko yung setup ko sa dirty kitchen namin sa likod ng bahay, kasi bumabaha sa kwarto kapag umuulan. DIY!
Kiyan: Kung may core memory ako syempre yung pinaka una pa, noong mga first time ko sumama sa kanila. Naging comforting siya sakin lalo noong mga times na hindi ako okay sa bahay tapos dito ako nagste-stay kila Vlad. Tapos gumagawa lang kami ng mga demo. Dun na rin ako natutulog. Naging core memory yun kasi dun na ako nakakapag cope.
Emman: Kakaibang space talaga yung bahay nila Vlad. ‘Di lang exclusive sa Matoki yung lugar na yon, naging iconic center rin siya ng iba’t ibang DIY artists at collectives at naging venue ng mga full band shows, film screenings pati mga educational discussions. Bilang member ng Matoki nakita ko yung evolution ng bahay nila Vlad bilang creative at community space. Dati tawag pa namin don ay Volzak studios noong kami-kami pa lang hanggang sa naging Scrapyard at Dinosaurs in my Studio nang mabuksan na siya sa mas maraming tao. Tingin ko isa yon sa magiging iconic na lugar pagdating ng araw. Napaka-modest at rugged, napaka-Filipino, kaya sobrang disctinct din talaga ng mga lumalabas na mga art doon. Meron talagang characteristic ng pure passion for music and community.
Isa ring bagay yung kapag trip na trip mo yung genre ng banda mo natural siya na lumalabas e, lumalabas lang kusa yung mga ideas minsan habang tumutugtog o kaya sa studio o kaya minsan sa pag buo ng kanta.
-Ivan Casillano
FA: Ivan, bilang drummer ng Walktrip bago ka naging bahagi ng Matoki, paano mo hinubog ang sarili mong role bilang drummer ng bagong banda?
Ivan: Bago pa ako maging member ng matoki soundtrip ko na rin talaga sila, naalala ko unang house show kela Vlad tumatak sakin yung kantang “Strawberry Girl” na-LSS ako lalo na yung bass part ni Yancy ang ganda lang kase pakinggan tumatak yon sakin. Simula nun soundtrip ko na siya hanggang sa na iimagine ko na siya kunware ako pumapalo. Masasabi kong masaya at di naman ako ganon nahirapan mag adjust kase trip ko din talaga yung pinaggagawa namin sa Matoki, tsaka kusang lumalabas yung pagiging creative makabuo ng part ko bilang drummer sa mga song writing lalo na pag iisa kayo ng naiisip at nag kakasundo kami. Isa ring bagay yung kapag trip na trip mo yung genre ng banda mo natural siya na lumalabas e, lumalabas lang kusa yung mga ideas minsan habang tumutugtog o kaya sa studio o kaya minsan sa pag buo ng kanta.
FA: Anong mga pagbabago o adjustment ang kinailangan mong gawin sa style o mindset mo sa pagtugtog?
Ivan: Siguro ano, iniisip ko lang na wag makuntento ganon, kailangan practice lang nang practice para di rin mawala yung gigil mo kada gig tsaka maging healthy din tinatry ko talaga umiwas mag bisyo kase nakakapagod maging drummer sa totoo lang nakakahingal [laughs]
FA: Para sa inyo, ano’ng pinaka-masaya o pinaka-fulfilling sa pagiging DIY at sa pagkakaroon ng buong kontrol sa galaw ng banda?
Vlad: Sobrang fullfilling maging DIY band dahil sobrang genuine ng lahat ng lumalabas sa amin. Kahit sa sound mismo ng music, yung technicals, yung mixing and mastering, sobrang rough around the edges kasi kami lang gumagawa nun. It could be better, of course, pero that quality is just us being honest about what we have. Still, nag-strive parin naman mapaganda pa yung music quality-wise. Fullfilling din kapag may natatanggap kami na support, kasi I just know na genuine din yun. And we also feel more connected as a community, rather than having a definite line between artist and listener, mas bineblend yun ng DIY underground scene kasi honestly, we’re just like them, no different. Mahilig din kami sa music, at most of the time, we stand by the same issues and advocacies. Speaking of, sa pagiging DIY din, we can say what we want nang walang nag hoholdback, so we can voice out our opinions about things that matter in our society freely.
Photo from Ian Arevalo/505
Yancy: Isa sa pinaka masaya at fulfilling para saken ay yung mismong ideya ng DIY na kayo bahala sa lahat, kung paano kalalabasan dapat ng isang track at kung ano yung gustong sabihin sa kanta na yun, walang naghhold back at syempre walang external factors na galing sa ibang tao bukod sa amin. Feel ko mas nagiging malaya at genuine kami sa ganung paraan, isa na din yung pagkakaroon ng buong kontrol nga sa galaw ng banda, sa ganong paraang mas nagiging malapit kami sa mga tagapakinig kasi kami mismo most of the time gumagawa ng paraan para mailabas sya sa streaming platforms, matugtog yung mga kanta namin sa mga gig, hanggang sa pagse-sell ng mga merch at ng mismong kanta, fulfilling sya lalo nakakatanggap kami ng suporta mula sa mga kaibigan namin sa eksena sa DIY underground. Naaalala ko dati kami kami talaga nila Emman nagbuburn ng mga CDs sa kanila, tapos kasama namin sila Yones sa pagaayos nung mga lalamanin ng CDs (tracklist, artprints, stickers) may mga times din nun na pag around Pasig lang ang order ng mga merch sila Vlad at Kiyan mismo tumatagpo sa mga nagoorder.
Kiyan: Isa sa pinaka naging core memory ko ay nung mismong ang pag produce ng mga merch namin ay isa sa naging bonding namen ng team, mula sa pag hahanap ng raw materials hawak namin CD case, CD, brand ng shirt at sa mismong pag quality control kami narin.
Ken: Fulfilling sa pakiramdam na meron kaming control sa galaw ng banda. I mean, yun rin naman yung essence ng pagiging creative. Siguro yung masayang pakiramdam na nakukuha namin dito is, yung feeling na nakikita namin nag wowork paunti-unti yung mga bagay na gusto namin na ini-envision lang na mangyare, Although madalas di yun yung ineexpect na result. Pero, at the end, we are making something happen with the help ng bawat isa. As the latest member lang ng Matoki, siguro mag didiffer ang core memory nila saken pero para saken yung Under My Skin tour. Ramdam talaga lahat ng emotion. Inside Out core memory talaga.
Nadevelop namin magkaintindihan sa mga bagay bagay, nagkakaron ng shared love sa ilang specific na approach at arrangement sa paggawa ng music.
-Yancy Yauder
FA: You started out as just three members in a band, and now you’re a six-piece, all growing together as young adults with different personalities but all sharing a love for music. How has that shift in time affected how you move as a group?
Yancy: Nung tatlo pa lang kami, early post-pandemic hanggang early 2023 sabihin na natin na we spent time together talaga as a band most of the time, posible sya noon kasi online classes pa yung school sa amin tatlo e kagagaling lang pandemic, nagagawa naming magsama sama pa din kahit may pasok yung isa sa amin tapos asa 1st year pa lang kami nun 2nd year ganyan, nung mga time na yun din mas nagiging posible yung bonding na paggawa ng music, pagpunta kung saan saan, pagkain at pagtulog ng magkakasama sa isang kwarto.
Tapos ayun, dahil nga madalas magkakasama, nagkakaron kami ng shared thoughts or minsan kanya kanyang reflection sa mga nangyayari sa amin bilang magkakabanda, malaking tulong din yun sa creative process namin kase nadevelop namin magkaintindihan sa mga bagay bagay, nagkakaron ng shared love sa ilang specific na approach at arrangement sa paggawa ng music, isang halimbawa na lang ay yung sa creative process ng “Ayoko Ono”, lahat kami nung time na yon, gusto lang gumawa ng shoegaze track na mabigat pakinggan at taglish yung lyrics pero at the same time ay less is more yung pagkakasulat, tapos ayon na, may track na agad. Pero syempre as time goes by, bukas naman kami dun na unti unti pabalik na ulit yung “new normal” na routine ng buhay natin around early 2023 din, nagkaron na ng mga onsite na klase, nagkaron na din ng oras para sa hustle para kumita ng pera at masuportahan yung sarili at yung craft na ginagawa namin, as in dami na nagbago din lalo sa creative process dahil nagkaron na din ng limitasyon yung band time, may mga times na online na lang kami nagkakaron palitan tatlo nila Vlad at Emman, unti unti din nun nadagdagan na kami sa banda, andyan na Ivan at Kiyan, nagkaron ng mas malaking pagbabago sa banda at kung paano sya nakakapag work pa din as a group, siguro sa kasalukuyan ang pinaka naging itsura nya ay ganito, madalas mas si Vlad na lang ang nagsusulat at naglalapat ng guitars tapos minsan din share sila ni Kiyan sa isang track, medyo naging limitado na yung makapag input ako or si Emman sa songwriting process, bihira na din mabuo pag may recording, recently si Ken pinaka bagong member namin sya na katulong din ni Vlad sa pag iinput ng ilang guitar parts sa ilang tracks na ginagawa namin ngayon as a band.
FA: Do you ever fear yung mismong oras na lumilipas?
Yancy: Oo siguro, may fear sakin sa bawat araw eh– na pano kung lumipas lang ulit tong araw na to na wala ako masyadong nagawa para sa mga bagay na gusto kong ginagawa at gusto kong maging hahahah, may fear oo, kasi lagi pa nga din akong may baon na pang soothe sa sarili na “ayos lang yun kailangan lang din natin huminga sa oras na to para sa mga susunod na araw mas kayang higitan yung dati”
FA: Kiyan, ang creativity, skill siya na kailangan talagang alagaan kasi once mawala siya, mahirap na siyang balikan. Sabi mo nga, ang dami mong nakikilala at nakakasama tuwing may tour. Paano ka nananatiling inspired sa creative side mo, lalo na’t ang dami mong roles in and outside of the band?
Kiyan: Sa totoo lang, may mga oras paden ng burn out, hirap ako sa pag handle ng creative side ko at madalas na uuwi ako sa pag self isolate, pero everytime naman makikita ko yung needs at struggles ng banda at mga kabanda, onti-onti kong nahihila yung sarili ko pabalik, sa simpleng pag tulong lang kase kagaya ng pag ayos ko sa gitara ng mga kabanda nakakaramdam na ulet ako ng spark kase alam kong nakakapag express ako ng art ko sa ganong paraan.
FA: Pati din mga fashion style ninyo, parang pwede na ata kayo mag karon ng cover sa Oz Magazine nung 70s era eh… do you pay attention to certain fashion identities dito sa eksena?
Kiyan: Wow, sa totoo lang, diko alam eh. Madalas naman kung ano lang yung masuot namin, saaken non dati basta black tapos nag evolve sa “ay gusto ko to kasi cute” sa simpleng uniqueness ng isang damit na appreciate naman na namen, floral patterns, zipper sa kung saan mang parte, skulls, cute na skulls, kulay purple.
When i first started trying music i always had this inner thought na better gear equals better music, although i know deep inside na hindi naman, i always strive to get better gear imbes na mag start ako gumawa ng mga kanta. When i saw the process of Matoki face to face naging malaking sampal saken na they were able to create something from nothing na parang big bang.
-Kendrick Tuazon
FA: Kung may masasabi kayo sa mga sarili niyo noon, ngayon, at sa hinaharap tungkol sa takbo ng career niyo, what would you say to them?
Vlad: Masasabi ko sa sarili ko dati, “Wag mo masyado ipressure yung sarili mo sa mga bagay bagay. Take it easy, okay naman dito. Saka mag practice ka mag mix araw araw.” Sa ngayon, di ko alam eh. Sa future self ko naman, “Wag mo kakalimutan kung bakit ka gumagawa ng music.”
Yancy: Sasabihin ko sa noon na ako, “Tama yan, pinili mo yung mas gusto mo kesa sa tingin mo na mas dapat gawin ng mga kaedaran mo dati.” Sa ngayon naman, “galingan mo lang palagi, YG!”. Sa future na ako, “Kahit ano mangyare, proud sayo yung batang ikaw.”
Ken: Sa sarili namin noon, masasabe ko lang na marami kayong regrets ngayon pero alam kong sinubukan yan i-handle ng mabuti ng kayo ngayon. Sa sarili namin ngayon, kailangan natin kayanin para sa hinaharap natin. At siguro “kamusta?” nalang sa hinaharap namin.
Kiyan: Yung sasabihin ko sa noon na ako, alam ko sobrang nakakaligaw diyan, wag mong kwestyunin din yung pinili mong landas kase lagi mo namang trinatry na umokay yung kalagayan mo. Sa ngayon naman na ako enjoyin mo pa yung proseso at wag kang mag sawang tumuklas ng bago kase lagi kapaden nag tatry. Sa future na ako sana hindi kapa pagod mag explore at gumugusto ka paden subukin ang limits mo.
FA: Ken, Sabi ni Vlad dati na ikaw yung missingpiece ng Matoki, bilang pinaka-bagong miyembro, ano ang mga inspirasyon (or emosyon) ang tumama sayo habang pinapanood mong gumagawa or tumutugtog mga kaband member mo/ paano mo naramdaman na parte ka na talaga ng grupo? Narereflect ba yun sa mismong rhythmic style whenever you’re performing with them live?
Ken: Sobrang laki na inspiration ng Matoki sa paggawa ko ng kanta, na kahit miyembro na ko neto masasabi ko na big fan ako ng Matoki. when i first started trying music i always had this inner thought na better gear equals better music, although i know deep inside na hindi naman, i always strive to get better gear imbes na mag start ako gumawa ng mga kanta. When i saw the process of Matoki face to face naging malaking sampal saken na they were able to create something from nothing na parang big bang. Dun sa sinabi ni vlad na missing piece ako sa banda, I think the same applies to them for me, sila yung push na hinahanap ng utak at katawan ko sa paglikha. binago ko yung playing style ko to blend in (which i enjoy). Pero naramdaman ko lang na naging part ako ng banda nung pinaramdam nila saken na nahihirapan sila na maging kabanda ako. but thats for another story 🙂
FA: Do you find any pressure or freedom in being seen as a “Heartthrob” or figure in the scene? Does it affect your musicianship, if at all?
Ken: HUWAAAAT MAY GANUNN…buong Matoki heartthrob, boi… Ang nakakaapekto lang sa musicianship ko ay ang hindi pag practice 💔🥀
FA: Vlad, paano mo pinagkaiba kung alin ang dapat gawing kanta at alin ang mas bagay manatiling personal na tula?
Vlad: May something sa mga sinusulat ko na bigla nalang mag cclick e, may bulong sakin minsan na gawing kanta ang mga random na sinusulat ko, ganyan nagsimula ang ilang kanta namin, example nun yung Ohana. Yung kantang yun, tula siya, nasulat ko siya sa notes app ko, tapos naalala ko lang siya nung patulog na kami sa bahay ni Emman after mag record ng isang kanta. Nirecord ko yun habang tulog sila. Ganun na rin yung sa ending part ng “…Makiling Trail”. I’ll say na walang pinagkakaiba ang mga tulang sinusulat ko sa mga kanta, parehas sila ng pinanggagalingan at most of the time, pareho ding di nagrrhyme. Pero kung meron man, siguro if it’s simpler or more brief to fit into a melody, or recite into rhythm, I guess it’s a song. Minsan di rin sa tula nagsisimula e, sa mga simpleng kataga lang, katulad nung sa kanta naming “Malimit”, ang coda na “Nandito lang ako, sorry kung malimit maglaho” that just started out as that phrase and we developed it into a song. For me, poems and songs take the same route, but of course writing a song needs to have that musical charm to it.
FA: Sino ang songwriting Jesus mo?
Vlad: Marami akong tinuturing na messiah ng songwriting spirit ko, honestly it varies from time to time, like asking me my favorite bands, I’ll say it’s complicated. But if I could answer specifically right now I’ll probably say Sam Ray of Starry Cat and specifically on the Julia Brown project. I liked how they say simple things and turn them into songs. I always say it’s the simplest things that hit the hardest, the most mundane things most interesting. Runners up that come to mind are the various, mostly local pinoy artists who were the reasons I cherish my soundcloud account, one of them being my favorite Heavenly Nobody.
Tingin ko ang pagmamahal ay tungkol sa connections that we make with different people kahit na fundamentally we are all different beings. When we find something that we bond with together. It’s like they’re filling empty puzzle pieces you didn’t know you had until you feel it.
-Vladymir John
FA: What can you say about your songwriting or instrumental muses? Do they bring the music to you, or do you express your love to them through music?
Yancy: Kapag inilalaban mo parin na maglabas ng something or magexpress gamit music, diba parang nag pe-payback ka narin sa mga taong naniniwala sa ginagawa niyo at syempre sa sarili mo na din na dapat unang maniwala na posible yung mga bagay?
Kiyan: contradiction sya para sa akin. Minsan kahit sa pag express ko ng thoughts ko, ang naiisip ko agad eh kung maiintindihan ba to ng makakabasa? tapos nag lilinger lang yung thought na yon saakin, kahit mag express ako ng para sasarile ko, feel ko may manifestation nadon ang pag isip ko sa ibang tao.
Ken: Siguro both. Sometimes, sila nag bibigay ng inspiration for us to create something out of what we think of them, and vice versa. We sometimes express our love for them through music. Though, di naman siya nag rerevolve sa significant other lang. It could be our friends, the music scene, yung crush mo nung highschool, sa aso mo, sa mapang aping estado, kahit hanggang sa paborito mong inumin. The good thing about songwriting muses is never yan mawawala.
FA: With that being said, ang pagmamahal ba ay mas tungkol sa koneksyon sa ibang tao o sa pagiging mag-isa/solitude?
Vlad: Primarily, kapag nagsusulat ako, it’s also my way of letting my thoughts flow out of my head. Lalo na kapag overwhelming. Swerte lang rin ako na naeentertain ng bandmates ko yung thoughts ko kahit ang corny minsan. Tingin ko ang pagmamahal ay tungkol sa connections that we make with different people kahit na fundamentally we are all different beings. When we find something that we bond with together. It’s like they’re filling empty puzzle pieces you didn’t know you had until you feel it.
FA: Kaya bang ipahayag nang buo ang pagmamahal sa pamamagitan ng musika, o palaging may kulang pa rin sa mga salita at tunog?
Yancy: Hindi fully talaga masasabi na maeexpress mo sa salita at tunog yung pagmamahal, palaging may kulang sa mga salita at tunog oo, pero isa sya sa mga paraan para masabi mo in the most simplest way yung “mahal kita”, pero ayun hindi pa din sya dun natatapos lang, hindi sya buo ibig sabihin, palaging kasama pa din yung mararamdaman at masasabi ng nakikinig.
Vlad: Feeling ko sa pag gawa namin ng music, attempt lang yun sa pag express at pag decode ng mga bagay na mahirap ilagay into words. Or, attempt siya to say something in a limited canvas, or the runtime of a song. It will never be enough to express the love I feel for the people I write about, but it’s worth every word I give. Also, it’s like saying, “I love you so much that this came out of it.” Naniniwala rin akong hindi lang sa lyrics ma coconvey ang ibig mo sabihin sa isang kanta. It’s the reason kaya major ang influence sa amin ng Post-Rock at Shoegaze. Most of the time, nag sstick kami sa [mantra na] less is more. It also feels very intimate. Lagi ko sinasabi sa kanila na fan ako ng pagtranslate ng “mahal kita” in the simplest ways. That’s how we always try to write music.
Ken: Oo! palagi. Words aren’t enough, that’s why we made it into a song. If it still isnt enough, isasabuhay namin yang kanta nayan.
Following the release of their first single “Imaginary Party”, Bacolod’s budding rock project Novocrane doubles down on their dream pop style with their second-ever single “Safe and Sound”. Studious listeners will remember a bare-bones version of the track being teased a year ago on their Soundcloud under the name “from there,” but now it’s polished with their aesthetic that meshes indie rock and dream pop.
In contrast to their first single, “Safe and Sound” takes an introspective turn and looks inward. The song tackles the conundrum of self-isolation. Kai Sevillano, the band’s lead, gives the listener a front row seat to her thought process, presenting the quandary ruminating in her mind: While one can find refuge in being alone, the suffocating demand for human connection is ever-present. The songwriting adds a layer of candidness to the words that is evocative of an anxiety-induced trail of thought and gives room to showcase her warm and intimate vocals.
The vocal performance and poignant lyrics are only accentuated by the marriage of indie rock and dream pop, which is becoming a defining feature for Novocrane’s overall sound. The way the band coalesces the grungy guitar and high-attack drums with bright, glittery synths drowned in reverb creates an atmosphere of angst that will make you bob your head while you rethink your approach to relationships. In combination with Sevillano’s resonant vocal performance, it yields such a cohesive sound that it’s hard to believe that this is just their second release.
“Safe and Sound,” along with their previous single “Imaginary Party,” lays a promising groundwork for the Novocrane’s growth. Their charming soundscape has once again proven to be a welcome addition to the indie scene. With this track being only their second-ever official release, fans are eager to see how they expand on this fusion of genres in future projects.
Like specks of sunlight huddled in one dark corner, “quarters” read like that old photo booth picture, that long-lost receipt, or that tattered candy wrapper at the bottom of your pocket. The tracks, if anything, feel homesick for another universe. Infused with ethereal accents and soft imprints of shoegaze, certain tracks, especially “2nd room”, a lengthy 7-minute song, are perfect for spacing out in the middle of Maginhawa, as a flurry of pollution fills the lungs with something ambivalent. Despite its longevity, through drifting and spacey lyric composition, the song seems to defy all odds of time. This seems to be the case for &ND, even with other tracks like the remastered version of “Best of Luck” which boasts a duration of 5 minutes, which somehow, one way or another, manages to distort our concept of how long a moment lasts. It seems like making something fulfilling amongst a sea of boredom, like when you’re in your living room sofa, and you turn the TV on to satiate the room with sound, just to reckon with the emptiness.
Quarters is meant for those who were aficionados to the likes of Ourselves the Elves, amidst the height of Armi Millare, when everything circumvented within the seams of moonstruck yet hard-boiled indie ballads. Blurry images layered over thick pastures of grain, the EP recovers what was lost prior to the pandemic — that hypermnesia for hopecore edits and patch tattoos, riddled with a plethora of late nights by the fluorescent glow of Angel’s Burger. The EP, finely drawn in its faded outfit, ceases to ever decline when it comes to the long-standing culture of diaries and sundried flowers plastered against cigarette butts. Therefore, ultimately, makes the statement that while we are moving forward, we are still, at the end of the day, figments of an old cast, begging to break loose.
It goes without saying that a throwback like quarters, gives a nod to ‘those days’ of once being a student and stocking up on caffeine, all the while tracing back one’s roots amongst the tangled cords of an earphone. More fluid in their approach to genre, this indefinite notion provides the ability to delve into other sonic characters in the future. “quarters”, unlike other projects loosely borrowed from shoegaze, touches on the genre lightly, permitting more capacity for revisiting its tonalities within their own terms — these terms that immerse its toes into dream pop, bringing more uplifting, effervescent qualities into their sound.
The EP is a stand-in for sensations of a lost memory, as it sings “If I were old, old to stay/I would love to lay and just wait”, exemplifying what it means to have a doubled intuition for recollection toward an echo, acting as a souvenir to what led us here. “quarters,” in its stillness, flows with reverb and resonance that can only match the waves, one sweep lesser of a tide. &ND feels like a reactionary project to the post-Megumi Acorda generation, amplifying that accent of unmistakable transcendence.
It’s not unbeknownst that everyone has been stuck amid uncertainty and ultimately seeks comfort in the limerence shoegaze and dream pop emit. Five years of amalgamating ten tracks that challenge the umbrella terms under indie-rock, Lara’s debut album, Disambiguate, intimately transfigures their sonic ability to provide solace amidst uncertainty. A question riddled with intimidation crawls: how intimate can Lara get?
As an introductory instrumental track, “Flight Patterns” defines the essential stylistic sounds of dream pop– it invites the listener to the parameters of psychedelia through its behind-the-pocket drumming, synth work, surging waves of the guitar’s overdrive and modulation, and the mixings in post-production don’t ruin its essence of fuzzy shoegaze. Following the hearty motifs of melancholia in the first track, we are introduced to Jedidiah Tabago’s vocals for the rest of the album. Tabago’s vocals in itself are not bad, perhaps a broader vocal resonance while singing longer notes could help his vocal abilities stand out more. The instrumental tracks of “Ambiguate” are loyal to the artist’s thematic vision of love and loss; “Sonoluminescence” in physics is the emission of light from imploding bubbles. Lara forms cavitations and fulminates an otherworldly auditory panorama, lighting up an entire city in their crystalline song craft and fully understanding the assignment when it comes to instrumental tracks in post-rock albums.
However, the poetic dexterity found in the lyrics all throughout the album is splendid to the ears and further uplifts Lara’s song crafting.
In “Countenance” the lines “Indulgence of each other is our delight / Savor every second if this” use sensory language to illuminate the listener’s auditory experience. The lyrics and its execution hit the brain’s neuron like Cupid and his bow in the way this song elicits lust.
Though the album remains cohesive despite the vouch for experimentality in the spectacles of the Indie Pop/Rock genre, “Peaks” explores the ambiguity of noise haphazardly. Although it is a fairly good track, it isn’t sonically incohesive; the rather unserious approach to the ad lib/sound effects such as “bruh”, “yahoo!”, and Minecraft noises used ruins the flow of the album due to its Aphex Twin-like approach and distance from the limerence the narrator in the earlier and later tracks seems/seem to be going through.
However, the atmospheric endeavors emulated bring justice to the experimental pathway they are in: “Loss” stands out softly. Both versions included in the album exhume a hopeful gesture toward the arbitrary happenings in life but in actuality, it is a story where the narrator follows a path down the “what could have been versus what actually happened” lane. Nearly twelve minutes of both versions combine to answer the question of intimacy these twenty-somethings showcase in their sonic ability, that the passion is ever present and it is engulfed with thought, and purpose, and disambiguates the oneness of life.
Overall, Lara’s debut album is purposive and promising. Their ability to diverge from various sonic fields is frisky yet intimate– although their vocal work could use some improvements to justify their simple yet superb lyric ability.
There is something spellbinding about Chinese Garden’s debut single, “In Hiding.” From the first note, the track pulls you into a world that’s haunting and hypnotic. The lead vocalist’s longing, almost yodeling runs are the centerpiece, weaving through a sonic landscape that feels both intimate and expansive. Twisted electronic textures flicker in the distance, while sparse, echoing instruments create a sense of unease. Meanwhile, the loud, fuzzy guitar in the foreground anchors the track, giving it a visceral edge.
The band’s mellow arrangements and poetic syntax feel tailor-made for the yearning hearts and restless souls of “In Hiding.” The production teeters on the edge of collapse, like a glitching computer on the verge of melting—yet it never loses its grip. Instead, it adds a layer of unpredictability that makes “In Hiding” all the more compelling. Bright, shimmering guitar tones cut through the haze while the delays stretch into infinity, creating a dreamlike atmosphere that’s hard to shake off.
“In Hiding” speaks a language that resonates with dive bar scenesters and acoustic purists who’ve embraced the digital age. It’s a track that defies easy categorization, drawing comparisons to Phoebe Bridgers and Snail Mail but ultimately carving out a sound entirely its own. By the time the song ends, it’s clear that Chinese Garden isn’t just another band in the indie crop—they’re a unique force that’s unafraid to blur the lines either from the organic and the electronic, the nostalgic and the futuristic. The track lives in between.
Wishing It Was Sunday is not only an impressive debut album; it is a cohesive album that explores the coming of age, but not in a deep, intricate, or deleterious way.
Cinema Lumiere, derived from the Lumiere brothers whom of which invented cinematography, stay true to their band name– they create cinematic music that assimilates the true essence of the Slice of Life idiom.
When listening to this record in one sitting, you’re guaranteed to feel some ear tingles every time a xylophone is used in a track. It’s a record that you can listen to at any time of day, whether you’re sitting in a library and cannot be arsed to create a study playlist, or when you’ve finally succumbed to your main character syndrome and all that’s missing now is your very own OST.
The theme of coming of age along with melodies that sound very Slice of Life are most prominent in tracks like “Longing For You” and the first track which shares the same title as the album. Tracks like“Like A Dream,” “Into The Sun,” and “Act Happy” also seem to follow inspiration from Japanese dream pop where airy vocals mixed with stretched-out, lushful synths create an atmosphere similar to the 80s music scene.
It is also worth noting that the terrific album art is an illustration that takes place in Japan; you can see a young adult holding a Japanese Koinobori Kites that are typically brought outside during the months of April and May (spring), symbolizing and representing children, childhood, and childlike ambition or perseverance.
On the first listen, I questioned if Wishing It Was Sunday was the type of album that you play in the background to muffle the silence in your surroundings. Looking at Cinema Lumiere’s only existing music video on YouTube, I wanted to see the visuals of the tunes that they make. Could “Change of Heart” have a Wong Kar Wai-inspired music video made on an old digicam? Or is it up to me, the listener, to decide what visuals I want to associate this album with?
I asked myself: do your conversations with friends overpower the music? Or does this album make you want to stop and just listen?
After a few adventures outside with only this album on the loop, I think the latter question is the easiest to answer.
