Written by Elijah P. The ‘90s alternative rock revival is in full swing, with Twosday channeling Britpop sensibilities, Panjia exuding youthful energy and charm, sci fye embracing grunge-era aesthetics, and The Revisors paying homage to the Eraserheads with their songwriting groove. But wait for just a second, this isn’t a dig nor a reductive statement to compare the neophytes to an already lionized four piece. In fact, they are different. “Salagubang” would beg to differ if it were to play the game. Their 5-track debut EP is worth taking into account. “Salagubang” has a bevy of tracks that aim to reminisce an era and at the same time add something new to the formula: flourishes of guitar noise in “Alina”, the mixture of sunshine pop and chaos in “Take My Hand” or the rambunctious yet wholesome demeanor of “OK Lang Yan”. – there’s so much to pick in terms of highlights. Keoni, Raco, Ninja and Zell add a lot to the table with juxtaposing sensibilities of powerful vocal melodicism and fuzzy textures that add so much personality to their arsenal. Nowadays, the music industry is filled to the brim with vocalists and bands that overstay their welcome in terms of falsetto vocals and slow intimate pacing to add some sort of dramatic yet lazy, ineffective attempts. However, the band in question did it with a fresh mind and a redecorated take on the cliches that come with the conventions of standard “OPM” singer-songwriter rock. And with the formula in mind, The Revisors played it to their advantage in “Salagubang”. There’s an entire scene waiting for them, and the current modern-day power pop/pop rock circus is in good hands with the quartet entering the fold. Support the art & the artist:
Tag: Elijah P.
ALBUM REVIEW: Sica – GO SEE GOD
Written by Elijah P. On “Go See God”, Sica’s faith and love for the game are at a crossroads. Tip-toeing between fame, personal growth, the trust between family and their cohorts, and the community unfolding before his very eyes. At his expense, this is a result of Sica contemplating his own position as a family man, as a businessman and as a performer. It’s one responsibility after the other, ultimately leaving all the decision-making to the high almighty himself, the central figure of the entire project. “Go See God” sees itself trying to reach a higher state, quite literally reaching billboard status, where the hemispheres of heaven are at the reach of his fingertips. Resulting in a divine intervention of events that led him to where he is today. It’s a lot to absorb and you may find it anywhere in any hip-hop project. However, “Go See God” is different in the extent of the scene today – It doesn’t flex, it improves. It’s not just “chill” for the sake of a mood algorithm. It elevates the story to different heights. The production on the one hand carries heavily. It’s told through experiments of contemporary r&b, hypnotizing passages of phonk and psychedelia, and full band live setups: a full-length record where the sonic and production choices shine through. In previous releases, the Greenhouse Records and Kartellem affiliate has always stayed sonically dormant early on in his career. Bonus track closer “Opmat” featuring Waiian bookends and at the same time starts the album in a loop proving everyone wrong mood-wise. “Hue For Ya” was a colorful, icy-cold taste test, “Go See God” was the full course. Going by the monikers “Baby Blu” and “Prettyboypacino”, he lives the life with the chalice on the one hand and a hundred bands on the other, proving that living the fast life could lead you to the grave in “Intro”; “Bukas Pa” grooves in hopes for living another day; the title track “Go See God” rides through the clouds under the influence of phonk and a tasteful string section; “Young Stunna Inalude” eases its way in boom-bap; album highlights “Bad to the Bone” and “25 (Still Alive)” exemplifies the range of Sica’s crooning and strong hook game. After sitting 36 minutes throughout the dark of its after-hours, Sica hopes that everyone listening would be praying for his soul. He himself would testify that he isn’t alone in the journey at night. “Go See God” is a redemption arc in his story, this is an address to his younger self: “Hindi ako matakot mamatay/ Takot ako kung san ako pupunta/ But fuck it baby, we still alive/ At bahala na kung ako ang mauuna”. Support the art & the artist:
TRACK REVIEW: aunt robert – Mad
Written by Elijah P. Gabe Gomez, better known through their solo project aunt robert, explores indie rock and dream pop with a diaristic approach. Their Spotify bio emphasizes “I like writing short songs,” wholly embodying this sentiment by focusing on emotional depth rather than song length. In their latest single, “Mad,” Gomez is accompanied by a powerful wave of sonic textures—layered guitars and electronic swells of reverb—that create a walloping wall of sound. This sonic backdrop either ushers in a blissful catharsis or points to a bold new direction, moving away from their bedroom pop roots. “Mad” seeks to sound grandiose yet it remains grounded. It is a statement to the entirety of aunt robert’s material. The buildup in the track’s verses creates tension as aunt robert’s whispered vocals and the accompanying band build towards the chorus. The result is a peak that is both cathartic and a display of emotional unease. While it might may seem elementary to craft a song with both quiet and loud dynamics for some, the contemporary execution of these ideas makes “Mad” especially satisfying. The blend of uncompromising electronica, transcendental dream pop, and the innocence of singer-songwriter formulas comes together beautifully. aunt robert consistently delivered a powerful track, making it clear they know how to create something special. Support the art & the artist:
TRACK REVIEW: Alisson Shore, Yuridope – Ako Pa Rin
After nearly a decade in the music industry, Alisson Shore has carved out a niche for himself, creating a world of his own told through the full length format. He has a knack for selecting soundscapes, writing lyrics, and curating overall structures that set his work apart from most of his contemporaries. There are times where Alisson’s creative process often results in music that belongs in the electronic music spectrum than it is in the r&b spectrum. In his last album, Garuda, Shore explores the metaphor of a black bird soaring high and falling hard, blending elements of trap and R&B in a way that creates a cohesive imagery. Moreover, the album uses the bird figure to craft a fantasy-like tale or a tragedy seen through the eyes of a fictional character. It’s as if Shore is building a new realm with each track in different approaches in production style and vocal acrobatics. Fast forward to post-lockdown, with “Ako Pa Rin” featuring Yuridope, Shore continues this world-building, creating a musical universe reminiscent of a telenovela sequel jammed into one throwback piece. This single follows “Ako Ba Talaga?”, which subtly positions itself as a response to the previous single’s dynamic, almost nasty singy-songy dialogue between KLLY and Alisson over themes of infidelity. Rather than merely echoing 2000s music video aesthetics from Channel V or BET, Shore maintains a cohesive sonic thread through his singles with the help of strong visuals that portray a relationship in shambles as shown in cable television and told through old online forums. Each single builds on each other, blending nostalgic R&B with contemporary 2010s production in a hazy, dreamlike sequence. This approach highlights Shore’s storytelling ability and musical strengths, transcending beyond clickbait-y nostalgia. A Messenger app call alarm introduces the listener; It plays along as a narrative device. At the same time, a tool queued right when the kicks and snares go in. With Yuridope puncturing every bar and every invitation for a one-night stand, the featured rapper on the track plays with the flow along its rattling hi-hats, sliding pianos and record scratches. Alisson, on the other hand, follows through in a stronger, much more potent vocal presence and ingenious production that’s equally effective in “Ako Ba Talaga?” which had the nifty Ashanti “What’s Luv?” sample flip. One is to argue that on the surface, this is to highlight a bygone era of r&b, acting out of pure novelty and nothing in between. But listeners here would think otherwise, both singles belong in an era where Alisson Shore chooses to delve narrative-wise in hopes of elevating the story and its sonic cues. Is there a new album on the horizon for Alisson Shore? We’ll have to wait and see until the next episode! 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: 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: Shanni – 19
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:
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: 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: