Written by Elijah P. Tsuyunoshi, a young up-and-coming contemporary pop and r&b act hailing somewhere in Southern Metro Manila made some noise on the Soundcloudsphere for releasing catchy-as-hell bops and frequently collaborating with producers and performers who specialize in playing around genres that involve heavy percussion and lighthearted Ne-Yo-esque production (may it be drum and bass, dubstep, or 00s r&b). ‘joshwa’ — a producer based in Seattle, by way of Honolulu, whose frequent collaborations with Tsuyunoshi earned both performer and producer their own respective spotlight in the international r&b and rap spotlight in the United States — assists their compadre carry the entirety of their debut full-length 2004 to the Discord music scene and the entire world. For the clueless reader still begging who in the world is Tsuyonoshi: Where does “2004” start? At what point in time does the album begin? The album’s main star kicks off the album with weepy lyrics and a whiny hook, both possessing catchy and chant-worthy moments wherein Tsu’s voice doesn’t reach to a point of overbearing; “astray” starts and finishes with joshwa’s guitar chords serenading the listener. Tsu continues to bob and weave joshwa’s playful production choices, injecting anthemic melodies per syllable, consistently driving the track forward even if the guests try to surpass each other. “sidetracked” — one of the album’s main highlights — Tsu battles with balancing the valuable love language of spending time, alongside the dense production that adopts a clunky style, a sound that’s matched with Tsu’s running thoughts as he sings the words out loud in panic mode. “twofaced” adds lush guitar picking, funky synths, and the occasional high notes; the climactic vocal registers is honestly a skill Tsu needs to be recognized more besides the celebratory whiny vocal style. Overall, the entire album runs in 17 mins and 7-tracks. From the get-go you would ask yourself whether or not the relatively short length constitutes an “album”; But by the end of the day, the quality of the music speaks for itself. Tsuyunoshi’s “2004” proves that their ideas aren’t restrained by the limited length. The ideas in question: back-to-back banger r&b vocal stylings amplified by genre-defying production, the soft-loud dynamic highlighted by its tireless performance, and Gen Z’s massive influence in combining vibrant sound choices in the fold. Support the art & the artist:
Tag: Elijah P.
ALBUM REVIEW: The Juans – Liwanag
Written by Elijah P. Drum pads, Christian Rock leanings, K-pop cosmetics, and musings of the neverending main character syndrome; Yep, it sounds like The Juans album alright. The then-boy band turned full-fledged conventional band has hit their momentum a year before pandemic, releasing the acclaimed Umaga EP last 2019, gaining fans and recognition besides their commissioned movie soundtrack credits here and there – dropping songs for blockbuster romantic movies like Sid and Aya, Squad Goals, and 100 Tula Para Kay Stella. The leather jacket-wearing, Gatsby hair-scented demeanor took a 180 degrees with the band now donning colorful suites, dead synth pop trends, and oppa-leaning touch ups for their latest album “Liwanag”. The album starts off with the band introducing themselves with 39-second long harmonies then transitioning to the insurance company, Manulife-type instrumental: tribal pop drums, motivationally charged vocal melodies, ocean-sized chorus pedals that’s blander than their music video color grading. Besides the pop trap left turns in several songs, “Anghel” is the only tolerable track in the entire album. The Juans’ “Liwanag” have hi-fived themselves to their doom. Executing the worst parts of homogenous sonic variation, or a lack thereof, nearly all of the songs in the album are barely worth mentioning due to the identical song structures, sonic aesthetics, subject matter that’s already achieved even before the band has existed. The album ends off in the sourest note: The sonic alettes noted down are already mentioned, and it’s almost pointless to even elaborate the stagnant compositions. The Juans are already out of touch from the get-go. Link:
TRACK REVIEW: Thursday Honey – All The Time
Written by Elijah P. Thursday Honey has bounced from promising big-band r&b-slash-alternative pop 7-piece to a toothless, tiresome brady bunch of slackers in their latest track “All The Time”. While they benefit from being a younger version of sophisti-pop’s past, reclaiming the white-tee-hanged-on-the-college-dorm-room music doesn’t seem to be tailor-fit for the neophytes. The 7-piece have combed their way in and out of the slick saxophone solos and comforting instrumentals backed by a singer whose voice cracks and slurs more often in the recording booth – a singing style that’s dryer than their entire discography. Their whole function as a band works like a “Prom Band 4 Hire” music project; It works, it’s fun, but only for special occasions. However, the band has shown what could be their fullest potential on the happy-go-lucky templated debut that is “hey, i’m greg” — their first release under the O/C Records imprint last October 2020. Before this, they’ve been wearing their influences in their striped-long sleeves. They decided to channel that again in “720p”, a laid-back, slider-assisted melody that’s dragged, initiated a yawning session, and thrown off by the united chamber-y r&b aesthetics. For “All The Time”, the template barely changes, but the snail-paced tempo made it even less tolerable compared to their previous singles. Despite the impactful, lush build up by its chord structures and vocal performance by the second half, the track barely makes it an inch step forward from their past works. Thursday Honey have not earned the stripes as a massive unit of a band that could’ve been maximized dynamically, and surpassing their potential doesn’t seem to be their goal at all in the meantime. Support art & the artist:
TRACK REVIEW: Joy Fiction – Will I ever be myself again?
Written by Elijah P. The Soundcloud algorithm has yet to meet another goldmine and the golden shovel has picked up an anonymous artist that goes by the name Joy Fiction. Their hit-track “Will I ever be myself again?” sails the coast and rides the waves of the current bedroom post-punk revival. This is currently its 3rd or 4th wave at its point thanks to bands like Surf Curse, The Drums anniversary tour, and Tiktok guitar pedal vloggers. Those aforementioned symptoms are a part of something bigger, as post-punk’s current trajectory calls for another proliferation of DIY bands coming out of the fold, with similar material to spare and gear-fitted to wile out in your nearest local dive bar. “Will I ever be myself again” ticks all the boxes in being the bedroom post-punk that Beach Fossils fans are going gaga over: foundational drum machine, indistinguishable drawls, and an atmospheric guitar riff. Not much information about the artist is out there yet, however, his material stands out in the contemporary landscape of bedroom-made slowcore/post-punk; This track compared to a lot of post-punks bands today banks on empty, aimless percussion driven production that distracts the listener that there’s no catchy hook nor catchy lead guitars. The lead vocalist’s voice casts a gloomy shadow as chords begin to spring up along with the harmonies that continue to haunt the listeners to this day. Joy Fiction, please release more soon. Support the art & the artist:
TRACK REVIEW: Nateman, Realest Cram, CK YG – Akala Mo Ata
Written by Elijah P. Following the loss of Pop Smoke in the global music scene, Drill in The Philippines seeked to follow Pop’s footsteps regionally. So far as the current explosion shaking the local scene is concerned, Tagalog-written rap rendered a new type of aggression ever since its arrival. The hashtag #PHDrill took over social media for visibility and was utilized from names like Soulja444, Warhogs, Gabanna, and many more. The list grows from there, but there’s a new prospect in town who is reclaiming the sound, and eventually, picture their realistic depiction of gang life. Enter Pasayeño’s Nateman, Realest Cram, and CK YG tagging along; all three members leading the charge in today’s drill craze. With these elements all placed on the table, the group is surely picking up steam with a steady stream of heavy machine-gun clocking drill-induced mania in their single “Akala Mo Ata”. The overall bluntness, bass-shots-in-blank-range style of the genre ignited OLGANG to pick up the mic, show-off some footwork, and release one of the hardest tracks in history; CK YG rattling off from the dome, Realest Cram emulating East Coast’s most notorious voices to the hood, and Nateman raising the stakes, all the while hopping on a “California Dreamin’” sample. Chucking out gang signs unashamedly, threatening the oldheads, and warning the established names in the industry – these are reasons why names in the scene are etched in this long list of fearless rappers making their mark – and Nateman, Realest Cram, and CK YG are already making it in the big leagues. “Akala Mo Ata” isn’t just a group effort, it’s an entire movement leveling with the entire world scene of drill at large. SUPPORT THE ART & THE ARTIST:
EP REVIEW: Chall – Quezon Citypop
Written by Elijah P. Looking for an alternative sound is like choosing a specific category at a bookstore; the possibilities are endless. For solo artist Cloud aka Chall, he has familiarized himself with several sounds and chose to give it a spin in his YouTube channel; From the noisy walls of sound of My Bloody Valentine to the drunkard hypnagogic musings of Mac DeMarco — both artists nowadays are a dime a dozen due to their unashamed imitators regurgitating their ideas. And it is safe to say that Chall tries his hardest not to end up like one of his idols in his latest EP. Chall waltzes in the streets of Quezon City at the break of dawn. With a cigarette in hand, he treats himself to a dinner-for-one blowout in lieu of the release of his debut EP titled “Quezon Citypop”. His feelings regarding a lost love are as consistent as choosing a soft pink and red color palette, but musically, his actual output pales in comparison to his long-haired shredder persona online. In Chall’s first ever extended play effort, we hear passionate ballads track in and track out, breathing in the nicotine of everyday hustle and bustle while simultaneously breathing out the scent of sea salt by the shore. “Quezon Citypop” sounds exactly like you imagine: a hybrid of jangle pop hanging by the sea of city pop cliches. From track 1 to track 5, you get the idea that Chall wanted to replicate what was great about Citypop, but one thing he hasn’t made clear is what does it have to do with Quezon City? Our imagination with a genre that was prominent in the past feels hard to pin down in the EP. “Quezon Citypop” hardly imagines a better tribute with barely any heady songwriting — something Chall should brush up on in the future. At the opener “Midnight Moonlight”, the track bum-rushes the second the record starts. It was a sudden whiplash of bass slaps and uneven mixing choices that don’t gel well with the urban romanticism themes. As well as the consecutive tracks that followed such as “Easy Morning” and “Tanging Halik”, both tracks felt longer as usual due to its elongated song structures that bore more than they could amuse its listener. Additionally, the sheen on those guitar solos hardly echo right through the awkward hook writing. Neither can the occasional technical wankery can save the EP from being madly in love at its genericness. The last tracks like “Pretty Japanese” and “After Hours” are on the nose attempts at duplicating the aesthetics of City Pop whilst implementing a ‘sad boy’ twist in its lyrical themes. The only problem here is these themes barely work in that kind of unorthodox setup. The closing tracks yields an underwhelming afterthought that hardly values any relevance to its title and the production’s attempt at polishing a clean, jazzy, funky City Pop-inspired record. Chall’s “Quezon Citypop” represents stale ideas of a movement that’s gone way past its due. The lonerist upbringing hardly convinces and sways and it all the more sells cheap nostalgia, abandoning all original angles of what makes Quezon City a center for pop in general. SUPPORT THE ART & THE ARTIST:
TRACK REVIEW: Haute Couture, KURI MAW, All Rights – Salarin
Written by Elijah P. As ‘genre-bending’ pop music continues to pervade the comfort zones of many listeners in the 2020s, a new crop of producers are on a mission to challenge the conventions of those pop genres they have been sitting on for the longest time. Take new blood producer Alice Lunafel’s Haute Couture project for instance. For the past 2 years or so, Haute Couture has stitched musical ideas founded by the internet’s endless desire for audiovisual aesthetics. Ranging from dreadful drone side projects to a drafted love letter-structured UK garage, Alice’s undying love to tap into those territories instantly becomes a midas touch for most of them. For her latest collaboration “Salarin”, Alice invited Montalban-based rapper Kurimaw (PLAYA HATAZ) and Batasan’s very own All Rights (Hardknockz) for a collaboration that was spontaneous from the very beginning. But just like all unplanned events that’s involved with the creative process, it yielded fantastic results. For 3 minutes and 56 seconds, “Salarin” is loaded with ideas that are traded left to right: Alice’s first ever verse written in Tagalog, Kurimaw’s first foray into the world of experimental pop music, and All Right’s non-aggro and more laid-back take on themes of alienation and self-doubt; All of these performances have resulted in a mishmash of catchy choruses, a rewarding yet melodramatic synth-flute combo, and an explosive arena rock outro. “Salarin” is a blender full of glitch-y pop music, contemporary alternative rock-influenced rap, and all things that pushes those genres forward. For Northern Metro Manila’s newest rap pop stars Kurimaw and All Rights, they aren’t strangers to left-field production and peerless musical choices in their respective genres. Haute Couture just so happens to provide these previously mentioned rappers a boost for their creativity and sincerity in one track, elevating their talent to many different possible directions as a result. SUPPORT THE ART & THE ARTIST: N/A
EP REVIEW: LORY – s/t
Written by Elijah P. Parañaque’s very own desktop pop musician Mikee Mendoza aka Lory released their debut self-titled EP with the help of Terno Recordings. Like a tidal wave on a sunny afternoon, the 16-year old sophisti/city pop wunderkind virtually came out of nowhere. With their label distributor promoting their upcoming EP in the middle of a Facebook doomscroll, the chance of seeing a polo-wearing starry-eyed musician with a knack for guitar licks and synth-y embellishments are unmissable, unless you’re the type to follow Terno’s highly curated city pop picks in the past 3 or 4 years. Apart from this project, it appears that Lory could gel with the Terno crowd, only for a short while that is. Partly this is due to the uncharismatic vocal presence throughout the self-titled project. “Pleaser” and “See The Now” have outstanding chops in composing a colorful mishmash of riffages and bleeps, furthermore the guitar work emulates lounge-y theatrics and the laser-like synth presets hop in and out of the track whenever it likes. But to emphasize chops in a constructive manner, the singing barely carries any of the bright production that’s established in the EP; “Over (Now)” drags tremendously as Lory continues to become a grand champion at the annual snorefest, specifically in the vocal department. Its vocals have become a factor at diluting the soundscapes to mere copypasting of previous musical trends, such as the peak of Spadesmania or She’s Only Sixteen’s millennial Poblacion bar songwriting. Lory instantaneously drags the listener to its doom by providing an underwhelming closer to the EP. The production choices and its outlines are spick and span but its direction leads to a sonic dead end. To what looks like a fantastic from front cover to back listening experience, the debut project holds itself back in tweaking its gear to full throttle. Lory’s self-titled EP is a trial and error piece on city-pop sound design and a clear example of how its vocal performance could potentially end up in becoming a deal breaker for many. Support the art & the artist:
TRACK REVIEW: Jikamarie – “Kailangan ko ng….”
Written by Elijah P. Angelica Ponce aka Jikamarie took the Tiktok world by storm when she released her debut single “Lutang” — a synth-y r&b track that encapsulates our feelings that are in an absent-minded state — where it drew in colossal streaming numbers, a bunch of niche micro celebrities lip syncing to the song, and eventually made her land in a label deal with Warner Music during the last quarter of 2021. The track itself was a smash-hit for its infectious hooks, borderline-fantastical production, and leading synths that make a callback to electropop phases of K-Pop production styles in the mid 2010s. “Lutang” persisted throughout the rest of 2021 and marks a promising career for both Jika and her sibling-slash-executive producer Kenneth, establishing an early Billie-Finneas chemistry later on as she prepares herself in a post-pandemic world in 2022. Several months after the viral rollout of “Lutang” and countless other features across the industry board, it seemed like Jikamarie was about to reach the peak of her career as a singer-songwriter already. Mostly relying on Tiktok snippets and excessive remixes of “Lutang”, the debut single was about to reach its quota and it was high time for Jikamarie to churn out a new single before time runs out. “Kailangan ko ng” is a brand new single released days after the Valentine’s rush. It featured odd Korg-y bass lines, a cinematic chorus, and a weird, out-of-place bridge injected right smack dab in the middle of the single. To prove one’s artistic longevity is a challenge artists struggle shortly after they’ve hit their Smells Like Teen Spirit moment. But to Jikamarie’s benefit, “Kailangan ko ng” still stays true to her earnestness and drive, however, the end result has embodied the literal definition of a half-baked product. Being a one hit wonder surely is a curse, it’s a slump that’s taken for granted by many, and Jikamarie has experienced her first stumble in her latest single; The choruses have overstayed its welcome, a promising subject matter that’s interrupted by an odd choice in tone by the bridge, and a song structure that’s slightly identical from her past two singles — which are “bawi ako sa next life” and “Lutang” respectively. There are a lot more cons that outweigh its pros, to which it doesn’t completely apply to Jikamarie’s detriment entirely and surely “Kailangan ko ng” and its themes was able to conjure up a relatable feeling. But as far as repeated listens are concerned, Jikamarie’s “Kailangan ko ng” fails to be on par with the quality of her previous singles. SUPPORT THE ART & THE ARTIST:
EP REVIEW: neytan – Normal Pop Radio
Written by Elijah P. There’s an unspoken gap in synthetic pop grounded from the bedroom and r&b recorded in lapel mics, and the one way to address the void in between those genres are the acts that bridged it: Men I Trust, Clairo, and just to name a few. Those artists paved the way for DIY musicians to come up with ideas wherein they mix in several musical influences and ultimately come up with a singular, signature sound or movement. It was an itch longing to be scratched for many and yet it’s still missing the oomph everyone was looking to consider. For bedroom pop/r&b neophyte Nathan Ron Del Mundo aka Neytan, it comes across as if that itch has been scratched by his versatility and taste in his first ever EP titled “Normal Pop Radio”. Judging from the EP title alone, it looks and sounds like the 17-year old performer-producer wasn’t trying to duplicate an era that was lost, but rather he finds comfort in the strumming, the vocal twisting, and the mic cupping with additional themes of love, infatuation, and other what have yous that are sonic hallmarks in those respective genres. Tracks like “ALMANDINE” and “Malaysia” – the latter track being a loosie that isn’t on this EP but it exemplifies his knack for choosing appropriate melodies – are examples of hard-hitting and hazy production choices that best suit his vocal range. There are showcases of variety in genre choices but it’s enough to disjoint the EP even further. The filler tracks “SHE’S PRETTY (OUT OF MY LEAGUE)” and “CHICKEN WINGS” are products of soft soul and r&b that are easy on the ears but run on the mill if seated among the sea of songs that are identical structurally. It only makes it more superficially restrained rather than melodically consistent that would brand their identity later on. If anything “Normal Pop Radio” is memorable for, it’s the sheer potential the young up-and-coming musician can pull off sonically. However, his vocal chops could get a little bit of training before he can go full on Rex Orange County while surfing on those dreamy symphonies cascading to the drum machines. Neytan has a lot of work to do in the future, especially when searching for a natural sound to cling on and not rest on the laurels of his Discord contemporaries. Moving beyond one’s influences is one step closer to being a performer of a lifetime. SUPPORT THE ART & THE ARTIST: