Written by Jax Figarola The word “sprak” means rage, and rage, after all, is and can be feminine. For centuries, masculinity has been associated with strong emotions like anger and aggression, but realizing that women are always subjected to restrictions and objectifications and all the other painful suffering a woman must endure, then rage is exactly feminine. Pette Shabu’s SPRAK is experimental, transgressive, and confrontational. She wears the beats of industrial hip hop and electronic sounds of techno, metal, hard dance, and then struts, rampages, and jerks us off unapologetically into her frenzied world. The trans goddess asserts herself in the world that her art stems from navigating a violently gendered world, all of which are etched into every synth, every guttural scream, and every angst-laden bar born from personal struggles as a queer woman. With Pette’s lyricism and wordplay cutting sharply reminiscent of FlipTop rap battles and her sound similar to Death Grips, every track demands attention to the lyrics. Naturally, what makes SPRAK so electrifying is her unrelenting commitment to confront the uncomfortable, the violence – the local political landscape, genocidal world leaders, misogyny, and patriarchy. With beats from known local producers in the scene like T33G33, Horseboyy, and Dwaviee, the intense lyrics create an even more abrasive and harsher sounds that seem aggressive to the ears. Yet, listening to her rap over the beats feels like consuming a familiar unknown ulam. You eat them anyway because suddenly you are interested in figuring out that ulam, only to find out that it’s a one of a kind food only available at a specific time and place. No one does it like her. The quick repetitive beats become listenable only because she proves that she’s the only artist capable of rapping on them. But all of this also means that not everyone wants to eat her food, as one’s first listen to Pette Shabu may be surprised with how unorthodox her art is, especially for the wider audience in the Philippines. Nevertheless, her instructions are clear: to cleanse the world of ugliness. She reclaims “pangit” and “ugly,” not as descriptors of physical appearance, but as metaphors for the different faces of her oppression. She rebukes these ugliness with extreme rage, especially after being used to describe her art by those who don’t understand her. The tracks build toward the techno track POKPOK for its climax, a personal favorite, as she spits bars that are both irreverent and deeply personal, reclaiming slurs and shoving them in the faces of those who weaponize them. Beneath the pounding bass and metallic overtones, there’s a catharsis in embodying her anger and emotions with the act of active listening to her rhymes and wordplay. And then, the momentum carries into XDEAL O BARIL and NATURAL HIGH, both techno-heavy songs that sound as though the world is teetering on the edge of collapse. The beats in these closing tracks become euphoric acts of reclaiming and manifesting, which perfectly captures the album’s push and pull between destruction and rebirth. These outro feel like a mirror to SPRAK’s broader themes of queer resistance. Therefore, it ends as violently as it begins. Pette’s art is not for passive listening, as she demands and commands us to witness her narratives of structural violence through her lens. In the chaos, there’s catharsis. In the rage, there’s declaration. And in the rawness, there’s power. The goddess rebirths the world and ascends above it, now she’s untouchable and incomparable. But then again, with such gospel from her, it’s guaranteed to have heathens who would not challenge the self to listen through the queer, chaotic sounds that she’s been through. It’s all because she’s the highest, and there’s no else like her in the Philippines. It’s because she’s Pette fucking Shabu. Support the art & the artist:
Tag: Experimental
TRACK REVIEW: Paper Satellites, BABYBLUE – Onodera
Written by Lex Celera Since their last project, Manila Meltdown in 2022, Paper Satellites has grown to a four-piece, with vocalist Jyle Macalintal, drummer Aaron Escueta, and bassist Paulo Carpio joined by Martin Cruz on the guitars and synths. Onodera, their newest release, continues their constant experimentation by taking a step further and recruiting another collaborator, producer BABYBLUE. Onodera is an impressive result of two collaborators putting their best foot forward and blending both the sounds that they have been known for to create something new and worthwhile. Listening to the album from beginning to finish is a tranquil experience that is not bereft of any exciting turns. “Onodera” is a mosaic of rhythmic pirouettes – a worthy prelude to what is to come in the rest of the EP. There is an addicting quality in how the song constructs itself with sound elements that swell and evaporate as it goes on. “Alipin” follows up with a polished dance-rock record that ends in undulating synths. Despite feeling like a mishmash of different styles, both parts are equally enjoyable. Released in February 2024, ahead of the rest of the EP, “Dapithapon” is an easy-listening record with a catchy tune that’s perfect for afternoon drives. “Dama” signals an emotional downturn without putting on the brakes, driven by lyrics that have enough oomph to be echoed into an anthem – a good swing that would make the EP’s closer, “Paggising,” all the more worthwhile. “Paggising” fully embraces the club-readiness of the whole EP with its synth-forward rhythms and floating vocals. In that regard, it reads like recent Up Dharma Down records. The likeness to electronic music is emboldened by how patient “Paggising” and the whole of Onodera in terms of building itself up into natural, enjoyable melodic arcs. The excitement never falters even when you can imagine the song ending sooner. Whether intended by its creators or not, I find myself thinking of the early 2010s in this record. There’s a little bit of Two Door Cinema Club, a little bit of Tycho’s Dive. You know how during those days you’d either listen to Skrillex or Boards Of Canada? Listeners of both will cling to this record like glue. It’s visceral but tranquil, and ultimately a well-bodied source of bops that won’t be out of place on either the dancefloor or a quiet headphone experience. Thankfully, the whole EP’s proximity to that era never reaches stomp-clap-hey status. For all of the EP’s achievements for the band – their first EP fully in Filipino and their first collaborative EP, – Onodera will be remembered for how it finds the sweet spot among both artists’ comfort zones, and how easy they make it feel. It shows that it pays off to be confident in exploring new sonic territories, despite the gestalt sadness in its lyrics. It would not be a surprise if Paper Satellites moved on to a different sound in the future, but should they choose to lean toward the direction of Onodera, I’d be the first to say that they would not be wearing out their welcome. Support the art & the artist:
EP REVIEW: LONER – DROPSTAR
Written by Jax Figarola Stepping back from the energetic beats and quicker rhythms of drum n’ bass in Lean Ordinario’s sophomore album ‘Make Noise,’ LONER—his solo project—ventures into new territory with five tracks of mellow techno-trance music in his third album, ‘DROPSTAR.’ This shift in genre reflects the influence of Metro Manila’s underground rave and club culture, which has surged in popularity post-lockdown era. Transitioning from syncopated breakbeats and heavy basslines to faster tempos and ambient synths, LONER charts a new course while maintaining a kinetic pulse that keeps his old fans in the scene engaged. His shift from creating drum n’ bass, which is a genre relatively uncommon in the Philippine electronic music scene, to a more conventional blend of house and trance might initially seem like a move towards the familiar. Yet, ‘DROPSTAR’ defies expectations, proving to be anything but ordinary. While it might lack the novelty of his earlier work, it certainly rises above mediocrity. LONER still embraces the fast tempos characteristic of his previous releases, but this time, with a spirit of experimentation. He incorporated elements of house music, crafting seamless, repetitive melodic pounding of kicks and hi-hats against rich ambient synths, creating beautiful instrumental interludes. Furthermore, his charismatic and resounding vocals, especially on tracks like ‘Stop Playing’ and ‘Don’t Wanna,’ fit well in the project’s theme of noncommittal love and situationships. His voice feels like an invitation to an intimate, late-night dance—just you and LONER, lost in the rhythm, filled with moxie and mutual infatuation. The serene four-on-the-floor drum patterns where his vocals are absent offer a refreshing change of scenery. Beginning with the pre-game energy of ‘Stop Playing’ and building up to the dreamy crescendo of ‘Figure It Out,’ the album evokes a hypnagogic state on the dance floor. Each track during its instrumental passages offers a corrosive and psychedelic moment, transporting the listener to another world. My personal world was under the mushrooms in a forest, where I danced with Pinoy gnomes to a storm of spores. Despite the project’s brevity, clocking in at just under 15 minutes, ‘DROPSTAR’ quickly becomes an earworm especially after repeated listens. Each track, while distinct, contributes to a cohesive whole art piece. The ambient synths that dominate when vocals are absent beautifully complement LONER’s voice when it reappears, peaking the dance experience in standouts like ‘Bahala Ka Na’ and ‘Figure It Out.’ Despite the seemingly minimal production typical of trance, the production in ‘DROPSTAR’ is anything but minimal—it’s a profoundly sublime art piece in its entirety. With his amazing past releases and this new project, LONER’s contributions to the Philippine electronic music scene truly deserve applause. SUPPORT THE ART & THE ARTIST:
TFL’s THE 23 FILIPINO TRACKS OF 2023
Every year, something monumental happens in the music scene, whether it would be an army of alt-kids taking over a mall show, a rapper taking over the country by storm on Tiktok or a DIY venue at the verge of crumbling after two shoegaze bands. Genres have multiplied into bubbles, ecosystems emerge as newer venues from the highways of Cavite to the driveway of a basement at a Chinese restaurant. There’s a steady scene rising, amplifying louder one year after the other: 2023 is a year where those highlights have made made an impact beyond NCR. From Luzon, Visayas to Mindanao, we present to you a yearly tradition that the editorial team would always prepare themselves for; Not just because it’s the task that’s daunting, but it’s the journey and the result of 11 months of scouring the internet and gigs for the best of Filipino music. Here it is, The 23 Filipino Tracks of 2023. 23. P4BL0 – baka magalit mf mo In the “18 Commandments of the Boybestfriend”, there’s unnecessary fluff written along those ridiculous rules. However, P4bl0’s “baka magalit boyfriend mo” has this lasting effect delivered by its cloud-9 like production, ultimately writing one of the best pop hooks in the game now. It hasn’t been written on the scribes nor the tablets that South Metro Manila regular P4Bl0 made a banger track tailor made for the rebounds. Whether it’s the wacky gimmick of BBF/GBFs or the semi-ironic execution, P4bl0 has proven and tested that the undying concept of love and yearning can be done in a dreamy cloud-rap fashion. -Elijah P. 22. O Side Mafia – My Thang It’s been an endless streak of hit singles for O $ide Mafia despite the lackluster collaborations and disputes between territorial beef and fan leaks; “My Thang” is a victorious reaction to all of the success outweighing all of the group’s cons in the game. The simple old-school 2000s G-Funk influenced synths, the satisfying braggadacio three-verse combo and the killer hook is an all-time career highlight for the group and they just stay winning while all the haters watch. -Elijah P. KRNA expand on their infectious sound by expanding their soundscapes to include reverse guitar samples while pairing back on KCs vocal strength. The single shows the band’s mastery of making heartwarming music and a story of yearning that feels like a warm embrace being whispered while in a slumber. -Janlor Encarnacion Armi Millare announced her return to the music scene with a dissonant pop single – taking the time to show her own prowess in music creation with a tune leaning towards more pop and r&b. Roots signals the metamorphosis and re-emergence of OPMs signature voices and we can’t wait for more. -Janlor Encarnacion ‘Sonic Tonic’ is the long-anticipated debut that charges Suyen’s magnetic presence amidst the fray of fringed pop rock, a bottle of riot grrl and grunge blends where Suyen just sounds high-spirited in her craving for that adrenaline rush. Sam Marquez’s production is impeccable in bringing the heatwave atmosphere to ‘Sonic Tonic’, where the already remarkable chugging riffs and splashy drum work are vibrant and immense. Enough to keep everyone cheering along the soaring hook, ‘Sonic Tonic’ is a striking first cut from Suyen who is never afraid to jump first into action, letting her do anything to reach a gratifying emotion that will keep her feel alive. -Louis Pelingen ‘SOUFSIDE’ is a meteoric statement from the Cebu Hip-Hop collective ASIDE BOONDOCKS as they erupted through the scene with their tastes for boom bap and hardcore hip-hop. Flagrant in their hyperbolic expressiveness, that ecstatic flair allows each of their distinct flows to tumble through the stirring hypnotic beat that has a quirk of its own due to its swaggering bass lines and buzzy synth waves. ‘SOUFSIDE’ stamps a mark that will break further ground for the Odd Future-inspired Hardcore Hip-Hop ASIDE BOONDOCKS are leaning towards, where they’ll spark an explosion that you can’t help but feel its heat. -Louis Pelingen With Waiian’s recent return for his sophomore album, ‘SMILE’ is a track that has a familiar thematic trudge from this rapper who has a lot more to observe past his 2020 debut. In this pensive reflection on the mortality and bullshit of life, Waiian invites Yorko and U-Pistol to pen down their emotions on the table amidst a relaxed boom-bap beat and calming piano lines. As a result of that writing session, ‘SMILE’ ended up being Waiian’s best song to date where the melodies are tight and catchy on all quarters from Waiian and Co. No wonder that ‘SMILE’ is one of the lead singles for Waiian’s recent project for a reason, as it’s a respite that brings a gentle smile on constant repeat. -Louis Pelingen 16. PETTE SHABU – Bulbulin Ka Na As PETTE SHABU goes deeper into her experimental rap tapestry with every track she puts out, her transgressive lyricism and ferocious flows become more sharper. That in itself eventually led her to release dozens of challenging sonic bangers in 2023, with ‘Bulbulin Ka Na’ bringing the most sting out of her thus far. Through every whirling wordplay PETTE SHABU spits out, her flow turns impenetrable as PETTE SHABU confidently carries herself within horseboyy’s dense glitchy beat. ‘Bulbulin ka na’ is a bulldozer that keeps PETTE SHABU in control of her agency, lashing down everyone who comes for her without shame. -Louis Pelingen The dizzying hyper-pop artist known as AHJU$$I may have retired from that moniker, but his rebirth as Pikunin has those old bits and pieces intact, now ribboned with UK Garage rhythms and ticklish vocal flair. These characteristics manifest through Pikunin’s debut track, ‘Tadhana’, using Armi Mallare’s cooing vocals as the Jersey club beat tiptoes around it which also serves to be a bouncy springboard for Pikunin’s chirpy vocals and twee lyricism. Starry-eyed in nostalgia with a modern touch, Pikunin spins a refreshing take on the classic song that updates his eccentric brand of pop with gleeful yearning. -Louis Pelingen