Written by Louis Pelingen Amidst the lunge in the 2020s, the alt-rock scene has been slowly pulling all the stops in the corners of South Korea, slipping itself knee-deep in the various alternative rock facets such as shoegaze, dream pop, and especially post-rock. Through tightly-knit connected dreamers and nugazers like Parannoul, Brokenteeth, and Della Zyr, you see how they piece together those influences into their personal musical avenues. For Parannoul, he embraced cutthroat, massive walls of shoegaze flair in his breakthrough project To See the Next Part of the Dream which has now been simmered down for a delicate air on his 2023 project, After the Magic, just before he embarked once more on that massive soundscape for his 2024 record, Sky Hundred. For Brokenteeth, he emphasized the power of that shoegaze sound to create a saturated dredge in his albums. Della Zyr stretches apart more of her dream pop embellishments across her debut and her EP, filling in more atmosphere within that floating expansion. In the year 2024 comes another dreamer that expands that compositional complexity and scale into their debut project that just came out in the early days of January through every listener’s favorite activity: scouring through Bandcamp. Within Yo’s affirmed debut album, 희망열차를 타고 우주로 가요 (Hopetrain to Universe), he glides through the vastness of the universe and delves his alt-rock influences closer to progressive rock, full of entrancing bright tones and ascending progressions with the accented gleaming pianos, organs, wurlitzers, and trumpets offering an enthralling listening experience across the entire record. These imbue Yo’s raw performances, knacks for melodic swells, and diaristic songwriting approaching pain, nostalgia, and hope in the spaces of love with spacious scale where that yearning is launched across the grand kaleidoscopic beauty of the universe, brimming more light and color as it travels at farther distances. On songs like “Tilikum” and “Hopetrain to Universe,” there is a blazing flair from the keys, drums, and guitars paired with their ascending compositions that erupt and bloom into their joyous forms. Yet the scale on certain cuts takes on a different scope entirely. “3:16” takes a bumpy trek on the overall soundscape with its rougher, blown-out bombast as the track’s internal structure starts on a glossy sheen before it succumbs to the bellowing abyss. “Sweetrain” and its riveting coats of impassioned atmosphere put you into a state of skyward excitement, immersed through palpable progressions amidst frothing beds of horns all around. And “God’s Gift” with its glorious stuffy layers of organs, choral vocals, and Yo’s distant yet echoing performance illustrates the essence of what the album is aiming for, shooting for the stars and beyond to clasp a sense of long-lasting hope that paves a lilting way forward. Another step in branching out South Korea’s fledgling dreamers and nugazers to the mass of alt-rock palettes, Yo certainly takes a shot to reach for the stars and eventually linger within the exciting ventures that he can go across the infinite spaces around him. Through his embrace of progressive rock tapestries, he’s putting another mark on South Korea’s exciting new acts in their growing flock of alt-rock talents thus far, slowly making waves with a live show alongside fellow South Korean act khc back as well as an in-depth interview by poclanos back in February. Don’t forget to get a ticket to a journey of a lifetime, you might also want to take a chance of feeling these glimpses of optimistic hope.
Tag: Indie Rock
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:
ALBUM REVIEW: July XIV – Hunger
Written by Louis Pelingen Six years might be a long time, but the result is worth the wait. July XIV is an indie rock group whose debut project has been waiting in the wings for some time now. Back in 2018, they first put out “Hunger,”, their very first single that carries off a potent rock tune amidst Evee Simon’s tender vocals punching through the vigorous grooves and soothing melodic flair. That song is perhaps the only song they’ll put out in the open during that time, as they have been focused on performing live since then, with more songs that they will eventually bring onto the record. Some of those live songs will be then released in 2022, keeping that upcoming project still bursting with hope after all that silence. 6 years have since passed, and July XIV have finally put together their debut album, charmingly titled after that debut single, Hunger. Running just around 28 minutes, July XIV brought together a tightly-knit package of indie rock cuts, a straightforward enough descriptor executed well through the stronger compositions by members of this band, as well as the production, mixing, and mastering duties by Evee Simon, Kevin Ingco, and Megumi Acorda respectively. Allowing these cuts to have a consistent sound quality, even if the dryness can run together at spots. But nevertheless, the blend of punchy textures paired with contrasting moments between flashy passages and tender moments are at least solid, from the riveting guitar work and solid grooves of “Chainsmoker,” the aforementioned “Hunger” where Evee’s vocals spark every time the song hits the chorus, the grunge flair that pops up on cuts like ‘Belief’ and ‘Deus Ex Machina’ with the meaty guitars smashing through with aplomb, and the string accented ‘(with feeling)’ allows the album to end in a more solemn note as those weary strings anchors a welcome emotive presence within the instrumentation. Ruminating towards the lyricism, the album title “hunger” feels apt for what Evee Simon is reaching out within this album, as her writing focuses on yearning for so much more within life despite the sense of loss and hardships being felt and gathered over time. This focus sticks the landing due to the sharp metaphors intensifying the drive to live within a grounded reality. Clinging towards dreams, memories, and fantasies keeps the protagonist moving onwards which eventually culminates in “No Sugar” where the protagonist ruminates how getting older does make them wiser and stronger, yet that maturity still can’t drift away the pang they still feel towards losing some important to them on ‘Revelations I’. But despite all that, “(with feeling)” put things back to a much more hopeful but also complex scope, where despite questioning the overall spectacle towards what it means to be a musician, it still gives a reason for the protagonist to feel alive—perhaps creating a new dream that they want to achieve sooner rather than later. Despite the cut-and-dry approach to the production alongside the briefness that can leave the back half feeling less stellar as a result, the melodies that July XIV puts into have some invigorating moments, and the lyrical arc that observes and reflects one’s own hardships and yearning to hold on to better things have sharp details that are worth looking into. Hunger as an album might be a double-edged sword, keeping everyone who has waited for this album to feel satisfied on one side but also leaving too much empty space on the other. Yet, when the album does hit its stride – an exceptional one at that – it leaves us hungry for so much more. Support the art & the artist:
EP REVIEW: rosh – cotton mouth
Written by JK Caray If you were also a hip local music listener back in the 2010s, you understand how crucial music websites like Bandcamp and SoundCloud were in experiencing the height of that underground, lofi scene brewing inside people’s own houses. While home recordings have always been a thing, the format of these sites provided the internet a front-row seat to the unfiltered, underproduced music some passionate strangers online made in their free time. Among these lie hits and misses but in 2016, Roshelle Munez released her first release “gitling,” which became an instant hit on SoundCloud. Following the virality of “gitling,” Manila-based Alt-Pop artist Munez, aka rosh, became an indie darling overnight—however, it would not be until 8 years later that she released her debut EP entitled “cotton mouth.” Serving as her serious venture into the music scene, the release—a long-awaited debut effort consisting of her unseen works from 2016-2022—allows us to take a peek into her diary as an extension of her psyche. “gitling – 2024” reinvents the original with more polished production and a clearer sound direction that fits right in with the rest of the EP. The addition of groovy drums and harmonies gives it a more laid back and playful vibe, as if having given it space and time to breathe. In stark contrast to this, “human goo” introduces that wall of angst that lingers throughout the entire record. It picks up the pace with driven drums, rosh’s fatigue embodied in her vocals buried beneath eclectic bass synths and the harmonic dissonance of guitars. “rainbow road” steps back from the heavy noise, favoring to experiment with lush, dreampop-like sensibilities. The lyrics echoing her heartbreak are cryptic yet very familiar, something everyone has felt but nobody could pinpoint. Lastly, “nevermind” closes the EP at the zenith of its turmoil. The instrumentals weep with a sense of deep longing and yearning; she’s begged and begged, but somehow it’ll never be reciprocated. Errors decorate the track alongside distorted guitars, creating the perfect backdrop for the emotional breakdown that follows. rosh ends the EP with a “never mind,” too tired to care anymore. In cotton mouth, each song is a confession; all the anguish and hurt hidden finally surfacing after years of being bottled up. Maybe that’s why despite its heavy, angsty nature, cotton mouth feels freeing. It’s the words you couldn’t say and the stories you try to forget after years of running away. Ultimately, rosh’s first foray displays a remarkably promising future for Manila’s star-sign-loving, alt-pop rockstar. 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:
ALBUM REVIEW: FERVIDS – SONIC BOOM
Home to some of the spiciest dishes in Philippine cuisine and the beautifully shaped Mount Mayon, Bicol’s music scene is just as hot and active, with many names making strides from within and beyond their home province; DWTA, for example, has seen major success as of late, going as far as making it to the 2024 Wanderland Music Festival’s lineup. Bicol’s success in cultivating a vibrant music culture can be attributed to the efforts of its many community-based art collectives that are constantly ideating and collaborating to produce high-caliber releases and events that give Bicol its formidability as a producer of some of the best local artists in the larger music ecosystem. One such collective is Legazpi City’s Children of the Mist. Fervids is one of the major players under Children of the Mist. This young and exuberant rock band is no stranger to explosive live sets – no matter the distance – and their sophomore album SONIC BOOM embodies that destructiveness down to the T. It is not the first time we at The Flying Lugaw have set our eyes and ears on Fervids. In my initial review of the band’s material (see: TFL’s review of “SWEET TOOTH ACHIN’”), though middling, I saw potential – one that they have not yet fully embraced but the traces of it they had already worn on their sleeves. I was excited. Now, with a full blues rock-inspired album in their catalog, stage notoriety among the Manila crowd following an electrifying performance in TFL’s 2023 anniversary gig (Damn, if their set doesn’t get you going, then I don’t know what will), newfound inspiration from different styles of garage rock, and sharper songwriting experience in their toolkit, Fervids has never been more exciting. As exciting as it comes, though, the band does not immediately let on with their new style, as “SONIC BOOM” was teased with “ANNIHILATION” as some sort of a sequel or a spiritual successor to their self-titled debut album: a riff-heavy hard tune that draws primarily from the British Invasion era of classic rock. Even in the mastering of the album, this trend is evident. It isn’t until the third track ‘TRUE’ that their influences from modern contemporaries begin to flourish. This progression makes for an enjoyable listening experience, as “SONIC BOOM” is filled with banger tracks in this confluence of styles, each waiting to ignite. “THE VAMP AND THE SHEIKH” is a good example of a song that takes classic rock as the prominent element and elevates it to match the wavelength the band operates on. The result is something that Pete Townshend would approve of: a constant flow of kinetic energy pushing harmoniously against each other, and a sweet guitar solo from Andre you can never go wrong with. “I WANT YOU ALL THE SAME” operates similarly to “THE VAMP AND THE SHEIKH,” serving as Fervids’ take on a power ballad. This time, garage rock takes the driver’s seat. “EGO’S GRAVE” is easily the best track on “SONIC BOOM” and arguably in Fervids’ entire library thus far, only behind ‘Foolish Notion’. One of the few instances where the band donned a punk veil, “EGO’s GRAVE” shows Fervids going back to the drawing board and throwing out the window a lot of the things that made the band the renowned Bicolano blues-rock sensation they were known for. As a result, they made a song that was so emotional and dramatic despite its simplicity that it’s almost criminal that it only lasted for a little over two minutes. Its aggression almost reminds me of Comedown Machine. SONIC BOOM is a product of Fervids’ unwavering authenticity. Though it may have carried some of the characteristics that I marked as criticisms in my review of “SWEET TOOTH ACHIN’” two years ago, they are definitely working in their favor now. And given their prestige as some of the most electrifying young bands in the underground live scene today, each new song will only add more to their growth. But as tempting as it is to draw a connecting line between their growth and the evident success of SONIC BOOM as a rock album, there’s another comforting thought that I’d like to believe in. I want to believe that SONIC BOOM is Fervids’ way of proving us wrong. For thinking that wearing their influences on their sleeves would be to their detriment. For doubting them the first time around and showing us that their methods work, like the rock stars that they are. Support the art & the artist:
TRACK REVIEW: Polkadot – Unstuck
If you look up “Unstuck” by Polkadot, you might be thinking that the thumbnail looks vaguely familiar. Is it because of the digicam aesthetic? Is it the vocalist looking sideways? Or is it the entire screencap lingering across your algorithm, nudging you until it convinces you at the very last minute to check it out? Truth be told, I was one of the chronically online viewers to fall for it, and my goodness it was worth my time. Carrying loads of distortion, booming snares and noisy fuzz, a couple of wits on-hand and a bunch of harbored influences from the 90s Matador and 2010s indiemo phase, the Bay Area’s Polkadot is a band that says a lot through its dirty amplifiers and honest-to-god songwriting. It’s infectious more than it is a drag to listen to. After releasing Feeling Okay in 2020, vocalist Daney Espiritu doesn’t run out of emotional whims while guitarist Matthew Estolano runs amok in melodic touches of fuzz rock from start to finish in their latest string of singles. And like all Bay Area DIY darlings, Polkadot’s “Unstuck” is an amalgamation of the band’s sound and attitude: good times, hard feelings, and amazing singles. That’s all there is to it, plus the algorithm is giving you good music this time around. Support the art & the artist:
ALBUM REVIEW: Bling – PURE BLISS NO WORRIES
PURE BLISS NO WORRIES is the second album released by Bling, a Filipino-American band based in Los Angeles. Irony is an ever-present theme throughout this 26-minute record. The grainy noise gradually builds up together like an anxious thought, unlike what the album title suggests. Another irony is that “build-up” never reaches an apex. The tracks feel like they are itching to be listened to on a train ride – only that the train ride could be destined for a train wreck. It’s one of those albums that you listen to as background music while attempting to do something productive, but unlike the productive mind, I worry that PURE BLISS NO WORRIES doesn’t add anything new to the table. Compared to their debut album titled “fuck”, Jinro Yo and Lianna Gutierrez’s vocals seem much campier and arguably more lucid in their sophomore record. The drums by Nick Castillo carry each track with fluidity and match well with the strum of Jaed Noleal’s guitar. If only the rest of the album used the sonic experience that was applied on the third track, ix3Chocolaté, we could have hopped on a bedroom rock road trip that either went down the “core memory” lane or the “headbang like no one is watching” route. Nevertheless, each instrument and modulation used in this record are easily malleable to make longer tracks like Patiently Waiting a memorable listening experience. I hope to hear something more similar in their future work so their sound appears to smooth out the grainy noise. The aesthetic choices of Bling’s attempt at a blissful theme such as the Angel Numbers present in the track length (Say Hi 2 Forever is 2:22, Nowhere… is 1:11, and RiskOne is 3:33) solidly create a mist of bliss. My question is, will that mist diffuse quickly? Support the art & the artist:
TRACK REVIEW: Mazerboy – Midfielder
Written by Louis Pelingen The smoggy bleak streak that Mazerboy started with continues forth with ‘Midfielder’, the newest cut that he has put out two years after he released his 2nd EP. This continues his brand of post-punk tapestry, all with a driving groove section and Mazerboy’s solemn vocal cadence, but the overall sound is treated a bit differently this time around. There is an implementation of dense layers of reverb on Mazerboy’s vocals as well as the jangling guitar feedback that sinks the atmosphere deeper into something closer akin to dream pop, an implementation that could have worked well if not for the sudden swerve towards the back half of the song, where despite the surf rock riffings, the overall result felt like piling up another tune fragment that does not effectively coalesce with the first half’s potent melodic foundation. For what it is though, it is still a solid piece of post-punk dipping deeper into dream pop atmosphere and surf rock melodies underscoring Mazerboy’s usual tempered delivery and lyrical flavor. A refreshing expansion that still focuses on what made Mazerboy’s material work in the past from both compositions and textures alone. The gust of atmosphere might be a bit cloudy and heavy, yet never fazing Mazerboy’s stance at the center of it all. Support the art & the artist:
TRACK REVIEW: SABINE – Selfish
Written by Elijah P. SABINE sounds like she’s going all in with a full tank of ideas; both at an emotional high and a musical journey standpoint, “Selfish” has traces of rock and pop leanings, almost going towards an experimental tangent with soaring vocals, a blaring synth and multiple guitar tracks. The casual ear may find this an overwhelming sonic experience but for some actual supporters and the artist themselves, this is an experience all worth the taking. Taking notes from their rock and pop heroines of yesterday, Galagnara’s vocal prowess takes center stage, acting as a driving force for the musical accompaniment to their introspective lyricism that takes place in their own protagonist’s mind. The 4-minute odyssey may be a drag as casual songwriting structure is concerned, but the sheer weight of the track crashing down to you may come off as either a rewarding experience or an unnecessary kick to the shins without any comforting ending. For the case of “Selfish”, the production is commendable as a step forward in polished bleeps and ringing distortion. However, it may be slightly overproduced and pushing to its actual limits that would overstay its welcome, rendering it slightly ineffective emotionally. On the other hand, the track has its fair share of breathing room for it to build up once again. Galagnara’s powerful presence does not overshadow the rest of the musicality as it tips at an upward direction, regardless of its flurry of emotional demon metaphors sitting throughout its lengthy structure. Overall, SABINE has the right amount of star power between her talented current batch of musicians in MINT College, but the argument would rather be framed as “Selfish” being a step forward to nurturing a better, more promising sonic palette for the institution’s musicians in the years to come. Support the art& the artist: