Singaporean musician Jared Lim has been playing a significant role in various mainstay acts over the past couple of years, whether in his local country or elsewhere. Being the guitarist and producer of bands like Sobs and Subsonic Eye, as well as providing production assistance for Blush and The Purest Blue are just some of those notable credits. His ear for production sticks in your ear once you hear it: blissful synth chops, colorful instrumental mixes, and crisp vocal emphasis. A balancing act of sharp melodies and sparkling textures that are never put out of scale. An ability that only comes from very skilled producers who know how to leverage the mix without disruption. At some point, if he can help produce these songs for these bands, certainly, he can write songs for himself, too. Soon enough, that is what he just did. Donning the solo project Jorud, he pulled together his debut album, aptly titled ‘The Song’. This is Jared Lim expressing the colors that he has brushed over before, now splattered on a sonic canvas that is his own. Whether that be the saturated 80s ambiance on “Am”, speedy waves of breakbeats on “Harm”, chilled out dance beats on “Wannastop”, or the chiptune accents across surfing guitars on “Have It”. He has these soundscapes all layered out. Of course, it is not just him who gets the play around in these songs. Pauline Rana of The Purest Blue, Cayenne of Sobs, and elo elo provide contributing vocals in most of the album, filling the prismatic space with their friendly presence. Creating this slice-of-life feel where wholesome connections create more smiles along the way—shining the brightest on the title track’s sunny indie pop, “Friend” with its coat of shimmery hyperpop, and the raving, glitchy EDM of “Wideview”. The word “joyous” is the best way to describe what Jorud has put together with his debut album. A brisk walk in the park is remembered most due to the unabashed display of melodies and textures that are overall jubilant and vivid. These might be just a collection of songs, but once you hear them, you can’t help but turn your frowny days into smiley days. *The interview is edited with brevity and clarity: LP: When I hear your artist name, Jorud, I imagine someone who’s chill and lively. What was circulating in your head when you were figuring out the identity of your solo project? Lim: Actually, this project is kind of the first real music project I ever did when I was 15. I picked a stupid name that I don’t want to change, because I have all the URLs on Bandcamp and SoundCloud or whatever. It started when I was 15, [I was] learning how to use Ableton, and [was] just putting out stuff that I made on SoundCloud. Yeah, [there’s] not much thought to it, but I guess now, it’s been 10 years. So, I just felt like, “Uh, I should kind of do this properly.” See how it feels like to make an album and put it out properly and promote it and stuff like that. Yeah. LP: You mentioned that you were using Ableton at the age of 15. What invited you to do production work during those times? Lim: Before I started making my own stuff, I was making chiptune covers of songs. I’ll put them on YouTube. I did a few like CHRVCHES [covers], you know the band CHRVCHES? LP: Yes! Lim: Yeah, I did a few chiptune remixes of their songs, and they posted one of them on their Facebook. I was like 14, I was freaking out. Yeah, that’s kind of how it started. I was just making covers for fun, and then it led to making my own stuff. LP: How long have you been conceptualizing and working on your debut project? Lim: Some of the songs on it actually started quite a while ago, maybe like a year or two ago. But I didn’t properly think I was making something until, I think, it was December last year. I had the idea to send this instrumental track that I made three years ago to Pauline from [The Purest Blue]. I had that instrumental on my laptop for a few years and didn’t really know what to do with it until I had a sudden spark of inspiration. I decided to send it to her because I thought she would do something cool, and she did. That was December last year, and then from then on, I spent maybe three months combing through old ideas and making new stuff, and I just turned it into an album. LP: Speaking about those collaborations with Cayenne, Pauline, and Elo Elo. Did you have them in mind while creating the album, or were they a last-minute afterthought? Lim: [It’s] kind of a bit of both because, honestly, this whole album was like a last-minute afterthought. I made everything really quickly, but I always had those specific vocalists in mind for each song. The song with Elo Elo that actually just came out today [July 10, 2025], [it] originally was a remix I did for fun for this band that I’m working with. And that was more than a year ago. But I liked it too much that I wanted to keep it for myself. And Hui Jun (Elo Elo) heard that remix quite a while ago, and she said she liked it. So when I started working on the album, I was like, “Oh I should reuse that and I’m gonna ask her to sing on it”, and she did. LP: You said that, for three months, you tried to quickly comb through your ideas for this album. During that process, were you inclined to listen to music a lot, or did you just completely lock in on what you had in mind and never listen to anything that might disrupt those ideas? Lim: I feel like, generally, just in everyday life, I
Tag: Indietronica
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:
EP REVIEW: Salem and the Stellar Cats – “Salem!”
Written by Jayne Caray Between shouting nyan’s and near-death experiences, what else can you possibly expect from a cat band? Well, after more than a year of anticipating drops; first with the release of “Reflections after Salem”, followed by “Ate Memy’s Halal Patir” and “Smores”, Pasig’s Salem and the Stellar Cats are finally out of the bag to show you just what they’re capable of with the release of their debut ep, “Salem!”. At its heart, “Salem!” centers on the retelling of songwriter and vocalist Yones’ vibrant life experiences sung in an uncomplicated yet authentic way that would make anti-folk artists of the 2000s proud. Starting off with a snappy droning guitar in “Ate Memy’s Halal Patir”, the band immediately flaunts their kittenish, tongue-in-cheek qualities. Guitarists Vlad and Kiyan’s easily memorable punk riffs serve to retain the high energy of the next song, “C5”. Here, the tight rumblings of Emman’s drums mimic the busy streets of the famed road as the lyrics, quite literally, meows about an unpleasant experience Yones has encountered in which she fears for her life. The EP takes a swift left turn in the second half as it slows down yet arguably features the better and more sentimental tracks of the entire release. “Reflections After Salem” brings a sober introspection on life without Salem. The charmingly quirky instrumentals build up to a Wes Anderson-esque mood while the vocals recall Salem’s precious moments in a monologue buried deep within the production. It’s raw and genuine without brooding too much, mature in its own grieving way. Lastly, “Smores” wraps up the ep with a somber tone. Backed with gorgeous acoustic guitars and single melody synths, its sonically one-note nature only adds to the gut-wrenching and vulnerable musings of an owner missing their feline companion. The track is sentimental and hopeful, strangely evoking the feeling of a peaceful sleep after crying your eyes out. Equally humorous and melancholic, SATSC may have started as the “neophyte gimmick band”, but their wholehearted passion and sheer dedication to the craft have certainly propelled them forward to the next stage. DIY-ing music from scraps of fur, bedroom pop tunes, and personal anecdotes, “Salem!” marks a promising start for a group of cat lovers who breathe just to create. Support the art & the artist:
TRACK REVIEW: Oz Kabuhat – I Would
Written by Elijah P. Local artists need to straddle between genres more often. It opens a door for many to experiment, find their voice in the noise and maybe even conjure up a new sound that nobody has ever heard before. But there’s a risk in being too odd. It may also lose your sense of identity, playing with more inconsistencies than sticking to a uniform, realized sonic palette. However, singer-songwriter Oz Kabuhat defies those odds in “I Would.” Starting out in the electronic/pop realm in their earlier releases, MINT’s own Kabuhat goes beyond the grain in making formulaic pop music. Instead, “I Would” grows apart from its humble beginnings. Synthesizing layers of electronica over crispy snare and kick drums and capitalizing on falsettos that could run for days. There’s gold hiding in the sparse, more subtle moments of the track, but Oz doesn’t settle for less. He settles in maximizing in writing the most bitter-sweet sounding melodies ever known. “I Would” is a track that no one should sleep on. Support the art & the artist: