Baguio is quickly becoming the new source of music in the Luzon archipelago, birthing the likes of Dilaw and Turncoats. From the most unexpected of places comes a new entry into the math rock/emo/pop punk ring: Amateurish. Don’t let the name fool you, they are nothing but. With tight instrumentation and relatable lyrics, the quintet hailing from the mountains of Baguio has made a name for themselves by blending elements of math, emo, and pop into an addictive sugar rush that comes with a post-rush emotional downer. A lot of math rock and pop punk influences are used throughout the album – notably in the single releases – but also some alternative and funk sprinkled in to keep the listening experience fresh, specifically in some acoustic parts in the title song towards the end. The rollercoaster of emotionscoversr a plethora of feelings such as indifference, heartbreak, depression, and resilience with heavy metaphorical drug references – each song providing an intense but quick dosage of each emotion in each song. This places the title track as a fitting end to the whole experience: a somber reminder of getting back to reality and rest. The band’s recent signing to Offshore Music is a well-deserved milestone for the band. They are currently planning a multi-stop tour to promote the release and is a no-brainer for any avid music fan; their live performances are a sight to behold. One thing is for sure, though – they are not amateurs. Support the art & the artist:
Tag: Janlor Encarnacion
TFL presents: THE 20 BEST FILIPINO RELEASES OF 2023
The year 2023 saw a lot of shifts happening: the rise of scene kids coming from the FYPs and For You pages of yore and the steadily rising of attendees in DIY underground shows all over. In Luzon, newer collectives were formed via embodying the gothic, emoviolence sensibilities of Metro Manila’s newer heavy music units. Over at the Visayas region, genres like hiphop and dream pop are the talk of the town, making both soundscapes and cultures sought for newer heights. And in Mindanao, their scene becomes more and more solidified in terms of dance music and various alternative genres that goes beyond the expectations of a regular Imperial Manila listener. 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 20 Filipino Releases of 2023. 20. Lil JVibe – WHOLE LOTTA LUVSHIT Simply put, ‘WHOLE LOTTA LUVSHIT’ is the pop-rap EP that immediately puts Lil JVibe into this current space of inventive local hip hop. From Gem Records Production’s assist in balancing out the 4 tracks’ layered drill and jersey club beats, oodles of pop sample choices that are stitched amazingly well, and Lil JVibe’s ability to keenly blitz through these immense soundscapes is a big testament to his skill as an artist. ‘WHOLE LOTTA LUVSHIT’ is a bold, untethered, and sincere EP that’s just the beginning of Lil JVibe’s ambitious potential as an artist, one that all of us should pay serious attention to. -Louis Pelingen 19. Panjia – all the colors that make you!!! In the year 2023, you have a ton of shoegaze acts that can easily pass off as imitators of someone and something given the time and algorithm to figure it all out. Staying true to its title, this debut EP “all the colors that make you!!!” is a primer of what you need to know about Panjia; youthful angst in front of computer screen, yearning in a language fitted for the hell week tortured student and loaded with nu-gaze terminology. The solo project surprisingly brings tasteful riffage-writing and overall promise in the young crop of heavy gazers out there locally. It’s Zoomer Shoegaze Bingo and the first recipient of such game is none other than Panjia. -Elijah P. 18. Punebre – Ang Nasa Dako Paroon ‘Ang Nasa Dako Paroon’ is a compelling testament to the raw essence of old-school death metal. With influences echoing ‘90s death metal, Punebre skillfully intertwines a foreboding atmosphere, relentless energy, and concise, impactful lyrics in highlight tracks like ‘Itim.’ The result is a sound that pays homage to the horror genre, revitalized for a new era, with slight nods to Filipino horror filmology, urban mythology, and folk mythology—‘Balete Overdrive’ and ‘Shaken and Rattled’ come to mind. However, Punebre’s most exciting feat that further amplifies excitement for their music is their inventive approach to PR. I vividly recall ordering a copy of their demo CD, which included tracks from ‘Ang Nasa Dako Paroon’, and to my surprise, the package included a meticulously crafted autopsy report. I have since kept that piece of paper and plan to have it framed on my wall. Though I still feel tremendous regret for missing out on their limited release of blood-soaked Punebre shirts earlier this year, there’s always a reason to be excited for Punebre. -Nikolai Dineros Emo and punk band Irrevocable further show their ability to make face melting songs in this new release. They talk more about family influences and touching tributes while letting the songs breathe more resulting in a more engaging and expanded dynamic sound that doesn’t overstay its welcome – in fact, making the listener want more. -Janlor Encarnacion The aging process offers a different perspective even to veteran bands of the music scene. Oh, Flamingo! takes a look at timeless topics such as love and loss but with the added perception of being able to look back. Coupled with the use of our native language, the band is able to process emotions in a more connected way while still being distinctly Flamingo-y. -Janlor Encarnacion Toots’ debut depicts an expertly crafted adventure into self-discovery. The earnest vocals display a tenderness that contrasts with the loud-soft contrast of each song – showing a wild journey both lyricism and soundscape. This is an indie-rock/folk EP that deserves multiple listens. -Janlor Encarnacion Davao alternative rock and shoegaze crossover outfit Precal Dropouts have indeed traveled far and wide in their long awaited debut EP. The charmed life of Gavin, Jan Mark, Ben, Neilcon and Dee has been incredibly eventful. Singing about their gardens, dinosaurs and tidal waves, their sentimentality has reached from the Manila shores to the third floor of Suazo in their hometown. The project is a welcome gift for all new and old fans of the genre, servicing the classic tropes and new offerings of its sonic choices. Wherever you go, there’s a journey worth taking and that is listening to “Little One, Travel Far”. -Elijah P. Budots World is a compilation consisting of the dance genre “budots” in its different mutations, variations and traditional production style performed by different producers all over the country. It was an effort to unite all producers locally and thankfully Manila Community Radio were able to make the pioneering producer DJ LOVE’s dreams come true in this project. “Budots World” has a diverse selection and interpretations, resulting into 100 percent organic and pouring in 200 percent bust-a-groove energy. This is a mix that you shouldn’t pass on. -Elijah P. DJ Love presents BUDOTS WORLD: Bawal Umiwas sa Sayawan! by Manila Community Radio There are two different listening experiences to Promote Violence’s “Joyful”: one is hearing multiple synth screeches and feedback resulting into a cathartic release; The other is a story of how religious Fundamentalist approaches can break a
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
ALBUM REVIEW: The Geeks – Sitcom Theme Songs
The Geeks hit their stride with their latest release – Sitcom Theme Songs! While their last EP “Weirdly! Relatable! Content!” explored the use of warmth by using tapes to re-record the EP, this album sees the band embrace contrast by singing about lost people and places brought about by the pandemic while having a trumpet section in the unofficial pandemic anthem “All My Favorite Songs”. Who else can talk about impending doom while using a cowboy aesthetic – complete with gallop foley – in the aptly named “Tragic Cowboy Theme Song” not to mention the eerie tunes found in “Mags’ Existential Crisis”. The band still touches upon topics consistent with their previous releases – self-doubt, lost romance, nihilism, existential crisis – but this time with more life in the instrumentation. Slow songs are less frequent now and replaced by more danceable pieces. These are also more singable but beware the despair of singing lyrics like “I’m dead all over again” or “Annabell, I think that you are going to hell”. There were also some interesting choices in the album. Aside from the cowboy-esque song, the use of a guitar slide in some songs jump out and add more fun to songs in a move that is not regularly seen outside of the blues. Also prominent in this release is the use of more vocal features such as Jillian of Formerly Maryknoll in “The Song of Yesteryear” who adds a bit more depth in the storytelling – providing the perspective of a partner. Multiple guests were also featured in “The Score” to emphasize the collective and ubiquitous experience of having doubt in a relationship. It’s been hard to put into words how great this album is – it’s the Geeks at what I think are their peak form. As a fan of happy and upbeat music, It’s funny to hear songs that talk about finding excuses for failure and self-sabotage but with instrumentals that make me want to bop my head. If you are a fan of the band, you’ll love this release and if you are not familiar, give it a listen and get lost in the happy-sounding sad songs. Support the art & the artist:
ALBUM REVIEW: Paper Satellites – Manila Meltdown
Words by Janlor Encarnacion It took a pandemic for indie-rock trio Paper Satellites to finally put their musical vision out into the world. Spanning years of writing, Manila Meltdown depicts the maturation process of a band figuring out their sound and rolling with it. Evident in the album is their penchant for making memorable riffs and melodies while also experimenting with their sound. Their Oh, Flamingo!-like instrumentation is top-notch and while the Alex Turner-esque vocals were taken straight from the mid-2000’s indie scene, they sound more refreshing for today’s listening. The album takes the listener on a musical journey of growth with improvements heard from the remastered tracks to the newly made ones. The older songs show earnestness in their boundless energy often falling short on the delivery during the chorus but show bursts of creativity in the melodies and lyrical punch in the verses. In the newer, non-remastered, songs, the boys further refine their technique most notably with how the chorus is handled – a weakness in the older songs. The band makes use of a complicated-verse-simple-chorus to show contrast that have led to weak remastered songs but has been refined in their newer tracks. Though singer-guitarist Jyle Macalintal shows a set vocal range, his strength in lyricism is harnessed to great effect in the album’s best song: “Spinning”. He flips his conventional writing style found on other songs around and makes a compelling and engaging song by making a frantic chorus that matches the riffs and the song title. The simple-chorus form of writing is exemplified, though, in the second best song of the album: “Scene”. The difference in lyrical complexity adds contrast between the songs’ parts but the simplicity in the chorus was enhanced by taming the instruments – further elevating the lines. I wish they went further with the experimentation, though. Ness Urian – of The Gentle Isolation – had a short feature that felt lost as she only delivered a few lines at the end of YGSFM. More inclusion of her sweet voice into the song would have made for a more contrast-y and interesting listen. All in all, Manila Meltdown is an excellent indie-rock trip full of great melodies and sing-along songs that show what the band is capable of. Support the art & the artist:
ALBUM REVIEW: Drive of Daydreams – DRIVE OF DAYDREAMS VOL. 1
Written by Janlor Encarnacion The OPM landscape has a never-ending list of bands singing about love and all its tangents. A band can find success just by sticking to this topic and avoiding any deviation from it. Signed to O/C Records back in 2018, Drive of Daydreams released their debut album – Daydreams Vol. 1 – with a collection of previously released singles and new songs while referencing the past overusing tropes to mixed results. All the songs in the album are your typical OPM songs talking about love and heartbreak that you may have already listened to in the 90’s and 00’s albeit with more modern sounding vocals. That is to say, they bypass the shout-along choruses you’d normally associate with these kinds of songs and deploy a more subdued vocal performance to mixed results. The opening song – Come With Me – is the best song on the album and sets the bar high where the rest of the songs fall short except for one. Taking cues from British bands like Oasis, the song has a great arrangement and is a banger opening track. The succeeding tracks fall short even if they try to pay homage to popular bands in the 90’s: Join the Club in Giliw, Spongecola in K.L.A., Itchyworms in L.D.R., and Silent Sanctuary in Wag Ka Lang Malumbay. But there is a glimmer of hope – Martyr. It shows the bands’ ability to shift from multiple genres and styles with great effect and shows the potential of the band where only glimpses can be seen in the other songs. Paying homage to the past is always a good starting point for any up-and-coming band but it’s always best to make your own mark – especially in the oversaturated space that the band is trying to make a name in. The album shows potential and we can only hope that this experience will help the band and their music grow in the hopes that the band can snap out of their own daydream and make a difference. SUPPORT THE ART & THE ARTIST:
EP REVIEW: Ozzga | Polar Lows SPLIT
Written by Janlor Encarnacion As we enter into the third year of this never-ending pandemic, bands have kept their hands busy. Enter two up-and-coming local shoegaze bands with their own version of relentless noise: Ozzga and Polar Lows have broken the deafening silence and released a surprise split EP. Spanning only four songs, it whets the listeners appetite for the potential of what the bands can unleash. The EP starts out with the banger track “Feel You” by Ozzga. Upbeat and hard-hitting, Ozzga dictate the pace with a high tempo track that is not usually heard of in the genre. It also debuts their newest member – Poti – on vocals. Her sweet melodies add a delicate contrast to the distortion of the band. ”Should” is next and is a personal favorite of mine ever since they played it at an Alternatrip show and it finally has a proper recording to do it justice. The back end of the track also features a droning transition – as the band mentioned – to introduce their co-stars in the EP. Polar Lows’ “Paper Street” is a surprise, mainly because of the male vocals and song structure but also shows the versatility of the band members. According to Pablo, the song is his take on a dissociative experience similar to the narrator’s experience in the movie Fight Club. The EP ends with “Ellipsis”, another stellar track from the band. It features the signature vocals of Megumie and the bombastic percussion of Josh, coupled with Pablo’s expertise with fuzz and reverb. Though really short in scale, the EP shows potential from the scarce tracks – leaving fans excited or more robust releases from both bands in the future. This EP is a definite must-listen from two bands that pave the way for shoegaze in the modern era. SUPPORT THE ART & THE ARTIST: https://ozzgaph.bandcamp.com/album/ozzga-polar-lows-split