Tag: Jayne Caray

  • EP REVIEW: Slinky Fever – Feverish

    EP REVIEW: Slinky Fever – Feverish

    Written by JK Caray

    Slinky Fever, Megumi Acorda’s recently announced solo side-project, goes online with its synthpop debut EP ‘Feverish’ as the musician’s fresh venture into electronic music. Best known as the frontwoman of one of the local underground’s most successful dreampop acts, a move like this that seems to have completely come out of nowhere. Thus, it puts into view a few questions, with the most obvious one being: does the magic in her main band still carry into a project like ‘Feverish’?

    Opening with “Factory Girl, E.S.”, the world of ‘Feverish’ is introduced as a tasteful homage to the 80s New Wave that once dominated the airwaves. It’s got all these trademarks of glittery pads and dance drum loops with the added flair of feeling like you’re alone inside a dark room, solely lit by neon disco lights. In a way, ‘Feverish’ manages to make synthpop sound intimate with the tiniest bit of claustrophobia, in part due to the confessional lyrics and the electronic atmosphere, a decision that makes the EP more compelling.

    Initially created as a dump for Acorda’s music homework back in college, it has since been an outlet for the artist’s production practice. For the most part, the release being a “practice” makes sense. A few issues make it clear that she’s still finding her footing within the style of ‘Feverish’, most notably with the latter part of “There You Go Again”. Alongside the obsessive lyrical narrative, the juxtaposition between the unfeeling drum loops and the airy synths does not evoke the effect it’s attempting to give. 

    Performance-wise, Acorda’s signature soft, dreamlike vocals remain a welcome constant during the bulk of the EP. On tracks like “Heaven” and “Away”, these create a liminal environment that amplifies the longing and the neediness found within the tracks. However, it leaves more to be desired for the other tracks “There You Go Again” and “Factory Girl, E.S.”, both of which needed a more dynamic vocal presence to elevate their mood.

    Nevertheless, the handful of lows do not discredit the Slinky Fever’s promising experimentation into electronic pop. In the current sea of industry plants and trendhoppers, seeing a renowned musician risk their credibility to explore a different take on their artistry means a lot for budding artists scared to put their work out for the general public to scrutinize. 

    After all, Megumi Acorda and Slinky Fever are just two sides of the same coin; it’s still the same gentle voice, the same affective yearning. So, as long as the artist continues to authentically express their conceptual world, whether in different genres or mediums, that same magic will still be found in whatever kind of art they produce.

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  • EP REVIEW: Tarsius – Vikslotov

    EP REVIEW: Tarsius – Vikslotov

    Written by JK Caray

    Six years after their last album ‘Culture Cow’ in 2020, a few sets at international festivals, and appearances on a lot of compilation albums, Tarsius makes a long-awaited comeback with the release of their new EP ‘Vikslotov.’ In letting the tracks evolve and marinate, the Manila-based duo has surprisingly come out with a release reminding us that one of the electronic scene’s most acclaimed acts is still here to innovate.

    As the opening track, “Autophagy” doesn’t waste time introducing the plane of existence it belongs to. Arguably the EP’s standout track, “Autophagy” exists in different phases of a cerebral journey, guided by Jay Gapasin’s precise percussion work. In general, drum loops are used extensively throughout the EP, with the track “Oui” ditching traditional acoustic drums for more compact drum machine beats that sync with the song’s alienating leads and occasional vocal chops. Speaking of, “IKR”s more engaging use of chopped vocals does the heavy lifting in giving the track its own identity, leaning more on its playful, almost sassy sonic profile. Lastly, “Vagabond” rounds off the EP with a satisfying aural shift towards Melodic House beats after the tense, rhythmic push-and-pull present in “Spectrum”.

    At a distance, ‘Vikslotov’ looks like a release that came from the mix of different styles Tarsius has dabbled in after a long period of inactivity. With the risk of seeming like an “All must go” kind of EP, ‘Vikslotov’ may not be the duo’s most cohesive collection, but it’s the breathing, ever-present rhythm living inside these tracks that holds the release together. Building on that groove, ‘Vikslotov’ shows us the different forms Tarsius is capable of taking shape in. Though it may cause whiplash from the differences between the tracks’ personalities, it is a welcome change since Tarsius knows how to make each song interesting. Besides, when stripped down to its most basic form, isn’t electronic music simply about making insane drum beats and doing tons of experimentation?

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  • ALBUM REVIEW: unikko ijo – kung ipagdaramot ang nadarama, saan ba tayo pupunta?

    Written by JK Caray

    With worn-out confessions scattered across his discography, unikko ijo’s brand of writing has earned him a special place among yearners who cover his songs on a dying digicam or create intricate lyric art that gets passed around their timeline. But after half a decade of writing unrequited ballads, the solo artist seems to have hit a checkpoint. His latest album entitled “kung ipagdaramot ang nadarama, saan ba tayo mapupunta?” shows a different resolve from the same artist who understands a little more about what it means to love.

    “malayo sa lupa ang bituin” starts the album at its lowest point, thematically. The blaring electronic pianos set an alluring backdrop alongside his defeated quips as unikko ijo contemplates whether it’s worth it to keep loving. Amidst its catchy melody that predates virality, the song also asks the most important question yet, “itatago nalang ba ang nadarama sa iyo?”. Throughout the album, he gradually builds up his answer.

    Halfway, songs like “kakaiba,” “matiwasay,” and “sapat nang hindi ka magsalita” fluffs up that familiar melding of Manila sound and lo-fi bedroom pop unikko ijo’s known for. The production is much more polished while retaining those intimate imperfections that drive home the sincerity in his words. As always, the solo artist is effective at building choruses that plant themselves in your eardrums. The simple song structure in the form of drum loops and hooky guitar riffs serves not only as a vessel but as the driving force for his talent at infiltrating your emotions with his intimacy and relatability.

    In “Hiwaga”, we get unikko ijo’s answer in the form of a question that bears the name of the album. “kung ipagdaramot ang nadarama, saan ba tayo pupunta?” shares the sentiment that fruitless longing gets us nowhere. Those unspoken words, stolen looks, and hidden letters all turn to rot on their own. In hoarding your feelings and creating your own stories, you’ve built an inescapable tower, becoming a reminder that self-contained devotion can be selfish. What good does our silent pining do if it’s not to be seen? To be felt? To be transformed into another thing? Where do these intense emotions linger if not become the catalyst of our self-destruction? It may sound harsh for some and inspiring for others, but this is a truth that most of us have forgotten. After all, what use does love have if not shared?

    The key to all this seems obvious. A line in “malayo sa lupa ang bituin” goes “babaguhin ko ang sarili ko”, a phrase that explains how the singer-songwriter sees the shift in his perspective that led to this album. At a glance, unikko ijo may seem like the type of artist who only has one gimmick, but this release reveals how he is capable of pushing the envelopes of his niche. “kung ipagdaramot” is the kind of album that emerges when an artist becomes aware of the clichés that surround his music and evolves along with it.

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  • TRACK REVIEW: Wuji Wuji – Careless

    TRACK REVIEW: Wuji Wuji – Careless

    Written by Jayne Caray

    Despite ending the past year with close to no media presence and zero hints of a release, Wuji Wuji ends it with a surprise announcement; 2024 was not for naught after all, the sextet was busy doing something else, something new. In a Facebook post made 4 days before 2025, the band teases their single called “Careless” from their upcoming release “NOVISION”. Now, the question is, how much difference did one year make?


    Right off the bat, the latest track signals a stylistic departure from their former releases. Wuji Wuji initially spent 2023 exploring and experimenting with multiple genres. The band initially got recognition as a City Pop act inspired from retro Japanese aesthetics; ranging from the 80’s fluorescent green-tinted street style to the 2000’s old school Hip-Hop.


    In “Careless”, the band retains a few of these elements, but musically, they have become quite unrecognizable. The Disco and Hip Hop influences from “NOSOUL” are missing as we see the band donning new sonic textures denser and more mature than their previous tracks. The bassline along with the heavy-hitting drums set a slow burn that drones out throughout the entire song. Engulfed in its misery, the vocals drown yet echo a haunting loneliness that resembles aching from the Slow Rock bands of decades past. The single stands as one of the more somber tracks in Wuji Wuji’s discography, a possible indication of the foreign yet intriguing path to be taken by the upcoming EP.


    It makes one wonder why Wuji Wuji switched up again all of a sudden. Was it a new persona to add? A new direction for the band? Going into the track, “Careless” was initially confusing. The band has changed musical styles throughout the years, making their discography as colorful as ever and so, with 2023’s “Kanluran”, you would expect them to lean heavily into their City Pop roots. As much as this was not the case, the latest single has proved itself worthy of being taken seriously. The dedication and amount of effort the band has poured into their new sound is evident within the single. Wuji Wuji has made it clear that they’re not just messing around and that ending up with a year of inactivity is just the consequence of doing so. Although “Careless” was far from being expected, it still wound up as an endearing change to their discography.

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  • EP REVIEW: Salem and the Stellar Cats – “Salem!” 

    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. 

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