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:
Tag: Nikolai Dineros
ALBUM REVIEW: GLASS – s/t
Written by Nikolai Dineros As 2023 comes to a close, GLASS, the silliest MAPEH rock band in town, kicks off 2024 with a new self-titled release chronicling the band’s 2-year-long songwriting journey from their 2021 EP release of the same – featuring three tracks from the album “Spice”, “Jones”, and “Buntot” – and a handful of new material, all loaded in a magazine of kinetic energy, dad jokes, millennial-passing shock value, and musical ammo. GLASS’ creative box is a confluence of blues, math rock, and post-hardcore templates, oftentimes shifting styles at unexpected turns and in sync with the band’s penchant for odd tempos and intricate rhythmic structures. The opener track “Octopus” does not try to hide this at all; a delicate intro teases the listener of the band’s tendencies to go off-kilter before going R&B-like as the verse kicks in and capping off the song in full virtuoso mode. It’s not always we get to hear these different styles blend as well as GLASS does with their songs. By the time you have finished “Octopus”, you will already have an idea of the kind of surprises GLASS has in store throughout the rest of the album, but in varying distributions of flair. For instance, “Obmerb” is a tad bit more conventional and Steely Dan-like than “Octopus” with a guitar solo more unassuming with less post-hardcore shenanigans. Tracks like “Ops” and “Buntot” embrace the blues a bit more than the others, a characteristic the local scene needs more of nowadays as artists and fans across genres have increasingly deviated from the allure of a style that once dominated the mid-2010s flavor-of-the-month genres in favor of a more ethereal sound that shoegaze presents. GLASS’ bubbly personality helps them in their compositions, and this playfulness complements the disjointedness of their tracks. But at times, it can also work to the detriment of the band. There’s a level of wit that the band employs in their songwriting that does not always land perfectly on the feet. There is this one song in the album, which I will not spoil to not ruin the experience for everyone coming into this record for the first time, that I would consider to be a perfectly acceptable song about a particular subject matter, but they kept running the same joke towards the end after it ran its course. Nothing too cringeworthy to pass on – just the kind of pure tito humor we all have a guilty pleasure for. GLASS has a treasure trove of innovative ideas, and they are not afraid of trying them all out. Most of these ideas work, a negligible few don’t. But at the core of it all, this free-spirited energy and shamelessness are traits we all ought to have, and GLASS came at a perfect time to set a year on such an exciting note. SUPPORT THE ART & THE ARTIST:
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
DEMO REVIEW: cheeky things – demo
In the local DIY community today, Metro Manila outfit cheeky things arrived in the first quarter of 2023. Their URL story started with a Soundcloud page – a lone Duster parody – and a couple of noise pop covers. The five-piece follows suit to the IRL, championing a tweemo backdrop with the help of their indie guitar heroes in live shows. And for a band that has been teasing their WIPs ever since the release of their little “demo” two months ago — by the way, a Bicol tour is already set in stone at this point — one would expect at this stage that a full-on record should be ripe for the picking. But hey, we now have a three-track demo, and it is packed to the brim with loud, grungy guitars, high-tempo drums, and the dreamy sensibilities that are commonplace in any track. But while this project certainly has all the makings of an EP, it is still a personal dilemma to me whether or not to make heads or tails of it as it is — a demo — and base my judgment of it on what it is, what it could be, or what it could have been. For the uninitiated, this demo is a gateway. The seemingly compact demo is a sonically massive 3-track project to look out for. It is raw, absolutely balls-to-the-walls, and unapologetically alternative. I would even be remiss not to mention how the oversaturation of the shoegaze-twee-alt-rock fusion bands writ large has made it all the more difficult for cheeky Things to come through as their own, but the result of which made the success of this release all the more commendable, and eventually carved a niche that is proudly one of their own. For the listeners who have listened to their plethora of influences and sensibilities, fans of the garage sound are in for a treat: tracks like “korean blackout curtains 7ft (1 pc, not set)”, a noise-rock anthem that has cemented its place as a favorite amongst the Manila alternative crowd, is Mellon Collie down to a T, and has a phenomenal intro that will transport you back to a time when you first listened to Psycho Candy. The song’s outing also meant the first for the band to incorporate Tagalog in their lyrics, making it an easy sell for many. While “smashing” on the other hand, while not as talked about, features some of the best dynamics between each member. Whatever your thoughts on this release, this cheeky Things demo serves as a litmus test for both the artist and the listener. In its current state, whether finished or unfinished, you either get it or you don’t. And even if you do, there’s still a lot to unpack in its heavily loaded arsenal; it does not hinder itself from pushing the noise level past its threshold. And who knows, maybe we have not seen the last of these songs and if we’ll still be as (un)accepting of them as they are now once we’ve witnessed them in their final form. But enough speculation. As far as I’m concerned, I passed the litmus test. Support the art & the artist:
EP REVIEW: Goon Lagoon – Rocket Peace
Written by Nikolai Dineros Elev8 Me L8r has no shortage of young, explosive rock-oriented bands to their name, but Goon Lagoon’s unapologetic take on grunge harkening back to the genre’s ‘90s roots proves to be their one defining aspect. The last couple of years has also shown us bits and pieces of what the band has going for with their sound (with varying degrees of success), with 2022’s Machine Gun being their most notable. In one of our previous reviews, we highlighted the song for its off-kilter motif and chaotic twists and turns. Now, with the release of Rocket Peace, Goon Lagoon’s identity is much clearer — and what used to be the band’s best work is now a part of something bigger. As the Goon Lagoon hype ele8ed (sorry) with gig announcements alongside this EP launch, so did Machine Gun’s cult fame, while a slightly superior Down The Drain seeped through the cracks as the band’s best material to date. “Down the Drain” is in-your-face in almost every way, with its muffled vocals, infectious riff, and drowning levels of flangers. Amid the chaos and noise, the songs in Rocket Peace have a lullaby quality reminiscent of Sonic Youth, with guitar solos and synths aplenty. This is especially the case with the closing track “Pocket Grease,” which I assume is a wordplay on the record’s name or the other way around. ‘Rocket Peace’ is so full of surprises that it’s almost criminal of me to include that in this review, as the EP’s explosiveness is what the record is built upon; each surprise comes when you least expect them. And when they do, they hit you at just the right spot. SUPPORT THE ART & THE ARTIST:
ALBUM REVIEW: OH, FLAMINGO! – PAGTANDA
Written by Nikolai Dineros A friend of mine once said, “Oh, Flamingo! is the definitive OPM band of this age.” It’s a thought that has since been stuck at the peripheries of my brain. I wonder if my friend was onto something or if it was just the alcohol talking. Oh, Flamingo! was at a critical juncture at the time: the release of their sophomore EP Volumes saw the band deviating from the brazen, indie-textured 2000s pop-rock sound in favor of a trippier, more visceral psychedelic rock motif — something up the alleys of the titos and titas. While it might not have been the cup of tea of every Oh, Flamingo! fan at the time, Volumes was a welcoming treat. I left the record thinking that the band was cooking something up for their first full-length release. And they did, but not in the way that I had anticipated. Enter Pagtanda, Oh, Flamingo!’s first full-length album, and their most introspective release yet. What I thought to be the band’s culmination of their seven-year run of wacky concepts and sonic experimentations turned out to be a recollection of the human pathos, funneled by the members’ own experiences expressed through song. On the surface, Pagtanda is their most straightforward record to date. It carries heavily from its mid-’70s to ‘90s influences — the Manila sound — and proudly wears it on its sleeves. The guitars are more subdued this time around, which gave more room for the keyboards and the brass sections to shine, but guitarists Pappu de Leon and Howard Luistro still have their moments every now and then. Drummer Pat Sarabia and bassist Billie Zulueta (who also took on a more active role as a singer) are still the strong backbones of the band, often providing that trademark groove from which the other members get their momentum. The songs on Pagtanda are more downtrodden than they have ever been for the band. At times, they even get existential with the lyrics as they chronicle every point of loss and regret as one trudges the early stages of adulthood. The opening track “Makina” takes you on a trip down anxiety lane, away from the mundanity of life. In “Na Naman”, Howard and Billie sing of the shame and resentment a person would feel from being trapped in the vicious cycle of a toxic relationship. “Sa Totoo Lang” deals with a lot of heavy stuff — inner struggles, fear of the unknown, and coming to terms with one’s mortality. It also sounds like a proper OPM anthem in the ‘90s. How so, I’m not sure myself. Batang ‘90s lang nakakaalam! (I am Gen-Z) “Pag-ibig Lang Ba,” for how off-kilter its riff gets, posits a philosophical question many young adults have probably come across at least once in their lives. “Galit” is a personal favorite of mine. I couldn’t count how many times I have bobbed my head to its bubbly ‘70s funk groove and Pappu’s excellent riffage while humming about contempt and betrayal. A mood. But for how bleak some of these moments are in Pagtanda, it never felt out of place. Nothing from Oh, Flamingo!’s limited but already colorful discography has. “Sigurado” is a teaser track memorable not only for capturing the Manila sound’s sweetest pop sensibilities but also for what it stands for. The song is a love letter to our fur babies and their strong bond with their respective hoomans. The lyrics will surely tug your heartstrings if you haven’t heard it yet (Seriously, why? You’re missing out!). And while you’re at it, share this tune with your lola. Tell her you’re welcome. Pagtanda is a record of self-reflection and change. Stylistically, the album is Oh, Flamingo’s most toned-down. It was not the return to form to the eponymous EP or the evolution of Volumes I had anticipated from a band my friend thought of as “definitive OPM”. Rather, Pagtanda is the enclosure Oh, Flamingo! needed to complete their trifecta of artistic growth — from ambitious beginnings to wild, deviant phases, and to a tranquil point of maturity. This three-record run is a framework that encapsulates the human experience, and Oh, Flamingo! nailed the ending perfectly with Pagtanda. This is not to say the band should stop making more albums to ruin this excellent run. But if there is a legacy they can leave behind, it is their diverse catalogue of songs capturing the OPM sound that stands as an impetus to the experiences many can relate to, regardless of age and circumstance. Also, I think my friend was a genius all along. Support the art & the artist:
ALBUM REVIEW: Spacedog Spacecat – Fuzz Sounds
Written by Nikolai Dineros Spacedog Spacecat’s debut ‘Fuzz Sounds’ is a celebration of one of rock music’s most unique and divisive effect sounds: the fuzz. Notorious for its rich, grainy and exuberant tone, the fuzz box has been a staple among musicians across the decades. It is everywhere: from the early years of rock to the inception of metal (and by extension, many doom metal bands going forward), the grunge era, and literally every Jack White song ever. Spacedog Spacecat’s assemblage of fuzz-filled tracks is fun, colorful, and upfront. Each song features not just one, but multiple layers of fuzz pedals across different instruments. On paper, this may be overbearing, but the band knows that the unique thing about the fuzz is that it does not rely heavily on mid controls, which makes it a versatile effect that works on the foreground as much as it would in the background. The opening track itself, ‘Beach, etc.’, puts you right into the action with a gnarly intro riff that is elevated by synths and more layers of guitars that are drowning in the same distortion but to varying degrees – and with a bit of reverb to shake things up a bit. ‘My Midori’ and ‘Jay Muscis’ are two of the more palatable songs from ‘Fuzz Sounds’. The former stands out for its sweet melodies and its ever-present aggression, striking a nice balance between the two, thereby creating something reminiscent of twee pop, while the latter borders between power pop and shoegaze with its dense production and energetic instrumentals that are endearing to hear, nonetheless. In ‘Chronic Non-Surfers’, the band asks, “what else does go well with an ensemble of already thick and saturated guitars?” To which they answer, “Violins!” If anything, Spacedog Spacecat knows that paying homage to the fuzz pedal should not be hard. For all we know, they might just be having the time of their lives on this album. Because whatever they come up with, that Big Muff pedal is still going to electrify the entire crowd. The rest is up to one’s creativity, which is easier said than done. SUPPORT THE ART & THE ARTIST:
ALBUM REVIEW: Basalt Shrine – From Fiery Tongues
Written by Nikolai Dineros With towering layers of distorted guitars, a consuming diabolic ambiance, and the seething, almost theatrical, vocals – Basalt Shrine paints a gloomy backdrop of the occult through a mix of funeral doom, sludge metal, and many more. Basalt Shrine is a five-person supergroup consisting of members from Dagtum, The Insektlife Cycle, Surrogate Prey, Abanglupa, Malicious Birth, Imperial Airwaves, and Kahugyaw – some of which have their own share of crossovers among members, like the Vivo Brothers Ronaldo and Ronnel, who are widely known for their joint works on Dagtum, The Insektlife Cycle, Imperial Airwaves, and most recently, Abanglupa. With them are Bobby Legaspi and Rallye Ryan Ibanez, who have shared the studio as members of Surrogate Prey. ‘From Fiery Tongues’ marks Basalt Shrine’s debut album release. The album, in a way, highlights many of doom metal’s rudimentary concepts all the while crossing boundaries through well-paced progressions and abrupt switch-ups. The transition from the opening track ‘Thawed Slag Blood’, a dark ambient tone-setter to the record, to ‘In The Dirt’s Embrace’, a stoner-ish black metal and drone fusion, is a prime example of the former. There is nothing particularly new to this structure in metal-based projects across the board that it has almost become customary for just about any band nowadays to feature a slow-burning opener. It is also worth noting that ‘In The Dirt’s Embrace’, while it is diverse in style with elements of stoner, drone, and black metal simultaneously thrown into the mix, the song is more of a 12-minute odyssey compartmentalized into two different chapters, each with their own cohesive song structure enough to make for a separate track, than a long-winded melting pot of the same two or three doom riffs that loop ad nauseam. The transition is abrupt, but it gels nicely, somehow. ‘Adorned For Loathing Pigs’ shares many similarities with ‘In The Dirt’s Embrace’ and the title track that comes after it. But unlike the other two songs, it has a more cohesive structure akin to a progressive metal song with a continuous flow. The title track, ‘From Fiery Tongues’, on the other hand, is more traditional in design with an infectious riff so well put together that it will linger on the right side of your brain hours post-listen. It easily has the catchiest – and therefore most memorable – riff in the entire record. And because of that, ‘From Fiery Tongues’ is a personal favorite of mine – quite the ingenious decision by the band to name the entire project after this song, actually. And while I do not recommend listening to an album by bits, ‘From Fiery Tongues’ is what I would consider a good starter to any newcomers to the heavier sides of metal, whether it be doom, sludge, or black metal. In contrast, the closing track ‘The Barren Aftermath’ is just that; a barren aftermath. In my defense, after three hard-hitting, bloodcurdling songs, it’s hard to top what the band has already showcased three songs prior, as far as my expectations go. The album closes out in a calm and collective manner and it seems like the proper way to go. A lukewarm reception seems expected. Who knows what coaxed the Vivo brothers, Legaspi, and Ibanez to start a new band to add to their already expansive backgrounds of projects they’ve started or worked alongside with? For all we – the spectators, the regular consumers of their media – know, they might have just decided it on a whim, perhaps over a bottle of beer. But Basalt Shrine is certainly one band to look out for. What a kickoff that was to one of the Philippines’ most ambitious crossovers in the underground metal scene in 2022! Support the art & the artist: https://basaltshrine.bandcamp.com/album/from-fiery-tongues-2?from=embed
TRACK REVIEW: FERVIDS – Sweet Tooth Aching
Written by Nikolai Dineros FERVIDS is one of those lavishly self-indulgent garage rock bands that taste like an espresso shot in the ears – sometimes overkill, sometimes vapid. But it’s the amusement of seeing how they attempt to make it ‘just right’ that makes this band worth checking out if anything. The Legazpi-based band claims to take inspiration from The Beatles, the British Invasion sound of the ‘60s, and the junkier side of 2000s indie rock with The Strokes. It’s not hard to see why. After all, we have seen plenty of crossovers of influence between The Beatles and The Strokes among new-age indie rock bands in the past. Initial listens of their single “SWEET TOOTH ACHING” would make you believe they took a more ‘Tranquility Base Hotel & Casino’ approach in concocting their sound. And by that, I mean the ‘Star Treatment’ obsession for croony Julian Casablancaisms and swagger – not the galaxy-age, elevator music type of sound Alex Turner tried to emulate that, in the end, is still very ‘Arctic Monkeys’, a far cry from The Strokes’ sound palette. Basically, FERVIDS’ attempt at figuratively wanting “to be one of The Strokes” has led them to create an image that is a far cry from how their influences sound but is still a tad bit reminiscent of them at heart, as far as their attitude on the mic goes. It is garage rock at heart if the garage is converted to a coffee shop and the smudges of grease and oil along each corner were covered in maple wood floorings and Live, Laugh, Love picture frames. But FERVIDS is young. If they choose to continue as a group and develop into their own kind of artists, there will be no need for them to desperately look for a “Please Please Me” or “Is This It” debut moment. Support the art & the artist: