Tag: Nikolai Dineros

  • TFL’s THE 23 FILIPINO TRACKS OF 2023

    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.

    1. KRNA – Dream Again

    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

    1. Armi Millare – Roots

    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

    1. Suyen – Sonic Tonic

    ‘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

    1. ASIDE BOONDOCKS – SOUFSIDE

    ‘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

    1. Waiian ft. Yorko, U-Pistol – SMILE

    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

    1. Pikunin – Tadhana

    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

    1. Ronan – Insomnia ft. SHUICHI

    Out of the few tracks that Ronan has put out this year, the tweaked version of ‘Insomnia’ is his most compelling release thus far. With additional robust instrumentation, polished production, and shattering performances from both Ronan and Shuichi, ‘Insomnia’ blooms into something fully formed and representative of Ronan’s breakthrough within this psychedelic R&B niche. Ronan’s cover of ‘Kailan’ might be the seed that takes a peek at what he can bring, but ‘Insomnia’ is the one that emerges into the surface, unfolding into a jaw-dropping track as a result. -Louis Pelingen

    https://soundcloud.com/ronanfauxangel/insomnia-ft-shuichi
    1. Salem and the Stellar Cats – Reflections After Salem

    There’s spoken word about the local bands you’re with, some moments you just crave the halal patir in your neighborhood, and sometimes you just can’t resist calling your pet cat out of overwhelming emotional bonding. In the phenomenal “Reflections After Salem”, living in a world after Salem is a reminder that everywhere you go is a dizzying world of love, companionship and overall chaos. There’s angular, punk-driven riffages, buildups that give off a bedroom pop glare and a voice of an artist just waiting for their pet cat to come home. It’s real and it’s genuine and we’re all for Salem and the Stellar Cats. -Elijah P.

    1. Sica – Choosy

    Greenhouse Records’ very own Sica remains to be one of those rappers that personifies the “no fucks” attitude. We’re all aware that words in the verse are to live by one hundred percent. Regardless of how much material he’s released in the past to the present, “Choosy” is a centerpiece to all slices of life. Looming over the nocturnal production like its Gotham City, Sica’s got what it takes to be on point wherever he goes and whatever beat he chooses to hop on. It’s Sica effortlessly bringing the attitude adjustment and we’re here witnessing its greatness unfold. -Elijah P.

    1. Demi ft. Madman Stan – homebdy

    The heavy hitters from newcomers have been abundant throughout the year 2023, especially for the realm of r&b, and it’s no surprise that the new breed like DEMI brought the heavy rotation from dusk till dawn on “homebdy”. Carrying the verse behind his back, Madman Stan converses with DEMI like a natural while the latter clemently speaks over the sensual flute samples like it’s the final countdown of the evening. The track almost feels cinematic at points, but there’s appeal to its short-but-sweet length and that alone is a reason as to why it’s an earworm to many throughout the year. -Elijah P.

    1. Cat Boy Jeepney Drivers – Unsint a Message

    Labeling themselves as the premiere “buko pie and sisig pretty boys” on the internet, Cat Boy Jeepney Drivers champions everything about the current “isms” of love, online and momentary relapsing in “Unsint A Message” – a revelatory dream-pop r&b bop that transcends digital bodies into the love letters of that never was. Serenaded by resident shyboys Neytan & Areli, “Unsint a Message” is proof that geographical distance can’t stop both artists expressing their sincere riverbed of feelings in one track, whether done in copious amounts of reverb or harmonious autotuned textures. Cat Boy Jeepney Drivers might as well take their stylish sentimentality throughout 2024. -Elijah P.

    1. Rhodessa – Kisame

    The “harhar vocalist” movement was dying, and singer-songwriter Rhodessa has resuscitated the genre in ways you would never expect. On paper, it’s a style that’s been on the forefront for the more tender crowd. Nonetheless, the neophyte took those cliches up a notch, creating a new category of herself in the long run. Coming out of nowhere pre-”Kisame”, Rhodessa bursted out of the scene with the track alongside its comforting vocal delivery. It’s a sonic manifestation of a daydream, optimism shot across the heavens and ultimately landing perfectly albeit the pleasantly, gentle pacing. -Elijah P.

    1. Japanese Surplus – Lovespring

    The one liner “Will I still love you in the spring?” are like dart shots to the chest; Questioning seasons and time changing, newcomer Japanese Surplus put local songwriters on a chokehold in breakthrough track “Lovespring”. In the pile of Marlboro blues, pale ribbons and sad Notes app messages for the self, underneath those knick knacks is a gem waiting to be found. Soundcloud has done it again being the prime app for the underground and it goes to show that acts like Japanese Surplus are one of those promising flock of young singer-songwriters today. -Elijah P.

    1. Toneejay – Parang Magic

    Pasig’s rising folk-pop star, Toneejay, departs from his earlier sound as he unveils one of his two hits in 2023, ‘Parang Magic.’ True to its title, Toneejay impresses with a more vibrant and earnest version of himself, using just the bare essentials. What made this transition work for Toneejay was his knack for fundamentals in songwriting and production. Gone are the days of navigating an entire soundboard, tweaking his channels left and right in search of that squeaky-clean setup that would make for his trademark sound. With the simplicity of well-crafted musical elements, minimal EQ work in post, and heartfelt lyricism to boot, Toneejay adeptly navigates dynamic shifts, integrating pulsating bass lines and his signature falsettos. -Elijah P.

    1. Showtime Official Club – Paligoy Ligoy

    The year 2023 is the state where the 2010s Pinoy pop culture nostalgia has come full swing, with Showtime Official Club mainly unveiling that nostalgia through audio form with their run of tracks since late last year. Yet, ‘Paligoy Ligoy Remix’ is more than calling out nostalgia as it embraces the structure of a collaborative Budots DJ Mix, where each phase from four out of the nine Showtime Official Club DJs offers different tones and rhythms that are consistently bouncy and frenetic in their energy. The ‘Paligoy Ligoy Remix’ was a standout from the moment it was released, an essential cut from Showtime Official Club’s ridiculous goldmine of releases, and a bombastic echo that will eventually net the collective a deserving spot on Boiler Room alongside the DJ that influenced their sound in the first place: DJ Love. -Louis Pelingen

    1. kyleaux, k1ko – gusto kita

    Under the 25hearts collective is an assortment of young-fledged musicians who have been morphing their style for the past few years, one that eventually cultivated a following ever since. On ‘gusto kita’, kyleaux and k1ko under 25hearts show a step further in expanding their sonic stepping stones, where kyleaux’s flexible vocal lines fit nicely on k1ko’s shuffling 2-step production. Catchy as sin in so many ways, ‘gusto kita’ is yet another piece for 25hearts’ intrigue towards branching out their creative music mindsets. -Louis Pelingen

    1. FEIFEI – Minato

    Just when we thought hyperpop had already peaked and the whole Y2K comeback was just a fad, then comes Feifei with her banger ‘MINATO’, an Adderall-filled pop tune perfectly curated for potential success in the Gen Z crowd: internet vernacular hinging on the parasocial romance culture prevalent in online community hubs like Discord, and a pre-made sped-up version of the song. All that’s left for this song to go full circle is a TikTok video going viral with ‘MINATO’ in the background. -Nikolai Dineros

    1. Hev Abi – WELCOME2DTQ

    Welcome to downtown Quezon City, a place where no one coddles you, and everyone takes advantage of each other, ready to chew you up and spit you out if you don’t climb the ranks. In ‘WELCOME2DTQ’, Hev Abi invites you to Kyusi’s simulacrum of the larger Filipino hip-hop realm. In its 3-minute runtime, Hev Abi’s playful flows and on-the-mic persona vividly describe his beloved turf, perfectly encapsulating the relentless competition among hustlers in the streets of Metro Manila. It’s a warzone of individuals who refuse to be lorded over, fighting fiercely for their image. If you’re just a rookie around these parts, know that at the top of the food chain is Hev Abi. -Nikolai Dineros

    1. cheeky things – korean blackout curtains 7ft. (1pc, not set)

    The effects of local underground music’s biggest watershed moment in the last couple of years have finally come to a boiling point with the arrival of cheeky things and the release of their standout track ‘korean blackout curtains 7ft (1pc, not set)’, signaling a full-scale takeover of the post-lockdown indie zeitgeist. Heavily inspired by the cult-favorite indie rock band Duster with a dash of The Smashing Pumpkins spice, ‘korean blackout curtains 7ft (1pc, not set)’ can be heard from small crowded venues in the peripheries of Metro Manila’s local music hubs to the Spotify playlists of a particular wave of Filipino adolescents embracing gig culture, inundated by the ways of arthouse films, shoegaze, Roman empires, and German philosophers. No one expected this young band, let alone a demo version of their song to be this big, but we are here for it. -Nikolai Dineros

    1. RB Slatt – Pahna

    When we first caught wind of RB Slatt through his collab track ‘Lasing Na Naman’ with fellow rapper Eros Rhodes, and later on, his single ‘TAHLA’, we knew this guy was on to something. Enter his breakout song, ‘PAHNA’, a melting pot of a remix of ‘One Way’ by Autumn! broken down to its atomic structure before being molded into an entirely different creature, one that is superior to the original.

    Much like his courage to show emotional vulnerability in the song, RB Slatt does not shy away from taking creative risks, constantly challenging the limits of what can be considered ‘palatable’ to the common listener’s taste, while simultaneously proving through his growing success that there is a place for the eclectic style of internet cloud rap in the larger rap game obsessed with empty bravado and tried-and-tested trends in production. -Nikolai Dineros

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    Thank you for supporting The Flying Lugaw for the entire 2023. Follow and like our official socials for more announcements! Watch out for the TOP 20 Filipino Releases of 2023!

    Merry Christmas and a Happy New Year!

  • DEMO REVIEW: cheeky things – demo

    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.

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  • EP REVIEW: Goon Lagoon – Rocket Peace

    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.

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  • ALBUM REVIEW: OH, FLAMINGO! – PAGTANDA

    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.

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  • ALBUM REVIEW: Spacedog Spacecat – Fuzz Sounds

    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.

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  • ALBUM REVIEW: Basalt Shrine – From Fiery Tongues

    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!

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    https://basaltshrine.bandcamp.com/album/from-fiery-tongues-2?from=embed

  • TRACK REVIEW: FERVIDS – Sweet Tooth Aching

    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.

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  • EP REVIEW: CREPUSCULAR DAWN – IN FILMIC STASIS

    EP REVIEW: CREPUSCULAR DAWN – IN FILMIC STASIS

    Written by Nikolai Dineros

    Hardcore turned post-punk: At least, that is where the appeal for the newly formed post-punk outfit, Crepuscular Dawn, who recently unveiled their debut release, In Filmic Stasis, comes from. And while some may argue that hardcore and post-punk/no wave come from the same umbrella, one cannot deny that switching styles can be an arduous task, especially for the more creatively established musician.

    Upon rummaging through the vast archives of old, forgotten performance clips from the peripheries of the local hardcore scene, all in search of any material from the members of Crepuscular Dawn’s other projects, I was only able to find a handful of music to go by – one from Bandcamp and the other from YouTube.

    The parent hardcore bands in question are Eyes of Fire – Manila and Off The Chain, the former of which had a studio album – branded as stoner blues rock –, a live album, and a demo release published on Bandcamp, all for the taking. As for the latter, all I gathered was a live performance of their song “Mainland Pride” on YouTube.

    Fast forward to ‘In Filmic Stasis’, the once brutal and in-your-face mosh preachers are now sporting synths, dismal and eloquent songwriting, a melancholic “Insiang” (1976) cover art, and a copious amount of reverb and high pass filter across the guitars and vocals, respectively. Sad vibes all over, but you can still bang your head to it.

    ‘Whirlwind’ is a brilliant tone-setter, kicking off with a rich rhythm section backed by an infectious guitar riff, and the singer’s expressive and emotional crooning that remains at the forefront throughout the five-track project.

    True to the band’s hardcore roots, “Geworfenheit” then takes all these elements and elevates them even further. The vocals are much more potent, the wall of guitar and synth passages that are simultaneously at play are explosive, and the glittery counter-melody provides more glam.

    “Pilgrim” is memorable for its intense and powerful guitar-bass line that complements the thumping batterie, and that “Death is the only constant” line that goes on repeat at the final leg of the track. Much like ‘Geworfenheit’, it borrows a lot from the band members’ former hardcore sensibilities.

    The first three-track run is a strong and uncontested one, but even “Empire of Speed”, which follows after “Pilgrim”, has its fair share of amazing feats. It is easily Crepuscular Dawn’s most upbeat and straightforward song in the record, thus making it stand out on its own, at least before “Leper God” plunges at the opposite direction to finish ‘In Filmic Stasis’ at a depressive note – typical gothic fashion.

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  • ALBUM REVIEW: Nullification – Kingdoms to Hovel

    ALBUM REVIEW: Nullification – Kingdoms to Hovel

    Written by Nikolai Dineros

    There is something that is always so endearing about acts in the peripheries of the Filipino metal scene. For a genre so predicated on turbulence and density, bands like the Lagueno old school death metal group Nullification somehow know just when to fill those crevices with noise and violence.

    Enter ‘Kingdoms to Hovel’, Nullification’s nine-track project under Personal Records and Metal Choice Cut Records, produced around the third quarter of 2021 in Laguna, Philippines, before making its way to Walpole, Massachusetts, where it was set for physical release in January 2022.

    ‘Kingdoms to Hovel’ is all about fundamentals. Even the progression in its name, or the bareness of its medieval, almost Macbethian cover art, is suggestive of this idea. But for an OSDM album, one would think fundamentals seems like a redundant descriptor. As ironic as it sounds, this is the one glaring factor commonly overlooked by new DM bands in their tribute-to-the-past records (I’m looking at you, Gruesome). Nullification succeeds in elegantly incorporating the nostalgia factor without leaving it stale.

    Inspect the first track ‘Intro to ‘Annihilation’ on your first playthrough and you will most likely already know what to expect: a minute-long ambient tone-setter that slowly builds up power before cutting off at the last second, only to immediately throw you into the brutal pit that is the second track ‘Sledgehammer’ – the ‘actual’ first song, if we’re to be technical about it. Nothing new, but it’s so rich and well-executed that can never get enough of it.

    On that note, ‘Sledgehammer’ is like a proper poster child of Obituary and Morbid Angel, touched up enough to sound like a tribute to the genre’s formative years whilst sounding fresh in 2022. The drum work is crisp, the vocals are bloodcurdling, and the guitars are fast and unforgiving, as can be said about the other tracks.

    ‘Calamity from the Skies’, with its dissonant drum beats complementing the ebbs and flows of the guitars and lyrics, portrays destruction raining down from the skies, headed towards you.

    ‘Negated Fields’ has to be one of the biggest highlights in ‘Kingdoms to Hovel’ for how well it represents the band working seamlessly as a unit. Everything about this song gels perfectly with one another. Vocalist and bassist Rozel Leaño is at the top of his singing game. His growls are as graceful and as ‘death metal’ as they can possibly be. The solo near the end is blazingly fast and melodic, and reminded me a lot of the same section of ‘In Death’s Sleep’ by Dismember from their 1991 album ‘Like an Ever Flowing Stream’.

    Nullification proves that Filipino old school death metal can still break out of the mold while staying fundamentally rooted – a medieval fantasy opus that you know all too well but somehow manages to always keep you at the edge of your seat.

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  • ALBUM REVIEW: ABANGLUPA – Of Rats And Swine

    ALBUM REVIEW: ABANGLUPA – Of Rats And Swine

    Written by Nikolai Dineros

    People the world over decry the looming threat of war and invasion. Filipinos, faced with a dilemma of their own, grieve in remembrance of comrades lost. Of Rats and Swine could not have come at a more vital time.

    Behind this full-length record is Abanglupa, a hardcore punk/grindcore duo hailing all the way from Pateros. With Of Rats and Swine marking the band’s debut album release, the Vivo brothers comprised of Abanglupa, Ronnel and Ronaldo, released around a month before the album’s 22 February release date a manifesto expressing their grievances toward the Marcoses for their lies, callousness, insatiable greed, and total lust for power.

    “The Marcoses will do anything to return to Malacañang and claim power for themselves,” the statement read, as Abanglupa teased “Forced Dementia” — an allegorical protest against historical revisionism and the distortion writ large of the resistance’s raison d’être. “They will stop at nothing even if it means sowing discord amongst the Filipino people.”

    Abanglupa doesn’t beat around the bush, never indulging itself with the ominous. Across the ten short but powerful tracks in Of Rats and Swine, the band resonates their anger with the oppressed collective through guttural screams and loud riffs, and calls for the destruction, not the redesign, of the carceral structures that enslave the poor. The title track, “Erase”, and “Decorated Vultures” are just three among the ten hard-hitting songs that heavily emphasize these themes.

    As far as their sound goes, Abanglupa has a lot going for it. The band has previously cited the New Hampshire-based hardcore punk act Trap Them as a major influence. But as cumulative as influences are, comparisons do not end there. On many occasions, Of Rats and Swine crosses over borders of punk subgenres and metal, but it is hardcore at heart.

    But the rage of Abanglupa in their debut album is far more than the slew of crust, sludge, and grind elements the Vivo brothers have colorfully thrown into the mix. It is best encapsulated by the masses’ anger for tyrants and the system that bred these corrupted people to enrich and rot amongst themselves on the pedestal, to be spewed by society of their poison, only to be ingested once again with that same poison.

    Of Rats and Swine is a call-to-action. To violently topple down the powers that be – and may be.

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    https://abanglupa.bandcamp.com/album/of-rats-and-swine