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
Tag: One Click Straight
ALBUM REVIEW: ONE CLICK STRAIGHT – ONE CLICK STRAIGHT
Written by Louis Pelingen If you look at the cover, the One Click Straight in the present has shifted away from the One Click Straight of the past. Their image, once observed, has always been a frustration towards the band and their overall output. In their debut album, ‘The Midnight Emotion’, they kneeled over the synthpop worship that has its significant influences from the gauzy sides of the 70s – 80s synthpop. While well-produced with its use of gauzy synth textures, the rest is nothing but a blur. It tries to resort to a ‘foolish romantic chase’ theme, but the writing itself has shunned away from instilling wonder, in that romance and the melodies themselves came off fumbling at the seams. It is interested in the aesthetics of a new romantics leaning synthpop, but never breaking free to consider morphing into something new. This flailing fascination goes to their EP in 2020, conceptualized as a sweeping set of baroque-accented songs treated with a cosmic, starry-eyed harana that goes bigger in scope: polished in its lusher arrangements and melodic chops, but letting the vocals and writing lay limp as a result. The band switched away to another transition in sound and style 5 years into their debut. They used to pull away from their Synthpop worship and replace it with Pop Rock worship; now they pull the stops as a mark of change and growth in their self-titled LP. It is swirling with a rush of energy, urgent and thrilling on the edges as the band picks up strands of Pop Rock, and Post Punk that threads itself down to a cohesive 14-track offering. Going in this direction is a good fit for the band to expand upon their sonic wheelhouse. It brings out the band’s improvements to the table regarding their writing, composition, and production in a way that feels more propulsive, focused, and immediate. “Wake Me Up” is a track evident of this, with all of its driving percussive beat and guitars amidst all the synthetic feedback, pop rock melodies that take some nods to The 1975 to great effect, and crisp vocal chops that seek to snap awake from overthinking surrounding one’s relationship and their own personal doubts. “Hahayaan” shrugs off the judgments that are propped against them, peppered with shuffling guitar strummings and snappy percussion that swarm around the chilled-out vocal melodies. “Untitled 1” opens up with percussive grooves and cycling guitar licks that accelerate and crash through as it progresses, building off a rebellious spark from those who will take the autonomy of their lives. And “Isang Kawalan” closes things off, a retreat from one’s beloved when their identity has faded. It’s a stomping closer where the crashing drums and guitar melodies pick up the rhythms as it plows through to the end. Going even further – when they do strike gold, they make out some of their best tracks to date. The quiet longing of “MRT” is a grand standout for a reason, the warmth from the solemn vocal lines is situated within an excellent chorus and the twiddling guitars and punchy drums. “Synecdoche” and its tender balladry acquaints itself with glimmering synths and calming keys, coating the melancholic loneliness and changes that permeates through the song. But beyond all of that quiet pain comes the bright presence of the lover that’s always in one’s mind, a sentiment that the song delivers wondrously. The 2010s pop rock tunings of “Untitled 2” varies itself as it incorporates some house grooves underneath, allowing the hook to pop out with the grumbling guitars. And “Gulo,” with its waving guitar progressions over the rapid drum pattern, brings enough bewilderment to the post-breakup situation of the song. It plays its bewilderment until the very end, the piano murmurs the regretful musings of the relationship. As much as the band finds their footing with this stylistic shift, they’ve embraced it to a fault that they still find themselves carrying their influences rather than carving a form that is their own. One major culprit for this is that, just like them taking huge notes on 80s synthpop in their debut, this record has a lot of rubbing off of the flagrant 90s – 2000s pop rock and post-punk stylistics that only makes the record less fascinating than it should be. “Dahan-Dahan” has its trudging groove progressions aided by the pianos that may sound thrilling at first, circulating around pacing yourself calmly amidst a world that may leave you behind. The vocal cadence and the shoutier delivery don’t have that same pumping swerve to them, leaving the song to lack any sort of wild edge to it even with the progressions trying to claw things through. “Gitna” goes to a similar issue, where the post-punk nods get rather trite with the shouty vocals and the stomping percussion and guitars. It sketches out the confusion and questions of where one’s life might lead, but the compositions don’t wrestle with themselves to make that point resonate stronger – ending up being clunky as a result. And then there is ‘Some Kind Of Girl’, an immediate dud in the record about the shy yearning towards a girl that then proceeds to put the situation in the friendzone. It’s a dull adult alternative song, paired with the obvious cloying guitar strums, processed beats, and a vocal delivery that sounds more stiff than enthralling. To dig even deeper, there is a part of the execution of these songs that makes the album frustrating to go through. As much as the production stays consistent with how the textures crumble and warp in the mix, the static rhythms of a lot of these songs make it hard to justify the 54-minute runtime of the album. It makes the album sluggish to get through, and without a big switch-up to the structure of the songs just makes things clunky and drag as a result. While the aforementioned obvious pop rock and post-punk influences hold these songs back with the progressions
TRACK REVIEW: ONE CLICK STRAIGHT – MRT
Written by Elijah P. Written after long commutes and comforting cramped spaces while in motion, One Click Straight has proven themselves again that they are capable of growth, even above and beyond than their current contemporaries in the scene. As much as their lead vocalist Sam Marquez describes every one of their most recent outputs as “raddening”, “MRT” is basically the “renaissance” of their material, their literal version of “city” pop, may it be a songwriting and visual aesthetic standpoint. The string of singles such as “Hayaan” and “Wake Me Up” have established themselves as the pop band, all the while “MRT” and “Lilo” are reserved to be more honest and layered than the sum of their parts. Whispered melodies and crisp drum production are becoming the trademarks of a One Click Straight track — may it be coming from their live drumpad playing or constant teasers on their social media — made their careers as musicians reach an all time high in terms of quality. “MRT” has rhythmic rumbling of a train and synthetic warps mixed with Sam’s unorthodox guitar playing – the creme dela creme of the track. These sonic choices are paired with sentimental lyrics that tackle on the concept of finding each other while in transit, but whatever the place of love will take place in, one thing is made sure: One Click Straight have made unique jams for commuters; for folks constantly moving as the world revolves over and under them 24 hours; for humans depending on music wherever they go. SUPPORT THE ART & THE ARTIST: