Written by Adrian Jade Francisco Nearly a decade into their career, septuplet pop-rock Lola Amour became an act you would hear anywhere. Like any other band, their breakthrough came only when lightning struck—and it poured. The “Raining in Manila” fever took over the Philippines as the rainy season did. Syncopated brass, snappy basslines, and everywhere you turned, you’d hear “It’s been raining in Manila, hindi ka ba nilalamig?” Now, with Lola Amour’s reach extending to a wider audience, their once-local charm began to take on a metamorphosis in ‘Love on Loop.’ The act decides to groove unmistakably pop, for better or worse, under a runtime of thirty minutes. Unlike their previous releases, the groovy, jam-like jazz fusion detours are almost nowhere to be found across the band’s sophomore album. If Lola Amour’s 2024 self-titled album was their ticket to the mainstream, ‘Love On Loop’ showcases how they navigate their pop sensibilities. The production is pressed into something unrecognizably sleek; their penchant for cheesy lyrics remains intact, but a part of their previous refined sonic identity moves away. Supplanted by drum machines and a noticeable absence of the explosive instrumental sections that once defined their sound—a tilt toward a polished pop direction. While “Raining in Manila” anchored the ensemble’s ability as a cohesive band, the tracks on ‘Love On Loop’ strip away that dynamic to the point where the group feels almost unrecognizable in “One Day Away” or “The Moment.” On the other hand, “Misbehave” and “Dance With My Mistakes” slip into more recognizable arrangements, attempting to assert the band’s reinvention. They throw in funky jabs with a pop-oriented sensibility, while the title track, “Love On Loop,” flirts with bossa nova rhythms. However, for all its catchiness, it lacks the space for Lola Amour to feel loose—to hear their dynamic as a band. There’s a fragile equilibrium at play, tapping into their potential as a mainstream outfit under producers Hyuk Shin and CUURLEYOn, but shedding much of the group’s defining sonic character throughout the album. It’s a balancing act between identity and accessibility, coming at the cost of the interplay that once gave them their edge. Lola Amour proves their pop instincts are sharper than ever, but they lose the very friction that once made them compelling. ‘Love On Loop’ is a confident leap toward the mainstream—one that brings only half of the band’s heart along for the ride. SUPPORT THE ART & THE ARTIST:
Tag: Pop
TRACK REVIEW: Man Made Evil – Dear Baby From Malate
Written by Noelle Alarcon So far, the 2020s have proved to be an era engulfed in the novelty of remakes. It’s evident in recreations of films from decades ago, the return of cuts and fabrics popularized by your parents’ generation, and the like. In this age of pastiche milked dry by major corporations, it’s artists like Man Made Evil that show everyone how authenticity can breathe new life into the past. ‘Dear Baby From Malate’ is over five minutes of stripped-down brilliance; a track mixed like a live performance. The instruments are put together in a way that sounds like you’re right next to them, welcoming and fitting for the romantic swagger the song’s words carry. Its singsongy background vocals add to its chummy appeal; a song that is as catchy as it is intricate. The track’s brash vocals mesh together perfectly with its guitars, which let overdrive take the reins in shaping the body of the song. It’s reminiscent of local 70s acts like the Juan Dela Cruz Band, whose discography carries both bark and bite. Similar to its predecessors, “Dear Baby From Malate” is also hinged on creative riffs, a smug, patterned rhythm section for support, and incredibly casual lyrics. Just when the song calms down for its soft “ooh, ooh, oohs,” it lets loose some more, until the audible release of energy fades to its eventual end. “Mapa rockers man o punks na long hair, tiyak hindi lahat wagi diyan,” sings the band, their easygoing, “it is what it is” attitude towards love infectious. Passion oozes out of the track, from the earnest references of their inspirations to the witty tongue in cheek it carries throughout its run. ‘Dear Baby From Malate’ is a reminder to take it easy; authenticity will always get you by, in the end. “Ganito talaga sa mundong ibabaw.” SUPPORT THE ART AND THE ARTIST: Dear Baby From Malate by Man Made Evil
EP REVIEW: Jess Connelly – fool’s gold
Written by Gabriel Bagahansol The interlude of “fool’s gold,” the latest EP from R&B singer-songwriter Jess Connelly, is a song that speaks of unconditional love. In under two minutes, she lays down creeds of a committed monogamy with somebody in spite of the vultures circling around them. The lyrics sung are the words we say to a lover when we know there is trust between the two of you, when acts of love need not be asked and feel like they just fall into place. But putting it another way, these are the things we say to ourselves when we hold on to a stagnating relationship, when complacency sets in, and feelings turn lukewarm. Now you’re desperate to keep the relationship steady, but you know it’s not getting any better, what with the permeating silence and all the lit matches ready to catch a moth. The honeymoon is over, which is why it makes sense that Jess named this track “indelulude.” This interlude is the turning point that bridges the two halves of a collection of songs in which Jess details the life cycle of a love that’s too good to be true: a rendezvous with a flame too thrilling to pass up on, too selfish to settle down with, but too powerful to forget. “fool’s gold” delivers this story upon a backdrop of class and elegance that we’ve come to expect from a Jess Connelly project, provided here by long-time collaborator LUSTBASS. The moody atmosphere of the music and the greyscale cover art bring a noir feel to the EP, especially with the live instrumentation of the opening track “flow.” The sense of space brought by recording a live band, drawn particularly from the cymbal-heavy drumming, complements the feeling of wonder and excitement in wanting to get close to someone new, as though we see two people cozying up to each other at a bar. But it doesn’t take long for mischief to set in. On “fool me twice,” we find that this new person has wandering eyes, and we get a feeling that what the two have between them may not be as serious as she had hoped it to be. Nevertheless, she sticks around for a while, spellbound by a one-sided fling with somebody she couldn’t refuse. But after this hallucination drifts in and out for the last time on “indelulude,” Jess has decided enough is enough. “never fall in love again” talks about the aftermath of this love affair, in which she makes it clear to her former lover that he will feel the absence of her unconditional love. But that doesn’t mean his absence hasn’t affected her either: after getting into a few rebounds, she reveals she might not be able to find true love just yet. The final stage of grief is acceptance, and in the closing track “let the bird fly,” Jess confesses that the time she spent with this man was unforgettable. Over a jittery drum break, we see her rekindle things with him despite everything she learned about people like him throughout this EP. This is the part where the real delusions set in, where acceptance is taken as a chance to blindly start over with someone who will never change and has taught another to do the same. Likewise, “fool’s gold,” in its intoxicating drama set to a warm, cozy score, is a project you will come back to again and again. Jess Connelly’s impeccable writing and composition, combined with LUSTBASS’s ear for space and instrumentation, have produced the perfect soundtrack to get you through a failed relationship, where you’re hung up on the things that could’ve been with someone you needed to get away from. Which brings us to the waltz-like beat at the end of the EP. It goes on for a few bars until it abruptly stops, slowing down like a record no one wants to hear again. Did Jess break the cycle? Were the events in the last song just all in her head? We can only guess the answers to these questions because the story is over. SUPPORT THE ART & THE ARTIST:
TRACK REVIEW: Jiji – Paborito
Written by Louis Pelingen At first glance, “Paborito” might seem like a sweetly tuned love song, where Jiji carries so much twinkling charm in her vocals. Softly cooing with an effortless grace that never takes away the listener’s attention, as the pluggnb beat carries enough bubbly texture from the glistening synths and the 808 beats that keep the atmosphere more joyous. She allows the catchy set of melodies to shimmer, all with a wink and a grin. But take a closer look, and some layers manage to peer through in the writing. Beneath this fluttering tune is a casual relationship that eventually has to end, where despite the wholesome moments being shared and the pure trust that’s being made in each other, Jiji knows that she’s not exactly prepared to really commit. Eventually ending the song with direct communication, cutting the relationship with no ill will on either person’s side. Musically pleasant and lyrically tender, “Paborito” is a song that gently leads to a decision that never takes away the special moments that were made in the relationship. Filling the glossy atmosphere with a sweetness that’ll stay for a long time. Even after the relationship has ended, the charming memories that were made will continue to be a favorite in Jiji’s heart. Support the art and the artist:
EP REVIEW: Jolianne – Plain Girl
Written By Noelle Alarcon Hailing from Cebu, pop singer-songwriter Jolianne first gained popularity from being a contestant on the televised singing competition “The Voice Kids,” one of the biggest Philippine shows of the 2010s. That particular decade was plastered with 3D princess movies on screens, smooth yet solemn R&B records from female soloists like Beyoncé and Mariah Carey on the radio. Though that era is long gone, she maintains the whimsy and wonder of growing up in such a time by memorializing its sparkle in her debut release, ‘Plain Girl.’ Jolianne herself brands the EP’s genre as “Disney R&B,” and there couldn’t be a more accurate description for her body of work–her vocals are light, flittering across the soundscape like a cold breeze. The enchanting allure of her voice is the pièce de résistance of the record–she delivers matters of the heart sincerely. The instrumentals help submerge you into her world, may it be through the hypnotizing trance set by the hi-hat that whispers in the background or the soft strumming of the acoustic guitar that paints the atmosphere with utmost confidentiality. ‘Plain Girl’ is one of the records that prove “less is more.” The way the instruments shine a spotlight on her voice, yet never overpower it, plays a major role in making the release sonically cohesive. This craft is mastered in the debut’s standout tunes: its titular track and “I’ll Be Somebody You Want,” which both accurately describe the highs and lows of figuring out young love. With lines like “I never cared you were a star, ‘cause I see you for who you are,” the soloist is honest and straight to the point, vocalizing truths so universal they might as well be the same words you’ve written in your diary. Truly, ‘Plain Girl’ is anything but plain. It tugs at your heartstrings and flashes your childhood right before your very eyes with its candid delicateness. It pays homage without compromising originality and creativity, leveling out its sugary sweetness with the rawness of reality. With this well-balanced, carefully curated introduction to Jolianne’s world, it’s exciting to see where she’ll take us next. SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: Zack Tabudlo – Diving
Written by Gabriel Bagahansol For a while, it seemed as though Zack Tabudlo’s stardom would go on forever. His style of charming pop and R&B tracks dominated the airwaves as the nation shifted back to normalcy from the pandemic, an imperial phase helped by the fact that he would constantly put music out, dropping a new single or album every few months. Lately, though, he couldn’t seem to land a hit song as easily as he used to. His star has been slowing down, and so has his output: he only released four singles last year. But after keeping a relatively low profile for the last few months, Zack is back, and upon brokering a deal with an American record label, it looks as though he’s taking a shot at a big comeback. And just like how it was a couple of years back, he didn’t waste any time. He’s got a new song out. Some might think that Diving sounds just like any other R&B track you can find at one of many chill playlists at your local streaming platform, but this does have enough of that Zack Tabudlo magic that they should probably pay attention to this one. Here, that magic is at its best; you got everything you’ve come to expect from his music, from his vocal melodies and the guitar lines that complement it to his soulful vocal range that goes all the way to an enchanting falsetto (which only shows up once in this song), to his lyrical mastery with the subject of love, which in this case is the tried-and-true topic of obsessive frustration over someone who’s love may not be true at all. It all comes together to form that kind of pop music realism that’ll make you believe this guy is riddled with jealousy and heartbreak and couldn’t snap out of it. As far as heart-rending songs of woefully unrequited love go, this hits all the right spots. While Diving may find itself lost in the shuffle of newer, shinier releases, it has, at least, enough defining qualities to make for a unique listening experience should it find its way to you. Play this a bunch of times and you’ll be reminded of just how good Zack Tabudlo’s music was when you had his music on a loop a few years ago, or caught it at a mall or the radio or TikTok. Will this song immediately help him set the world on fire again? Probably not. But it’s intriguing enough that once it gets pushed to a streaming service playlist in America, someone out there could hear and enjoy it to the point where they’ll soon find themselves diving into a whole world of music they’ve been missing out on. SUPPORT THE ART & THE ARTIST:
ALBUM REVIEW: Cinéma Lumière – Wishing It Was Sunday
Written by Faye Allego Wishing It Was Sunday is not only an impressive debut album; it is a cohesive album that explores the coming of age, but not in a deep, intricate, or deleterious way. Cinema Lumiere, derived from the Lumiere brothers whom of which invented cinematography, stay true to their band name– they create cinematic music that assimilates the true essence of the Slice of Life idiom. When listening to this record in one sitting, you’re guaranteed to feel some ear tingles every time a xylophone is used in a track. It’s a record that you can listen to at any time of day, whether you’re sitting in a library and cannot be arsed to create a study playlist, or when you’ve finally succumbed to your main character syndrome and all that’s missing now is your very own OST. The theme of coming of age along with melodies that sound very Slice of Life are most prominent in tracks like “Longing For You” and the first track which shares the same title as the album. Tracks like “Like A Dream,” “Into The Sun,” and “Act Happy” also seem to follow inspiration from Japanese dream pop where airy vocals mixed with stretched-out, lushful synths create an atmosphere similar to the 80s music scene. It is also worth noting that the terrific album art is an illustration that takes place in Japan; you can see a young adult holding a Japanese Koinobori Kites that are typically brought outside during the months of April and May (spring), symbolizing and representing children, childhood, and childlike ambition or perseverance. On the first listen, I questioned if Wishing It Was Sunday was the type of album that you play in the background to muffle the silence in your surroundings. Looking at Cinema Lumiere’s only existing music video on YouTube, I wanted to see the visuals of the tunes that they make. Could “Change of Heart” have a Wong Kar Wai-inspired music video made on an old digicam? Or is it up to me, the listener, to decide what visuals I want to associate this album with? I asked myself: do your conversations with friends overpower the music? Or does this album make you want to stop and just listen? After a few adventures outside with only this album on the loop, I think the latter question is the easiest to answer. Yes, I want to stop, close my eyes, and listen. Support the art & the artist:
TRACK REVIEW: Shan Capri – Past Flight
Written by Aly Maaño You may not know it yet, but Shan Capri might just be your next favorite alt/pop artist. Despite being new in the music scene, this artist isn’t afraid to push sonic boundaries by producing songs that reflect her eclectic taste. With her new single “PAST FLIGHT,” Shan lets us feel the rush and exhilarating feeling of meeting someone—an instant connection, a tender but fleeting desire. Drifting away from her soulful sound, Shan takes a deliberate turn to produce catchy hooks and melodies with a rich, flirtatious bass woven into her dreamy, sensual vocals. “PAST FLIGHT” begins like a summer adventure with its zappy riffs gearing into a playful chorus with an intimate delivery. It’s intuitive in its attempt to be soft but also impulsive. The song possesses a certain tenderness and vulnerability but is also effortless in being sexy. It’s short like most pop songs but just as it ends, you’ll want to impulsively hit play again. Support the art & the artist:
TRACK REVIEW: SABINE – Selfish
Written by Elijah P. SABINE sounds like she’s going all in with a full tank of ideas; both at an emotional high and a musical journey standpoint, “Selfish” has traces of rock and pop leanings, almost going towards an experimental tangent with soaring vocals, a blaring synth and multiple guitar tracks. The casual ear may find this an overwhelming sonic experience but for some actual supporters and the artist themselves, this is an experience all worth the taking. Taking notes from their rock and pop heroines of yesterday, Galagnara’s vocal prowess takes center stage, acting as a driving force for the musical accompaniment to their introspective lyricism that takes place in their own protagonist’s mind. The 4-minute odyssey may be a drag as casual songwriting structure is concerned, but the sheer weight of the track crashing down to you may come off as either a rewarding experience or an unnecessary kick to the shins without any comforting ending. For the case of “Selfish”, the production is commendable as a step forward in polished bleeps and ringing distortion. However, it may be slightly overproduced and pushing to its actual limits that would overstay its welcome, rendering it slightly ineffective emotionally. On the other hand, the track has its fair share of breathing room for it to build up once again. Galagnara’s powerful presence does not overshadow the rest of the musicality as it tips at an upward direction, regardless of its flurry of emotional demon metaphors sitting throughout its lengthy structure. Overall, SABINE has the right amount of star power between her talented current batch of musicians in MINT College, but the argument would rather be framed as “Selfish” being a step forward to nurturing a better, more promising sonic palette for the institution’s musicians in the years to come. Support the art& the artist:
EP REVIEW: Jikamarie – L0VER G!RL
Written by Elijah P. Jikamarie’s career in the music industry has reached another landmark. Ever since releasing a stellar debut single “Lutang” causing the internet to go head over heels during the lockdown. This immediately positions herself as a must-see act live, especially when Jika and company have opened for arena pop legends Coldplay for two-days straight. She’s also rolled out several singles that either shout the color green or show off the saucy, rhythmically rich vocal chops – it’s safe to say that it’s high time to release a full length release. But before that, “L0VER G!RL” has emerged from her arsenal. The release sounds and looks like a taste test. But the training wheels are off and it is time to showcase more of her genuine artistic side. For over the past 3 years, Jikamarie did what she could to make it to the top of the r&b food chain, emerging talents like Illest Morena, Denise Julia and Jason Dhakal all have their fair share of grace and fanbase. However, Jikamarie does it with a musical oomph and visual aesthetic cherry picked like it was a careful K-Pop reveal calendar. At the pace of these single releases in the past year, there’s momentum to all of this like it was cinema; themes of yearning in a garden of eden-type setting, giant butterflies walking across a hypnotic graveyard, what have yous. “L0VER G!RL” in particular is a debut that any r&b head wouldn’t miss. Or so they thought they would. “L0VER G1RL” starts off at a strong note with “gusto kita”, the vocal performance having its backseat. However, the following track “HINAHANAP-HANAP” was startling with its mixing inconsistency. This, in a way, slightly ruins the listening experience. Like a sore thumb sticking out of its colorful production – that’s trap-laden and dancehall inspired – tailored for Jika’s vocal finesse. At first, this was a listening experience error that would be easily brushed off by the casual listener, but this inconsistency has repeated twice by the back half of the EP, most noticeable in “lito” and “bawi na lang sa next life”. Whether or not this volume level clipping was intentional, it was hard to dismiss the talent Jika showed in this EP. It was less on experimentation and letting loose but it was more of reveling in the art of pop songwriting; the trap drums, the smooth, airy synths, and the tastefully harmonized vocals. Surely, the fundamentals were in full display but filler was sitting pretty in the midst of its soaring momentum. “L0VER G!RL” had its highs such as “DKSI” and “HINAHANAP-HANAP”, surprisingly zero lows, but the EP as a whole has its noticeably average writing loophole. There’s ease to her runs and curls but it’s hard to mask it all up when the structure has no strong staying power. It’s easy to escape the notion of being a lazy songwriter, but it’s troubling to go beyond being an afterthought, all the more a forgettable r&b musician in this day and age. And like all pop music, “L0VER G!RL” is best enjoyed in bite-sized pieces. Support the art & the artist: