Written by Louis Pelingen Amidst the up-and-coming music collectives putting their marks this year with exciting sonic palettes on their sleeves, KINDRED stands alongside them with the utmost glee. The eight-member boyband that, based on their singles, music videos, and live performances alone, the remarkable quality shines through immediately with how much they work together as a group, able to plug into a focused and genuinely exciting alternative sonic palette despite each member’s own brand of creative flair and perspective. It’s a tangible connection that eventually manifests through ‘Subset’, their debut mixtape being worked on in the oven for around 3 years. ‘Subset’ is a fitting title for the stacked tracklist on display, a mixtape that showcases a glorious array of OPM and Boyband material meshed in with UK Garage, Breakbeat, Alternative R&B, and so much more. Within the 15-track hour-long length of the mixtape, KINDRED’s ability to create joyous eccentricities is surprisingly consistent all throughout, allowing their experiments and flashy energy to easily let the melodies snap brightly, highlighting the boyband’s strength to focus as a unit even more. Just like the singles leading up to this project, the deep cuts are just as colorful and robust. The jersey club bounce of ‘KZONE’, the drum and bass beat leading into that stomping bass rumble on ‘Losing U’, the atmospheric bass knocks of ‘Afterglow’, and the one-two punch of ‘L Punch’ and ‘R Punch’ where the former’s electrifying guitar passages transitions to the latter’s calmer yet nevertheless sticky melodic flows are continuous instances of that creative flair popping away into exciting territory. The word ‘connections’ is something the boyband emphasized deeply in this project, not just on the romantic relationships that are filled with tender passion and sincere yearning, but also on the inspirations that led them to where they are right now and the bonds that they’ve made and cherished within their own group. ‘Megastar – Interlude’ is one of the two touching examples of this, where Sharon Cuneta questions her stardom that will inevitably fade as she observes her friends getting weary. Yet, she knows that the younger generation like KINDRED will play those old tunes, a message that’s executed dearly with KINDRED harmonizing beautifully with Sharon at the end. ‘Ligaw’ is the other example that speaks of the boyband’s sparkling synergy. Harking to the retro boyband sound where their vocal harmonies harness a sense of grace to that era, a dedication to that past as KINDRED glides towards the future with their bonds, their inspirations, and their relationships moving them further into something worth clinging on. With the dynamic swerves on display, KINDRED within their creative stronghold not only redefines the concept of a boyband where their bonds allow them to create such magnificent tunes all on their own control but perhaps even open up a new arc for what OPM can head into; infusion of genres that makes for a rejuvenating experience for both the artist and the audience. With the rise of interest towards certain dance-focused electronic genres in the local scene, ‘Subset’ does feel like a celebration of past influences mixed in with contemporary sonic landscapes that brim with a prismatic quality. Perhaps prismatic is the best word to describe the project, with each member’s bright light collectively scattering through different directions, they become varied colors that spark individually yet gleam together as one. Support the art & the artist:
Tag: Pop
TRACK REVIEW: Crimason – Enough
The online personality of Miya Villeno – or also known by their username and moniker Crimason – is far from their usual high speed slapstick content and Stan Tiktok phase. It’s so far to the point that the music they shill online inspired them to venture on a music career of their own. Their latest single “Enough” has been building self-hype as a pop ballad for the kids wanting to be – well, you guessed it – enough for each other. Moreover, the debut single of the 16-year old singer-songwriter has averted any risk or failed to stick out in their first attempt at songwriting. In “Enough”, it’s 4-minutes and a half of nothing but a sore thumb. Albeit a lazy hook and standard verse-chorus, Villeno doesn’t shy away from exhibiting their chops vocally; a noticeable tenor voice that’s suitable for their voice on rougher-sounding tracks. Whereas her presence is more akin to the Born Again Christian singing seminar if you’re thinking of a song that’s as uplifting as a Retreat camp cry session. “Enough” becomes more antiseptic as time passes, the sheer velocity makes the entire track unlistenable as a whole. The entirety of it is uninspiring, wealthy in clichés and one dimensionality. The emotional anchor that this track weighs is light and hollow. If you want to chase the algorithm in Tiktok, Instagram and Spotify, this track isn’t it. Support the art & the artist:
TRACK REVIEW: Lola Amour – Raining in Manila
Written by Elijah P. Metro Manila hitmakers Lola Amour have changed musically, literally. From shifting band members to constant codeswitching in songwriting here and there, the funky pop outfit are trained to release one single at a time. One hit after the other, the Al James collab “Madali” was almost getting there, which is by the way their most technically robust, while “Fallin” was still riding on the cheese, but “Raining in Manila” is a whole different offering. You have senti-tracks that act as fodder for the label while you have refined genre tracks with pop sensibilities that have successful appeal. This band chose the latter. This is the band that isn’t just compartmentalized with their vocalist Pio Dumayas. There’s no separation anxiety happening nor any solo spotlight, instead, we get to see Lola Amour work like an actual band in their latest single. “Raining in Manila” nearly does not drag as their previous singles years ago. Assuming that their lineup change has anything to do with the sound they’re persistently tweaking, Lola Amour’s hit the jackpot at the seasonal turn that’s lowkey a love letter written for their previous band members who are on the other side of the planet. The band plays with the theme of a cheese-driven weather parochial along with their tasteful selection of keyboard licks, sharp bass lines, and saxophone parts, all hitting the spot. Minus the Dilaws and the Sunkissed Lolas, scene virtuoso Lola Amour and “Raining in Manila” is a step in the direction for the band who are moving to become the biggest pop band heading to the mainstream. Support the art & the artist:
TRACK REVIEW: CATBOY JEEPNEY DRIVERS – MAYBE MITSKI
Written by Kara Angan Laguna and Pampanga-based electronic duo CAT BOY JEEPNEY DRIVERS bares their drum and bass chops in their latest song “MAYBE MITSKI.” “MAYBE MITSKI” notes a significant departure from their more synth pop debut “LOSER.” The pair trades their electronic synth riffs for a fast-paced and prominent percussion line—a trademark of the genre. While “LOSER” was jam-packed with a funky bass line, synth and electric guitar riffs, and multiple vocal lines to fill the track, “MAYBE MITSKI” proves that less is definitely more. While the track is short and sweet, clocking in at only two minutes and 33 seconds, the vocal melodies and harmonies keep the track interesting over a repetitive drum track, bass line, and riff. The duo’s No Rome influences shine significantly in the song. Their vocals are layered with autotune and reverb, complementing well with each other as the track progresses along. There’s always something new to pick up when listening to the song multiple times—the subtle “oh’s” that pan right, adlibs, and more details that make the song instantly catchy and memorable. While the lyrics aren’t exactly out-of-this-world or revolutionary, what makes the song stand out is how CAT BOY JEEPNEY DRIVERS are able to round out a song through their production. The duo’s flexibility with genres makes them an act to definitely watch out for—and I’m excited to see where they decide to dip their toes in next. Support the art & the artist: