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:
Tag: Track Review
TRACK REVIEW: datefriend – runner up
Written by Elijah P. The debut single of datefriend is anything but a regular song about crushes and being a rebound in a highschool track & field. In fact, it’s more than that; For over 40 plus years of its existence and uncompromised DIY ethics, the indie pop genre proves that songs written in jangly guitars, drum machines, and twee vocals still bring the best of artists from any generation. And “runner up” ticks all the boxes in the most wholesome way possible. With the help of several mixing and mastering works from vets in the industry, namely Audry Dionisio of Offshore Records and Nick Lazaro of La Balls Studio, “runner up” is a single that’s part of datefriend’s debut EP – which will be released soon according to their IG teaser. Its an exciting project waiting to be revealed later on, not only for artists like datefriend but also for their family and friends who express queer identities and sentimentalities openly without compromise. Aside from its cheerful yet longing lyrics, the track’s unorthodox verse and chorus structure can confuse lyric-readers at first, but the saving graces of the track are Hannah’s synthwork and impeccable vocal performance, both of which are able to even out any possible odds for the debut single. Overall, datefriend’s impressive debut can earn them a number of fans who’ve been wanting to scratch that fine tuned jangly pop itch. “Runner Up” isn’t characterized as an innocent runner in beaten up Converse All-Stars, but rather it’s a runner in New Balance shoes arriving at the finish line. Commitment and good taste in indie pop is what you get in first place. Support the art & the artist:
TRACK REVIEW: Eliza Marie – you wanted a woman
Written by Elijah P. Stylistic shifts in music are double edge swords: either they will earn a flock of fans who are eager for a palette cleanser, or they may lose an entire following, one whose hopes and dreams of retaining a sound-based on their previous magnum opus goes to complete waste. For Eliza Marie, or Eliza for short, her music’s ripe enough to experience that gravitational pull towards a more aggressive and a more mature sound in her new single “you wanted a woman” under Offshore Music. Her latest effort dishes out a special kind of fervor compared to her previous releases. The singer-songwriter has several homespun recordings about love, her experiences growing up, and the overall infatuation that goes along the journey in finding one’s identity. Critically speaking, it goes without saying how much of her music has experienced a couple duds in terms of sticking out in the music scene in the past couple years. Eliza’s previous releases include bedroom pop demos, a couple synth pop EPs, and an album that’s confused in either being city pop or new wave; all of which have focused on experimenting with synthetic loops, melody-making, and a strong-sense of sonic bravery that comes along with her prolificness. That body of work has barely made a mark for herself as an artist, but it does symbolically start in her latest single released this year. The softer, brighter flourishes are thrown out of the window. The cutesy, innocent aesthetics are set aside for a raw, unfiltered look into the perspective of the singer-songwriter. The tasteful distorted drum machine kick and snare combination, Eliza’s vocal direction heading towards a haphazard breaking point, and lyrical quotations that may pull one’s heartstrings are the things that make this replayable. “you wanted a woman” was a left turn waiting to expand in Eliza’s young career. Support the art & the artist:
TRACK REVIEW: neytan & Areli – FAR
Written by Louis Pelingen For Neytan’s current space in the local music scene, his handle comes off a bit straightforward for the most part. Well-composed tunes nestle nicely in indie rock and indie pop (bedroom pop if you want to lean on the marketing savvy trends), gentle and polished grooves and instrumental textures, and an amateur yet controlled vocal timbre and simple yet affectionate lyrical pastiches — all of which makes for a relaxed and meditative soundtrack for teenagers and young adults dealing with lovey-dovey yearnings. That’s mostly a compliment because the scenes for these kinds of straightforward, lovely twee offerings have their place in everybody’s playlist. If the artist wants to evolve in this sound, that’s good, but if they don’t want to evolve in that sound and proceed to do different experiments instead, then that’s good too. So it’s nice to hear that Neytan decides to do both on his new single featuring Areli, FAR. It starts off with a brisk and poppy start from the instrumentation with the cycling drum loops and spare guitar licks that are not far from Neytan’s origin point, but the quicker tempo gives a different sheen and immediate turnaround from his released work thus far. It brings out Neytan’s vocals a flicker that he hasn’t shown off before, and with this brand of homespun and colorful instrumentation and production that captures a similar vibe from the likes of Brakence, Brockhampton, and Dijon. It’s a sonic palette that really works for him. Of course, Neytan and Areli bring those comparisons more accurate with the melodies and harmonies that keep aiming higher, like fireworks that keep themselves ablaze from start to finish. This sense of urgency is pushed even further with Neytan’s emotional and captivating yearning for connections with people that are far away from him and Areli’s desperation to keep a friendship intact from a relationship that’s about to break apart with sentiments that are executed really well all throughout. The mixing, however, does not bring enough fullness and color to the instrumentation and vocals that would give this song a lot of benefits, especially with the glance to the mentioned artists that have these sticky, indie genre-fused songs that are elevated with a proper mix. But at the end of the day, when the tune is just so magnetic and Neytan and Areli bring a lot of expressive yearnings atop a sound palette that is executed pretty well, it goes to show that their needs for that momentous connection echo far enough for us to relate and hold on to that same desire in our fleeting, but enrapturing lives. Support the art & the artist:
TRACK REVIEW: Run Deliks – Crawlspace
Written by Joseph De Mesa In the first run of the song, it was made evident by the beat alone that it was more of an emotional song. Far from Run Deliks’ earlier works, including the noisy bass-filled sonics of “Muerto Manila” or the dance-bop of “Get Along”, “Crawlspace” takes on a more emotional route. Of course we didn’t expect any less from their technical lyricism from both Blitzen and Shark. That’s the first thing we should expect from the formidable duo. But as the lyrics read once we deep dive into “Crawlspace” and its 16 bars, there lies crucial, much smaller details. Discussing topics such as anxiety riddling the newer rap artists’ lives and such; With Blitzen’s verse alluding more on the “demon on your shoulder” thematic all the while Shark’s verse with lighter, optimistic bars, and the artist’s dilemma of making art for money, fame or probably neither. After careful listening sessions, Blitzen’s verse unveiled several things, apart from the mentioned anxiety demon, he also paints a picture on the latter half of what it feels like performing for the first time. The bar “Like a monster with a name that I can’t pronounce, takes the form of everybody in the crowd” encapsulates how terrifying it truly is to perform for the first few times, even for the smallest of crowds. Then it proceeds again on how the anxiety you feel being a musician or an artist of whether you can “make it” etcetera. This verse proceeds with a hook in the middle before Shark’s verse. The hook effectively encapsulated how our minds are our own worst enemy. As for Shark’s verse, his verse packs a punch in terms of themes compared to blitzen’s. This one talks about a lot of things: Wanting to go hard on music, but then switching up to how viable music is. He begs to ask the question whether art reaffirms ones rent in the long run. This question is then answered by Shark’s versatility with double-time rapping and technical bars wherein its utilized more from their contemporaries, though i feel like this ones more tasteful. The verse is then finished off with how he doesn’t do it for money or fame, and more on just making music people hopefully would resonate and relate to. A noteworthy thing or two in “Crawspace” is how Blitzen’s doubtful and anxiety filled bars compare really well with sharks more hopeful yet still question filled bars. It’s not a total 180 opposite but still the distinctness of each other compliments both well. Overall the song isn’t that far from their style. It still is very technical and bar heavy when it comes to the verses. The difference lies in the topic. Funnily enough, “Crawlspace” has the same niche of Eminem’s “Lose Yourself”, minus the mom’s spaghetti and the cornball bars that’s influenced Detroit, but rather its influenced Metro Manila rappers who are in the brink of promise. Support the art & the artist:
TRACK REVIEW: Svvell. – Woozy
Written by Elijah P. Cagayan De Oro City’s Svvell are fresh off their comeback performances after a two-year-long pandemic-induced hum. For their latest single “Woozy”, it’s nothing too short of the mid-2010’s leather jacket-produced riffages and borderline accent aping. But that isn’t Svvell’s goal yet. “What’s in it for you and me” the lead singer and guitarist Yoo Han sings as he proceeds to entice the listener with their Brit-pop savvy inflections. There’s more to it than the band’s vocal stylings and “chill” look than meets the eye. “Woozy” tends to be more swaying and serenading than the usual sonic void of their usual shoegaze influences. The step in this direction is more linear than their past releases, much more robust and sentimental, more consistently arranged than thrown and stuck to the wall and see what sticks. In true classic Brit-pop fashion, the Lilystars Records signees have managed to stick to their roots pre-Clem Clastro rite of passage. “Woozy” is not “oddly” charming, it’s charming to the fullest without ever forcing it to be. Svvell might as well be one of the label’s true up-and-comers, a journey that will carry on not only for Metro Manila listeners but for their cohorts who’ve made amazing noise in CDO as well. Support the art & the artist:
TRACK REVIEW: dwta – SANTIGWAR
Words by Elijah P. Born and raised in Bicol, dwta aka Jhasmine Villanueva have captured the essence of folk-pop. The MINT musician’s got her start with the support of her label with tracks like “Kalangitan” and “Mapagbirong Tagpuan” – both of which possessing chamber pop and Born AgainTM post-rock stylings. From the get-go, she may have been written off as another label promoted har-har singer in the past 2 years. With her Tagalog-spoken tracks released in streaming platforms, it seems like she’s struggling in narrating the story or having to make sense of every sentimental “hugot” cue card as far as her performances are concerned. Enter “SANTIGWAR”, a complete 180 degree turn in her artistic career as a singer-songwriter. It looked like folk-pop was back in its mystical form. Her Bicolano lyric-writing turned the whole notion of the genre from a stale genre into a sound that’s best remembered for turning stories into reality. Dwta believes in the notion that every writer has their reality to tell, but with the limitations of a language and its accompanying form, she’s exerted her 100 percent effort in ways folk-pop singer-songwriters haven’t gone through yet. The latest track has successfully put Bicol on the map as a place where songwriters excel in their tradition, let alone use their DNA into an artistic statement. SUPPORT THE ART & THE ARTIST:
TRACK REVIEW: SLIZ – Droga ang Pag-ibig
Written by Lex Celera I think it was around this time last year when I first listened to SLIZ’s breakout hit, “Sige.” The breakout hit established SLIZ as some sort of a late 2010’s bedroom artist meets late 2000’s love rap chorus crooner, packed with simple but catchy lyrics on smooth beats that’s easy on the ears (dance crews have had her songs as part of their choreography). But what sets SLIZ apart is what is arguably her most becoming trait: an unmistakable, high-pitched singing voice that has not entered our ears in a long time. I’ve come to understand that her speaking voice is pretty much the same as her singing voice, based on an interview with her and catching her live performance. It’s a singing voice that serendipitously stands out from whatever musical elements it’s paired with. In my mind, it’s SLIZ’s most dominant trait that would either make you love or dismiss her. But I’d like to believe that majority of SLIZ’s first-time listeners who would openly balk at her shrill singing, whether it was “Sige” or her latest release “Droga ang Pag-ibig”, would slowly lurch back to YouTube and listen to it again. And again. “Droga ang Pag-ibig” shares a common thread with Aikee’s “Kahit Bata Pa Ako”, Mike Luis’s “Iba Ka Na Pala Ngayon”, and Hambog ng Sagpro’s “Alaala Nalang” in that they all carry infatuation and fidelity as themes, but also handles these themes in an outwardly immature way. The fact that all these tracks feature high-pitched, childish voices makes me feel that there’s some correlation between all of them. Like her breakdancing cohorts in the music video, “Droga ang Pag-ibig” is a free and easy listen that doesn’t attempt to go beyond its confines. It is a step towards the same direction SLIZ has been going for since the beginning, and while it doesn’t offer much merit beyond what’s already been said, it also establishes SLIZ beyond the novelty her previous work has unwittingly offered. The cutesiness of it all is here to stay, at least for a while more. SUPPORT THE ART & THE ARTIST:
TRACK REVIEW: Toots – Strangler
My friends and I made an interesting observation about relationships during this pandemic people in romantic relationships are either getting married or breaking up. Toots explores some of the reasons for break ups in his latest release. Toots Orosa of Kremesoda just released his 3rd single under his solo project – Toots. “Strangler” is a single that has a steady upbeat and hopeful pop rock rhythm to it but with a sinister backbone. It talks about a myriad of thoughts and feelings that a toxic relationship has: overthinking, gaslighting, fear, and a deep sense of just keeping your distance. The artist even talks about regressing into his shell as a way to keep safe. I love contrasts and this song scratches that itch, but the mostly monotonous song lulls the listener to a false sense of security, then blasts them with depression through toxic storytelling. The song peaks and dives by pulling back on the music and exposes more exposition – much like the character pulls back on his emotions in the section. “Strangler” proves that Toots has a knack for disguising unpleasant situations with pleasant sounds but maybe in the future he can show more excitement in terms of musicality especially when it accompanies more depressing lyrics. Support the art & the artist:
TRACK REVIEW: Thursday Honey – All The Time
Written by Elijah P. Thursday Honey has bounced from promising big-band r&b-slash-alternative pop 7-piece to a toothless, tiresome brady bunch of slackers in their latest track “All The Time”. While they benefit from being a younger version of sophisti-pop’s past, reclaiming the white-tee-hanged-on-the-college-dorm-room music doesn’t seem to be tailor-fit for the neophytes. The 7-piece have combed their way in and out of the slick saxophone solos and comforting instrumentals backed by a singer whose voice cracks and slurs more often in the recording booth – a singing style that’s dryer than their entire discography. Their whole function as a band works like a “Prom Band 4 Hire” music project; It works, it’s fun, but only for special occasions. However, the band has shown what could be their fullest potential on the happy-go-lucky templated debut that is “hey, i’m greg” — their first release under the O/C Records imprint last October 2020. Before this, they’ve been wearing their influences in their striped-long sleeves. They decided to channel that again in “720p”, a laid-back, slider-assisted melody that’s dragged, initiated a yawning session, and thrown off by the united chamber-y r&b aesthetics. For “All The Time”, the template barely changes, but the snail-paced tempo made it even less tolerable compared to their previous singles. Despite the impactful, lush build up by its chord structures and vocal performance by the second half, the track barely makes it an inch step forward from their past works. Thursday Honey have not earned the stripes as a massive unit of a band that could’ve been maximized dynamically, and surpassing their potential doesn’t seem to be their goal at all in the meantime. Support art & the artist: