Written by Elijah P. The mythology of Al James as an annual hitmaker begins to loom over many hiphop heads ever since the start of the pandemic. Memes, jpegs, and fan comments explain the deprivation of new releases from one of their favorite rappers. As the Baryo Berde mainstay’s absence began to stretch for the entire duration of lockdown, the demand for something new, or even some presence to an extent, began to swarm all over social media. Like most artists of his size, Al James went to take a step back, rerouting back to family priorities. It was, no pun intended, a time for him to rest. That’s until he went on social media to move the symbolic ‘glass’, posting studio time with Nexxfriday for his long-awaited debut album and a rumored collaboration with arguably the biggest r&b artist of the moment, Arthur Nery. And then shortly after the tease, the six-foot tall, snapback-wearing figure unveiled a new glass he raised. This emblematic glass for him to raise was for his comeback single aptly titled “PSG” — a single where he’s got a stockfull of those ‘goods’ in the Delorean trunk as he runs 88 miles per hour in the freeway. It’s a celebration deemed as a ‘comeback of the century’ from hip-hop social media as a whole, media partners continuously rejoicing as Al James plans to roll out for more singles in the coming months or maybe in the coming years. But what else does he have besides the goodies? Well, nothing new really — and it comes off as no surprise if we’re expecting any detour after an almost 2-year absence. “PSG”, like many of his singles throughout his 5-year career as an entertainer, follows-up to none of his past potential. From “Pahinga” to “Ngayong Gabi”, Al James barely left 2016 in his latest offering. Trap may have evolved for the better, but to Al James’ detriment, barely anything came out as something career-defining or let alone a paradigm shift in 2022. It’s only appropriate that he was packaged as a time-traveling party goer from the past only to change the present, but this present of his barely has any progress musically for the future; The signature yet unvaried vocal register submerged in the shiny synths, the deep sub-bass rattling off the mild wag-’kang-nega verses, and the unimpressive progression from the verses to even the hooks, are all middle-of-the-road. “PSG” narrowly carves Al James for better and for worse. It’s a single that’s reserved as a time-capsule, a disappointing half-hearted effort that doesn’t exceed time nor his Delorean’s flux. Support the art & the artist:
Tag: Track Review
TRACK REVIEW: Woochito – Validation
Written by Elijah P. Batangas-based solo artist Woochito’s vision in ‘Validation’ is nothing short of cliche. A beaten-up individual walks across several blocks way past midnight; bathroom breakdowns; and a couple shots that evoke a feeling of a daydream – it ticks all the boxes of an action-movie built for a bedroom pop audience. But there’s an underlying merit that needs to be acknowledged to Woochito – formerly known as ‘manila boy’ – and his knack for hypnotizing his audience in his bootleg internet Wonderland of sorts. There are examples of how his influence pierced the consciousness of his small internet following; his contemporaries Paul Parce and unikko ijo aren’t strangers from this trance-like, VHS-filtered state existing in their music. But as far as sonic-attraction is concerned, he is by far one of the most hypnotically captivating artists in his circle. The vocal mixing in “Validation” is unflattering, coming out as a sloppy performance, but it invites you into his world somehow. It’s a nervous, messy, and complicated situation to be in lyrically, as he describes his love as something to be ‘drooling’ for – a word that doesn’t need to be necessary as the music does most of its job in luring you into its beauty. The less attractive aspects of the song however doesn’t overshadow the overwhelming qualities of the track onwards. The instrumental flirtations of layered synth pads and chorus-pedal-guitar that happen between the verses and outro are love letters to one of his influences, but he isn’t far off as he wears these influences under his bruised-up blazer. However, Woochito packs a lot of uncontained infatuation in “Validation”, and as much as the amateurish may put off the listener at first, an earworm will be reserved in the following consecutive listens. Support the art & the artist:
TRACK REVIEW: Arthur Nery – Isa Lang
Written by Elijah P. As music listenership and awareness continues to grow, a ‘trifecta’ or ‘holy trinity’ arises from the ashes of ‘OPM’ past. Rock music with feelings are the new ‘nostalgia’ acts, while industry torchbearer soloists Zack Tabudlo and Adie claim to become the flavors for a new generation of local music listeners. The third man in the three flavors is none other than Cagayan De Oro’s very own Arthur Nery. Although his style differs from the aforementioned figures, each and one of them have their own characteristics of being substanceless ‘Pick Me Guys’ and seeking-for-validation-in-the-end-of-the-world types, Arthur Nery — now currently a top-drawer for Viva Records — churns out plain vanilla neo-R&B tracks shortly after the late celebration of his first album ‘Letters Never Sent’. He revels in being the loyal one, the only one in the partnership, as he prances outside of your subdivision home. “Isa Lang” — his latest single closing out the new year, opening 2022 with a new era of contemporaries — feels hollow, conserving vocal variety rather than exceeding one’s potential. And while the prince of Neo-R&B pleads you a wilted rose, he only offers less with the style he’s honing today. Not even the intimate bass kicks, organ synths, string section, and skeletal, groove-less backing-band sound can back up his one-noted commercial friendly vocal stylings. If anything that makes his music impactful, it’s the monotonous delivery that bores every section of the song with forced usages of ‘deep’ phrases and hushed, boy-bestfriend sentiments, barely tugging the heartstrings of his listeners. As Arthur continues to solidify himself as the biggest mainstream act of the moment, both his newer singles, “Isa Lang” and “Pagsamo” respectively, released in the past few months are no more than mere background music. Arthur is headed towards more fruitful straits, albeit while playing it safe: a move that would set the precedent for his younger contemporaries witnessing his rise. Support the art & the artist:
TRACK REVIEW: VXON – The Beast
Written by Elijah P. Cornerstone Entertainment Inc. – a talent agency that’s known to house all upcoming ‘artistas’ and established personalities such as Catriona Grey, Empoy Marquez, and just to name a few – has gambled on producing an all-male idol group called VXON (pronounced as ‘vi-sion’) and their latest debut that launched not too long ago titled “The Beast”. The up-and-coming five-member group aim to become showstoppers in the industry, putting a more rap-oriented track in the forefront of their debut. But in spite of the ambitious direction, VXON doesn’t live up to the hype of their promotion weeks prior to the release of “The Beast”; It takes a lot of courage to title your debut as ferocious as ever, let alone debut under the wing of a talent company that has produced a lot of known names along the way. However, “The Beast” doesn’t seem to live up to its title. In fact, it seems to cater more to ‘dude bros’ who hang out at bars in the middle of a Happy Thursday and book a cross-country trip to the nearest shoreline EDM festival. VXON can carry themselves choreo-wise, but lyrically, it seems like the laughable edits in the lyrics are crossing between delusional and outright ridiculous: “You can watch me, as I walk/ You can say my name” and “Gotta read back pages those changes/ We oversee in faces, realest faces/ Get you places, let erases beat disgraces”. There are sections here in “The Beast” where it feels out of place and oddly outdated by today’s production standards: brostep wobbles that channel 2014 Project-X parties, and growling vocal stylings similar to SB19’s Mapa. To think that this is a debut is a sign of a much needed training and development for the idol group. There is little to no hints of being a ‘beast’, especially if the presentation shown isn’t up to par in the idol group competition. SUPPORT THE ART & THE ARTIST:
TRACK REVIEW: HEY JUNE! – Panahon
Written by Elijah P. Hey June!’s sophomore single “Panahon” has a pretty straightforward premise: a protagonist yearning to repeat a certain moment only to be taken away from the claws of time. The four-piece didn’t want to mince any words — the song only contains two short verses, quick hooks, and a dramatic instrumental outro to spice things up. With the structure having the potential to be replicated to death, the band was able to become careful from the pre-pandemic trap, achieving the most sentimental and striking piece of teenage ennui. The band then eventually makes themselves as icons for the future. School culture is a keepsake worth noting in the psyche of Generation Z, especially where students take most of their time, energy, and memory throughout the cityscape than they could spend time in online class. Vocalist Earl Paglinawan hearty verses hit close to home while the grainy, bright synths in the intro draw out the soundscape for a more misty-eyed outlook onwards. “Panahon” is a richly textured synth-pop and alternative-rock fusion done right; It doesn’t overstay its welcome but it sure does make a powerful statement: Everything surrounding your institution, is your second home. Hey June! exudes this certain charisma: one that would only be executed in one-of-a-lifetime, and “Panahon” is proof that this youthful spirit is important to sing about. Youth culture has never sounded this promising and Hey June! are here to take it to the top of the line. Support the art & the artist:
TRACK REVIEW: VILLA MOB – TWO STEP
From the Windy City to the hummocks of the United Kingdom, Los Banos’ Villa Mob shuffles their cards and takes a step in the drill rabbit hole with their latest track titled “Two Step”. That gamble in the grimiest of trap forms doesn’t stunt the group’s growth entirely, it instead accelerates their material to the max. Crossing lanes from doddering trap to veracious footwork-inspired drill – or as they claim it via hashtag ala a marketing tactic:“#TagalogDrill”. But their presentation isn’t shown as pure novelty. Instead, the group pushes a cunning attitude. Furthermore, their loud social media genre sloganeering doesn’t only raise the stakes of their position in the so-called rap game, but it’s also their insistence on calling the competition off by pulling off a banging drill track or two. Gone are the resiliency rap and the business-oriented romanticism. This is biting and impenetrable rap as it goes. The drill goes harder as it constantly cracks down the music’s borders; rapidly changing the genre’s axis as not one but three individuals leap frogs a genre a thousand miles from its origin state. Villa Mob’s resident drillmeister Soulja444 isn’t on the rap hocus pocus nor generates a dramachine in the scene, coming out as the strongest verse in the track. He brings the crux of the subgenre in their local shores both rap and production-wise. He aims to re-calibrate not only for himself but for his environment. Soulja’s undoubtedly the ringleader of the group whereas he’s already mastered the craft. Jamina and Buensa however came from their soul-boom bap leanings. The track’s well within the wall-breaking bass and sharp lyricism. All three verses focus on overcoming each and every of their flaws as rappers. “Two Steps” pops fire and smoke with wobbly bass lines in courtesy of Soulja’s exceptional production. While donning the windbreakers and a facemask like a bunch of vigilantes, “Two Step” is a new beginning for the group; 2021 just called the arrival of drill and Laguna might be the territory to foster that movement. SUPPORT THE ART & THE ARTIST:
TRACK REVIEW: AJ Kee Hong – Sakin yan!
Written by Lex Celera What is there to love when it comes to hiphop music? There is always a constant need for the artist to carve space to be heard, to set themselves apart from the competition and “claim what is theirs.” In between this struggle for real estate in the attention economy, some artists might find themselves latching on to whatever sticks just to make their presence known for a little while longer. Sometimes it is self-gratuitous; often it is deliberate. More often than not, it results in formulaic drivel that sizzles out when rap moves on. For the genre as a whole, this search for gravity can be broken down into recurring elements you can see across different artists. For example: flute-based samples, true-to-life straight from the streets visuals, and rapid fire ad-libs. All of these are present in Iloilo City-based rapper Aj KeeHong’s “Sakin Yan!”, an exciting entry point into the young rapper’s burgeoning career. Set apart, these elements point out towards where Aj Kee Hong is looking at in terms of references, namely: Bugay na Koykoy and Miguelito Malakas’ reliance on music videos to portray verisimilitude through a definite sense of place; the distinct presence of flute instruments in hiphop (A$AP Rocky and Skepta’s “Praise the Lord (Da Shine)” as well as Shanti Dope and Skinny G’s “Peekaboo!” come to mind); specific ad-libs used by almost everyone from the late Pop Smoke to MaxyPresko. All of these creative commodities have contributed to Kee Hong’s aboveground recognition, rendered the way it was in “Sakin Yan!” . But the interesting thing about “Sakin Yan!” is more fundamental. Plainly put, the young rapper can rap. Kee Hong’s vocal delivery unpacks his electrically charged verses with confidence; each word flows well to the next without missing a beat. The fact that he can sustain this energy to release one song a week paints a picture of a hungry rapper trying to make his mark. While trendy motifs help launch “Sakin Yan!” into a gravity of its own, it’s Kee Hong’s more essential traits that keep its sheen lustrous. As with his previous releases, I’ve caught wind of Kee Hong through his laborious self promotion across several local hiphop Facebook groups. As I type this, I can imagine he’s busy producing the next, making minor tweaks on the way. “Sakin Yan!” is an entry point into what could potentially be a hearty contender in the hiphop landscape. SUPPORT THE ART & THE ARTIST: