Written by Elijah P. The Soundcloud algorithm has yet to meet another goldmine and the golden shovel has picked up an anonymous artist that goes by the name Joy Fiction. Their hit-track “Will I ever be myself again?” sails the coast and rides the waves of the current bedroom post-punk revival. This is currently its 3rd or 4th wave at its point thanks to bands like Surf Curse, The Drums anniversary tour, and Tiktok guitar pedal vloggers. Those aforementioned symptoms are a part of something bigger, as post-punk’s current trajectory calls for another proliferation of DIY bands coming out of the fold, with similar material to spare and gear-fitted to wile out in your nearest local dive bar. “Will I ever be myself again” ticks all the boxes in being the bedroom post-punk that Beach Fossils fans are going gaga over: foundational drum machine, indistinguishable drawls, and an atmospheric guitar riff. Not much information about the artist is out there yet, however, his material stands out in the contemporary landscape of bedroom-made slowcore/post-punk; This track compared to a lot of post-punks bands today banks on empty, aimless percussion driven production that distracts the listener that there’s no catchy hook nor catchy lead guitars. The lead vocalist’s voice casts a gloomy shadow as chords begin to spring up along with the harmonies that continue to haunt the listeners to this day. Joy Fiction, please release more soon. Support the art & the artist:
Tag: Track Review
TRACK REVIEW: Nateman, Realest Cram, CK YG – Akala Mo Ata
Written by Elijah P. Following the loss of Pop Smoke in the global music scene, Drill in The Philippines seeked to follow Pop’s footsteps regionally. So far as the current explosion shaking the local scene is concerned, Tagalog-written rap rendered a new type of aggression ever since its arrival. The hashtag #PHDrill took over social media for visibility and was utilized from names like Soulja444, Warhogs, Gabanna, and many more. The list grows from there, but there’s a new prospect in town who is reclaiming the sound, and eventually, picture their realistic depiction of gang life. Enter Pasayeño’s Nateman, Realest Cram, and CK YG tagging along; all three members leading the charge in today’s drill craze. With these elements all placed on the table, the group is surely picking up steam with a steady stream of heavy machine-gun clocking drill-induced mania in their single “Akala Mo Ata”. The overall bluntness, bass-shots-in-blank-range style of the genre ignited OLGANG to pick up the mic, show-off some footwork, and release one of the hardest tracks in history; CK YG rattling off from the dome, Realest Cram emulating East Coast’s most notorious voices to the hood, and Nateman raising the stakes, all the while hopping on a “California Dreamin’” sample. Chucking out gang signs unashamedly, threatening the oldheads, and warning the established names in the industry – these are reasons why names in the scene are etched in this long list of fearless rappers making their mark – and Nateman, Realest Cram, and CK YG are already making it in the big leagues. “Akala Mo Ata” isn’t just a group effort, it’s an entire movement leveling with the entire world scene of drill at large. SUPPORT THE ART & THE ARTIST:
TRACK REVIEW: Haute Couture, KURI MAW, All Rights – Salarin
Written by Elijah P. As ‘genre-bending’ pop music continues to pervade the comfort zones of many listeners in the 2020s, a new crop of producers are on a mission to challenge the conventions of those pop genres they have been sitting on for the longest time. Take new blood producer Alice Lunafel’s Haute Couture project for instance. For the past 2 years or so, Haute Couture has stitched musical ideas founded by the internet’s endless desire for audiovisual aesthetics. Ranging from dreadful drone side projects to a drafted love letter-structured UK garage, Alice’s undying love to tap into those territories instantly becomes a midas touch for most of them. For her latest collaboration “Salarin”, Alice invited Montalban-based rapper Kurimaw (PLAYA HATAZ) and Batasan’s very own All Rights (Hardknockz) for a collaboration that was spontaneous from the very beginning. But just like all unplanned events that’s involved with the creative process, it yielded fantastic results. For 3 minutes and 56 seconds, “Salarin” is loaded with ideas that are traded left to right: Alice’s first ever verse written in Tagalog, Kurimaw’s first foray into the world of experimental pop music, and All Right’s non-aggro and more laid-back take on themes of alienation and self-doubt; All of these performances have resulted in a mishmash of catchy choruses, a rewarding yet melodramatic synth-flute combo, and an explosive arena rock outro. “Salarin” is a blender full of glitch-y pop music, contemporary alternative rock-influenced rap, and all things that pushes those genres forward. For Northern Metro Manila’s newest rap pop stars Kurimaw and All Rights, they aren’t strangers to left-field production and peerless musical choices in their respective genres. Haute Couture just so happens to provide these previously mentioned rappers a boost for their creativity and sincerity in one track, elevating their talent to many different possible directions as a result. SUPPORT THE ART & THE ARTIST: N/A
TRACK REVIEW: Jikamarie – “Kailangan ko ng….”
Written by Elijah P. Angelica Ponce aka Jikamarie took the Tiktok world by storm when she released her debut single “Lutang” — a synth-y r&b track that encapsulates our feelings that are in an absent-minded state — where it drew in colossal streaming numbers, a bunch of niche micro celebrities lip syncing to the song, and eventually made her land in a label deal with Warner Music during the last quarter of 2021. The track itself was a smash-hit for its infectious hooks, borderline-fantastical production, and leading synths that make a callback to electropop phases of K-Pop production styles in the mid 2010s. “Lutang” persisted throughout the rest of 2021 and marks a promising career for both Jika and her sibling-slash-executive producer Kenneth, establishing an early Billie-Finneas chemistry later on as she prepares herself in a post-pandemic world in 2022. Several months after the viral rollout of “Lutang” and countless other features across the industry board, it seemed like Jikamarie was about to reach the peak of her career as a singer-songwriter already. Mostly relying on Tiktok snippets and excessive remixes of “Lutang”, the debut single was about to reach its quota and it was high time for Jikamarie to churn out a new single before time runs out. “Kailangan ko ng” is a brand new single released days after the Valentine’s rush. It featured odd Korg-y bass lines, a cinematic chorus, and a weird, out-of-place bridge injected right smack dab in the middle of the single. To prove one’s artistic longevity is a challenge artists struggle shortly after they’ve hit their Smells Like Teen Spirit moment. But to Jikamarie’s benefit, “Kailangan ko ng” still stays true to her earnestness and drive, however, the end result has embodied the literal definition of a half-baked product. Being a one hit wonder surely is a curse, it’s a slump that’s taken for granted by many, and Jikamarie has experienced her first stumble in her latest single; The choruses have overstayed its welcome, a promising subject matter that’s interrupted by an odd choice in tone by the bridge, and a song structure that’s slightly identical from her past two singles — which are “bawi ako sa next life” and “Lutang” respectively. There are a lot more cons that outweigh its pros, to which it doesn’t completely apply to Jikamarie’s detriment entirely and surely “Kailangan ko ng” and its themes was able to conjure up a relatable feeling. But as far as repeated listens are concerned, Jikamarie’s “Kailangan ko ng” fails to be on par with the quality of her previous singles. SUPPORT THE ART & THE ARTIST:
TRACK REVIEW: SHNTI – Fuck it (im in love again)
Written by Louis Pelingen Even if this year’s Valentine’s day has passed, LIAB Studios‘ SHNTI shows that the declaration of love isn’t limited to that date. Like goodie goodie, this is a reworked version of the same song that was put out on her SoundCloud page a year ago. SHNTI described this as a new era for her music, which I do agree with. This reworked version shows the mixing of the keys and the vocals balanced out as there are now inclusions of bass and violins besides the glossy keys and simple drum beat to add to the melodic foundation and charming feel to the song in courtesy of Calix’s contribution as a producer. SHNTI’s rapping and singing have improved ever since, showing more control, confidence, and charisma that makes her musings of newfound love feel charming and believable. And unlike the Soundcloud version of the song, this version really goes all out with the strings, bass, harmonized vocals, and handclaps that conclude the song where that love becomes more blissful and exciting to grasp. While my nitpick would be the chorus that could’ve been developed a bit further, that’s just minor. It’s a simple, quaint love song that SHNTI breezes through with enough expressive charisma paired with balanced and necessary production choices from Calix that make it so damn charming and blissful. Support the art & the artist:
TRACK REVIEW: dia maté – FANTASY
Written by Louis Pelingen Island Records Philippines‘ Dia Mate lets you into her musings on her newest song, “Fantasy”. Her voice shows her passion and her struggle as she trudges through a relationship that she wants to keep alive despite the vulnerability that is shown in the lyrics. The sparse beats, hazy effects, and somber guitar licks help set the tone of this slow-moving ballad. It’s a song that presents her fantasy towards the relationship that she wants to keep alive, but it’s not exactly fully realized. It can be alluring for the most part, but that fantasy can get smothered as the percussion and hazy effects cover up the gentle guitar passages that provide an intimate layer to the overall tone of the song. The gorgeous pre-chorus transition to a simple yet brittle chorus makes Dia Mate’s yearning sentiments sound slap-dashed and a bit sloppy as a result. But still, Dia Mate carries through the song with her impassioned vocals and lyricism. It’s the production and melodic slip-ups that pull back her fantasy from resonating ever stronger. Support the art & the artist:
TRACK REVIEW: Muri – Lately
Written by Sab Aguirre Releasing “Thunder” and “Tulog na” last year, Muriel Gonzales, also known as Muri, continued to produce nostalgia-driven melodies outside the shadows of The Ransom Collective, of which she is a member as violinist. “Lately” is a heartfelt journey towards self-consciousness, overarching the glee from playful guitar notes and the pulsating rhythm elevates it into a carefree, easy-going song. Unlike “Thunder” which seemed to be a recurring dream of a disheveled, but not completely forgotten life, “Lately” is a reflection of vulnerability in relationships while recognizing the lapses of one’s action. Muri didn’t only showcase her years of experience as a musician but also presented her personal notes to the listener. With the rise of solo projects during quarantine and isolation, more artists exuded their intimate side as they decide on everything they want to put out to the world. “Lately” is an output of processed emotions running through multiple verses and wandering. The layering of multiple instruments throughout the song was well-intended, as her bright-toned voice encapsulates the whole track. It will be difficult to disassociate Muri from her band’s identity, since some listeners might underscore that her thematic tracks lean-to Ransom Collective’s cult-favorite songs. However, from the start, Muri’s releases only proved that it’s her individuality and personal recollection that makes her music truly her own. After various life transitions and appealing releases, any listener of Muri would desire to hear a full-length album that can either set forth to her cohesive sound or present her versatility towards her craft. From its opening and recurring rhythm, through neatly orchestrated violins and warm chord progression, “Lately” is a much-needed whimsical companion to a sun-filled long drive. Support the art & the artist:
TRACK REVIEW: Lyn Lapid – I Guess That Was Goodbye
Written by Elijah P. When it comes to dramatic pieces of a piano ballad, there’s a mix of melodrama, regret, and even remorse from the songwriter. There are times of reminiscing and nostalgia found in the subtle parts of its verses and a cathartic release by the chorus. And more often than not, the songwriter asks for closure once the final piano line fades in the distance. For Baltimore-based singer Lyn Lapid, her constant aping on Lorde’s Melodrama proves that the singer-songwriter genre is at a stagnant state. “I Guess That Was Goodbye” is a follow-up to her massive slow jam soul of a single “In My Mind” – one of her many viral tracks that helped skyrocketed her career on platforms like Tiktok – and it’s becoming frustratingly obvious that her unceasing desire of genre-hopping has made her artistry all the more across-the-board. Sometimes going back and forth from her debut to the latest single, it should at least occur to the listener that Lyn acts like an algorithm changing to better suit everyone’s tastes every now and then, with nothing of substance and emotional value to it whatsoever. “I Guess That Was Goodbye” combines dry diaristic writing, anticlimactic structures, unnecessary symphonic leads, and a singer whose skills scream mid-tier all the way back at the recording studio. Link:
TRACK REVIEW: Al James – PSG
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:
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: