Showing posts with label Philippines. Show all posts
Showing posts with label Philippines. Show all posts

Thursday, 22 April 2021

NO LORE — WITH LITTLE LIGHT

No Lore — With Little Light

⌾ LISTEN TO LITTLE LIGHT BY NO LORE ⌾

Poetry in gentle motion. ‘With Little Light’ is just that: ripples of emotive poetry and soft sounds flowing out from a centre of blissful simplicity. Created by Tita Halaman and Jerald Angelo, aka Manila-based sister-brother duo No Lore, the song features vocals from both, a continuous lilting harmony on a backdrop of glassy synth chords and acoustic guitar.

As the instrumental flows on, gleaming and nocturnal, the relatable refrain croons sweetly throughout: “How I wish I’m good at guessing / Oh how I wish I’m always right”; the intertwining of both their voices recalling the vocal duets of The xx, though with warmer instrumentals to accompany them. 'With Little Light' is a tale of emotion, crossing minimalist aesthetics and considered space with the soulful kinetic energy of a live performance.



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Friday, 2 February 2018

🗞 HUMAN TOY MACHINES: BUWANBUWAN COLLECTIVE AND DULO MNL TEAM UP FOR COMMUNITY FUNDRAISING

It is not usually the place of chiefly electronic and experimental music collectives to put on charity events; that is usually the realm of internationally renowned artists, with these smaller groups often being concerned only with music—sometimes with how it is consumed. However, it is the tight-knit support-network-type makeup of grassroots and underground musician and producer collectives that arguably puts them in a better position to understand bringing their communities up with them, not being too far removed from it themselves.

It is this personal connection with the local community that helped Manila-based collective BuwanBuwan nurture the idea for Human Toy Machines. The event, being held at Makati city's shiny new resto-cafe and eventspace Dulo MNL, is "A Fundraising Gig for the Benefit of the Children of San Diego Elementary School," with the specific goal of raising money to buy science-oriented toys and reading materials for the children of the school. It comes from the mind of collective member Luis Montales, aka producer AHJU$$I, who first encountered San Diego Elementary in his last year of senior high when tasked with thinking of a sustainable community project as an act of service.

"Upon research, we discovered Philippine Toy Library, an agency here in the country that provide underprivileged children with toys and reading materials, but more importantly a safe place to play and be creative," Montales tells YES/NO over Facebook messenger. Though all they had to do was donate to the agency themselves, he explained, there was a feeling of wanting to do more within his group, and soon San Diego Elementary School – "one of the oldest toy libraries that the agency has established" – came to light. "That’s how I got connected to the school," he says.


San Diego Elementary School. Photo by Luis Montales


San Diego Elementary School. Photo by Luis Montales

Later on, and more recently in the timeline of things, Montales approached BuwanBuwan Collective head Jorge Juan Bautista Wieneke V aka Similarobjects, in hopes of putting on a fundraising gig. The specific mission was to buy science-oriented toys and reading materials for the children because, as Montales tells us, "there's a stigma against taking up science-related careers in the Philippines."

A stigma?

"To be more specific, science research careers," he explains. "Parents would often tell their children to be a doctor rather than a researcher because the former makes a lot more money. Even my teachers in school who are researchers say that if you want to be a scientist, it’s like pretending you’re unemployed. Scientists here in the country admittedly lack funding and support from our government. Because of this, they look outward and go abroad to pursue their careers. This is definitely alarming because science and technology is important and even necessary to a developing country like the Philippines."


"By instilling in the children the value of science and technology at a young age, we hope that this gets them to pursue science-related courses and ultimately increase the number of scientists in the country!"

d It's a big community-driven dream which has a good partner in BuwanBuwan, itself the dream of producer Jorge Wieneke. Its history doesn't just go back a few years, but rather hundreds, based on the Philippine myth of the Bakunawa, a huge serpent said to be the cause of eclipses. In more detail, "buwan buwan" is the name of a children's game: one plays as the Bakunawa, and the rest in a circle on the ground (buwan — the moon), who must touch one of the players inside the circle without going inside the circle; a successful touch means swapping places.

In more relative terms, Wieneke explains that pre-colonial tribesfolk would try to scare away the Bakunawa by gathering outside their homes and banging on pots and pans, making a lot of noise, hoping to scare the creature away; others would take a different approach, playing gentle songs with bamboo instruments in an effort to soothe the monster to sleep so that a brave warrior could close in for the kill.

"With monthly 'Bakunawa' events," he writes in an email, "Pinoy beatmakers and live electronic musicians of the BuwanBuwan Collective give a modern nod to these ancient lunar gatherings. With selections of both original and carefully curated electronic music, they aim to awaken, to mesmerize, and to bring people together." It is both this monthly sense of togetherness and the childhood origins of the name itself that ring true with the Human Toy Machines event. And further strengthening that bond of support and equity, he concludes: "In the playground that is music, everyone deserves a chance to be at the center."

The two agree wholeheartedly with each other, with Montales telling us on messenger, "I also wanted to host a charity gig because I believe that good music for an equally good cause is lacking here in the Philippines." After the event itself, and once the toys and books are collected, Montales and his group will be at the San Diego Elementary School every day for 2 weeks "to teach and play with the children and to turn over the new toy library to the teachers of the school!"

Dulo's eventspace. Photo by Nicollo Santos/Neil Patrick Valero

Even Dulo MNL fits the bill. A fusion of coffee and Taiwanese-Filipino cuisine on ground floor, upstairs is a wide space for the purpose of, well, anything. "The idea was to become a safe haven for dialogue and creative pursuits, for artists under all forms and genres of art, from one end or dulo of the arts spectrum to the other," writes Alyosha J. Robillos in a piece for NOLISOLI. In the same article, one of Dulo's founders Alexa Arabejo explains that they are a creative community platform, uncensored, unfiltered, and are driven not only by art but by a desire to contribute to the community, "as well as help artists and art enthusiasts by providing a space where they can gather."

Ultimately this act of gathering, synonymous both with BuwanBuwan's Bakunawa events and the ethos of the eventspace where Human Toy Machines will take place, is the rumblings of building a community. And when people are not helped and encouraged from the top down – by leaders, by parents, or whomever they may be – that help and encouragement must come from the bottom up, from the community, from the people.

✧✧✧

Human Toy Machines: A Fundraising Gig for the Benefit of the Children of San Diego Elementary School

Chinese Plastic Toys
Teenage Granny
Similarobjects
Jason Dhakal
Lustbass
Pamcy
Tito

Find details of the event on Facebook

✧✧✧


  • 🔔 The vivid flyer for the event was created by Gilbert Redona.
  • 🔔 Last year Jorge Wieneke put together a guest mix for YES/NO as Similarobjects, looking at the history of Filipino music by taking in both in urban psychedelic flavours as well as indigenous music. You can listen to that over here.


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Friday, 12 January 2018

🐣 LLLL — FALLING FEAT. U-PISTOL

Shoegaze guitars stab out staccato patterns in this latest one from Tokyo musicmaker LLLL, 'Falling', a catchy cavalcade of sound that mixes those chorused guitar chords with the piercing neon ice of trance synth, and elements of pop rain down like little gemstones: the uptempo beat and its rollicking tom fills, the breezy chord progression, and not least the vocals of featuring artist U-Pistol.

Also known as Moon Mask, and previously making music under the name Ulzzang Pistol, the Manila-based producer and singer-songwriter sings with mellowed emotion, his voice crooning and fresh. He spoke to us above reverting back to his original moniker: "U-pistol still means Ulzzang pistol," he told yes/no. "Ended up shortening it because the term confuses even the people who are familiar with it. I think shortening it makes it easier for everyone to approach but the heart and meaning of the name still lives on."

His voice flows easily in the cold detachment of LLLL's overdriven drums and spectral javelins of synth, weaving warmly in and out of the sorrowjoy crush of this trance-pop-gaze cocktail, joining with the '80s flavour guitar and cinematic composition of the track to give it its lovable human heart; guitar solo at 2:47 screams virtuoso fire, emphasising the speed whilst contrasting the pop-ness of this track, echoing its title and the frustration of being in freefall.


  • 🔔 'Falling' is out today on internationalist label Zoom Lens. You can grab it here.
  • 'Falling' is taken from LLLL's forthcoming Chains Phase 4, part of his 12-month-long "Chains" project, in which a new "Chain" will be released each month, split into 4 individual EP releases courtesy of emotive electronic label ZOOM LENS. Chains Phase 4 is out 28th February.
  • The artwork was created by Brenden Savi, and reflects the twisting icy tumult that erupts almost chaotically throughout the track.
  • 🔔 Back in the early days of yes/no we received a lovely guest mix from Ulzzang Pistol, representing a cluster of Manila music talent: here is YES/NO GUEST MIX 014.


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Wednesday, 20 September 2017

🐣 MOON MASK — TWENTY MINUTES DREAM RUNNER

Like a heavy heart this track shifts its way into your perception, that sinking stomach feeling, emptiness, beginning with a slow ominous luscious clopping clock and insectoid ticking and slumbering breaths and then we fall into the urgent synthpop of it all, and the vocals of Manila's moon mask opens up a deep croon: "Met you asleep in a dream…" Big thumping drums create a driving energy – a gotta-do-something '80s filmic montage of an atmosphere – with simple kick-snare alternation with stomping gloopy bass that cuts a basic booming groove beneath the miasma of electronics that glide and soar and punctuated by sparkling starlit melodies twinkling beneath it, bright neon chords electrify the heavenward introspective gloom of it, shocking strobes in the murksmoke.

But the dreamy atmosphere that dwells in 'twenty minutes dream runner' arises because, moon mask explained on Twitter, it's "based off a short story I wrote once about a decaying man reliving dream." There is indeed an aroma of decay that whirls around in this synth-laden dreamscape, the cardinal reverb that the drums are soaked in so they crack and roar in the song's verses, and in the literally decayed melody that twists and turns fizzing abrasive in the bridge, overdriven and piercing. The chorus is catchy, deliciously so, with rapid pogoing vocals: "20 minutes better run baby ah, 20 minutes left before they take you away…" A fantasy lovesong, an electronic pop elegy, this is the idealised grip of nostalgia manifested in the hazy hangover of something distantly dreamt.


  • 🔔 You may purchase 'twenty minutes dream runner' digitally via Bandcamp if you like. It arrives ahead of moon mask's EP scheduled for release early next year; "I've been trying to take a bit of a new direction in my sound," says our boy in the track's description, and the new EP will probably mirror that sentiment.


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Thursday, 17 August 2017

🛰 GUEST MIX 029 :: SIMILAROBJECTS

"Over the years I've developed a nasty habit of digging for music during my spare time," Manila musicmaker Jorge Juan B. Wieneke V aka similarobjects writes in an email. "Whether it be the sounds of the past, present or future it always seemed like I've got a habit of seeking for something good for my ears to munch on." He's the latest artist to step up to the plate and smash a guest mix out of the park—and it seems as though he's a good choice because music, and not just making it, is a big part of this producer's life.

"For writers, people say that "reading is writing" and I feel like this applies to us musicians as well," he explains, "so when I'm not creating I just spend a lot of time digesting music from everywhere and anywhere."

In this guest mix, our 29th, similarobjects takes metropolitan Latin flavours and psychedelic guitars, moods conjured with gentle glossy keys and meandering jazz journeys, magical crooning pop party music, and gradually mixes them into the indigenous interiors of the Philippine islands with darkly chiming percussion and fresh organic textures: it is a cocktail of history and culture.

"As of late I’ve really been stuck on listening to a lot of Filipino records from the '60s, '70s and '80s that draw influences from Western jazz, Indo-jazz, jazz-funk, jazz-fusion, ethnic, samba, folk music, Brazilian, as well as some pieces that fall under the category of ethnomusicology," Jorge writes, taking us through the mix. "I thought I'd share a slice of Filipino culture through some of my favorite selections as a lot of these artists/songs really spoke to me and I hope this mix finds you well. And for those who follow my work maybe this mix can paint a picture of where my head is at the moment."

Previously the musical output of similarobjects has been typified by enigmatic atmospheres, otherdimensional flavours, beats that range from dusty organic to clipping and chaotic, a sonic world of synthetics and introspection. The gentle, cleansing house ambience in last December's two-track release Etheric is different to the high-concept frame of SoundCloud album Happiness is a deactivated Facebook Account, filled as it is with nerve-racking breakcore-style beat glitches and a hectic dystopian mood. He mentions in his email that he's working with RBMA Paris alumni JOHN POPE on "a collaborative EP in the form of a videogame," which will be announced properly soon.

This guest mix, however, acts as a precursor to another upcoming release that seems as though it will be moving away from his past futurist abstractions. It's an EP called UGAT.

"Ugat means "Roots" and it carries with it a sense of re-connecting with our roots as Filipino people," Jorge tells us. "The underlying concept of this EP is that the whole body of work is an ode to forgotten and lost instruments, rhythms, cultures, traditions and practices of the Philippine Indigenous Tribes and our Ancient Ancestors."

As such, some parts of this mix – the obscure mystery of 'Suling Suling' and 'Ugnayan' for instance – really feel like a moodboard for the producer, fresh paint on the palette for his next artistic endeavour, the next step of his musical evolution.

☆TRACKLIST☆
00:00 Bong Peñera – Batucada Sa Calesa (1977)
02:54 Bobby Enriquez – Recado (1982) 
09:44 Flip Nuñez – See You Later (1976) 
17:14 Bob Aves – Gongs Can Swing (2014)
20:53 Boy Katindig – Midnight Lady (1978)
31:25 Dakila – Makibaka/Ikalat (1972)
40:06 Pasta Groove – Suling Suling (Dr José Maceda Rework) (19??)
42:08 Dr José Maceda – Ugnayan (1974)
52:02 Joey Ayala – Buwan Buwan (1991)



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Sunday, 30 April 2017

🐣 OLYMPÍA — FRUST

The sentiment of this one is loneliness, distance, the soft heart of this song left out in the cold. There is something in the way the guitar calls out, virtually tempo rubato, out of time with the sharp beat—it appears grieving and sorrowful, lapsing on rhythm and sounding more expressive as a result, natural in its mournful ache. This is the emotive centrepiece of 'Frust' (like 'frustration' + 'frost'?) by Manila musicmaker Olympía; these soaring solo guitar snippets could well work against their synthetic counterparts in the track but in fact exhibit raw feeling juxtaposed against the smooth, glitching electronics.

Whilst the echoing guitar tells its emotive tale, an intricate bed of beats spreads out, with rapid-fire thumping kicks, ticking hi-hats, delayed snare clusters and a stark click that reverbs into the downcast gloom of the frosty track. Plaintive synth chords clonk percussively muted and warm: a smooth foundation for the shards of bristling beat, the squirling needles of the guitar. Wordless vocals from Olympía add to this sense of softness. But conversely the spectre of glitch, abrasive and disruptive, pockmarks the tranquil sadness of 'Frust', preying on its chill sense of regretful acceptance – blurry at 00:31, crackling mechanical from 00:43, occasional throughout – peace disturbed by the disquiet provoked in the mind by overflowing emotions that attach one human being to another.


  • 🔔 You can find Olympía's own back catalogue of music on her SoundCloud, alongside songs she's featured on with fellow Manila artists like aries and crwn.


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Tuesday, 25 April 2017

🐣 PAOLA MAURICIO — CONSENT TO THIS

Arriving from Manila today is this solemn march of a track, this synth-heavy lament of longing, 'Consent To This'. Twinkling from its sombre and wholehearted beginnings, a moody VGM-flavoured intro with synth leads that lance into the distance, the song builds into loftier emotive heights where fizzing chords swell over the tumbling overdriven kicks and clacking snare hits, firework ornamentation with shivering metallics, the voice of Paolo Mauricio vaulting up into the ether and gliding on this dreamy bed of sound.

Those vocals drift throughout, slow, earnest, carrying their silky lilt over the various decorations to the beat – the additions and subtractions of hi-hats, the fluttering high pitch synth like blinking stars, the smooth flutey sounds in the last especially bristling chorus, the energised drum fill at 02:58, aaaah, the whole thing – over all of this exceptional soundscape swaying slo-mo and sleepy. All the elements come together perfectly, Mauricio's voice weaving through the aching bumps of the beat and the sultry swathes of synth draped over them, a beautiful sculpture.




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Wednesday, 20 July 2016

MOON MASK – GONE (IN A MOMENT)

moon mask is the artist formerly known as Ulzzang Pistol, a change that occurred at the end of Ulzzang's finale, the Zoom Lens-released Waste. The Quezon City, Manila-based newly named moon mask is now prepping to release his debut EP under the new moniker, Irreversible, and in the lead-up has dropped the first taster, 'Gone (in a moment)'.

With pinging delayed guitars and staccato steel-pan synth chords painting a electro-tropical backdrop, a strong retro beat beating bouncy time, the whole thing drips in reverb like a hazy, soft-focus watercolour, painting memories tinged with regret, the combination of groove with the bass and beat, the spacey melancholic instrumental and vocals – positive melancholia? – reflects the bittersweet nature of the lyrics and meaning; a blast of pop as pop should be: catchy and meaningful.

mm spoke a little to me via email about song and the EP. "They're based on romantic pursuits I had long ago, written to be more general and relatable to anyone sharing similar experiences," he explained. The song "focuses on the feeling of getting a connection with a stranger at a certain place and all the thoughts that argue in one's head regarding them making the first move or not."

He went on;

"it's a bit pessimistic since the song is saying that there is only but little time and that the person will be gone eventually and even if one does make a move, relationships do end and someone has to leave."


  • The Irreversible EP will be self-released on... date TBA.
  • Co-production on 'Gone (in a moment)' comes from mm's dad, Jun Gomez; mix and mastering by Jorge Juan Wieneke V (aka musicmaker similar objects)


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Tuesday, 8 September 2015

MARK REDITO – 3AM APOLOGIES

Never send to know for whom the bell tolls; It tolls for thee… and more specifically, it tolls for Spazzkid. Hear the clanging knell kneading the air like vast clouds rolling through valleys, the ding dang dong of another musicmaking moniker moored at the banks of the ever-flowing river, never to plough through waves again.

But don't worry, Mark Redito is still around. After much consideration, the man himself decided to shed his Spazzkid moniker and just stick with his irl birth name. Specifically, aside from artistic growth, new directions and feeling as if what he's making now is quite different to what he's making now, it's to do with the offensiveness of the very name "Spazzkid", and "undergoing scrutiny" because of it – even if he was originally just named after a band.

"After careful research into the various uses of the word “spaz” as a derogatory term," he writes via email. "I no longer feel comfortable representing my music and art with a term that has the power to hurt a large group of people. While it was never my intention to offend anyone, I owe every person aggrieved by my old moniker a heartfelt apology, and this is just that. I’m sorry."

To mark (haha) this change we have a new track, heralding the turning of a page to a new chapter in the story that is the music of Mark Redito. It surfaced on Ryan Hemsworth-run, friends-only, not-a-label-but-a-SoundCloud-platform Secret Songs and it's called '3am Apologies'.

The first thing that sprang to mind whilst listening to this was festival music. Not any old festival music, but traditional music from the Japanese festival of Obon (or just Bon), held in summertime across Japan to honour the dead. What took me there? The swaying feel and dizzyily offbeat melodies of '3am Apologies' match those of the music that goes with bon odori i.e. "bon dance" – I say the music, but there are as many different variations of this dance as there are major regions and cities in Japan; perhaps it's akin to the awa odori of Tokushima on Shikoku, or maybe it's closer to Kagoshima's ohara bushi. Either way, there's a fair spot of considered delirium at work in '3am Apologies', which made me think of Bon.

Added to this inebriated festival atmosphere is a heavily swaggering dub-flavoured rhythm, further highlighting a decidedly beat-themed foray for the first venture as Mark Redito, and ornamented with countless drum ad-libs that roll and rollick with virtuosic energy, yet that feel blissfully restrained by the slow, oozingly oscillating rhythm. Swathes of fizzing synth cushion piercing lines of melody, all of it rising together in a richly layered crescendo that takes previous elements and arranges them in a model of harmony, each part slotting where it should having been individually introduced earlier on. Mark sings on the track, too, his voice sprinkled with emotion and far-off, as if a dream or previous introspection being reflected upon.

We dream with him, in the giddy ambience and half-crazed steadiness of '3am Apologies', swept along by sheets of synth – sometimes airy and ethereal, sometimes buzzing and intense – bouncing onward with the skillfully-crafted elastic organic beats as if being jostled through a crowd.




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Tuesday, 28 July 2015

NO ROME – I SPEND ENDLESS DAYS THINKING OF DIFFERENT WAYS

Last time Philippines-based artist No Rome featured on YES/NO was quite a while ago – it was his emotive song 'Heaven', written about the tragic and untimely passing away of a friend, that not only caught the attention of the brain connected to the ears that live on the same body as the fingers typing these words, but that also provided an earworming melody that is still hummed and sung infrequently to this day. If that's what counts as a successful song, then 'Heaven' was a huge success indeed.

This time around he has surprise-dropped a track with a nice long title that also rhymes: 'i spend endless days thinking of different ways'. Sampling Trey Songz and referencing Slowdive in the lyrics, No Rome once again displays his knack for creating a thick blanket of sounds, luscious and floating, textured and bristling with gently merging melodic mists; ostensibly this begins as an ultra-chilled version of an R&B slow jam, chiming clouds of sound and his indomitable talent for pop vocal patterns helping the surge of flavours all the more tasty.

Hints of percussion and fragmented beats appear but it's not until halfway that snappy, understated beat appears alongside interwoven pitch-shifted vocal sample clusters — then inexplicably and without warning, the song shifts up a gear and becomes a rollicking cycle of much faster breakbeats, all of it smashed out and abrasive with sparkles of hardcore winking in the crunchy overdriven drums; samples continue to chipmunk-chatter, synths continue to wash and glisten, all until the track fades abruptly into a harsh velcro of actual wall of scathing white noise for the finale.

A massive surprise and a welcome switch between genres that not only keeps the listener on their toes, but shows huge potential for an artist who has already shown himself to be (seemingly) effortlessly multi-styled – and all without it jarring. It blends – and that's what we like.




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Wednesday, 1 October 2014

PALE – SILENCE (EYEDRESS REMIX)

The shifting & shuffling night-drive R&B of London-based Pale's recent track 'Silence' is beautiful; synth chords drenched in chorus seem to laser through ur mind with pulsar hypnotism riding the plasma length of each resounding blast; minimalist guitar reverbs with cold sharp twangs of introverted sound; vocals, smooth and wracked with heartfelt longing — for what? Silence? Who knows.

This has now been acquired by Filipino musicmaker Eyedress for a suitably hazy remix. This guy, whose alias is a phonetic rendition for all those who would mispronounce his actual name: Idris (Vicuña), is well known for his powerful, ghost-flavoured originals and remixes alike. And in the same vein as his past efforts, 'Silence' becomes a different beast.

Soaked with off-kilter sweeps of wobbling, grinding synth, the track is set adrift a turbulent undercurrent of clap collections, urgent hi-hats and syncopated snares, beset with an occasional near-supersonic scream whirling about like some nightmare flying insect that's like a horrifically sized cranefly but with a death-coloured human head and long flowing greasy hair. The vocals are now stretched from their original pitch, wrenched through the nocturnal sludge of Eyedress's witchy sound for an unsettling decoration atop this subtly stormy sound.

  • The original 'Silence' is taken from Pale's recent The Comeback EP, a four-song showcase of downtempo beauty seasoned with R&B lilts. You'll like it, probably.



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Tuesday, 5 August 2014

NO ROME – HEAVEN

Been meaning to post something about this for a while now. Better late than never though. So here it is. It's by a guy who goes by the name of No Rome (irl: Rome Gomez) and he's from Manila – actually, he's the brother of Ulzzang Pistol: they're both part of the tight-knit, underground collective Youngliquidgang, or YLG to be brief, one of a few in the capital's bustling music scene (another being, for example, Buwan Buwan, headed up by Similar Objects).

Mastered by collective-mate SOUL_BRK, 'Heaven' is basically a beautiful song. I thought it was beautiful when I first listened to it, but it wasn't until I was in the shower a few days later when the vocal hook came back to me: I found myself humming it (and noticing, also, that it sounded a little like Rikrok's part in 'It Wasn't Me'). This two line fragment repeats throughout, lending the otherwise chill-hop-leaning track – itself awash with a fluid cascading koto-esque instrumental, chopped and looped, with sub-bass blasts – an R&B flavour. Punchy beats with satisfying sharp and shiny hi-hats drive this mantra forward, becoming deliciously rapid-fire and frenetic towards the end, with sampled punctuation in the form of "wow!" and another, wordless exclamation. It's difficult not to be drawn into its spiral of hypnotic repetition, which is to be fair dotted with dynamic breaks and additions along the way.

It's when you hear about the background, the context of this song when it becomes even more poignant and even moving. Within the space of a week Rome lost his grandfather, and his friend Guillo Cesar Servando, a fellow student at De La Salle–College of Saint Benilde, who was killed in a fraternity initiation. The lyrics take on a more poetic edge in this instance; every time I hear his voice singing it's easy to feel the emotion. On the other hand, they're neutral enough so that people hearing it for the first time can still vibe to it and sing along, as with any catchy pop song.

LYRICS:
and i’m playing with the radio sound, i don’t wanna hear what’s going down
and i wish i was with you now, heaven probably told you to say goodbye

Yet another (but the greatest, I think) in a string of cool songs from No Rome, another URL-based J-culture-appreciating talent of Manila with big things ahead of him – it's almost guaranteed.



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Sunday, 20 July 2014

EGGROLL – NO SATISFACTION (VALIANT VERMIN REMIX) [FREE DOWNLOAD]

Brilliant! That's the first word I'll say about this. But before I even begin to tip-tap some words out about the song itself: Just WHO is Valiant Vermin anyway? FURTHERMORE — Eggroll…?!

(The) Valiant Vermin aka Bettina Campomanes is a young (I believe currently she is 17) producer from the Philippines. A self-described bedroom project, the Facebook page for it shows off Campomanes' modesty and humour: her bio reads "I didn't want to go outside so this happened," whilst her description is "I'm 16 years young and bored as hell." The very epitome of bedroom producer if ever there was one. Bettina is also a prized member of the Manila-based artist collective, Youngliquidgang – the co-founder of which, Zeon Gomez (aka Ulzzang Pistol), made a lovely guest mix (#014) for Y/N recently showcasing the group's talent; it included the electro-pop goodness of 'Good Girls Sin' by VV herself.

Her latest track is an impressive remix of an obscure and rather ungoogleable '80s duo, Eggroll. Called 'No Satisfaction', the original is as '80s synthpop as you can imagine: power drums, keytars, twangly guitar. I was gonna just link you to the video (dated 1987, aired on NY Public Access) but I'll embed it at the end of this post because you'd like it probably.

Anyway: the remix is a different kettle of fish.

Taking the strong, soulful vocals of the original, Valiant Vermin puts these to use in an extremely appealing way, setting them above an elastically punchy four-on-the-floor beat and syncopated stabs of robust house piano, as well as the occasional synth chord. Wheeling synth melody screams over the top with all the exciting intensity of Sonic 2's Chemical Plant Zone – but more jazz, less urgency. Speaking of jazz, piano fills spill over between chords in virtuosic fashion, further highlighting the elated funk of this track. It's house, classic 90s house – with a dash of French-touch sound – combined with the fun-loving nature of jazz and electro, simply brimming with energy. Download it for free!

Two things are immediately clear: 1. To find & utilise well such an obscure gem; 2. Production is high quality. Here is a talent still relatively undiscovered, from somebody barely even an adult (in the true sense of the word) yet. You can only hope that Miss Campomanes continues on this creative path; who knows what she will dream up in years to come.

And, as promised…



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Thursday, 17 July 2014

Y/N GUEST MIX 014 :: ULZZANG PISTOL'S YOUNGLIQUIDGANG FOXHOUND MIX

I love the internet. I just love it. For things like this, i.e. actually communicating with artists on a one-to-one level, it's just the best thing ever. There are a lot of other inventions that are quite useful, like toilets, airplanes, and various medical advancements, but the internet is just parfait. So I was chatting to Zeon Gomez aka Manila-based artist Ulzzang Pistol on FB & I asked if he wanted to make a mix and he said yes, so here we are.

But this is a mix with a difference: besides being the 14th Y/N Guest Mix, it's also a showcase of a collective part-founded by Zeon himself. "I make my own music by mixing J-pop influences with house, disco and dream pop, usually through the use of Japanese lyrics," in an email he tells me about what he does. "I don't know if you can label it as J-pop, but I'd like to call it that way I guess. I am also a Co-founder of the Manila-centric collective called YOUNGLIQUIDGANG, where I handle PR and Artist Management duties."

Youngliquidgang itself is a hotbed of creativity – a 12-strong (and still growing) group of young and talented Filipino music artists, mostly all electronic; "Basically," says Zeon, "YLG is inspired by a family/brotherhood kind of feel, where like-minded artists support each other into creating material and refining their talents." The collective was co-founded along with No Rome (aka Rome Gomez, his brother) and Keats Collective affiliate, MERLINDA/WALLS (Ethan Namoch, also making music as COEXIST). Zeon describes the simple story behind its conception: "We only wanted to make a community of electronic musicians around our university [De Lasalle-College of Saint Benilde], but it ended up being a nationwide collective after we decided to move out of the school's music scene."


though we are generally like-minded we also have our little differences that we love and try to accept about one another

From the downtempo soul of singer/musicmaker Hana ACBD and the cosmic blizzards of Local Disk (C:), to No Rome's lush glitterscapes and vapor-leaning R&B tracks from Colombo Beats, YLG is a varied bunch – but there's a bond between all of them that's less loose collective, more tight-knit gang (hence the name, I guess). "What connects us all together, apart from similar tastes in music," Zeon elaborates, "is this CULTURE we shaped inside our group, this family-like atmosphere, where we don't just meet on a artistic level but on a personal one as well, we sort of look out for each other." You can see this in the various remixes they do for each other's tracks, or in the way that vocals are offered up from one to another, etc.

"In short," he continues, "it's about love and respect, where we believe in the skill of others (especially the under-appreciated artists/talents)." Which is a lovely message that I imagine (or hope?) many others in the music community share and equally uphold; I mean, it was/is the YES/NO's raison d'être in the first place.

As for the mix itself, it's choc-a-bloc (bet you never thought you'd hear that ever again) with goodness from the fair isles of the Philippines, beginning with the moody 'ALWAYS' by MSN メッセンジャー (that's 'Messanger' in katakana btw) with its booming kicks, pitch-shifted vocals and classical ambience, continuing on a smooth journey of differing slices of electronic chill, and ending on a high with colourful dose of electro-pop The Valiant Vermin (self-described as: "Bedroom Project of some high school chick") with cute 'n' catchy rapid-fire vocals.

Zeon sums it up: "This mix goes to show that, though our artists are from different genres of electronic music, we share a form of cohesiveness or oneness with the vibe our tracks emit, to give a tag it'd be 'UNITY IN DIVERSITY', much like a family."


• T R A C K L I S T •
  1. MSN メッセンジャー – ALWAYS
  2. What is Andromeda – If these trees could talk
  3. MERLINDA/WALLS – Departure
  4. SOUL_BRK – Nights
  5. Local Disk (C:) – Event Horizon
  6. Colombo Beats – Cater 2 U Edit
  7. Hana Acbd – Like Butter
  8. COEXIST – Fare Thee Well
  9. Ulzzang Pistol – ??????????
  10. No Rome – Heaven
  11. The Valiant Vermin – Good Girls Sin


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Wednesday, 4 June 2014

ULZZANG PISTOL – PASTEL 女の子 (ET ALIAE REMIX)

Welcome. If you've never been here before, well done to you; if you have been here before, well done to you, too. Basically, we're here today to talk about a remix of a song, or perhaps more specifically a remix of a track. I actually heard the original track, 'PASTEL 女の子' (where '女の子' – onnanoko – means 'girl' in Japanese), a few weeks ago and thought "hmm ooo yea I'ma write bout dat" but it seems it never happened. However, now that I'm here, and you're here, it's the perfect time to give it a sprinkling of spotlight.

So yes, the original, by Filipino musicmaker Ulzzang Pistol – who also heads up the Philippines-centric Youngliquidgang collective – is a Latin-flavoured slice of synth-lounge, complete with groovesome bassline, 80s-drum-machine tom fills and glimmmerings of glockenspiel. A kind of laid-back, easy-listening, city-by-night feel, flourishing in its own sense of romance.

Made for and taken from the net-station/label datafruits.fm compilation, Funky Freaky Freestyley, Ulzzang Pistol put it up with downloadable stems, allowing anybody to remix it. And that's exactly what et aliae (which means 'and the others/rest' in Latin, but it's feminine plural so could be translated as 'the other girls' or sth like dat) has done.

Mixing the dizzy potential of R&B-inflected beats and neon-tinged tremolo synth chords with softly reverbing marimba and gentle glassy cascadings, the London-based et aliae produces a stunning remix that simpers high above the original; a persistent ghost of swirling cloud-sounds that summon silver-outlined dreams.

Say, if the original was the actual soundtrack to a person wandering around the heart of a city replete with bustling streets and entertainment at every turn: then this remix is that person's out-of-body experience, their true consciousness floating as their body is jostled by crowds, beset on all sides by relentless sights and sounds and smells, seeking without end something indescribable.

Or at least, that's what I get from it... so uh...



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Tuesday, 3 June 2014

THE AFTER-SCHOOL SPECIAL – FIND, LOSE, AND LOVE

I'm so bad bad bad, bad like a bad car not a bad man; inefficient, belated, whateverative. But don't worry I've come to share a nice-nice sound with you this fine whatever-time-of-day-it-is-for-you. I'm sorry everybody, I'm sorry. TRIUMPH OVER ADVERSITY. And with this guilt-ridden waffle, I'd like to introduce, yeah, this nice-nice sound I mentioned.

It's called 'Find, Lose, And Love' and it's been created by Filipino artist The After-School Special. The man behind this romantic moniker – so chosen "because he would often find himself crafting beats after coming home from class" – is Anton Salvador, who began making his own music in 2006, when it was more of an outlet for his creativity outside of the various bands we was in; it was only in 2012 that he began working on The After-School Special in earnest. Anyway... let's have a lil listen shall we?

Taking as its showpiece a quote from Alfred Hitchcock's Vertigo – in particular, the part where the protagonist, Scottie, is attempting to rid himself of his acrophobia/vertigo by going up and down a small step stool repeating the mantra "I look up, I look down…" – the track is a progressive piece of electronic dreaminess

The decorative metronomic hi-hats become gradually faster and more frequent, the Vertigo dialogue tunes in and out as if being watched inside a pastel green cloud of whirling synth, with lower rumbles providing foundations with the constant, grounded thump of the kicks. Add to this successions of deliciously raspy claps and the simple bwinging notes of synth melody, not to mention the well-tuned dynamics of the track, and there you have it: something wonderful. Describing the track, Anton wrote, "This is a manifestation. This is a release of energy. This is me trying to find balance."

He is part of BuwanBuwan, " a Pinoy beatmakers and electronic musicians collective" alongside many others – including Similar_Objects (aka Jorge Juan Wieneke V, a director of the collective) and Spazzkid. I can't really put it any better than the arbiters of BuwanBuwan, who describe it as "a framework for their perpetual creative exchanges, a take-off point for defining their identity as Filipino artists, and above all, a common ground where they can all play." A treasure trove rich in new sounds to be explored, new artists to discover!



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Tuesday, 22 April 2014

SIMILAROBJECTS – FELT_IT

I dunno about you but when I first heard this song it tickled my ears so much that I needed to itch em. No jokes. I don't know if that's meaningful or anything but I've written it now so let's just leave it at that. Anyway, point being: it sounds real good. What sounds real good? This track 'Felt_It' by Filipino producer Similarobjects – real name Jorge Juan Wieneke V, from Makati (one of the cities that makes up Metro Manila), there are but two songs on his SoundCloud, one of them being a repost, which is this particular track.

There's something real nice about this track – a narcotic haze that seems to veil everything, a drugged atmosphere that leans towards the cooler streams and tidal pools of chillwave's breezy style; even the beats seem to be shadowed, blanketed, by these rich fog of synth sounds, out of which appear vocal samples which seem to ripple in the vast fluid expanses of synth, moving in huge, slow waves of sound.

But then there's this break in the middle, where the vocal samples seem to be turned down a notch, taking on a low-register, nearly menacing tone – the beat changes too, becoming a double-time jaunt of hip-hop to the trickling sway of trappish design at either sides of this little break. After this, the vocals become higher, become more frequent, jumping out of the richly textured mass of cloudlike sound like glossy dolphins breaching the surface of a silvery sea in slow-motion, the sun turning splashes into golden glints that explode with each samples breathy entrance to our ears.

It's quite beautiful – ambiently so. And then at the end it morphs into something different still, a slice of chillout where indecipherable yet soulful voices fade into a resounding void – if the title is anything go by, well, yes: I felt it! There is feeling here! Wondrous feeling. Wondrous yet lonely – the busy feeling of being encased in a bubble of unconnectedness in the midst of a bustling city full of people. And I hope you liked it. I am looking forward to more from this guy.



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Thursday, 17 April 2014

VOYAGER – PARSEC

Just to clear things up to begin with, a parsec is "A parsec is an astronomical unit of distance derived by the theoretical annual parallax of one arc second, and is found as the inverse of that measured parallax" (thanks Wikipedia), wherein 1 parsec is equal to 3.08567758 × 10^16 metres – of course. Duh. What else is new?

It's a pretty big distance. Big distance for a big place: SPACE. I wonder if it's longer than a light year… (just looked it up, IT IS). So it's like... just a different measurement. Even in space there's a metric/imperial-style confusion and conflict at work. We never learn.

So anyway, now that that's outta the way we can have a listen to 'Parsec' by VOYAGER, or stylised V O Y A G E R (but it's too much effort to write every time) on his actual SoundCloud, the moniker of musicmaker Paco Santos from Manila. 'Parsec' is a basically a groovesome piece of music that finds its feet in funk as much as it does in the slow sensuality of R&B.

Beginning with a glorious palm-muted guitar intro, suggesting that we will be delving into a wholly funky number, we soon find out that we're in something else entirely, something a bit more intergalactic or spacey, suiting the track's name. This is a soaring morsel, deliciously rich with ever-reverbing piano chords that provide a beautiful blanket of noise on top of which everything else sits quite nicely – below this, the bassline ascends and descends, supporting the slow, R&B-style beat. There's something ultimately chilled about this, laid-back, barely sung vocals echoing amidst the smart synth arpeggios and lead guitar-esque melodies.

It's basically like a cross between a pop song and a vision of what indie music might actually be in the future – without going as far as saying it's outright funk, R&B (not least with the "future-" prefix), chillwave, whatever. Really genuinely beautiful & catchy stuff here.



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Wednesday, 20 November 2013

SPAZZKID 40 WINKS [VIDEO]

Hey there people. This is the long-anticipated video for LA-via-the-Philippines producer Spazzkid. Real name Mark Redito, he released his very beautiful album Desire 願う in April of this year, which is a perfect showcase of his sound: juke-flavoured beats that underpin an assortment of very pretty sounds, from modulating synths to tuned percussion like xylophones. It's the perfect mix of electronic and organic. This particular song, '40 Winks', is taken from that very album and - as I said - I've been itching to see the video for it ever since Mr Spazzkid himself dropped tidbits of information: namely that it was being shot in Tokyo.

And that's exactly where it has been shot. A self-confessed lover of Japanese culture, it's only natural that the music Spazzkid makes so lovingly should be the soundtrack to the capital city of the country of which he's so fond. Boy does it work! It opens with a mysterious woman answering a public phone, an anonymous voice explaining: "I'm sorry, I didn't say goodbye. Wait for me. Don't open the suitcase I left behind. See You Soon." The hyper-reverbed, ancient-sounding honky-tonk-type piano chords of the song echo a sad warmth across the collection of shots of Tokyo, the long tops of hard-edged skyscrapers jutting into the sky, as well as the indomitable crowds of the city.

The lyrics of the song - half-melancholy and love-themed, like "I've been so many places, I've seen so many places, but not like yours" - match up with slo-mo shots of the woman's face, downcast, wracked with loneliness in such a bustling place. Spazzkid's delicious post-dubstep beats and delicate bell sounds illustrate her inexplicable journey across Tokyo, leading to the bridge of the song where all things turn grey, introduced by handfuls of rolling snare, where the luscious beats find room to breathe with no augmentation. The lady opens the briefcase and the music floods back in, synth bleeps adding to the now very head-bopping shuffle of the song - its busiest section - and our protagonist makes a hectic run towards the top of a building where she watches the sunset. It's a perfect soundtrack to such a video, containing within it a kind of cold euphoria, a lonely happiness, two contrasting feelings that intertwine like two embracing lovers.

Nice isn't it? Directed by Czar Campos, it stars Rika Hirota, a trackmaker and DJ in her own right under the alias Licaxxx.

If you liked this, and you haven't heard the album, you should DEFINITELY check it out. And if you want to have a try at remixing it, please feel free! The remix stems are here: spazzkid.com/desireremix.



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Friday, 27 September 2013

SPAZZKID WEIRD GIRL

I would say that this man needs no introduction, but in some ways I would like to introduce him anyway. Here is Spazzkid, a Filipino-LA-based producer who I have been writing about since May (he's really nice - here's a Q&A with him). If you don't already know him, I'd urge you to check out his music; it's characterised by almost euphoric electronic sounds combined with slow beats - but with his latest song he's diverged somewhat from that. In the email he sent, he mentioned that this could indeed be a taster of what is to come on his next album. And you know what? I am looking forward to it: fresh sounds are good, no matter if you sounded fresh before getting even fresher.

So what's different? Well, in this newest song 'Weird Girl', Mark Redito (the real name of Mr Spazzkid) has eschewed his usual slow and swaying chilled-out rhythm for something a lot more up-tempo. Coupled with this, he's laid down a biting saw-wave bassline that adds a lot more of a hard edge to his sound than I have heard before. The beat style, in fact, sounds a little UK garage if you ask me - there's something in the sketched-out, glitching beats that contains within it the insectoid wiggle of garage rhythms.

His utilisation of samples is a lot more pronounced than it has been before, too, chopping up songs and vocals and placing them with maximum dynamism throughout. The second half marks a change in the song, as synth chords punctuate the mix and everything gets nice and messy, but in a beautifully organised way: synth leads arpeggiate, clap-along claps raise the energy levels, the beat shakes and fizzes.

But he's still there. A sparkling female laugh appears, as it has done in earlier tracks, and there are marimba or xylophone melodies with an oriental spirit, the kind that have injected their gentle cheer before in some of his songs. Overall it's a new take on Spazzkid. Spazzkid+. Spazzkid 2.0. More sampling, more up-tempo - there's a lot to shout about here, and a lot to dance to. I am heartily looking forward to the next album.

This has been released on Bad Panda Records, a "next generation" DIY record label based in Rome, Italy.

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