Tuesday, February 03, 2009 | ||
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On a recent trip to Singapore, I found myself wandering inside two of the biggest record store chains in these parts: HMV and Gramophone. Kids these days probably don’t even know what the inside of an honest-to-goodness record store looks like; they get their music from downloading off the Internet, or worse, buying the discs from their friendly neighborhood pirata. Which is too bad, because there’s something truly special about going inside a record store, combing the shelves and breathing in the aroma of records in their gleaming jewel cases. Here in Manila, the record-browsing-and-buying experience is all but lost. The once mighty and proud Tower Records chain declared bankruptcy three years ago, leaving its local branches (now operating under the name Music One) merely a shadow of their former selves. Music nerds rejoiced when the chain first opened its sprawling, three-storey store in Glorietta mall more than a decade ago. More than the relatively good selection of music, what I thought was really groundbreaking was the fact that the store employed knowledgeable music buffs as attendants. Finally, record hunters weren’t met with blank stares and clueless responses to legitimate music queries. Those really were the days. But all good things must come to an end. By now, most people hardly ever venture out of their rooms to get their music fix. Music downloading sites and software make searching for and procuring music as easy as grabbing a sandwich over lunch. The huge record stores are now a fourth or fifth of their size, or worse, have shut down permanently. That’s the way the cookie crumbles, but browsing through those shelves at Gramophone in Singapore, I couldn’t help but feel a tinge of nostalgia—and good luck—for finding a few choice gems that were relatively cheaper than if I had bought them here in Manila. There is something truly special about holding a piece of music you really like in your hand, tangible and real. Perhaps this isn’t the proper time to debate the merits or disadvantages of the evolution of how we consume music, but one thing’s for sure—I sure miss spending those long Saturday afternoons just checking out the merchandise inside a record store. |
Thursday, December 30, 2010
Happiness in a record store
Rockeoke therapy
Rockeoke therapy | ||
Be a rock star live and onstage for the length of a song | ||
By Paul John Caña, Contributor
The concept is simple enough and not exactly revolutionary: have people loaded with panache and self-confidence (and perhaps a bit of alcohol) and sing in front of a crowded bar. Only instead of staring at a two-dimensional TV screen with images of bikini-clad girls frolicking on the beach and song lyrics at the bottom that either change color or have a bouncing ball on top following the rhythm of the song, you face the crowd and sing with a real live band behind you. That’s what happens at Mag:Net Bar in Bonifacio High Street Monday nights, a fresh, inventive take on the ubiquitous karaoke and “videoke” its progenitors have dubbed “rockeoke.” Yes, I know it’s been going on for quite a while now; it’s been written and blogged about like crazy and countless performances have been uploaded on YouTube and Multiply. But it was only recently that I personally got to try out what the fuss was all about. First off, if you are planning a Monday night sojourn to this corner of Taguig, it’d be wise to make a reservation. Apparently, Rockeoke has gotten so big that Mag:Net fills up quicker than a motel on Valentine’s Day. The evening my friends and I went, there were zero seats available. Even the bar stools were marked “Reserved.” Spending the entire night sipping our cerveza standing up wasn’t exactly an appealing thought, so we chose to suspend our rock star dreams for another night. That evening came exactly one week later. Armed with a reservation a friend made at one o’clock one weekday morning, we planted our behinds at a strategic table in the middle of the bar: close enough to check out the action onstage, not so close that we’d suffer from nosebleeds and shattered eardrums. Hosts JC Medina and Gabe Mercado (Ok ka ba tiyan?) were entertaining enough with their slick, deadpan humor, particularly Mercado, but the evening was about the would-be rock stars, and soon, I found myself submitting my name to the hosts and waiting for my turn on the spotlight. Depending on your level of confidence (and again, your alcohol content), you’re either pumped up and ready to go, or you’re wringing your hands white in nervousness and dread. To stand up and speak in front of a crowd is bad enough, but to be expected to sing takes the thrill to a whole other level. You wonder how genuine performers and rock stars do it, and then it hits you: yes, this is as close as you’ll ever get to living out your rock star dreams. In my case, I was somewhere in the middle. I was a bit nervous, but singing Third Eye Blind’s “Semi-Charmed Life” onstage backed up by a band in front of a crowd is in my life’s to-do list, so I knew what I was getting into. The lights helped a bit; they’re bright so I didn’t get to examine the crowd enough to make me self-conscious. Then the band started and I just let go. A hundred private sing-along sessions in my car or in front of the bathroom mirror and there I was doing it for real in front of a generally appreciative audience. I’m no Chris Cornell or Chris Carabba in the vocals department, but I thought I did pretty all right. Not as great as the guy who belted out “Born To Be Wild” with a cigarette in one hand and a bottle of Red Horse in the other, but definitely better than the loser who prefaced his version of “To Be With You” by saying, “I’ve had a bad day so bear with me.” Afterwards I got high-fives and smiles of encouragement from perfect strangers sitting in front. Rockeoke took the edge off a hectic workday and made me loosen up. I daresay it’s therapeutic, even for that dude who said he had a bad day. Maybe five minutes of letting out your inner Robert Smith, Brandon Flowers or Alanis Morrissette will save you thousands of pesos in therapy later on. |
Year’s best
Tuesday, December 30, 2008 | ||
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Anybody who comes out with a best-of-list in music for the year is just begging for major nitpicking and criticism from self-proclaimed music fanatics. But no one will dispute the fact that, despite the general slump in music sales worldwide, 2008 was a fantastic year for music, especially OPM. So in the interest of stoking the fires of debate (and at the risk of being on the receiving end of some mudslinging and eyebrow-raising), I present this space’s list of the top albums churned out by local music stalwarts in 2008 (in no particular order): 1. Bipolar by UpDharmaDown—As if people needed a reason to prove “Fragmented” wasn’t a fluke. But if there was any band who completely ignored, even demolished the so-called sophomore slump, Armi and co. are it. At times sensuous and energetic, hyperactive and laidback, “Bipolar” is the must-have OPM record of the year. 2. Self Titled by Itchyworms—While other bands’ humor and schtick become hackneyed after a couple of outings, the well of “intellectual idiocy” (if there is such a thing) and spontaneous, genre-defying, finger-snapping happy music of Itchyworms is far from dried up. If “Freak Out Baby” doesn’t make you bob your head and make you believe that Manila sound is alive and well decades after it supposedly died out, nothing will. 3. Your Universe by Rico Blanco—Much has been said about Blanco and his storied career with Rivermaya, but now that he’s ventured off into the unknown of a solo career, the genius is more pronounced, the accolades are more deserved. Led by explosive single “Yugto” and the heartbreakingly tender “Your Universe,” the album gives us an intriguing glimpse into the head of one of OPM’s most inspired artisans. 4. Marks The Spot by Sandwich—Hard to believe Sandwich is a decade old this year, but with the way they’re unleashing onto the world their brand of unapologetic Pinoy pop-rock, they might as well be fresh-faced newbies with untapped talent bubbling under their hairdos. “Betamax” is hands-down one of the best singles of the year. 5. Villains by Wolfgang—Just in time for the holidays, the original bad boys of Filipino rock/metal have regrouped and released a classic Wolfgang record. Straight-edged, uninhibited and all-business, could “Villains” signal the much-awaited comeback of the superstar grouping of Basti Artadi, Manuel Legarda and Mon Legaspi (with Francis Aquino filling in for Wolf Gemora)? We’ll have to wait and see. 6. Pocket Guide To The Otherworld by The Camerawalls—From the ashes of the dissolved Orange and Lemons rose the phoenix that is The Camerawalls. Delivering the year’s best indiepop record, Clementine and his cohorts are carrying the torch of pure, unadulterated indiepop music, and here’s hoping we hear more from them in the coming year. 7. Shinji Ilabas Mo Na Ang Helicopter by Pedicab—There’s no denying the strange, hypnotic appeal of the single “Ang Pusa Mo,” but there’re more gems to uncover in the boys’ irreverent, dance punk-posturings on their second album. Amid the humor and wit, Raimund Marasigan and his mates continue to make themselves relevant, appealing and fun. 8. Endings of A New Kind by Taken By Cars—You either hate them or you love them, but, “Uh Oh,” there’s no stopping Sarah Marco and her boys from staking their claim as arguably the hippest band in town. Part dance, part punk, part everything, “Endings . . . ” is without a doubt, all cool. 9. Reasons For Unrest by Intolerant—Missing a little muscle in your annual music haul? Intolerant supplies the kick in your otherwise smooth aural assembly. All those glowing reviews from international press can’t be wrong; Joey Dizon and co. finally release the definitive OPM metal record in years. 10. The Peel Sessions by Prank Sinatra— I considered a lot of other albums for this 10th and final spot of the year’s best (The Dawn, Rivermaya, Ciudad, Ang Bandang Shirley and Bayang Barrios all put out equally strong releases this year), but Iman Leonardo (a.k.a. Prank Sinatra)’s collection of lo-fi, acoustic musings on life and living is noteworthy for its simplicity, honesty and the fact that it’s yet another DIY effort. Kudos to Leonardo for sticking to his guns and producing music he truly believes in despite the incredible odds. It doesn’t take an insider or a critic to determine that that’s really what creating and sharing music is all about. Happy holidays everyone!  |
Where the Beatles ‘Grew Up’
Tuesday, August 04, 2009 | ||
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HAMBURG is the third busiest port in the world. But that’s not all this city in northern Germany is famous for. The culture and arts scene is thriving here, as is classical and contemporary music. In fact, not many people know that it is here in Hamburg that The Beatles first earned their stripes as a performing group, way before they hit the big time. Paul McCartney, John Lennon, George Harrison, Stuart Sutcliffe and Pete Best first arrived in the red light district of Saint Pauli on Reeparbahn in 1960. Their booking agent Allan Williams sent them here after an earlier group he managed became successful. There were initial hesitations from the group about accepting the overseas gig, but the opportunity to hone their performance skills in front of a lively and international audience, plus the substantial income convinced them to pack their bags and move here. The Beatles played in bars like the Indra Club and Kaiserkeller, steadily gaining an audience with their brand of music. They lived in squalid conditions in the beginning; sleeping in a room behind the screen of a cinema and right next to the ladies’ restroom. But the group persisted. There are many stories of barroom brawls and various hi-jinks that the band members got themselves into, but undoubtedly, it was their musical skills that earned them increasingly good reviews from Reeperbahn regulars. All in all they played about 800 hours of live music in Hamburg from 1960 to December 1962. Lennon famously said, “I might have been born in Liverpool, but I grew up in Hamburg.” Today there is a Beatles memorial that stands in the Reeperbahn district, almost unobtrusive amidst all the flashing neon lights and scores of people that frequent the place. There are five figures in the memorial that represents the members: Stuart Sutcliffe stands to one side, and the drummer figure is a hybrid of Pete Best (who played with the band during most of the Hamburg years) and Ringo Starr. A new Beatles Museum also opened earlier this year, collecting various memorabilia and informing visitors the story of arguably the greatest rock and roll bands in history. A giant inflatable yellow submarine sticks out in front of the museum. I went down to see the memorial this weekend and am planning to check out the museum soon. For any Beatles fanatic, a stop here in Hamburg to pay tribute to the band is definitely a must. |
Snow in Hamburg
Snow in Hamburg
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Irish-Scottish band Snow Patrol plays at the heart of beer country
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By Paul John Caña, Contributor
 When I found out that Snow Patrol was having a show here in Hamburg, I knew I had to be there. Financial resources were limited and time was short, but I knew I had to at least hear Gary Lightbody’s voice live, even if I couldn’t see him in the flesh. I arrived with a friend at the venue, the open air Stadtark Freilichtbruhne, at a few minutes past 8 p.m. Already, I could hear Lightbody’s unmistakable wailings wafting through the crisp summer air. Upon the advise of several German friends, we tried showing our press IDs at the gate in the hopes of being granted entrance. Unfortunately, we were shutout as we needed to be on a pre-approved media list. Outside, my friend and I contemplated our fate and tried to decide what to do next. This German guy suddenly comes up to us and tries to sell us two tickets for the show at the regular ticket price: 36.60 euros (roughly P2,500). The show had already started and we figured the price was too high so we said no. We noticed the guy try to sell the tickets to somebody else, and saw they didn’t bite also. The guy then came back to us and tries to sell us the tickets for 20 euros (about P1540). My friend and I looked at each other and thought it was still too pricey. Then the guy suddenly told us, “Okay Merry Christmas” then shoves the tickets in our hands. We were too stunned to say anything but “Are you serious?” But then the guy was already making his way inside. I tried to drag my feet out from being plastered to the street and we finally went inside. Talk about being lucky.
The Stadtpark is a cozy little open-air amphitheater bounded by tall hedges on all sides and the stage in front. The venue was packed as we slowly made ourselves in. Men and women were lugging their beers around and chugging them while singing along to the band. Onstage, vocalist and guitarist Lightbody, guitarist Nathan Connolly, bass player Paul Wilson, drummer Jonny Quinn and keyboardist Tom Simpson were already pumped up, trying to work the crowd. Unfortunately, except for a few pockets of slightly inebriated Hamburgers (the people, not the sandwich), the crowd was mostly quiet, clapping politely and throwing the occasional whoops of approval. It is in this respect that I felt proud of us Pinoys as concertgoers: we always know how to “make some noise” and give it up to make bands and artists feel special and welcome.
 Despite the slightly better than tepid response from the crowd, the band put on a decent performance. While I am not exactly an expert in the whole Snow Patrol discography, I felt appreciative of the fact that they performed many of the songs that I was familiar with: “Open Your Eyes,” “Run,” “Take Back the City,” “Hands Open,” “Make This Go On Forever,” “You’re All I Have,” and of course arguably their biggest hit (at least in syrupy-songs obsessed Manila) “Chasing Cars.” With couples embracing and kissing and everyone singing along to the song that proved to be a definite highlight of the show. Throughout, Lightbody kept making cracks about the gigantic balloons shaped like beer bottles on either side of the stage. Beer was freely sold inside by guys wearing backpacks that dispensed the spirit onto plastic cups. One guy was also going around the crowd selling pastries in a huge breadbasket. The singer noted that it was hard not to notice the basket floating around the mostly blond heads of the audience. The band performed five encores, much to the audience’s delight. Lightbody’s voice is exactly as it is on the record: commanding and gentle, provocative and sweet. Besides the anemic audience response, I thought it was still a fantastic show. I suppose you can put a price tag on the experience of seeing a concert by a band you like in a European city, but to see one unexpectedly without shelling out a single cent (euro or otherwise), that’s priceless. |
The 10 best OPM albums of 2009
Tuesday, 29 December 2009 00:00
By Paul John Caña Contributor
Despite the almost obscene slump in sales worldwide of traditional recorded music, you have to hand it to our local artists: they’re still churning out pretty great music. 2009 was a great year for OPM. Not even counting the slew of sold-out concerts by Sunday musical variety show staples, the year was marked by releases from hardened veterans, scene regulars and explosive upstarts. This is by no means an exhaustive list. But for this observer constantly bombarded with music on all fronts, these are the albums that stood out this year (in random order):
Despite the almost obscene slump in sales worldwide of traditional recorded music, you have to hand it to our local artists: they’re still churning out pretty great music. 2009 was a great year for OPM. Not even counting the slew of sold-out concerts by Sunday musical variety show staples, the year was marked by releases from hardened veterans, scene regulars and explosive upstarts. This is by no means an exhaustive list. But for this observer constantly bombarded with music on all fronts, these are the albums that stood out this year (in random order):
1. Chicosci—Fly Black Hearts
Fans of pop-punk continue to get their thrills from Miggy and company, and this latest album clearly gives the “vampires” their fill. Forceful grooves, head-banging beats and show stopping vocals from frontman Chavez, it’s a sonic assault that’s easily one of the band’s best works. It’s everything we’ve come to expect from Chicosci and more.
2. Archipelago—Travel Advisory
Yan Yuzon breaks out of co-Pupil Ely Buendia’s shadow and fronts a fresh breath of OPM air. The guitar work on “Travel Advisory” is reminiscent of Brit pop-rock cool, but the writing and overall flair the band gives off is unmistakably Pinoy. Nothing too heavy and certainly nothing lightweight, the songs would work as the soundtrack to a long transnational flight or a leisurely Sunday afternoon drive.
3. Outerhope—A Day For The Absent
“Strangely Paired” introduced the brother-sister tandem of Mike and Mick Benedicto to the independent music scene in Manila about four years ago. On their second outing, the siblings don’t fix what ain’t broke; the songs remain in that realm of whimsy and fantasy, of ponies and cotton candy, a solitary pink balloon piercing a turquoise blue sky. Think Kings of Convenience, only cuter.
4. Sugarfree—Mornings & Airports
Whether he’s warbling about his latest heartbreak, a sibling abroad, or the complexities of life in general, there’s something strangely comforting about Ebe Dancel’s singing. In this latest album from arguably one of the most important Filipino bands of the decade, Jal Taguibao and Kaka Quisumbing contribute a couple of songs each, but Dancel’s imprint is still all over the place. The familiar never sounded so good.
5. Side A—Only 1
The new album isn’t just a compendium of trademark middle-of the-road mush, it’s also a middle finger to all the haters who’ve cast aside Joey Generoso and co. as nothing more than an inconsequential “showband.” Well guess what, pretentious jackasses, two decades on and the Side A juggernaut is still at it. Fresh, romantic and unapologetically sappy, “Only 1” proves that the “Forevermore” hitmakers are doing something right.
6. Peryodiko—Peryodiko
For sure, Kakoy Legaspi’s blazing ways with the guitar is a major reason to check out Peryodiko, but Vin Dancel’s latest project also bursts with inspired writing, catchy hooks and a whole lotta fun. If “Agawan Base” and “Bakasyon” don’t have you snapping your fingers or singing along, you must be deaf.
7. Silverfilter—Devotion
With his latest album, Cyril Sorongon aka Silverfilter is in a class all his own. An electronica album that’s also a “soundtrack to prayer” may seem like something that exists only in the imagination of a dejected church organist, but Silverfilter manages to meld his electronica background with a deeper, more spiritual purpose. With this all-instrumental paean to prayer and meditation, you’ll never hear church (or spa-waiting-room) music the same way again.
8. Bayang Barrios—Biyaya
The princess of Pinoy folk music released her latest independently, as so many of her contemporaries do these days. But it is by no means a reflection of the quality of the work. On the contrary, her sinuous, free-flowing vocals coupled with earnest songwriting (she dedicated this album to her child with husband Mike Villegas) is a rarity in these times of loud, overproduced records by so-called divas. “Biyaya” is a true gem worth repeated listens.
9. Sinosikat—2nd Album
More of the same thing ain’t always a bad thing. In Sinosikat’s case, their sophomore effort has produced even groovier tunes based on the same formula: sexy melodies, smart songwriting and those scorching vocals by front woman Kat Agarrado. With the addition of two new cast members, the progenitors of the so-called Pinoy soul movement solidify their status as the hippest and coolest neo-jazz players in the country today.
10. Urbandub—The Apparition
A preliminary listen to the new album (it was only launched less than two weeks ago) reveals an even more confident group growing into their own as one of the most important rock outfits to rise out of the South in years. Gabby Alipe’s predilection for contemporary blues-rock is not lost on this new collection of songs destined to become cult favorites. With any luck, “the apparition” is here to stay.
Fans of pop-punk continue to get their thrills from Miggy and company, and this latest album clearly gives the “vampires” their fill. Forceful grooves, head-banging beats and show stopping vocals from frontman Chavez, it’s a sonic assault that’s easily one of the band’s best works. It’s everything we’ve come to expect from Chicosci and more.
2. Archipelago—Travel Advisory
Yan Yuzon breaks out of co-Pupil Ely Buendia’s shadow and fronts a fresh breath of OPM air. The guitar work on “Travel Advisory” is reminiscent of Brit pop-rock cool, but the writing and overall flair the band gives off is unmistakably Pinoy. Nothing too heavy and certainly nothing lightweight, the songs would work as the soundtrack to a long transnational flight or a leisurely Sunday afternoon drive.
3. Outerhope—A Day For The Absent
“Strangely Paired” introduced the brother-sister tandem of Mike and Mick Benedicto to the independent music scene in Manila about four years ago. On their second outing, the siblings don’t fix what ain’t broke; the songs remain in that realm of whimsy and fantasy, of ponies and cotton candy, a solitary pink balloon piercing a turquoise blue sky. Think Kings of Convenience, only cuter.
4. Sugarfree—Mornings & Airports
Whether he’s warbling about his latest heartbreak, a sibling abroad, or the complexities of life in general, there’s something strangely comforting about Ebe Dancel’s singing. In this latest album from arguably one of the most important Filipino bands of the decade, Jal Taguibao and Kaka Quisumbing contribute a couple of songs each, but Dancel’s imprint is still all over the place. The familiar never sounded so good.
5. Side A—Only 1
The new album isn’t just a compendium of trademark middle-of the-road mush, it’s also a middle finger to all the haters who’ve cast aside Joey Generoso and co. as nothing more than an inconsequential “showband.” Well guess what, pretentious jackasses, two decades on and the Side A juggernaut is still at it. Fresh, romantic and unapologetically sappy, “Only 1” proves that the “Forevermore” hitmakers are doing something right.
6. Peryodiko—Peryodiko
For sure, Kakoy Legaspi’s blazing ways with the guitar is a major reason to check out Peryodiko, but Vin Dancel’s latest project also bursts with inspired writing, catchy hooks and a whole lotta fun. If “Agawan Base” and “Bakasyon” don’t have you snapping your fingers or singing along, you must be deaf.
7. Silverfilter—Devotion
With his latest album, Cyril Sorongon aka Silverfilter is in a class all his own. An electronica album that’s also a “soundtrack to prayer” may seem like something that exists only in the imagination of a dejected church organist, but Silverfilter manages to meld his electronica background with a deeper, more spiritual purpose. With this all-instrumental paean to prayer and meditation, you’ll never hear church (or spa-waiting-room) music the same way again.
8. Bayang Barrios—Biyaya
The princess of Pinoy folk music released her latest independently, as so many of her contemporaries do these days. But it is by no means a reflection of the quality of the work. On the contrary, her sinuous, free-flowing vocals coupled with earnest songwriting (she dedicated this album to her child with husband Mike Villegas) is a rarity in these times of loud, overproduced records by so-called divas. “Biyaya” is a true gem worth repeated listens.
9. Sinosikat—2nd Album
More of the same thing ain’t always a bad thing. In Sinosikat’s case, their sophomore effort has produced even groovier tunes based on the same formula: sexy melodies, smart songwriting and those scorching vocals by front woman Kat Agarrado. With the addition of two new cast members, the progenitors of the so-called Pinoy soul movement solidify their status as the hippest and coolest neo-jazz players in the country today.
10. Urbandub—The Apparition
A preliminary listen to the new album (it was only launched less than two weeks ago) reveals an even more confident group growing into their own as one of the most important rock outfits to rise out of the South in years. Gabby Alipe’s predilection for contemporary blues-rock is not lost on this new collection of songs destined to become cult favorites. With any luck, “the apparition” is here to stay.
Come ‘Hele ‘or high water
Tuesday, 13 October 2009 00:00
Razorback as sharp as ever
By Paul John Cana Contributor Photos by D’ye Sison
Two weeks after it was originally scheduled, the special one-off unplugged set of Razorback finally happened Saturday night. With a backdrop of gracefully gliding stingrays and various other marine life,
the five-piece of Kevin Roy, Brian Velasco, Tirso Ripoll, Louie Talan and Manuel Legarda (imported from brother band Wolfgang) ripped the Laot auditorium of the Manila Ocean Park apart with a blasting set of old favorites and brand new songs never before played in front of an audience. Ondoy and Pepeng may have postponed the show, but there was no way the typhoons could have stopped this Hele ng Dagat gig from pushing through.
“We’re not sure ourselves how this happened,” Talan said during a casual chat at White Moon Bar upstairs of the venue prior to the show. “Our manager Patrick got in touch with folks from Ocean Park and [radio station partner] Jam 88.3 and decided to do something here.” The marine park was an odd choice for a venue for one of the country’s hardest rocking bands, but fans came in droves nonetheless, filling the tiny venue to capacity. But it did make for quite a scene: a hard rock band playing an intimate set in the midst of soft lights and aquatic creatures swimming along, unmindful of all the ruckus.
And the band did create quite a ruckus. The show was advertised as an unplugged set, but two songs in—classics “Sumabog Na Naman ang Bulkan” and “Voodoo Who Do?”—and Ripoll and Legarda traded in their acoustic guitars for electric shredders. The only sign the set was a departure from the loud and wild show the band is known for was that the guys were all sitting comfortably down on plush velvet seats onstage. Otherwise, the sonic assault was trademark Razorback. You had to wonder if all those fishes were bothered at all with Talan’s pounding bass or Velasco’s powerful, insistent drumming, but it was all good. Even Roy didn’t let up with his vocal prowess—the guy proved he’s still got the most incendiary set of pipes anywhere around. In between the vocalist’s trademark witty banter with the audience and gulps of San Mig Light and Johnnie Walker Black on the rocks, the guys satisfied the audience’s thirst for the band’s signature rock stylings. Other songs echoing around the fish tanks that night were “My Banyo Song,” “Diwata,” “Rabid Tongue,” “Nakaturo Sa Yo” and “Tikman Ang Ulan.” They also performed a couple of covers, including Lennon’s “Jealous Guy,” and a few originals off the upcoming album titled Three Minutes of Glory that the band says would hopefully be released next month.
“We’ve always been around, we’ve never really gone away,” Roy said. “We’re not one of those bands that have regular weekly gigs.” Unlike many other groups currently active in the gig circuit, the boys of Razorback have pretty stuck to their guns throughout their 19-year career and have remained respected pillars of the Pinoy rock scene. And to celebrate their almost two decades in the business, the band will play a special anniversary show at 19 East this Saturday, October 17. And this time, the band promises a full electric set, with all of them standing up. And something tells me everyone else will be standing up with them there, too.
By Paul John Cana Contributor Photos by D’ye Sison
Two weeks after it was originally scheduled, the special one-off unplugged set of Razorback finally happened Saturday night. With a backdrop of gracefully gliding stingrays and various other marine life,
the five-piece of Kevin Roy, Brian Velasco, Tirso Ripoll, Louie Talan and Manuel Legarda (imported from brother band Wolfgang) ripped the Laot auditorium of the Manila Ocean Park apart with a blasting set of old favorites and brand new songs never before played in front of an audience. Ondoy and Pepeng may have postponed the show, but there was no way the typhoons could have stopped this Hele ng Dagat gig from pushing through.“We’re not sure ourselves how this happened,” Talan said during a casual chat at White Moon Bar upstairs of the venue prior to the show. “Our manager Patrick got in touch with folks from Ocean Park and [radio station partner] Jam 88.3 and decided to do something here.” The marine park was an odd choice for a venue for one of the country’s hardest rocking bands, but fans came in droves nonetheless, filling the tiny venue to capacity. But it did make for quite a scene: a hard rock band playing an intimate set in the midst of soft lights and aquatic creatures swimming along, unmindful of all the ruckus.
And the band did create quite a ruckus. The show was advertised as an unplugged set, but two songs in—classics “Sumabog Na Naman ang Bulkan” and “Voodoo Who Do?”—and Ripoll and Legarda traded in their acoustic guitars for electric shredders. The only sign the set was a departure from the loud and wild show the band is known for was that the guys were all sitting comfortably down on plush velvet seats onstage. Otherwise, the sonic assault was trademark Razorback. You had to wonder if all those fishes were bothered at all with Talan’s pounding bass or Velasco’s powerful, insistent drumming, but it was all good. Even Roy didn’t let up with his vocal prowess—the guy proved he’s still got the most incendiary set of pipes anywhere around. In between the vocalist’s trademark witty banter with the audience and gulps of San Mig Light and Johnnie Walker Black on the rocks, the guys satisfied the audience’s thirst for the band’s signature rock stylings. Other songs echoing around the fish tanks that night were “My Banyo Song,” “Diwata,” “Rabid Tongue,” “Nakaturo Sa Yo” and “Tikman Ang Ulan.” They also performed a couple of covers, including Lennon’s “Jealous Guy,” and a few originals off the upcoming album titled Three Minutes of Glory that the band says would hopefully be released next month.
“We’ve always been around, we’ve never really gone away,” Roy said. “We’re not one of those bands that have regular weekly gigs.” Unlike many other groups currently active in the gig circuit, the boys of Razorback have pretty stuck to their guns throughout their 19-year career and have remained respected pillars of the Pinoy rock scene. And to celebrate their almost two decades in the business, the band will play a special anniversary show at 19 East this Saturday, October 17. And this time, the band promises a full electric set, with all of them standing up. And something tells me everyone else will be standing up with them there, too.
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