Miguel Migs - Outside The Skyline (2011) Album Review

Let me just cut to the chase: This record is great. If you're a fan of soul and wouldn't mind a twist of electronica in the mix, this album will do well for your ears.

Most of you probably haven't heard of Miguel Migs before. This guy was a fixture in the Hed Kandi series way back in the early 00's, and I've followed his work ever since I heard "Do It For You", and not long afterwards "Brand New Day". I just knew right there and then that this guy was special. He was one of the frontrunners of the emergence of deep house (if there was any) back in the day along with Kaskade/Late Night Alumni, Andy Caldwell, Blue Six, Aquanote, Ananda Project - guys that helped spawn the deep house craze and launched the Beach House series (among others) of the Hed Kandi label into the stratosphere. And while these other acts have disappeared or moved on to more synth-y house music, it's quite good to see Miguel Migs stand his ground and keep deep house alive. And deep house it is. It's his bread and butter.

His previous album, "Those Things" was pretty upbeat, and while it had his trademark grooves and basslines, I feared he was going the same route as Kaskade, a DJ who has since shed his deep house roots for a more synthetic sound. But after hearing the more chilled and relaxed "Outside The Skyline", I knew this guy knew his place. He knows his strengths and plays them. And he plays them well.

As a producer, he is unparalleled when it comes to bass grooves. The way he uses the bass to bring life to his songs is nothing short of genius. It's so full of texture, depth, and soul, and I can't help but feel a sense of joy as I hear it squirm and shift to the rhythmic tendencies of the body. You should know that most other DJ's simply pound the bass out of their mixes without second thoughts, but you could tell Miguel Migs spends a great deal of time, care, and thought creating and tweaking it to perfectly mesh into the mix without losing soul as well as "oomph". The only blemish in this album is the presence of afro-jamaican inspired tracks that throws the mood off a bit - something that's become a habit of Migs when formulating his tracklists for albums (also present in "Those Things").

Nonetheless, "Outside The Skyline" is a record so soulful, chill, and boasts the best bass work of any deep house production in recent memory. This record is as 'deep' as deep house can get. Definitely the new benchmark for any deep house records coming out in the near future and for many years to come.

Pros:
- Rich bass grooves guaranteed to keep your head a-noddin.
- The best deep house offering in recent memory

Cons:
- Some Afro-Jamaican inspired tracks feel out of place

9 out of 10

Tesseract - One (2011) Album Review

First of all, the hell is this new prog-metal sub-genre they are calling "djent"? It just sounds rather silly and by the ring of it, it seems it's headed for utter ridicule- like "grunge" or "nu-metal" did. I haven't really warmed up to its namesake, but apparently this was coined by Meshuggah guitarist Fredrik Thordendal to describe the sound of the guitar featured in most Meshuggah songs. That aside, I still think it's a pretty silly name. It's like naming your kid "Bozo" and sending him to school, wondering how he will fare with bullies.

I love Meshuggah. Make no mistake about it. And I've been weaving through Meshuggah-inspired bands since. It seems my craving for heavy polyrhythms and odd time signatures is insatiable... sifting through Youtube videos, checking out live performances, searching for that "band" that would become my focal point in all this "djent" madness.

Tesseract.

I admit, I wasn't that impressed after first seeing their music video for "Concealing Fate Part 2 - Deception". Thought it was too generic, and themselves looking like the generic 'band-trying-to-look-cool' on camera. The recording also sounded too "light" for my tastes that I didn't even bother finishing it. I was previously listening to Periphery at the time, and noting the relentless sonic assault prevalent in that band's self-titled album (the instrumental version), I considered Tesseract tame. But let me say this now, and consider this my apology for being such an inconsiderable cynical prick: Periphery has nothing on Tesseract.* Tesseract is simply... phenomenal- for lack of a better word. Well, yeah, in fact I think that word fits perfectly.

Tesseract

This is the first band in a very long time that I can't seem to find any flaws. I mean, sure, these guys are probably not perfect, but what their peers are doing wrong (or are struggling to do right), these guys are just doing it down pat- perfectly. For one, this is the first band in the "djent" scene that actually makes good use of its vocalist. While others still seem to be stuck with the emo/screamo hangover from years past - rendering their vocalists unbearably annoying, Tesseract, on the other hand, has it down with atmospheric vocals, with the occasional screams sprinkled in small doses here and there, not going overboard. And there you have it- the first band, in my opinion, that has perfectly executed its vision of vocals in the midst of heavy polyrhythms. A first! (as far as I know). The fragile-aggressive vocal stylings blends perfectly with the heavy instrumentation which makes this band's sound stand out among its peers- in a genre that can sometimes become too mathematical.

The instrumentation is a given, as is expected of any band that dare ventures into these Meshuggah-laden territories. You just have to be that talented to ever be considered 'peers' with the rest of the bands that grace this branch of metal. It's quite clear this band spends an ENORMOUS amount of time honing their skills, memorizing song segments, improving their technique... everything that goes with it. I can't say the opposite for other bands in the genre since they're equally as skilled in timekeeping and technique. But ultimately, this whole movement is the apex for any band wanting to play at the highest level as a unit. I mean, yes, there are individual prodigies in the music world, but it's unmistakably much more impressive to see 4 to 5 equally talented dudes playing at the same time to create incredibly complicated and beautiful rock songs. It's just really impressive, and I'm pretty excited where this whole 'djent' movement takes us.

As for Tesseract, I just consider them the cream of the crop.

9/10

Concealing Fate Part 3 - The Impossible:


*There's really this confusing thing about Periphery. On the one hand, we got the insanely impressive instrumental record- on the other, we got the actual release with that horrible vocalist. I absolutely HATE it that they decided to get a vocalist like that. It just takes so much away from the music. And for the record, Periphery is more ambitious, adventurous, and overall better instrumentally than Tesseract.

Incubus - If Not Now, When? (2011) Album Review

Album cover.

So the new album leaked. Great news for rabid fans, but unfortunately sad, sad news for the band. If Not Now, When? is still set for a July 12th release, a mighty long-ass time away, which makes the album 3 months premature. I imagine they would have done a couple more things in preparation for the release in July, perhaps a second single, the unveiling of the album cover, but this just screws everything up. (Update: the album has since been released at this point)

Anyway, I'm kind of torn up with the new record. On the one hand, I thoroughly enjoyed listening to the album. On the other, I'm confused about what exactly this band wants to be. The album is sunny. It's poppy. It's pleasant. It's minimalist. It's dreamy. I was able to conjure up all sorts of vivid imagery in my head whilst listening to it. And most importantly, I feel a sense of honesty emanating from the music. That's what I got from my first listen, and if that's not why I listen to music in the first place, I don't know why I bother listening. This is all quite premature really, so let me say that I'm reluctant about writing all these praises as I go about this review. I could very well regret this in the coming weeks, but what the hey - I'll just hit myself in the head in another post for being such an impressionable fool.

As for the band, Brandon's singing is much more relaxed here, and in effect - less annoying. Glad to see him using the lower register of his voice more frequently in the album. Also the rhythm section sounds more focused and fused in this one, with barely any instrument rising above the others. Mike's minimalistic use of the guitar is splendid. Ben, who's the most technically proficient in the group, is good as always. It's good Jose ditched the high treble sound of his drums. But the biggest props go to Mr. Kilmore, the once-upon-a-time Incubus DJ who has grown to become a pretty proficient keyboardist.

If you have been following this band like I have, you'd know its most scathing critics are its own fans. The general sentiment is that Incubus used to rock. The "we need another SCIENCE" crowd, hopeful that each news of an upcoming album will bring back the days of dreadlocks and baggy pants. Sad to say, this fan demographic has been consistently let down with each release after S.C.I.E.N.C.E. (I feel like an idiot putting all those dots just to preserve canon). There's also a certain number of fans for each release, and they always get upset with succeeding albums. Everytime. But the band doesn't seem to care.

L-R: Ben Kenney, Jose Pasillas II, Chris Kilmore, Mike Einziger, Brandon Boyd. Photo taken from Spin.com

This album isn't any different. In fact, the 'alienation' this band seems to be really good at is even worse here. They've completely lost their identity in this album. Some probably won't mind it, but no doubt most fans will definitely be frowning this tremendous shift in sound. The band may have written good songs, and its longevity remains to be seen if people won't get sick of the album in the coming weeks, but yes --- whatever made Incubus uniquely Incubus is nowhere to be found here. This literally sounds like a different band. To me it feels like they're still battling with their own identity as a band after all these years, from their shift from funk to nu-metal to alternative, etc. Most bands would have settled, but this band doesn't seem to run out of gas. Whether it's a good or bad thing, I have a strong feeling they've become a band grown accustomed to self-loathing, eventually finding whatever reasons to hate their own work after a short span of time - hence the famous "we hate making the same record twice" comments from the band members. I'm not really sure of those allegations to be honest - the masochism and whatnot. Perhaps it is just artistry at work and the need for artists to have some leeway or 'wiggle room', but in this band's case, the room is a freaking gymnasium. Seriously, I think this band needs some kind of consistency, at least for the sake of keeping their remaining fan base in familiar territory. They need to sit still for a couple of records lest they want their fans' heads spun out in utter confusion.

Overall, and regardless how this conflicts this band's background, I think it's a good Incubus album. And if you want to enjoy it, listen to it for what it is, not what you think this band is. (And listen to it with a decent pair of earphones.)

8/10

Adolescents Music Video:
http://youtu.be/SKD2fjBpHFk

PS: I want to be the first person to pick up an acoustic guitar and cover Defiance. Seriously.

Deftones Diamond Eyes Tour Live in Manila 02.12.2011 - REVIEW/RECAP + SETLIST

The Deftones. Photo by Derek Santa Ana.

To be honest, I came to the concert expecting the 'usual' subpar performance from the Deftones- particularly from Chino, who's known to not hit the right notes at times. But despite that, the band has greatly improved their playing in the past year or so, rejuvenated by the joining of Sergio Vega on bass, filling in for ailing Chi Cheng. Still, I was skeptical. I even thought one of the front acts, Urbandub, would outshine them. Some sound engineering technicalities* would deem that impossible, of course, but Urbandub is particularly famous (locally) and known for their consistency in their live performances. All this wishy-washy nonsense would vanish at the end of the show, when Deftones exceeded all expectations.

We got to the venue early. A couple of people were already lining up, but we decided to forego the grueling wait in the lines and, instead, grabbed a few beers from a bar across the street. Got a bit tipsy with that last shot of tequilla and went back to the lines. Pumped. Gates were already open.

There were two front acts: Slapshock and Urbandub. Slapshock went first. So-so performance. They performed some of their 'new' tracks that I'm guessing nobody had ever heard before (or cared about). They weren't bad live, to be honest, clad in complete Dickies attire and so forth, but people like myself were expecting them to play some of their more popular tracks (like the idiotic "Agent Orange" perhaps) at least to get some kind of reaction from the crowd. But, oh well, they opted for their newer songs that seem to hint at metal-posturing. The end of each song was greeted with little to no (un)enthusiastic claps from the audience. I clapped my hands by the way, just to be courteous. Three songs later, and they were gone. Here's to hoping the dull audience reaction was not enough to separate them from their iron-clad Dickies sponsorship whatsoever.

Urbandub goes on stage. Things went smoothly despite a minor technical screw-up at the beginning of their set that prompted them to stop. One can feel the presence of Urbandub fans about, singing to their songs, jumping and screaming and so forth. Not everyone was having the time of their lives during Urbandub's set, I can tell. Some folks were just standing there staring at them as if by doing so the band would walk off stage. Still, the crowd's reaction was still significantly better than Slapshock's. They promised they would only play three songs, but just as the drummer hit the last cymbal, a Deftones roadie came out and signaled them to play two more songs. At this point, everyone thought they were still having dinner or something. Stef is particularly a moderately chubby guy, so it's probably expected he'd be glued to the buffet table for at least 30 minutes. Apart from him, Deftones roadies are HUGE. And OLD. Like in their late 40s and 50s. They'd do well as members of some bad-ass biker gang. Joking aside**, Urbandub plays two more songs, and it's over.

Finally, the moment everyone has been waiting for arrives. Wait- make that a few more minutes- as the lumbering caucasian "bikermen" of the Deftones make their way to the stage, taking their time walking back and forth, moving equipment and other stuff. One particular roadie came out with a black box and mounted it at the very helm of the stage. It took him about 15 minutes to glue the box to the floor with masking tape, which was astonishing (both the time and technique employed in doing so). Anyway, blablablah. Crowd chattering and slowly growing impatient. Thirty minutes pass and the lights go out. Crowd goes wild. Stef comes out and takes a picture of the crowd. The rest of the band follows soon after. Abe, Frank, and Sergio. But the crowd literally goes nuts when Chino enters the stage. He makes his way to the said black box and stands on it. Ah, so that's what it's for. A pseudo-throne for Mr. Moreno. Still, the guy is pretty good-looking, and guys and gals alike were screaming his name. I think I was one of them. I can't remember.

Chino Moreno. Photo by Erwin Ngo

They immediately began with "Birthmark" and I found myself trapped in a moshpit almost instantly. "Crap" was my only thought. I swear I felt I was going to be trampled or something because the moshing was incredibly violent. Song # 2 was Engine No. 9, and the moshing didn't get any better (and by 'better' I mean 'slow down'). That's when I realized I had lost my phone. All my contacts down the drain in a second! I don't know if it was from all the moshing, or if pickpockets were in our midst, pretending to be jolly moshers, elbows raised. The fuckers. Screw them all! Almost ruined the show for me. But regardless, the energy was just INSANE. You'd think a guy who'd just lost a cellphone would sulk in the corner. Not me. I was out there screaming my guts out.

Deftones performing "Sextape" in Manila 2011

Band performance was phenomenal- much much better than I previously expected. I didn't quite expect they'd sound this good live. It completely and utterly blew my previous preconceptions out of the water. The band was just in the zone that night. Stef, Sergio, Abe, and Frank. All of them. Chino, in particular, was on point the whole time, which was weird for a vocalist like him who's always struggled to reach those high notes in the past. He did skip some screams - particularly the ones in "Lhabia". But everyone was willing to give him a break. We needed to lay off from the moshing from time to time anyway. And it was getting hot. The venue's ventilation provided for some much needed oxygen, but there's nothing like being sprayed with Chino's mineral water. Ahh... So soothing. Made all the people in the front, including myself, realize how thirsty we were.

All in all, the band played a good mix of songs from all of their albums:

1. Birthmark
   
2. Engine No. 9
   
3. Be Quiet and Drive (Far Away)
   
4. My Own Summer (Shove It)
   
5. Lhabia
   
6. Around The Fur
   
7. Digital Bath
   
8. Knife Party
   
9. Hexagram
   
10. Minerva
    
11. Bloody Cape
    
12. Diamond Eyes
    
13. CMND/CTRL
    
14. Royal
    
15. Sextape
    
16. Rocket Skates
    
17. You’ve Seen the Butcher
    
18. Beauty School
    
19. Hole in the Earth
    
20. Kimdracula
    
21. Back to School (Mini Maggit)***
    
22. Change (In the House of Flies)
    
23. Passenger

Encore:

1. Root
   
2. 7 Words

That's 25 songs- one song more than the set they played in Tokyo and Jakarta. Band was feeling good that night, and so did the rest of us. Show ended at almost 12 midnight, with our heads down from all the stuff we had lost amidst the chaos**** but hearts, ribs, and necks content to the brim. Definitely a concert I will remember for the rest of my life.

Best part of the night:
Chino stands on the railings @ the VIP section, grabs a fan's cap and wears it for a couple of minutes whilst singing. He then takes off the cap and tries to give it back to its owner, but another guy from the back was able to grab the cap. Chino then stops singing, calls out the dude who grabbed the cap and threatens to hit him if he doesn't give the cap back. Dude gives the cap back to Chino and Chino gives it back to its rightful owner. Chino then gives the owner a high-five.

Check out Chino's shout-out to the Manila crowd here. To quote:

Noisecreep: What was it like to play shows in places like Jakarta?

Chino Moreno: I was just amazed that we have a fanbase out there. One of the most awesome shows we played in a while was in Manila. It was insane. The crowd was massive and the energy level was wild. It was one of the biggest shows we'd played in a long time and we had never been there before. So the excitement level was high and the show was great. Basically, all the Southeast Asia shows were good and we were like, 'Man, why haven't we been here before?'

* Noticably less volume for the front acts
** The truth is, or so I've heard, the Deftones liked Urbandub's set, letting them play 2-3 more songs
*** Not played in Tokyo and Jakarta
**** In addition to my cellphone, my younger brother's friends lost an iPod, wristwatch, and a wallet. Lesson? Don't bring anything to a Deftones gig.

The Cardigans - First Band On The Moon (1996) Album Review

I've always had a fascination for the smash hit "Lovefool". I didn't quite comprehend how big the song was, being just a kid when it came out. But it was HUGE. It topped charts across the world including Billboard, and was featured in several Hollywood movies- most notably Baz Lhurmann's Romeo + Juliet. But time has passed, and the lesser I hear the song, the more obscure the band got for me. In those rare occasions when it does go on the radio I'm like "Which band was this again? This isn't The Cranberries, but I'm damn sure it starts with a 'C'!" - which is weird because I kept remembering The Cranberries (which I still find obnoxious), but always seem to forget The Cardigans. But anyway, the last Lovefool "serving" I got sent me searching for this Cardigans album, and so goes the rest of my story.

The Cardigans

This Danish-Swedish band, as far as I can tell, are masters of the retro sound. But don't let the sunny, sugary exterior of this album fool you. Closer examination of the lyrics reveal much much darker themes, mostly about a woman who readily and willfully accepts abuse from a partner who couldn't care less. Whether Nina Persson, the band's vocalist, was subjected to the same kind of relationship during the writing of these songs remains up for question. The low esteem and self-deprecating nature of the lyrics, although sad, is ironically amusing at the same time. "Oh, I think you're standing on my left foot. It's hurting but it's okay cos I'm in your way." The same stories of abuse and sado-masochism aren't exactly a rarity since I do happen to know a couple of women who are willing to take an emotional beating just to save their relationships. Seriously, ladies. Enough with that stuff! Man the f*** up!

Reality aside, this album presents these dark themes into a carefully woven piece of sunshine that is sure to delight and bring some smiles and disgust from its listeners. The rhythm section is among the best when it comes to the indie/retro sound, not to mention the cute vocals - which seemingly buries the underlying themes beneath the ground. That would of course explain why a lot of people who lived through the 90s often misunderstood this band as just another schmaltzy pop act (and that includes me). Definitely something worth remembering and worth recommending to coming generations.

My score:
8 out of 10

Arkarna - Fresh Meat (1997) Album Review

Fresh Meat album cover.

I remember being extremely disappointed when this record came out. And it was in the cusp of the late 90's post-grunge alternative rock era. The group was dubiously marketed as an electronic-tinged alternative rock band on MTV and I sought the record out in record stores expecting just that. Much to my disappointment.

"This isn't rock... This is freaking DISCO!" were my first thoughts upon hearing "House On Fire"- the first track. And what was left of my alt-rock illusions of the singles "Eat Me" and "So Little Time" quickly vanished- seeing them, for the first time, as electronic tracks with distorted guitars instead of rock tracks with a bit of electronics. The ensuing disillusion completely turned me off and the album was shelved. Goes to prove I really hated electronica back in the day.

A still from the "So Little Time" music video

I don't know what it is about age, but it was only recently that I was able to digest electronica without feeling nauseated. I began listening to deep-house, which to this day remains one of my go-to pleasures. Then I remembered this album. I still have the cassette, but I threw out my cassette player a long time ago. I was lucky enough to get this in digital form though. Trust me, this record is hard to find these days. Finding the band's 2nd album "The Family Album" is even worse. I believe it's extinct (internet-wise). (If you happen to have it, please send me a link). *EDIT* Found it. :)

Anyway, yes, I remembered this album and I finally gave it a proper listen. If you hate electronica, then this album might not be for you. Tracks I would recommend are obviously the hit singles "So Little Time", "Eat Me", and the less popular "House On Fire" and "Future(s) Overrated". "Block Capital" and "Born Yesterday Part1" are also worth mentioning (with the latter as my personal favorite). These songs are chock-full of moments - pretty much the same type of thing I talk about in other songs by other artists. I'm obsessed with these so-called "moments" and I'm equally obsessed with bands who frequently shell them out. I'd get into the details, but I'm afraid I'll only paint an inaccurate picture inside your head. It's best to just listen to the album. That is, again, if you can dig electronica.

My score:
8 out of 10

PS: Don't miss the hidden track- an acoustic version of "House On Fire" right at the end of "R U Ready".

Franco Reyes Online

Franco Reyes Online goes live: www.francoreyes.tk

Regina Spektor - Soviet Kitsch (2004) Album Review

I like Regina Spektor. Her voice blushes with versatility, and she has her own outlandish way of utilizing it. But regardless, she knows how to use it, no doubt about that. She plays a mean piano, and to top it all off, she's just utterly cute. Proof of cuteness come in little pieces. Her quirky live performance is a given, but let's dig a bit more. Say, a video footage from one of her concerts where she messes up Fidelity halfway through. But before that happens, everyone was singing along and having the time of their lives while she was playing the piano and singing to her heart's content. Then she stops singing, quickly fixates her eyes on the keyboard and realizes she has forgotten the notes. She tries to find the correct keys in a panic - like a little kid who desperately scours for a lost toy in the midst of bedroom clutter - but utterly fails, ultimately ruining the song. Everyone starts to laugh and she starts to laugh as well. Ashamed, she continues trying to find the right keys, but then decides to just finish the part by singing a-capella, now with the whole room singing with her. Ecstatic applause follows. Really, you just have to see it for yourself. Now, I don't know if this is just vendored naivete trying to win audiences over with oozing cuteness, but let's leave that particular train of thought to the "professionals".

Ts-tss-ts-ts-tss... stoyle.

What's this all got to do with this album - you might ask. Well, I am talking about her because listening to Regina Spektor really isn't just about the music. More importantly, it's about her. When you listen to her records for a bit, and when you get to know her a bit (her public persona, that is), you begin to adapt a habit of thinking of this sweet, coy, honest, humble, talented artist behind that peculiar wall of sound. In some cases, you'll probably forgive the excessive peculiarity only because it is she who's singing. I can't exactly pin-point which version of my "Spektor-liking" self is listening when her stuff is playing. But damn, she sure is a delight.

I don't think I've ever heard a voice with this much personality before. It's as if you can see the fibers of her being in all its eccentricities. And perhaps you'll find it less and less spontaneous with each listen (most notably Carbon Monoxide's "walk-a walk-a walk-a" gimmick), but there's actually another barrier to break, one with no vocal surprises but with profundity, or perhaps vagueness masked in profundity, whichever floats your boat. But it's evident that she's a gifted writer and poet.

In Ode To Divorce, she pictures being stuck inside her ex-boyfriend's mouth who engages in a passionate "killer" lip-locking with his new girlfriend, but then proceeds to do something as unflattering as begging for money right afterwards. Way to throw everyone off the mood, Spektor. But clever, I must say you... I can say the same for Chemo Limo, which espouses dying in style, hence the limo, rather than try grueling chemo for chances of a cure. Having "crispy crispy Benjamin Franklin" synonymous to money is also a nice touch. Most of the poetry is subjective and open to individual perception, but not overly vague for everyone to develop a deep liking for all things "Spektor". Just have the patience to keep an eye out for it, lest you end up with another female with a fancy way of singing about nothing.

My score:
7 out of 10

Deftones Pacific Rim Dates

photo from www.deftones.com

The Deftones happen to be one of the few surviving bands from the nu-metal era (late 90's to early 2000's) that I like. And I just found out that they will be visiting Manila on February 12th next year. Given that they've recently released a well-received record in Diamond Eyes earlier this year, one can imagine the excitement of fans in the region. I'm pretty excited about it as well.

This will be their first time around these parts (I think) and god knows when they'll be back, so I might as well hop on this rare opportunity. They're not particularly the first band I'd go see for a really tight live performance, but judging from recent videos on Youtube, they're improving. Not perfect, but it'll do. Plus, I've always wondered what a Deftones concert would be like in real life.

Tickets will go on sale December 1, according to their website.

Other dates:

Feb 12 - Manila, PHI - World Trade Centre (on-sale Dec 1)
Feb 15 - Bangkok, THA - Thunderdome (on-sale Nov 27)
Feb 16 - Singapore, SIN - Indoor Stadium (on-sale Dec 1)

Visit their website for more info.

José González - In Our Nature (2007) Album Review

I was recommended to José González' In Our Nature no earlier than 2008, but I only got to listening to him quite recently. A long time coming, thanks to our not-so-harmonious first meeting. At the time of introduction, I thought the album was pretty lo-fi, and I've always been somewhat prejudiced to all things lo-fi. However, I did like it to a certain degree despite the "static hum" sonically plastered with the songs throughout the album, but I grew distracted with other music, other things shinier, other things more polished, and ultimately, things I probably didn't care enough to remember. I did set the record aside ever-so-gently (and by that I mean letting it get lost in my cluttered MP3 folder as opposed to being sent to the recycle bin) and off I went to greener pastures. That hiatus would end a few months ago, as I dug this record out. I've been listening since.

As an acoustic artist, he reminds me of Nick Drake - but not as gentle nor as pleasant. José González' music has this certain abrasiveness and rawness to it, and it gives the record its core appeal - nay - his greatest and most defining appeal, in fact. And I can imagine the luck of those dreamers and film-makers who happen to stumble upon his "dimension" of music and use it to amplify their own thoughts and imaginations. There's just an endless stream of profound imagery to be had - one seemingly inherent to great melodramatic motion pictures. The music just oozes with that 'it' factor - whether for film or dreams.

José González

I actually see José González as some kind of disciplinarian here. The songs are about human nature - in all its meanderings and irrationalities (hence the album title), and it scolds you for being so damn... uh... "human". Ironically, he doesn't sound like some douchebag when he does it. It's cleverly veiled with the gentle plucks of the acoustic guitar, and the strangely "prophetic" sound of his voice. The whole ensemble is pretty effective and I can't help but take heed.

In How Low, he sings about selfishness and how someday "you'll end up to your knees in the shit you seed". That's an album opener for you. In Killing For Love, he proclaims "what's the point of a love that makes you hate and kill for?". Kind of reminds you of some religious sect doesn't it? And in Cycling Trivialities, he talks time and how much of it people waste on petty stuff on a day to day basis - stuff that probably won't matter in a couple of years. Like he says, it's in our nature. But nonetheless, the song proclaims a resounding "reassess! reassess! reassess!", an implorement for one's desire for self-improvement - as has always been for people who are motivated enough to be better than their current selves, even if it only exists in their minds. Also check out his cover of Teardrop by Massive Attack, quite magnificent, I must say.

This is an album you will want to continually play over and over again, if you give it a chance and if you're not previously being too rigid like I was. As of today, I can't count the times my iPod reverted back to the intro riff of How Low without feeling I've had enough.

My score:
8 out of 10

Other stuff:
Down The Line Music Video

5 Reasons Why Black/Death Metal Sucks

The thing that is pretentious, and subsequently a turn off, about black/death metal is that it's not really just about the music. First and foremost, it's a scene. This list was painstakingly borne out of a friendly discussion on an internet forum, and is somewhat a compact, visual version of the case that I was trying to push:

1. Hairdo Prerequisites

0% "blackmetal coolness"

The famous "Metallica has lost 'it' the moment

they cut their hair" internet forum blabbery.

60% "blackmetal coolness"
Bowling-ball-shiny bald: 40% + 20% for the magnificent goatee

(forget this is Jens Kidman for the sake of this list)

100% COOLNESS!!!
(+++Bonus points for inverted crucifix)

2. Overly Dramatic Band Logos

Kewwlll...

OMG, super kewl for my t-shirt!!!

Wait, what band is this again?

3. Shock Value Overuse

Demons - check. Inverted star - check. Diabolic pitchfork -  check. People/angels scrambling for their lives - check. Goat head - check (+5 to magic resistance for taking the form of the inverted star). Mock crucifixion of Jesus - check (+10 to energy for uber coolness).

I realize there are probably more 'unnerving' artworks floating around, but this'll do.

4. Lyrics

Limiting much? Apparently, you can only write about isolation, madness, darkness, desperation, suffering, etc. Basically, all things "dark" and the like. If you really want to expand, you can venture into Scandinavian black/death metal lyrical themes if you fancy that. Here's a taste:

We're the guardians of Asgaard! We have faced our enemies a thousand times or even more; still they cannot make us kneel. One thousand years of constant war; the giants look for any chance to bring down Asgaard's mighty walls. No matter what they send at us, we will never let it fall 'cause we are! WE'RE THE GUARDIANS OF ASGAARD!

That's "Guardians of Asgaard" by Amon Amarth.

There's a how-to guide down at WikiHow enumerating the different kinds of black/death metal lyrics if you want to know more.

5. The Worst Kind Of Fans

Black metal fans

Lastly, and most importantly- the fans. You don't want to be lumped with these kids. Not to mention most of them are probably deluded music elitists, angry nerds thinking everything else besides "true" metal (and its variants) is bad music. Sure, there are a few exceptions, but they're the most staunch, bigoted, narrow-minded fans you'll ever meet. The next time you talk about other music in front of these kids, be warned. They'll talk your head off about how metal is better than other genres, and if you'll stick long enough they'll begin yapping about "true" metal and how other bands are phonies and copycats, so on and so forth.

Animals As Leaders (2009) Album Review

Reviewing a metal artist proves to be a headache. First, I'm no metal expert at all. Second, this genre has probably the most strict sub-genre classification on this planet that is carefully guarded by passionate metalhead conservatives who won't blink about calling you out on misuse and "ignorance". You have to be on your toes when you opine about the genres. Third, I can't tell where to start, how to do my supposed 'benchmarking', when to or not to compare bands, etc. The pressure is quite daunting, albeit in my case, imagined. But, yes, it's not as easy as picking a pebble and saying it is better than all the other pebbles in the beach. No, that's not how you should do it. You have to examine the other pebbles- its texture, its color- does it have odd shapes? Is it found in an area with more sand or more neighboring pebbles? Group them according to those characteristics, and after you do, there is absolutely no crossing lines, blabadabada, etc, and other stuff that requires you to be a tight ass.

So, to get away from all that stuff, I will just share my story about how I ended up listening to this band. For me, it started with a craving for more Meshuggah. I've always been fascinated with odd time signatures and polyrhythms, and there are a whole bunch of other bands who have employed various forms of it one way or the other. Meshuggah seems to be at the top of that list. They are just downright obsessed with it, and I find myself scratching my head in disbelief upon hearing sequence after sequence of their music with this obsession in full form - unflinching and relentless - pushing you to the edge until you can no longer follow the beat. And if you could do follow the count/time/beat or whatever, it is extremely satisfying. You can now brag that at a certain moment, your minds were at par! But I fail most of the time. So, yeah, with my jaw still agape, I went in search for other bands who were just as obsessed "playing with time".

Tosin Abasi

In comes Animals As Leaders, an instrumental prog-metal band. Though definitely not as heavy, or as obsessed with polyrhythms, but they do open the door for other activities like guitar wanking and plucking, and more melodic playing. The guitarist himself, a guy named Tosin Abasi, rocks an 8-string guitar and is certainly no pushover. This guy is, by all means, a guitar prodigy. The fact that he wrote and recorded both guitar and bass on the album is astonishing! He has since recruited two other members to tour with.

The use of odd time signatures are minimal, and often unnoticable. But they are there. Some tracks more than others. CAFO, for example, makes abundant use of it- which unsurprisingly ends up being one of my favorite tracks. That guitar intro riff is just orgasmic- all the more when the other instruments melds in to form this really rich heavy metal groove. There are a bunch of relaxed tracks sprinkled throughout too, at times hearkening to Tosin's obvious jazz roots. One track in particular, On Impulse, begins unassumingly with simple guitar plucking- slowly building up until it crescendoes into its true heavy form. If this album has a "landmark" track, On Impulse would be it. I think it best represents the album, appropriately tying its light and heavy moments together.

Light and heavy. Yep. That's where most of my complaints would be. It's a bit disconcerting to have really light tracks (almost undistorted) and extremely heavy tracks in the same album. It confuses me, and I won't be surprised if Tosin is confused either. In the end, the album forms its own uniquely diverse identity, and in effect, making it not an instant go-to for people looking solely for an aggressive fix.

My score:
7 out of 10


Music clips:
CAFO
On Impulse

Jamiroquai - Rock Dust Light Star (2010) Album Review

I have to admit that I'm only a recent convert to all sounds Jamiro. Apart from their biggest hits, my first real encounter with a Jam album would be "A Funk Odyssey", which was on cassette- a record I got some time in college. The next one would be "High Times: Singles", on mp3. And it was probably only three years ago that I seriously listened to the rest of Jamiroquai's moderate catalog. My fingers would eventually keep "Return Of The Space Cowboy" constantly on the ready, whenever I needed to bob my head to that StuZender-flavored funky bass, and yeah, the rest is history. That album completely turned me into a fan.

Now that Jay Kay and company have arrived with the new and shiny Rock Dust Light Star, and with that "White Knuckle Ride" teaser video on Youtube constantly reminding me that this should be a pretty sick record, I was hella excited to load the tracks up on the Winamp, once I got a-hold o' 'em, *ahem*, and watch the new music unfold...

Wait... these other tracks don't sound like "White Knuckle Ride".

What I heard was an actual band playing - something we all probably forgot Jamiroquai was. As I went on to listen to the rest of the tracks, I realize that these supposed "electro converts" are damn serious about returning to analog. With the sole exception of "White Knuckle Ride", this is probably the most stripped-down they have sounded since, umm, Return Of The Space Cowboy. That doesn't necessarily mean they've returned to their old sound, by the way. It just means they - whoever calls the shots (I bet my ass it's Jay Kay), are actually allowing themselves to play straight out of their instruments seemingly without any kind of digital rendering to boost bass or add synths, effects, or whatever, to make it sound more electronica. They are, once again, effectively a live band, everyone. Bra Vo.

I'm the one riding the fancy cars, therefore I
call the shots, mmk?

Despite that though, I hate to say that the record feels uninspired and a bit trite at certain points. Maybe it is the prevalence of downtempo songs- the type of songs one would expect to appear at least once or twice in a typical Jamiroquai album, songs this band certainly did NOT build its career and reputation upon. Well, apparently this one is crawling with slow songs, like it or not. Once upon a time, Jay Kay described his band's music "punchy" in an interview. He did not lie. And I liked their music that way.

Is this the best Jamiroquai album? No. But if you're asking if this album has any good songs at all- the answer is yes. Are there good downtempo and "punchy" tracks? Yes. The dreamy or should I say spellbinding title track, "Rock Dust Light Star", calmly and gently soothes you in a confetti-like fashion, sets the stage and promises a more relaxing Jamiroquai experience than usual. "White Knuckle Ride"'s big beats and signature bass lines will leave you stomping your feet and bobbing your head as usual. And my favorite, and probably the closest they'll ever get to their acid jazz sound, "She's A Fast Persuader" - whips up a sleek and clever bass line over a fast beat (that, in my mind, quaintly reminds me of "Eye Of The Tiger"). I won't be surprised if the "she" in that song was another one of Jay Kay's absurd vehicles. Don't miss the magnificent bass break near the end, by the way. As for the other tracks, there's not much good to say about them, really. If I must, I would say "Never Gonna Be Another", besides having the keys as its only redeeming quality, feels like it was specifically written to be sung by some cheesy pop star, crooning to some kind of Rapunzel at the balcony.

In a nutshell, the album starts off pretty well, but then muddles into downtempo mediocrity. I know I shouldn't, but that lack of experimentation and adventurism with the rest of the tracks makes you wish Stuart Zender was still behind that bass (Oh dear. Here comes that Stu-talk again. sheesh) - that's definitely someone who, in my recollection, would unabashedly slap the hell out of it, or wouldn't have second thoughts about melding extravagant bass licks into a bland track. When more appropriate than at a time they're finally loosening up with the fancy electronics? Ahh... dreams, dreams.

But in all honestly, I doubt a Stu reunion would save this band from what it has become. This Jamiroquai, whoever their current line up is (besides that dude who wears the funny hats and dances funny), sounds a bit too reserved. A bit too disciplined. And a bit too old. Even Jay Kay's voice rasps with the decay of age - struggling to break its ever-shrinking range and having to settle with less theatrics than it is usually known for. Oh well, we all grow old at some point - but it certainly doesn't mean we can no longer loosen up and have more fun.

My score:
6 out of 10

Sufjan Stevens - The Age of Adz (2010) Album Review

If you happen to be situated somewhere far away from any kind of indie scene like myself, Sufjan Stevens proves to be quite the guilty pleasure.  You should never, by any means, play Sufjan tracks on your stereo when you have metal-head friends in the same room.  Doing so will warrant a disgusted look, followed by comments such as: "what the hell is that shit?".

For someone in my current geographical location, I would deem Sufjan Stevens music as strictly private - one that you should NOT recommend to just anyone, unless you're particularly sure that that someone is as elitist, indie, and as seemingly pretentious as yourself.  Neither should you play Sufjan at parties- though some of the music can be effectively used at parties aimed for children aged 5 and below, and, more appropriately, parties filled with wannabe hippies and supposed artsy people.

That said, and as much as I stubbornly refuse to be called pretentious, I did honestly enjoy Illinois.  I wasn't much into the story telling (although I found the homo-erotic ones worth gossiping about on the internet) but I did enjoy the music in some way.  A lasting memory transports me back to a time when I once longed for the American dream.  A time that I daydreamed about walking the streets of Chicago without having to worry about being stared at for wearing too much clothing (or, similarly, for looking really dope).  A time that I longed for more concrete and less dust, less heat, less beggars, and less abusive drivers. I walk the streets with an entourage, nay- a PARADE! And the centerpiece is me! Balloons balloons everywhere! And the camera frantically swirls around me as the music swells, and then... I orgasm. (Imagine the look on the faces of my metal-head friends.)

That is my definitive Sufjan Stevens experience. I can still force myself to have that experience every time I do listen to the record, but probably without the excessive drama (and the orgy).

As for The Age Of Adz, I am not quite sure where it wants to take me.  First impressions were not good, reminding me of this constant occurrence where I'm lying in bed and I leave the computer on, playing whatever music was on the playlist, while I tried to doze off.  I would then wake up in a panic- thanks to some "sonic jerk"* from some random song.  But the thing is, with this album, I get that same "sonic jerk" even when I'm wide awake.  Mr. Sufjan's new knack for SCATHINGLY LOUD electronics was just not naturally welcomed by my ears.

I want to reinvent myself. So bad.

Time would mildly change that.  It's like a horror movie actually - the more times you watch it, the more you'll get used to that scene where the idiot main character ventures into the attic and you jump out of your seat as the killer comes out of nowhere and shivs the guy repeatedly with a sharp knife.  Likewise, I wonder why Mr. Stevens does the same thing to his music.  He probably hated it so much that he thought he might as well make a mess of it, or maybe it's one of those gimmicks to give it some "abstract feel", like a painter would to a painting (and every other pretentious twat).  But all in all, I think it is deliberate.  He is deliberately destroying his "sound", probably in hopes to reinvent himself.  Commendable at least, but I still don't think it was a good idea.

How so? Simple. Imagine The Age Of Adz sans all the electronics. How much better would that sound? Mr. Stevens even gives us a taste of that momentarily near the end of Impossible Soul! Full band, full choir. That authentic Chicago-like feel that made Illinois extra special.  No wonder why so many people think it's the best track on the album.  But alas, the other songs did not receive the same treatment.

But hey, don't fret.  Ultimately, once you've grown acclimated to the spiking electronics, you'll inevitably begin to notice the many layers underneath it.  The wide array of organic instruments that flows to and fro- even the vocals seem less heavily rendered.  You'll notice that the main character wasn't just stupid- he also wanted to check if his old Nintendo was still in the attic- you just missed that bit the last time because you were covering your eyes.

My score:
5 out of 10

*get it?

Stone Temple Pilots (2010) Album Review

Album cover

May 2010 marked the release of Stone Temple Pilot's brand new eponymous album, and it comes almost 10 years after their last effort, Shangri-La Dee Da, which I'm still not fond of to this day.  And the fact that I haven't listened to an STP album in one sitting in a very long time doesn't bode well to any kind of "benchmarking" I was hoping to employ for this album.  But hey, it's been ten years- nay, almost ten years, and I'm sure they've grown out of their little pajamas and likewise I can say the same for their music- that any kind of "benchmarking" would be futile.

Obviously enough, this is a different band.  The edginess that was once prevalent in STP records is noticably missing here... well, there are traces of it from some of the tracks (i.e. Between the Lines), but it's clear they're opting for a more straightforward rock 'n roll sound, almost like cowboy rock 'n roll (if there's such a thing).

Anyway, when I'm listening to this album, this comes to mind:

Vvrrmmm!

A cadillac.  (And for some reason a disco ball).  I'm ridin' down the Hollywood strip with my huge aviators on.  And while I'm at it I'm wearing either a leather jacket or one of those driving scarfs those posh drivers like to wrap around their dirty old necks.  I'm headed to Las Vegas, and once I'm there, I keep my aviatored-eyes on the road, seemingly oblivious to all the neon lights that crowd the streets (I've never been to either Hollywood or Vegas, by the way).  I light a cigarette, keepin' it real like nobody's business, seen?

If you can't daydream about being said douchebag making his way from Hollywood to Vegas while listening to this album, then you must be listening to it wrong.

Or maybe you just don't like this album.

My score:
7 out of 10

Miike Snow (2009) Album Review

I was familiar with this band's name long before I heard any of their music.  The first time I did though was in an unusual way for me - inside a video game.  That video game would be NBA 2K10, and the song would be "Black & Blue".

I've been listening to the album since.  So this is electro pop.  I actually expected something as fast-paced as "Black & Blue", or something I used to associate with the word.  ELECTRO... ELECTRO... I don't really follow the genre much, but when I think of that word "electro", I think electricity.  Heavy synths.  Huge beats.  Neural shocks.  Gigantic headaches.  I'm not even sure if this is any kind of electro at all.  While there's a fair amount of synths present on the album, there weren't any headaches whatsoever when listening to it, nor did I expect it to be the way it is.

This is a pretty chill record actually.

The songs have obvious pop sensibilities, songs that make you sing once you figure out what the singer is saying.  But what makes them shine so brightly are the subtle sounds sprinkled throughout the record, brilliantly added and placed in the songs.  I call these moments moments (pun).

Miike Snow (covered in snow)

An example would be the chimey keys to the intro of "Burial".  Another would be the nintendo-esque sounds that immediately follow after singer Andrew Wyatt's first "ssssiiiiillllvvvviaaaaa" in the final part of the song "Silvia".  Actually there are a couple of amazing moments to that song, and it's probably the best song on the album.

"Sans Soleil" is another of my favorites that has a kind of uniform samba or rhumba beat throughout (sorry if I'm wrong, but as a child they're the preset beats I recognize from an old Yamaha keyboard my father had).  The weaving in and out of the vocals is the final piece that makes this such a beautiful song to listen to.  "Hard. You make it hard. Hard."  Yep.  That's what she said.  But while it's kind of a humorous read, it's entirely magical when heard from the song.  Trust me.

Then there's "Cult Logic".  Downtempo disco updated and probably at its best, hearkening back to disco radio in the late 80s.  (Seriously, I do not know what the hell I'm talking about.  Just trying to pick up the pieces of what I thought I heard as a child).  It's one of those songs that make you smile while hearing it from afar- thinking "yep, that's my song.  And damn, does it sound so good".

A low point in the album for me would be "A Horse is not a Home".  There's something wrong with the title and the way the music was constructed in order for those words to be sung.  It just doesn't work.  It's a metaphor, alright.  But it still doesn't work.  Well, maybe for some people, but not for me.

All in all, it's the first album of its kind that I thoroughly enjoyed.  One thing is for sure- I won't back down from searching a remedy for the bones I broke.  Nyahaha.

My score:
8 out of 10

Migrating and starting anew...

After trying to make something out of reviewing local artists (Philippines), I realized the hard truth that I'm not as dedicated as I thought I was.  I'm just too busy listening to other music (mostly originating from other parts of the world), and it turns out I want to talk about those too!  So here's to lumping all of my stuff together in one little blog, hoping this will finally turn into something that won't die as quickly due to no updates. *crosses fingers*

Verdict: Bipolar by Up Dharma Down

So a few months have passed.  Not much of my early thoughts have changed, except that I did think this album needed repeated listening to be truly appreciated by anyone - after suspecting that my first few listens were just part of the 'getting to know' process, infantile opinions that would gradually change over time.

No.

New thoughts however, there are certain parts where the music tries to sync itself with a certain emotion or 'feel', only to depart abruptly into quirky breaks or stop altogether.  If you like music with a healthy supply of  quirks, inconsistent feels, unpredictable endings, and incessant wailing by a seemingly drunken female, this album is for you.

My score:
4 out of 10

UDD Bipolar: '1st' thoughts

First and foremost, I know Up Dharma Down is well-respected among several circles. I even came upon American hippies who were familiar with them on some internet forums, and left me thinking their music must know no boundaries after the fact. I casually listened to Fragmented for a bit and thought it was okay, never really seriously dug into it, then I pulled my pants up and moved on to other music. When Bipolar came out, some reviews were just going crazy over how 'good' it is. So here I am- trying to find out once and for all what the 'buzz' was all about.

My first listen was a week ago, and decided right then and there that I needed to give this one a few more spins.  Definitely not impressive at first, but I told myself it's one of those albums where some mandatory "ear-grinding" was necessary to actually make sense out of the tracks. 

So as of now, I think I'm done with my 6th or 7th run. I decided to listen to the album once more and pretended it was my first time- all while writing my observations spontaneously.

I call this my "Bipolar Experiment", and these were what my 'notes' looked like (unedited):

Blessed - Haunting bass.  Break.  I love the explosion into a Mogwai-esque rock number at the end.

Clockwork - I waited for something to happen.  There's the distorted bass break, but nothing special.  Still can't make out anything the singer says.

All Year Round - sweet downtempo track.  Singer sounds like she's suffering from stomach pains.  Still waiting for something to happen... track ends anyway.

Taya - finally the first song that actually sounds like a song.  'Kagabi' and 'Kakitiran' - the way she sings those words is really annoying.

Unspoken Definites - I have a feeling she's only jamming those words in just to say them.  Good song for night-driving in the city.  First song I can think of playing while doing something.  Track reminds me of Zero 7.

The Cold is Warmth - Thom Yorke-esque type of instrumental.  Tuned up the volume for this one.  Sounds good.  Ends without notice.  Filler.

Two - By this time I figured you need to turn up the volume to appreciate what the other band members are doing.  Of course, that would mean subjecting yourself to louder drunken singing, but she actually sounds a bit bearable in this song.  By the way, I have nothing against singing like you've just drank a whole bottle of Tanduay, but at least make an effort to let us understand what you're saying.  Song ends ubruptly- again.

Sana - sweet song.  I actually like this.  No surprises, straightforward track.  Finally.  The guitar plays the role of lead guitar with loud distortion.  Song ends after loud guitar. ? Okay, I like this.

Return, Saturn, Return- Intro sounds like Thom Yorke / Radiohead's Kid A yet again.  Nice guitar when the beat kicks in. Ends. Filler.
Note#1: ALBUM HAS TOO MANY FILLERS.

Every First Second - weird dynamic at play here.  I like its awkwardness.  The chorus finally rocks the open hihat.  I like the chorus.  Progresses into something else... breaks.  Back to chorus.
Note#2: Her sharp voice soars above the rest of the instruments, in such a way one can't help but notice.  And NOTICE I do. She minces words too much that they're barely recognizable.  I don't care if everyone calls it "artsy singing", it's just bad singing to me.

Furnace - Piano track.  I like it.  Reminds me of Olafur Arnalds.  OVer quickly.  Filler again.

Silid - Night-time electronic track.  Lonely track.  Changes tempo in the middle.  Okay, so it's a night-time DRIVING track.  Love the mood of this one.  ENDS???  too short, WTH. FILLER.
Note#3: It's becoming apparent this band likes ending songs without climaxing (pun!). Numerous times I waited for something to happen, and it just ends.

Sugarcoats and Heartbeats - stripped down track.  electronica again.  Bursts into drumming.  Well, what do you know?  A track that actually tells you that it will end any minute now!
Note#4: I feel this album only works when you're alone at nighttime, while driving your car or in your room perhaps, and perhaps best for people who have trouble sleeping (I meant that in a good and bad way).

Okay, I edited that a bit. I just added the note numbers.

The band is creative, no doubt about that. But my biggest gripe? Her singing. "It" seems completely independent from the songs. The songs change, the instrumentations change, but her singing remains the same. Not always annoying, but most of the time anyway. Her style is just, uhh, not my cup of tea.

Okay, imagine you're on a luxury tour around the world. The songs are the countries you go to, and her voice is like the annoying alcoholic grandma who tags along.

Good enough?  No? Okay, I'll shut up now.

(The album is looking grim, but I feel I still need to do more listening for my sake. Will let you know what I find.)

13 Seconds to Love by Kjwan (2009) Album Review

I feel I'm not qualified to comment on Kjwan since I barely keep the band in my consciousness.  For one, I've only heard one or two songs from their 2nd album, 2StepMarv.  And having listened to Kjwan's self-titled debut, I can't accurately say anything about the change in sound evident in 13 Seconds to Love.  If anything, however, it was for the better.

The album's name is supposedly inspired by the words of some producer from Malaysia that "he can tell whether a song is going to be a hit within the first 13 seconds". A hit, of course, is a song that is palatable to (or has the potential of being devoured by) the masses.  I'll give that Malaysian dude the benefit of the doubt.  Maybe he can tell that a song's going to be a hit if it does backflips in the first 13 seconds.  But what does it say about Kjwan- the guys who made the 13-second thing a template for writing this album?  Hit-seekers, to put it accurately.  Not inherently a bad thing, but it is sort of limiting isn't it?

The band then chose love as the album's central theme, and there you have it- a supposedly clever album title that can easily be confused with 30 Seconds to Mars.  Anyway, true to its word, the album is indeed full of songs about love- not the stereotypical "love songs" per se, or anything as cheesy.  But that's to be expected from most of Kjwan's music.

I've always known them to be a band that unabashedly flaunts a dominant overdriven lead guitar, but this time around the guitars actually get comfy in the background, building up songs from the bottom up, at the same sonic level as the other instruments.  This "effort in restraint" actually pays off, resulting to stronger songs that remain focused on their individual 'feels', as opposed to employing a jack-in-the-box style of guitar playing to keep the listeners interested.  There is the exception in What About Us however, which showcases orgasmic and cacophonic guitar work as if to say they haven't forgotten their guitar chops.

An old picture of the band as a complete 5-piece. 

(L-R): J-Hoon Balbuena, Boogie Romero, 

Kelly Mangahas, Marc Abaya, Jorel Corpus

There's also a new dynamic of extending sections of a song, oftentimes into climactic crescendos, usually towards the end.  It's both good and bad. Good because it sometimes contributes to the overall feel of the song, occasionally saving it from mediocrity, and bad because it's all too common throughout the album, not to mention these prolonged sections sometimes go on for too long.  At some points, the drums comes to the rescue and spices up these prolonged sections to keep things interesting.  At others, it adds to the annoyance of repetition.  Nevertheless, J-Hoon Balbuena's drumming is good and experimental, oftentimes coasting near the edge of overdoing it.  However, the drums themselves sound too 'treble-ish' for my taste.

The lyrics are plain and simple, and I have nothing to say about it.  Vocal duties are now divided between Mr. Marc Abaya and Mr. Boogie Romero.

Marc Abaya hasn't changed, still singing in his signature hushed voice.  He tends to sing the last word of a line by 'sliding' his voice down though- which I find annoying (a thing I cannot accurately put into words but I'll just point you to the stanzas of Lifeline).

Boogie Romero on the other hand, is a surprise.  He's got a small singing voice, that of a little shy kid.  It would really help if he loosens up a bit, belting the words out without having to worry about letting too much saliva out (or phlegm).

Kelly Mangahas plays the bass in such a way that you'll remember the songs by its bass lines.  Really great performance from the guy that I might consider giving this album to him.

The album was recorded in Kerplunk Studios in Manila I heard, and so far this is one of the better rock productions in the Philippines I've heard these days in terms of sound quality. I can totally see recommending the studio to other bands, Urbandub most especially.

Overall, an enjoyable album.

My score:
6 out of 10