Friday, December 31, 2010
Freeradio - Deny Me
From the 2011 EP 'D.E.A.F.'
Drums: Kiko Yman
Bass: Jorge Neri
Guitars: Royce Obong & Doi Allequir
Vocals Rob Equiza
Location: Talent City Studio, Calbayog City
Video by Jesyle Yman
Saturday, December 18, 2010
Sunday, December 12, 2010
The Rise of Pinoy "Indie" Music
[I wrote the following article for Explore PH.]
Indie Music – a term largely misinterpreted as a genre. It is a common misconception. In fact, Indie Music is the manner in which the songs are distributed by artists. Derived from the word “independent,” it is simply any music not produced or backed by major record labels. Since the beginning, large record companies tend to financially and creatively control the music business. As a result, the need to create independent record labels arose as an alternative outlet for artists and producers. In the UK, 1970s saw the success of the movement after two decades of failure to fight the giants.
In the Philippines, Original Pinoy Music or “OPM” (if the term is to be taken at face value) has been around since the 1800s until 1950s as Kundiman – those sweet ballads meant to be sung during harana (serenades). By the time rock ‘n roll found its way to the country, it didn’t take long for acts such as Sampaguita and Juan dela Cruz Band to re-invent the Philippines’ representative sound. Eventually it was replaced by Disco with VST & Co. and Hagibis as notable groups of that era.
However, it wasn’t until the early 80s when Pinoy Indie Music was born. It was then known as “underground.” As soon as the punk explosion reached Manila, a handful of bands emerged and Tommy Tanchanco was more than willing to organize them, putting their original songs under one roof, hence creating “Twisted Red Cross” (TRC). TRC was the first official underground label in the country. In the midst of government-controlled music during Martial Law, here was a visceral alternative distributed through cassettes. The only major hindrance was that high-quality recording has yet to become a possibility. But that didn’t stop them. Betrayed, Urban Bandits, Wuds were a few of the acts under the label. It would be a mistake, however, to discredit the works of folk acts like Buklod and Gary Granada. Their socially aware music, also logically not backed by major labels, played a crucial role in waking up the nation’s courage to act against the then existing dictatorship. It arguably helped ignite the successful EDSA Revolution that ultimately dethroned Ferdinand Marcos.
The mid-80s, in turn, presented New-Wave and Post-Punk bands that were all able to come up with songs that they produced themselves. With the aid of an FM station called DXWB, singles from unsigned bands such as Violent Playground and Ethnic Faces were on heavy radio rotation thereby helping the artists achieve popularity despite being underground. A most notable point during the period is The Dawn’s rise to greatness with their track called “Enveloped Ideas.” The post-martial law Philippines was a time of surging creative forces with musicians not merely interpreting pre-existing songs but continuously composing originals, simultaneously inspiring other fellow musicians.
This was carried on in the 90s albeit changing the sonic landscape as alternative rock came into view. Most bands that had gained legendary status from the early part of the decade started out as independent outfits, constantly playing in popular rock clubs such as Clubb Dredd and Mayric’s. But there was already a conscious effort for most groups to be signed to major labels. Music was again becoming a business, a financially-supportive one that is. Still, FM Stations such as LA105.9 and specially NU107.5 were generous enough to play self-recorded and produced songs from unsigned artists. One of the best known programs of NU107 was “In The Raw,” wherein every song played is underground non-mainstream tracks submitted by unknown bands. Some of those songs eventually got played regularly outside of the program. While the program definitely served as an encouragement for young musicians to pursue their passion in music, it was also proof that more potential independent artists were just waiting to be discovered.
Indie record labels were still around. Such record companies were responsible for rounding up bands that were willing to take the road less-traveled, as far as labels are concerned. By the 2000s specially, it was no longer a matter of a musician’s quality for him to be signed to major labels. It was a choice. With major labels, the creative decisions are usually handled by the company executives who consciously take control in an effort to make their product as profitable as possible. One example of this is when they force an artist to cover a previous hit by another artist; in this way, a tried-and-tested song acts as bait for the consumers who would otherwise be hesitant to buy an album by an unfamiliar artist. In this sense, more bands rationalized that it would be better to belong in an indie label. Among all the “little record companies,” Terno Recordings is by far the most successful. Under their belt, Terno boasts bands that are of equal or higher level than those in major labels (e.g. Radioactive Sago Project, Up Dharma Down, Orange & Lemons). As an additional major appeal, Terno’s visual art, from the cover to the packaging are very refreshing – utilizing vintage and lo-fi approach.
By the late 2000s, the ubiquity and necessity of personal computers in every urban household paved the way for even the most common man to have the ability to record & mix songs easily. Audio software is readily available for anyone who needs it. Partner that with the internet and you get hundreds of indie musicians sprouting like mushrooms in a forest. Web sites such as MySpace, Soundclick, Facebook and Soundcloud lets anyone upload their self-made track and be recognized. The downside to that, however, is that more often than not, quality control is not administered. It’s basically still the same as two decades ago when few underground tracks stood next to the mainstream ones except that now, the former has outnumbered the latter.
Whether we call it underground or indie; alternative to mainstream or nuisance, artists will always find a way to break away from the norm. It is in their nature to challenge what is common. The reason to that is because to be different, an artist has to be independent - whether he is “indie” or not.
[IMAGE CREDITS: 'Handed-Down' by Rob Equiza; 'Up Dharma Down' by Selena Gabriel &; 'Radioactive Sago Project' by Nenez Quiño]
Indie Music – a term largely misinterpreted as a genre. It is a common misconception. In fact, Indie Music is the manner in which the songs are distributed by artists. Derived from the word “independent,” it is simply any music not produced or backed by major record labels. Since the beginning, large record companies tend to financially and creatively control the music business. As a result, the need to create independent record labels arose as an alternative outlet for artists and producers. In the UK, 1970s saw the success of the movement after two decades of failure to fight the giants.
In the Philippines, Original Pinoy Music or “OPM” (if the term is to be taken at face value) has been around since the 1800s until 1950s as Kundiman – those sweet ballads meant to be sung during harana (serenades). By the time rock ‘n roll found its way to the country, it didn’t take long for acts such as Sampaguita and Juan dela Cruz Band to re-invent the Philippines’ representative sound. Eventually it was replaced by Disco with VST & Co. and Hagibis as notable groups of that era.
However, it wasn’t until the early 80s when Pinoy Indie Music was born. It was then known as “underground.” As soon as the punk explosion reached Manila, a handful of bands emerged and Tommy Tanchanco was more than willing to organize them, putting their original songs under one roof, hence creating “Twisted Red Cross” (TRC). TRC was the first official underground label in the country. In the midst of government-controlled music during Martial Law, here was a visceral alternative distributed through cassettes. The only major hindrance was that high-quality recording has yet to become a possibility. But that didn’t stop them. Betrayed, Urban Bandits, Wuds were a few of the acts under the label. It would be a mistake, however, to discredit the works of folk acts like Buklod and Gary Granada. Their socially aware music, also logically not backed by major labels, played a crucial role in waking up the nation’s courage to act against the then existing dictatorship. It arguably helped ignite the successful EDSA Revolution that ultimately dethroned Ferdinand Marcos.
The mid-80s, in turn, presented New-Wave and Post-Punk bands that were all able to come up with songs that they produced themselves. With the aid of an FM station called DXWB, singles from unsigned bands such as Violent Playground and Ethnic Faces were on heavy radio rotation thereby helping the artists achieve popularity despite being underground. A most notable point during the period is The Dawn’s rise to greatness with their track called “Enveloped Ideas.” The post-martial law Philippines was a time of surging creative forces with musicians not merely interpreting pre-existing songs but continuously composing originals, simultaneously inspiring other fellow musicians.
This was carried on in the 90s albeit changing the sonic landscape as alternative rock came into view. Most bands that had gained legendary status from the early part of the decade started out as independent outfits, constantly playing in popular rock clubs such as Clubb Dredd and Mayric’s. But there was already a conscious effort for most groups to be signed to major labels. Music was again becoming a business, a financially-supportive one that is. Still, FM Stations such as LA105.9 and specially NU107.5 were generous enough to play self-recorded and produced songs from unsigned artists. One of the best known programs of NU107 was “In The Raw,” wherein every song played is underground non-mainstream tracks submitted by unknown bands. Some of those songs eventually got played regularly outside of the program. While the program definitely served as an encouragement for young musicians to pursue their passion in music, it was also proof that more potential independent artists were just waiting to be discovered.
Indie record labels were still around. Such record companies were responsible for rounding up bands that were willing to take the road less-traveled, as far as labels are concerned. By the 2000s specially, it was no longer a matter of a musician’s quality for him to be signed to major labels. It was a choice. With major labels, the creative decisions are usually handled by the company executives who consciously take control in an effort to make their product as profitable as possible. One example of this is when they force an artist to cover a previous hit by another artist; in this way, a tried-and-tested song acts as bait for the consumers who would otherwise be hesitant to buy an album by an unfamiliar artist. In this sense, more bands rationalized that it would be better to belong in an indie label. Among all the “little record companies,” Terno Recordings is by far the most successful. Under their belt, Terno boasts bands that are of equal or higher level than those in major labels (e.g. Radioactive Sago Project, Up Dharma Down, Orange & Lemons). As an additional major appeal, Terno’s visual art, from the cover to the packaging are very refreshing – utilizing vintage and lo-fi approach.
By the late 2000s, the ubiquity and necessity of personal computers in every urban household paved the way for even the most common man to have the ability to record & mix songs easily. Audio software is readily available for anyone who needs it. Partner that with the internet and you get hundreds of indie musicians sprouting like mushrooms in a forest. Web sites such as MySpace, Soundclick, Facebook and Soundcloud lets anyone upload their self-made track and be recognized. The downside to that, however, is that more often than not, quality control is not administered. It’s basically still the same as two decades ago when few underground tracks stood next to the mainstream ones except that now, the former has outnumbered the latter.
Whether we call it underground or indie; alternative to mainstream or nuisance, artists will always find a way to break away from the norm. It is in their nature to challenge what is common. The reason to that is because to be different, an artist has to be independent - whether he is “indie” or not.
[IMAGE CREDITS: 'Handed-Down' by Rob Equiza; 'Up Dharma Down' by Selena Gabriel &; 'Radioactive Sago Project' by Nenez Quiño]
Saturday, December 11, 2010
"Oh Holy Night / Hymn For A King"
(Click on cover image to listen)
2010 Jam Lemon Records
Cover Photo by Tracy R. Tuason
Notable Phrases & Sentences I posted on Facebook in 2009
05-27 Working on a melody.
06-22 Plagiarism is for idiots.
07-14 Out with the new. In with the old!
09-16 Turn on the dream machine!
09-20 Everything's been done before. Nothing is original. You are a result of what your ancestors were & what you have seen & experienced. We are all clones. But as soon as we pass and our time is done, we become the source. We become the original. And our fruits turn into us.
10-13 There's power in your feet when you feel like going somewhere and you let it take you to that place; even though you don't know what lies there waiting. Keep your eyes open. It might be something you didn't know you needed.
10-27 Man against man. Man against nature. Man against himself. Know your enemy and acknowledge it.
10-28 Everything you abuse will eventually abuse you back.
10-29 Substance, please.
11-03 So revive the questions that you reserved! Why deny the answers that we deserve?
11-09 Use things, not people. Love people, not things.
11-12 Adapt. But still be original. Even if most people won't understand. Follow your muse. And the universe will show you the way.
11-16 Please stop contributing to crap-music pollution.
11-30 Everyone has the right to be naive & pretentious - as a teenager. It's called adolescence, the awkward phase. But if you're way past that stage and you still can't get over it, that's called immaturity
12-08 Sometimes, vocals get in the way of good music.
12-11 We must refrain from using the same formula over and over again. Take the risk of creating something new. Be like the clouds that never look the same as they were before
12-22 Age gracefully. Embrace the years you've been given. Do not worry about acting the way they say you're supposed to. But do not deny nor ignore the lessons taught by time.
12-25 Today we celebrate the day of our Savior. God becoming flesh. An important reminder that we were saved by His 'unconditional love' - & that is what we should always give to our brothers & sisters
12-31 Something most people forget: It's not just another new year, it's also a new decade we're facing! May the universe give us grace in the 2010s.
06-22 Plagiarism is for idiots.
07-14 Out with the new. In with the old!
09-16 Turn on the dream machine!
09-20 Everything's been done before. Nothing is original. You are a result of what your ancestors were & what you have seen & experienced. We are all clones. But as soon as we pass and our time is done, we become the source. We become the original. And our fruits turn into us.
10-13 There's power in your feet when you feel like going somewhere and you let it take you to that place; even though you don't know what lies there waiting. Keep your eyes open. It might be something you didn't know you needed.
10-27 Man against man. Man against nature. Man against himself. Know your enemy and acknowledge it.
10-28 Everything you abuse will eventually abuse you back.
10-29 Substance, please.
11-03 So revive the questions that you reserved! Why deny the answers that we deserve?
11-09 Use things, not people. Love people, not things.
11-12 Adapt. But still be original. Even if most people won't understand. Follow your muse. And the universe will show you the way.
11-16 Please stop contributing to crap-music pollution.
11-30 Everyone has the right to be naive & pretentious - as a teenager. It's called adolescence, the awkward phase. But if you're way past that stage and you still can't get over it, that's called immaturity
12-08 Sometimes, vocals get in the way of good music.
12-11 We must refrain from using the same formula over and over again. Take the risk of creating something new. Be like the clouds that never look the same as they were before
12-22 Age gracefully. Embrace the years you've been given. Do not worry about acting the way they say you're supposed to. But do not deny nor ignore the lessons taught by time.
12-25 Today we celebrate the day of our Savior. God becoming flesh. An important reminder that we were saved by His 'unconditional love' - & that is what we should always give to our brothers & sisters
12-31 Something most people forget: It's not just another new year, it's also a new decade we're facing! May the universe give us grace in the 2010s.
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