Silken Plangken Plink Orchestra, BUMI
Rocksteady fans CoffeeBreak Island and Wuds’ Bobby Balingit named their musical collaboration Silken Plangken Plink Orchestra apparently on a whim but it does not make the resulting album titled BUMI whimsical. Far from it.
Bumi is the Sanskrit word for Earth and true to its origin, the namesake album is filled with songs with an Earthly connection like the air (“Hangin”), water (“Agos”), fire (“Apoy ng Alitaptap”) and the moon (“Unang Buwan”). The music however resounds neither in CBI’s roots reggae or Balingit’s ‘80s punk attack. The overall sound draws closer to soft rock and strummy folk allowing CBI frontman Paul Puti-an to sing the words cleanly, especially on the track that pays tribute to the artists’ community in Amadeo, Cavite.
Well, the players give themselves some room for creative stretches in the “Yaman ng Mundo” which appears inspired by “At Nakalimutan Ang Diyos” and the classical piano reverie in the 8-minute instrumental, “Unang Buwan.” You can’t ask for more in a crazy time of lockdowns and quarantines.
SAVING SASHA GREY, Petrochar
Bringing up the name of a former pornstar is a charming promotional gimmick but the Cagayan do Oro-based metal band called Saving Sasha Grey (SSG) hardly traffics in cuteness. The death growls and thrash metal blasts that permeate the band’s first album post a 10’ in extreme metal scale.
Still, where that debut managed to slip moments of ethereality in a female voice, SSG’s sophomore release offers reprieve from the doomy ambience in occasional emo male vocals as counterpoint to the hair-raising howls. Oh, there’s a second solace in lyrics that acknowledge a Greater God will give hell to the Coronavirus freak. Otherwise, “Petrochar’ which translates to Patron is unrelenting, heavy and categorically, an acquired taste.
ARMED POETS, Armed Poets, Vol. 1
Right at the opening track, Armed Poets proclaim their manifesto: “Armado pero kalmado.” Subsequently, they boast about “Mga titik na pumapatay” and “Kami ang boses na gagambala/ May utak na matalinhaga.”
Over a three-chord note, they sling: “Kung ang dila ko lang ay baril/Malamang tadtad ka na ng bala” in “Limitasyon” which is the second part of their easy-going prickly tirade against pretenders, fakes and wannabes. But yo! These eggheads can be also cloyingly baduy lovers as they dish out. “Pag-ibig mo sa akin di ko sasayangin/ Wala nang hahanapin basta’t ika’y kapiling” in “Alay.”
It’s sweet and sour for these agile battle rhymers.
CHRIS STAPLETON, Starting Over
Until he released his Grammy-winning “Traveller” in 2015, Chris Stepleton was just a sought-after songwriter to both veteran and newcomer in the US country music scene. Now a certified star, Chris puts out his fourth and latest album that’s oddly titled “Starting Over.”
For one, he isn’t actually rebooting a stalled career. For another, his music on the new album crosses over to the blues, to the rock of Allman Brothers and Steve Earle and to hillbilly boogie, which was influential in the rise of rockabilly.
Overall though, Stapleton’s grasp of hooks is firmly entrenched in the titular opener, the boisterous rock and roll of “Arkansas” and the ‘80s RnB sparkle of “You Probably Should Leave”. The same holds true even in the contrasting elegy behind “Maggie’s Song” ranged against the blissful balladry in “Joy of My Life.” No wonder, “Starting Over” made it among the top critically acclaimed albums of 2020.
THE CRIBS, Night Network
Dave Grohl invited Brit indie rockers The Cribs to record their newest album on his L.A. studio. Previous to this, The Cribs were supposed to be no more than a footnote in history of rock in the 2020.
It comes as no surprise that the UK trio kickstarts their latest release, “Night Network” with “Goodbye.” It turns out to be a false start, probably an in-joke among the members and the ensuing three heady pop-rockers starting with the gorgeous “Running Into You” are a swirl of melodic noise, combining post-millennial indie rock crunch with the finest harmonies reminiscent of the Beach Boys and the Hollies.
From then onwards, the guitars lead the charge and the killer hooks pop up at every turn except for moody grunge takeover in “Under the Bus Station Clock.” One thing’s sure: The Cribs are rolling once more.