MANI KONTADOR, Nakain ng Social Media
Most modern music is defined by the era and place of its original execution. Hailing from the wilds of Sta. Cruz, Laguna, punk pranksters Mani Kontador seem to defy the laws of time and space by lacing their take on US-minted pop-punk with smart-ass parody of becoming consumed by today’s social media.
The album title, “Nakain ng Social Media” and those of the tracks like “Sayn Ap,” “Mensahero,” and “Sheyr” speak volumes of satiric minds, more so in such lyrics as “Halina doon sa beach hindi para lumangoy kundi para mamingwit ng likes” from “Aprub.” Meanwhile, the pop-punk backing sounds like the right companion to a spoof of manners in the digital age. Mani Kontador simply knows how to elevate pranking to some sort of art form.
PANDAY SINING MUSIC COLLECTIVE, Kontrapulis
The police haven’t gotten any respect especially in the aftermath of the infamous drug war. That’s not about to change with the latest crackdown on mass activities purportedly with Red tags on them.
Ditto with the progressive-leaning Panday Sining Music Collective who won’t even give the police the time of day or a minute to confess their alleged crimes against the common tao. Their EP titled “Kontrapulis” is all about bloody encounters with law enforcers.
“Makalakab” likens a good police today to a good Communist during the Cold war era while “Tiktok” narrates the end of an innocent victim to whom “respetong pinakita ko, dahas ang sinukli.” Last track “Mayday” attempts to tie all the official atrocities to the persistence of the three ‘isms of First Quarter Storm vintage. There must be something in the air to unleash “Kontrapulis” and other recordings of similar bent.
THE SUBSPRING, Vice Kingdom and the Capsule
With their latest release on digital music platforms, Paranaque’s The Subspring trio relive the garage rock revival of the mid-2010s. In a PM, band guitarist/vocalist Carl Juliano said he used heavier distortion, more reverb and a lot of modulators resulting in a more eclectic fare over their earlier debut release. The blues slips through in opener “Blue(s),” “Solvent” rocks and rolls, and “I Don’t Know Luv” features an all-out drum-led rock charge.
Juliano further revealed the five songs on the album tackled personal issues, girl troubles and long distance relationships. He hopes the release of these songs today will vindicate the years they’ve invested to making them listenable to their core audience. Surely, The Subspring deserve a wider circle of listeners beyond their hardcore fans.
DRY CLEANING, New Long Leg
For new listeners and latecomers, a handy introduction is to describe Dry Cleaning as a British post-punk band whose influences extend from the Velvet Underground to Television to The Fall. It’s a long way of saying that they’re so indie they should be operating on the sidelines. Strangely, on their latest album New Long Leg, they’re closer to mainstream acceptance than their inspirations suggest. “Leafy” is a reinvention of Wire’s lean guitars to pop-metal exuberance. “ Every Day Carry” goes break dance friendly in the exquisite push and pull of the taut bassline. “Her Hippo” reanimates The Cure in lesser Goth, jazzier pop drag.
Vocalist Florence Shaw would rather sing like Kim Gordon than say, Adele. She also flings unconventional lines the most memorable being “I’m smiling constantly and people are stepping on me!” from “Her Hippo.” Hear Dry Cleaning proclaim the next iteration of cerebral punk.
MARIANNE FAITHFULL & WARREN ELLIS, She Walks in Beauty
Two pairings mark the latest release from ‘60s icon turned ‘80s feminist punk to ‘00s sensitive balladeer Marianne Faithfull. Musically, she pairs up with long time Nick Cave collaborator Warren Ellis. Lyrically, she exquisitely draws the magnificence from the essential works of 19th century English poets Shelley, Keats and Byron.
Before you exclaim “confessions by death’s door,” understand that Ms. Faithfull’s age-sculpted raspy voice delivers Byron’s “She Walks in Beauty”, Shelley’s “Ozymandius” and Keats’s “Odes to a Nightingale” to a kind of post-millennial angsty temperament. Warren Ellis’ soundscapes weave cheery cadences with near dirgey passages to keep stupor at bay. Rest assured that for its Old World coyness meets New World pluck, “She Walks In Beauty” is made from enduring stuff.
ROYAL BLOOD, Typhoons
Rock duo Royal Blood came out of the woodwork championing guitar heroics without a guitarist between them. Still, they came out big, bold and metallic in their debut of 2014. Their third and latest album remains true to delivering visceral riffolas sans a guitar player and while hard rock old-timers may rue the apparent contradictions, or even be a hint of a devious scam, brace yourselves to the grinding grooves of “Mad Visions,” the uber-belligerence of “Who Needs Friends” and the stormy turbulence of the title track. Then, there’s the refuge of the calming “All I Have Is Now” to look forward. All in all, “Typhoons” is really one hell of a headbanger’s ball.