WITH the fast-paced living of modern life, we tend to forget about the things that remind us of our roots as they slowly fade into the background of the everyday hustle-and-bustle, especially as the world fuses into the so-called “global village.”
That said, the group Pasada finds its purpose to preserve our identity as Filipinos—through our very own local brand of sound and music.
As their first single “Bagong Komunidad” nears its release on September 19, the newly formed seven-piece ensemble made-up of Janis Anonuevo (vocals), Mark Estandarte (synths), Michael Sardea (guitar), Noel Taylo (acoustic guitar, kubing and gangsa), Pia Pimentel (vocals and percussion), Kaloy del Puerto (bass) and Peter Panelo (drummer) hopes to amplify the reaches of world music in our archipelago and contribute to another dimension in Original Pilipino Music as we know it.
The culture
FAR from being in the mainstream, Pasada incorporates ethnic instruments in the songs they make that resonate the essence of Filipino culture.
Beyond their love for music making is their loyalty to our cultural identity, such as playing the kubing and gangsa. Taylo shared the band’s advocacy to its music, which is, to define a sound true to the Filipino’s identity.
“It’s sad to think that a lot of our youth aren’t aware of our native instruments. Our objective in Pasada is to create sounds that are truly our own,” Taylo told SoundStrip in Filipino. “When we say reggae, we think Jamaican. But how come we Filipinos don’t have a sound like that? And in using our native instruments, we wish to create a distinct sound that when you listen to it, you can say, ‘Ah… It’s Filipino!’”
Even with his previous band, Taylo relayed that they incorporate traditional instruments to promote the rich culture of Filipinos. He believes that our rich culture is a source of inspiration and can be integrated to fit the taste of the younger generation.
Pasada hopes that when listening to their music, listeners could find more than just a decent tune. Pimentel shared that they want their music to make life easier to bear, and modern living a little lighter to carry on through.
“That’s the theme of the music, of the lyrics: to uplift your spirit,” Pimentel explained, as she described the band as a contemporary for world music, jazz, blues and funk that tries to incorporate all those with traditional instruments.
When it comes to describing society, love is still centered in the band’s creative process as Taylo quipped, “When you make songs about social issues, it’s still about love. The reason you make songs is because you care.”
World music
TAYLO summarized the band’s source of inspiration: the movement of ethnic rock that we now call “world music,” which was popular in the 1990s. Its popular subgenre is reggae, one that is organic to Jamaica.
Pasada aspires to popularize the same level of love for culture in defining Filipino world music. It first was popularized in the early 90s by bands like Pen-Pen and artists like Joey Ayala who incorporated traditional instruments to their songs.
The band hopes that times and tastes have changed as they wish to share their music with a new set of audiences.
“When we played at Malate 1951,” as Taylo referenced to his old band, “those who appreciated our music were expats. We were expecting to reach the younger generation.”
Del Puerto, who is among the millennial members of the band, opened up about delving into an unpopular genre when he joined the band.
“Simplest answer: I want to play music,” he explained. “I’m used to the indie scene. There’s blues, soul, [and] funk; but when it came to world music, it’s a new, dynamic experience. Always changing, but at the same time, it broadens my world view—not just as a musician, but as a person.”
Music with substance
REGARDING the limitations to exposure of some artists, Taylo lamented that, “No matter how or what indie bands perform, the problem lies in the existing system.”
“It’s still business. Passion is what drives us to continue with our music: beautiful music with substance.”
For his songs, Taylo draws inspiration from immersions and living alongside communities of indigenous peoples around the country. In deeply knowing how they live and how they really are holistically as persons, his music becomes more genuine.
“I used to just know Aetas only through books,” he cited an example. “Kinky hair, flat nose, dark color. It’s that simple. But when you get to know them, it isn’t just like that.”
Taylo hopes to share truthfulness in his work, as he assures his stories are as genuine as they should be: “It’s best that you return a song to its inspiration, because only then could you validate if your song is right.”
More than their upbeat first single, Pasada’s body of work is about social issues and the environment which modern society affects deeply. Pimentel added, “When you write, there’s hope. The songs have a message, and hopefully someone will understand.”
“Pasada” is a term used by a lot of Filipinos: Jeepney drivers mean it as a journey, much like the band seeing its music as an adventure and a mission to enrich culture. To musicians, it’s to run-through a piece to perfect it.
“In rehearsals, you hear: Isang pasada pa,” Taylo elucidated.
“What about the band? Ilang pasada pa?”this author asked, to which Taylo replied in an assured affirmative: “Madami pa.”
(Witness Pasada launch its newest single on September 19, 8 p.m. at the Historia Boutique Bar and Restaurant, South Triangle, Quezon City, with performances from Chickoy Pura, Bobby Balingit, Datu’s Tribe, as well as Gin Rum and Truth.)
Image credits: Hannah Ochoco