After my folks deemed it proper that I own my own “stereo,” I was happy to be at liberty to choose what I did listen to. My high school and college soundtracks were backed by the advent of MTV and consisted of a jumble of Boyz II Men and the host of those other boys that followed suit, Toto and Chicago, Blackstreet, Mariah Carey (when she had more clothes on), Janet Jackson, Alanis Morisette, The Spice Girls and The Corrs, Pearl Jam and Oasis, the Eraserheads, True Faith and SideA, some “danceable” music that I maybe shouldn’t talk about here, and a lot of house / trance / rave, courtesy of DJ friends who spinned at then K-8 and Sambo’s in Laureano Compound somewhere in Makati. Hey, I’ll only live once, right? I might as well try everything.

It was fun trying to digest a hodgepodge of sounds, but it got old fast. Growing older, I guess both my mind and ears yearned to find a certain musical quality and sound that would make my not-too-distant music appreciating past all but a guilty pleasure. So I shifted yet again, this time, to the “other” side of those same years in music where I think I finally found the kind that I can so much relate with, that I almost regret I didn’t learn about them much earlier in my life. As over-the-top as it sounds, finding The Beatles, Morrissey and The Smiths, The Cure, Club 8, Trash Can Sinatras, The Postmarks, The Cardigans, Birdie, Swan Dive (and this list can and will go on)—has been life changing for me. If, at any point in your life, a piece of music has so much as moved you to bliss, tears, contentment, anger or other like, intense emotions, then you’d know what I mean.

Among the modicum of artists I have just mentioned is yet another band—a duo from Norway, which I have been fancying of late. I refer to Erlend Øye and Eirik Glambæk Bøe, who together are widely known as Kings of Convenience (allow me to refer to the band as “KoC” or just “Kings,” for convenience). Now, if you haven’t been hiding out in the mountains, you know that Europe is an incredible, great force in the global music industry. European countries like the United Kingdom and Sweden especially, are significant, having produced a great number of artists admired the world over. So… that Kings of Convenience also hail from Europe (they are from the city of Bergen) makes me wonder if there’s anything in the water that they drink there that make them the remarkable musicians that they are.

Eirik Glambæk Bøe and Erlend Øye: Kings of Convenience

My first, actual awareness of KoC in November last year happened when I accidentally found mp3’s of their two songs, “Failure” and “Misread,” in my jurassic PC at home while backing up old files. Then in December, while spending many days idling on my brother’s laptop, I randomly decided to check out KoC videos on YouTube. To say that I got hooked in the least is quite an understatement. Since then, I have progressively sought out a significant number of videos, lyrics, covers, articles, photos, reviews, tributes, mentions and what-not regarding the band, and I am yet to count with one hand the detractions I have read about them. Is it at all possible that a band could be that great?

I’d like to share two links from which you can pick up interesting bits about the band (and to save me from having to write it all here too). These two are my most favorite so far because they’re funny and they flaunt an aspect of the band which you wouldn’t think they have if you judge them only by the general bitter sweetness of the music that they make.

Interview by Paul Woloszyn for musicOMH in May, 2004:

http://www.musicomh.com/music/features/kings-of-convenience.htm

An entry on Kings of Convenience in a music blog called ‘The Oh So Quiet Show’:

http://music.diskobox.net/2009/09/13/kings-of-convenience-at-bowery-ballroom/

Coupled with my newfound admiration for the band is an attempt to acquire all the physical material they have released so far, at which I have not been successful. There have been four official releases by the band to date: their debut album, Quiet Is The New Loud (2001); Versus (2001) which contains remixes of their songs from the debut album; Riot On An Empty Street (2004), their second effort; and their latest, Declaration of Dependence (2009). I am yet to get my hands on any of these as I have yet to see any of them here in Manila. Either we’ve never had them here or it’s only now that I’m caring to look.

In the game of naming favorites, I’ve never had it easy. In the case of KoC songs, playing one track after the other often leaves me with a feeling that the next track can’t possibly be better than the one that’s just about to end. But how easily do I forget this once the introduction to the next track begins. If forced to give answers though, I might say my #1 favorite Kings song is “Cayman Islands” from Riot On An Empty Street. First, because I memorized it almost immediately, what with its plainly beautiful lyrics and melody, second, because it contained emotions relevant to me, and lastly, it helped a lot that the version I first heard is a collaboration with the lovely Leslie Feist. Feist, as she is more popularly known, is a Canadian singer / songwriter who also sings in another indie rock outfit called Broken Social Scene. A long-time fan and friend of the Kings, Feist also sang in two other tracks in their second album. Next favorite to “Cayman Islands” would be “Mrs Cold,” off Declaration of Dependence. The lovely, upbeat guitars in this song just keep ringing in my ears (I say that with love). I recommend that you look up its lyrics too… I’m sure it’ll strike a familiar chord in some of you. Favorite song #3 for me is “I’d Rather Dance With You,” if only for its music video where Erlend’s quirky dancing doesn’t at all seem to be out of character, and which makes him endearing. I really can say more, but then again, what does ranking matter…? Favorites are changeable anyway. Try giving these songs a listen. I assure you that playing favorites will be quite a struggle after a while.

Here’s a link to the video of “Mrs Cold,” straight from the band’s official website (or you can look for it on YouTube):

http://www.kingsofconvenience.com/information.php

Admittedly, KoC’s music is a rather late discovery for me, but one which I fell in love with acutely. Just when I thought that music largely sourced from acoustic guitars were on the way out for being seriously overrated, here came this fantastic duo with their cool vocal harmonies and hits-you-where-it-hurts lyricism. Their music is testament of the talents both Erlend and Eirik possess as songwriters and instrumentalists. I wouldn’t mind sitting for hours just listening to their seamlessly blended voices and seemingly faultless guitar playing. My take is that, there’s something intrinsically intimate in their music that makes a listener feel as if s/he is directly being spoken with, even if there may be a hundred other people in the same room. I don’t think nothing else can capture you more than music that can truly speak to you. It may not be right for me to say that my ears have settled on this kind of sound, but at least in the music that Kings of Convenience makes, they very much feel at home. After years of genre-hopping, I have realized that it is to this kind of music that I would rather dance.

On March 31, 2010, I will be able to test my theory and experience first-hand whether or not the music of Kings of Convenience can indeed make me feel that I am the only person they are speaking to in that not-so-small room called The NBC Tent in Fort Bonifacio, where there will be 1,299 other people in there watching them with me. Together, INTERCEPT! and kindassault have convinced Erlend and Eirik to come to Manila to do one show—their first, and hopefully not their last in Manila on the date. It seems I say that dryly, but if only emotions can jump off the screen, I tell you I’d be all over there where you are in so much excitement! Whether you’re a serious fan or a novice to their music, you’ll know better than to let this opportunity to see Kings of Convenience live in Manila, pass.

TICKET INFORMATION

“Kings of Convenience Live in Manila”

Wednesday, 31 March 2010

The NBC Tent, Fort Bonifacio

Doors 7:30 pm

Ticket Price: P1,950.00

brought to you by INTERCEPT! + kindassault

Available at:

Kate Torralba

2/F, Greenbelt 5

Ayala Center, Makati City

Tel: (02) 729.1229

Route 196

196-A Katipunan Avenue

Brgy Blue Ridge, Quezon City

Tel: (02) 439.1972

* please call 6:00 pm onwards

Magnet Bonifacio High Street

2/F, B3, Bonifacio High Street

Bonifacio Global City, Taguig

Tel: (02) 856.3400

* image of Eirik & Erlend taken from http://www.kingsofconvenience.com/information.php



Outerhope has a new album out I so immensely adore. A self-released sophomore effort. Listening to “A Day For The Absent” is a walk in the park, sending beautiful signals to my daydreaming-prone-state-of-mind. The melodies, both straightforward and intricate, perfectly combines with eloquent lyricism with harmonies that readily invites a young butterfly out of it’s cocoon. The instrumentation and arrangements may sound minimalistic but it persuasively display soulful craftsmanship.

I randomly asked Antonette, one of my partners in Lilystars, why she likes Outerhope. This was her reply: “Outerhope’s music brings back a lot of my childhood memories. The long drives to Bulacan with my family. Playing in the rice fields during summer with my brothers and cousins, riding bikes, catching dragonflies and frogs.” A delightful imagery.

Their live sets pretty much sound like the record, an acquired taste for gig goers, expecting loud music ending up being surprised at the confident and undisturbed stillness of Mike and Micaela while performing allowing listeners to focus on what’s happening as they strike their instruments and the intimate conjunction of voices that reverberates and fills the small place. Another one of those bands that will thrive on discovery and word of mouth for discerning listeners.

After a brief but exciting discussion with Mike about their new release, “A Day For The Absent” will most likely be the first non-Lilystars album we will offer to distribute in our Mailorder Shop. As the desire to make accessible such an inspiring and astounding effort by the strangely paired and down to earth siblings would be out of keeping for us not to consider. In the meantime you can grab a copy at Fully Booked stores in Manila or better yet in any of their gigs.

With Outerhope

Below are some of the original tracks Outerhope performed. I particularly liked “Twenty Years From Now” which has been my last song syndrome since I first saw them live.

The Story So Far – Outerhope

A Day For The Absent (October 2009)

1. An Unsual Line of Sight
2. Lost in Numbers
3. Twenty Years from Now
4 .The One I Like
5. The Story So Far
6. Anna Gabrielle
7. We Have Somewhere Else to Go
8. A Day for the Absent
9. The Man with the Pipes
10. Cabbage and Cauliflower

# # #

Outerhope was created in the summer of 2004, when siblings Mike and Micaela Benedicto started working on songs made sparingly with a guitar, an electric piano, and a lot of vocal harmony. They were inspired by stacks of old children’s records, lost tales and limericks, and songs of folk artists from the 60s. Their first studio recording was the album Strangely Paired, released independently in 2005 and re-released by Terno Recordings in 2006. Outerhope’s second album, A Day for the Absent, was released in October 2009.

Official Site
MySpace
Facebook
Twitter

Me and Sarah inside the band room.

Since the gig doubled as the culmination of Antonette’s week-long birthday celebration, she asked me and our good friend, Ericka, to coordinate the gig so she can have the “night off,” and be worry-free at least in this single instance (Antonette is responsible for putting together our POP Shoppe! gigs, so just imagine what a bundle of nerves she is every time we prepare for one). Not knowing what to expect, Ericka and I agreed to meet at the bar as early as 8:00pm, just some time ahead of everyone else, to make sure that we can go about our business that night with few to no kinks. But as lack of luck would have it, I ran extremely late and arrived

at Route an hour and a half later than what was agreed. My embarrassment from my tardiness was immediately replaced by excitement as I walked into the bar with a roomful of people… old friends and new faces alike welcomed me and I instantly knew that this POP Shoppe! was going to be different from the rest of the gigs we’ve ever hosted.

Shortly past 10:00, I gave The Satellites, one of our guest artists and that night’s gig opener, the cue to begin checking sound. The moment they hit the first bar of “Strike Whilst The Iron Is Hot,” their first song and the first O&L cover that night, the bar entrance became impassable… everyone inside was literally on their feet, so close together, we were canned sardines. The place was a standing room for a great part of the night, with people only sitting down or stepping out to take a breather in between bands, but soon as the next band began setting up, people settled back in, as if afraid to miss a note.

Truth be told, I didn’t get to enjoy most of the performances. I had the attention span of a common housefly who overdosed on caffeine, every other second checking and cueing artists and the hosts, chatting up guests and friends, shooting in and out of the band room and the bar… and I was slightly intoxicated to boot. I was cautious of the time, what with seven bands and a “guest performer.” I worried that if each band took too long, people might feel impatient, leave and miss The Camerawalls. It need not be said (but allow me), but I could tell that more than watching out for any other artist that night, every single person in attendance at that gig came with the intention to see and hear Clem perform an Orange & Lemons song. Speaking of Clem doing an O&L cover, I recall one time being weirded out by the thought of him covering an O&L song. In my head, I thought, ‘but aren’t those your songs…?’ I still can’t get over it.

While most of my recollection of that evening is a blur, I vividly remember people singing along to every band’s O&L cover/s. It’s unbelievable and heartwarming, seeing how people knew the songs so well and that they really did pay attention to the event, even participating in the contests we held in between sets (winners took away O&L merchandise), and staying into the wee hours, down to The Camerawalls’ last song. To everyone who was there that night, it is for people like you that people like us exist. We thank you.

The Satellites

The Gentle Isolation

Ian Zafra

Beer drinking contest with Noel and DJ Tracy Abad of Jam 88.3

Turbo Goth doing a cover of "Just Like A Splendid Love Song"

A fan winning a Moonlane Gardens O&L Shirt.

The Bernadettes

January birthday boy and girls: (from left to right) Paolo, Antonette & Odette.

Special guest performers: Turbo Goat: the birthday girls. Haha!

Your Imaginary Friends

The Camerawalls

A portion of the crowd at 1:30 am.

Aftermath of the gig. A cut on Clementine's left brow.

As for the bands, none of them could hide their thrill and enthusiasm as they rendered their selected cover/s to a very receptive audience. The Satellites, as earlier mentioned, kicked the party off, doing two O&L covers from the album “Strike Whilst The Iron Is Hot,” the first being the song of the same title and “Rock-A-Bye.” The Gentle Isolation made the audience swoon with “Cycle Of Love” and “Days And Nights” set to their dreamy melodies. Ian Zafra of Cebu-based Shiela and the Insects fame flew solo that night and persuaded the crowd to sing his O&L cover of “Hey, Please” on his behalf. Your Imaginary Friends’ power pop delighted the audience and more so when they covered a Tagalog O&L song, “Lihim” in addition to the emotional “Heaven Knows (This Angel Has Flown).” Turbo Goth gave us a mellow but electric rendition of “Just Like A Splendid Love Song,” with Sarah Gaugler amusingly going on to explaining why Clementine had always been her favorite O&L member. And as if people weren’t already entertained enough, “guest performers” and birthday girls, Antonette & Odette (The Bernadettes’ Road Manager), snuck in their version of Turbo Goth’s “Turbo Time” and had the audience in stitches at song’s end. After blowing out their birthday candles at what was maybe 1:00am past, The Bernadettes came on, singing “I Feel Good, I Feel Fine” in the middle of a somewhat extended set, making for the perfect segue to the last band, The Camerawalls. Since time does fly when you’re having too much fun, the crowd was hardly satisfied after the last song and asked for more, probably feeling cheated since Clem and company sang but one O&L cover (“A Beginning Of Something Wonderful”). Unfortunately, the band couldn’t concede to the requests, thus calling it a day. To say the least, Clem got too immersed in his performance that he didn’t even notice that he was bleeding until we ran over to him with tissue in hand, blotting at his left brow. What gave him that nasty cut remains a mystery. The night couldn’t end without Lilystars’ mandatory, post-gig “class picture,” so with much ado and little else, everyone who stayed behind struck a pose, looking spent but extremely happy.

Cramming seven fantastic bands into just a couple of hours should still leave one wanting—the O&L covers that night were very few and far in between. I bet each gig-goer, at some point, reached hoping that the next intro they hear would be that of their favorite song. I personally was waiting for the song “Isang Gabi” to come on, but alas, I can’t have my cake and eat it too. So with or without it, I still sang along to all that was done with the greatest force in my life and feel no regret for my semi-sore throat and feet by night’s end—a result of combined and repeated screaming and jumping whenever an O&L cover came on. I have sorely missed the band.

Involuntarily, a soft spot in me is hit at every mention of the band’s name even to this day. After all, Orange & Lemons is the very first band who got me believing in local talent. They helped me realize that we need not look far for good music because we have it right here. Similarly, it was through them that I discovered the music of many [foreign] artists whom I admire today and whom I maybe wouldn’t have found on my own. What I know in music today, I owe to the band and to the people I met through them, many of whom have become the best of my friends. Meeting them was a happy accident. Earning the band’s confidence in me in their earliest days was a privilege. Watching them enjoy the fame and success that came to them gave me pride. And seeing them break apart when they did broke a part of me too. Some good things never last, says that old adage… how true.

But then maybe they weren’t meant to last. In hindsight, the “death” of Orange & Lemons gave birth to many new and much better things. Only God would know what could have happened had the band’s differences stayed under the radar. Maybe they’d have sung more hits. Maybe they’d have toured halfway around the world by this time. Or perhaps they’d be holed up in the studio for the nth time, working on their sixth studio album. We’ll never know now. On the other hand, at least I am thankful that today we have The Camerawalls… we have Lilystars Records and we have found our label mates, Turbo Goth, The Bernadettes, Your Imaginary Friends and The Gentle Isolation. In the break-up that resulted in this independent record label was a purpose after all. In the end, the fate Orange & Lemons met is not in vain.

Class pic with friends and fans after the show.

We may not have been successful in bringing Clem and Mcoy together again that one night, but I think it’s safe to say that we still gave people a good show. In Clem’s most recent blog about this same night, he promised to cover more Orange & Lemons songs in the future. Now that should be something to watch. And for that we shall keep our eyes, ears, oranges and lemons peeled.

*Related Blog: “Of Mice And Men”
*Visit Orange & Lemons‘ Facebook fan page and listen to all their songs.
*Visit Lilystars Facebook page for more pictures to be posted soon.

Thanks to Jeff Saw for the wonderful photos.

What is it about this man that makes him tick? How he charmed his way into the minds and hearts of millions of diverse listeners all over the world. I was once a victim of his charm. His voice that never fails to break my heart. His literate and obscure lyricism wherein one can spend a whole year quoting. His very peculiar charisma to the point where men (straight or not) would gladly throw their arms around him given a chance encounter.

The year was 1994 when I heard my first Morrissey song on the radio with the release of “The More You Ignore Me, The Closer I Get.” The song charted on campus radios, I was young and between my peers in the province I was probably the only one who can deeply appreciate him. Although finding out later that the song received some bad reviews such as “formless ramblings” and “a tarnish to his gleaming reputation,” the single propelled to me to be curious and did further research on his work. Getting my hands on a Best of Morrissey cassette tape was life changing. And I wasn’t prepared for the next blow…. the discovery of The Smiths.

Morrissey and The Smiths became my interesting drug and I am no longer a victim.

I am now an advocate.

A Short Bio

Steven Patrick Morrissey (born 22 May 1959), known primarily as Morrissey, is a British singer and songwriter. After a short stint in the punk rock band The Nosebleeds in the late 1970s, he rose to prominence in the 1980s as the lyricist and vocalist of the alternative rock band The Smiths. After the band’s breakup in 1987, Morrissey began a solo career, in which he continued the indie pop sound of The Smiths. Morrissey’s solo albums were the source for ten Top 10 singles in the United Kingdom. Widely regarded as an important innovator in indie music, Morrissey has been described by music magazine NME as “one of the most influential artists ever,” and The Independent has stated that “most pop stars have to be dead before they reach the iconic status that he has reached in his lifetime.” Pitchfork Media has called him “one of the most singular figures in Western popular culture from the last 20 years.”

Morrissey’s sardonic, literate lyrics tend to be “dramatic…bleak, funny vignettes about doomed relationships, lonely nightclubs, the burden of the past and the prison of the home.” He is also noted for his unique vocal style. His forthright, often contrarian opinions have led to a number of media controversies, and he has also attracted media attention for his advocacy of vegetarianism and animal rights. source: Wikipedia

The Tribute Gig

January 7 – Saguijo | YOUR INTERESTING DRUG: A Tribute To Morrissey

It was an amazing night. Great vibes, great music! It’s not everyday I hear Morrissey or Smiths songs being covered but that particular night a total of 15 cover songs were dished out by participating artists plus a DJ set in the middle of the gig by Paris based artist/graphic designer – Eva Kokoschka.

Below is a list of songs covered by each artist accompanied by live clips of my choosing. The videos are rather dark so to compensate i rendered everything in color. I figured it is more enjoyable to watch and listen to that effect. Pictures to follow. Happy listening!

The Gentle Isolation
Everyday Is Like Sunday
Work Is A Four-Letter Word
Irish Blood, English Heart

Kate Torralba
The More You Ignore Me, The Closer I Get
Please, Please, Please Let Me Get What I Want
Girlfriend In A Coma

The Bernadettes
Panic
First Of The Gang To Die

Turbo Goth
There Is A Light That Never Goes Out
This Charming Man

Lally Buendia (Domino)
How Soon Is Now?
Last Night I Dreamt Somebody Loved Me

The Camerawalls
Suedehead
Interesting Drug
The Last Of The Famous International Playboys
The More You Ignore Me, The Closer I Get

Us-2 Evil-0 (From L-R: Mich Dulce, Quark Henares, Bogs Jugo, Wincy Ong, & Nix Puno)

I would think that anybody who has never heard of Quark Henares or Mich Dulce, Wincy Ong, Nix Puno or Bogs Jugo must have been hiding under a rock. A sizable chunk of our relevant population would know that none of the five mentioned are strangers to the music / entertainment industry. It’s fun to think of how they came together as Us-2 Evil-0 (I’d leave that for the band to address), but what could be more fun is to watch what they can do together as musicians.

I remember driving to work one morning some months ago, and for the first time in a really, really long time, felt compelled to open the radio. After a slew of advertisements that I thought was all that ever took up airtime, some song finally came on: drum beats. Then a male voice that, by the way it sounded, appeared to be singing, but not quite. I would have mindlessly switched stations already if not for the fine female voice that shortly came on singing about some mighty heart attack in what was the catchiest chorus I have heard in too long. Being such a big fan of boy/girl duos, I decided not to switch stations. The chorus got stuck in my head. Not at all bad. Then the DJ came on and said something like, “… that was Us-2 Evil-0 with ‘This Mighty Heart Attack’…” Now THAT was a surprise. Of course I already knew then who Us-2 Evil-0 was… I just didn’t think that the song was theirs. “It’s local!” I thought excitedly. It just got better. Finally, something different.

Not anymore to my surprise, ‘This Mighty Heart Attack’ entered the Jam 88.3 countdown some time ago. So I got curious. To feed my curiosity, I tried searching for Us-2 Evil-0 on every other networking site that I knew, but ended up not finding much—no lyrics, no blogs, no mp3’s—just random and separate stuff about the band members as individuals. I therefore concluded that this young band was still quite obscure and that, I think, is a nice thing. I find it a wonder how their individual popularity faces off with their collective mystery. I was successful in finding their Facebook page where fans have so far, posted nothing but words of encouragement—a positive sign that the band is doing something right.

Just a little over a month ago, the video for ‘This Mighty Heart Attack,’ directed by JA Tadena, came out on YouTube. Among more encouragements (and a couple of detraction) were several requests for lyrics. I thought it odd that the lyrics really weren’t posted anywhere, so I messaged Wincy Ong over at Facebook to ask for it, having learned that he penned it. So to those who have been searching in vain, you found it here first. And here’s the video too, to complete your sing-along:

THIS MIGHTY HEART ATTACK
by Us-2 Evil-0

When I saw your eyes
My heart capsized
You were a vision

Then I came to know
You also starred in television

How the hell am I supposed
To ignore the facts and act so fast?
How the hell am I supposed
To contain this mighty heart attack?

Because I realized
We can’t disguise
You’re more than human
Now it won’t suffice
Can’t compromise to
A lesser woman
Can’t apologize
Or tell you twice
Cos I’m not handsome
I can just surmise
That you’re content with
Your brand new boyfriend

How the hell am I supposed
To ignore the facts and act so fast?
How the hell am I supposed
To contain this mighty heart attack?

You know by now
It’s over, don’t you?
You know by now
It’s over, don’t you?

Now’s the painful part
But it’s a start
And yes I did try
I liked you a lot
But all for nought
I guess it’s goodbye

How the hell am I supposed
To ignore the facts and act so fast?
How the hell am I supposed
To contain this mighty heart attack?

Quite obviously, ‘This Mighty Heart Attack’ is but a taste of what Us-2 Evil-0 can give the music–loving public. If you like their music, you’ll love them live. With Mich and Quark’s choreography, who wouldn’t? November 28, Saturday, 10:00 pm at Magnet Bonifacio High Street marks the release of their debut album called “Dirty Debutantes.” Sharing the limelight with Us-2 Evil-0 on the night are Arigato, Hato!, Turbo Goth, Monsterbot and Ciudad.

(From the review section of PULP Magazine’s November Issue #101 by music editor Jason Caballa)

These days, when people speaks of singles, one would mean a song or track from a musical act’s full length album that was chosen either by that particular act (or in most cases, their record label) to be played on the radio. More often than not, videos are also made on these songs for broadcast on music channels on television. These are songs that become hits, the songs that listeners vote for daily and weekly so that they enter the charts, so that they can be heard over and over again.

But the reason why they are called “singles” is that once upon a time (and in limited numbers until now), these songs are actually available in the market in single format, i.e. seven or twelve- inch records that contained the particular song, plus one or two B-sides, and since it was before the age of internet downloading, MySpace and piracy, people actually bought these singles even if they contained only two or three tracks, especially in UK, where the format continues to be popular even in CD form, and among indie rock fans whose favorite underground labels and acts continue to release these highly collectible items, at times even in colored vinyls.

In any case, numerous music fans continues to purchase singles for a variety of reasons: their aforementioned collectability, to sate the fans musical appetites before the full-length album comes out, and for the B-sides (or remixes) that could not be found anywhere else, unless the band releases a rarities compilation years later.

UK acts in particular tends to take this format quite seriously; as such, almost all notable British band like The Beatles, The Smiths, Suede  and Radiohead have released excellent B-sides, many of which have become as popular as the A-sides themselves.

Ever the Anglophile and indie music fan combined, it is no surprise that Clementine (a.k.a Clem Castro, singer/guitarist of The Camerawalls) would attempt to give this fading format a resurgence via his record label, Lilystars Records, and the two latest acts he signed – “drunk pop” quartet The Bernadettes and electro-pop duo Turbo Goth – have both released their debut singles on CD – perhaps to serve as teasers for both groups’ respective full-length records.

“Let’s Make Babies” is The Bernadettes’ initial sonic salvo, and as one could probably deduce from it’s title, the song makes no room for subtlety. It’s a pop song and attempts to be anything less, and therefore, it’s message is clear: singer Paolo Angeles implores his significant to have sex with him as straightforwardly as possible, without sounding dirty. Musically, the band (which includes guitarist/songwriter Poch Angeles, drummer Andre Salazar and bassist Rommel Asuncion, who has since left the group) sounds like a mix of The Zombies and Supergrass here, though their facebook page lists the likes of  Blur, The Who, Jesus & Mary Chain, and Teenage Fanclub, among others, as the band’s influences. All in all, it’s a fun record, and the production is topnotch.

Turbo Goth has been on the rise for sometime now, mainly because of the much-blogged-about live performances of singer Sarah Gaugler and guitarist/electribe operator Paolo Peralta, which are equally charming (mostly Sarah) and equally energetic (mostly Paolo). Given the duo’s reputation, “Morning Swim” is a bit of a letdown, though it’s not a bad song. At worst it veers too closely into Daydream Cycle territory but is saved by Peralta’s slashing guitars and Gaugler’s pleasing melodies, especially on the choruses and bridge. I guess I was just dissapointed with the pair (or label’s) choice of song to release as a single given that their live set has more upbeat (or frantic song) than this (though I’m personally not familiar with the titles). Still, “Morning Swim” is a fun track and worthy release, one that would make Turbo Goth’s growing fan base await their upcoming full length with much anticipation.

It’s also a slight pity that the respective B-sides of both discs aren’t different songs altogether, but the interesting remixes of “Let’s Make Babies” and “Morning Swim” done by Sonice State Audio engineer Jonathan Ong are welcome gravy. Kudos to Lilystars Records for putting out music that’s worth buying again, wether it’s in big or small servings.

Halloween Record Sale!

Yes, we are bringing it down! For 12 days you can enjoy The Camerawalls debut album “Pocket Guide To The Otherworld” with the special new price of $8.50 or P399 between October 26 to November 6. Save $3.5! Comes with Free badge/button pin and Free Shipping via Air 21 for local orders anywhere in the Philippines.

Add it to your collection or send it as a gift to friends and loved ones. Request for a signed copy or a special personalized message when you send it as a gift. This album will surely catch their hearts and mind.

Payments can be made thru Metrobank deposits, Western Union money transfer or Paypal. For orders and inquiries e-mail shop@lilystars-records.com or text +639164004343.

You can help spread the word by sharing this flyer or posting it on your site using the link below: http://lilystarsrecords.files.wordpress.com/2009/10/sale.jpg

Cameron Aquino

PATIENCE DEAR JUGGERNAUT

Patience Dear Juggernaut is the solo project of Manila-based songwriter and filmmaker Cameron Aquino, who writes, composes and plays the music for all of his songs. Cameron Aquino was a former guitarist of the indie band Narda and is the guitarist-keyboardist of Us-2 Evil-0.

The artist’s style can be characterized by ‘60s style harmony vocals, psychedelic chord progressions, robotic beeps and bleats, and progressive song structures, while his lyrical style leans towards the Dionysian and the absurd. His debut album tentatively titled “Resilience Sweet Goliath” is in the works and is being produced by Lilystars Records.

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THE GENTLE ISOLATION

Ness Urian - vocals/12 strings acoustic
Monch Cristobal – vocals/bass
Joseph Rovero – electric guitars
Bachie Rudica – drums

The song wafting through your mind calls to memory an eternal summer spent with a first love… or of a rainy afternoon spent in the warm indoors—never mind that the lyrics sing of ironic love, a boy’s girl troubles or life’s everyday pickle—what you remember is the warm, daydream-y sensation the song leaves you with.

The Gentle Isolation (from L-R: Monch Cristobal, Ness Urian, Bachie Rudica and Joseph Rovero) Photo courtesy of Jorge's Portrait Studio.

Such are the songs crafted by Bulacan-based quartet, The Gentle Isolation. Three years a new wave cover band until they elected to re-format their sound in the Summer of 2009, Monch, Bachie, Ness and Joseph have since traded their synth-based pop for the fluid, easy-going kind. Despite the shift in genres, the band has maintained traces of their musical roots amidst the jangly guitars, elastic bass lines, brittle 12-string acoustic strumming and bare vocals that characterize their music today. Think Belle & Sebastian and Camera Obscura taking a tutorial from the Stone Roses and vice-versa.

Pending releases for an exciting compilation project with local independent label Lilystars Records, the group regularly makes their rounds in gig circuits within and outside Metro Manila, accessing audiences who are initially unaware of this type of pop music. Consequently, this earns them the attention that inspires them to continue penning infectious melodies that may someday soon be the soundtrack of everyone’s long and lazy Sunday drives.

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Your Imaginary Friends (from L-R: Eric Po, Ed Tanji, Tanya Singh and Ahmad Tanji). Photo by Daphne Oliveros.

YOUR IMAGINARY FRIENDS

Ahmad Tanji – vocals/guitars
Tanyan Singh – vocals/bass
Ed Tanji – guitars
Eric Po – drums

When fate and fine intentions cross paths, something wonderful must be on hand… and whoever said that good things are worth the wait must have envisioned Your Imaginary Friends lingering in the wings. Four years in the making before arriving at their current lineup, Tanya Singh joined brothers Ahmad and Ed Tanji and Eric Po  in April 2009 with a resolve to do their bit in the name of pop music. They have since been conquering varied audiences with their arresting brand of refreshing pop.

Taking cues from the Pixies, The Smiths and Death Cab For Cutie, those who come to experience the band live wait with curiosity until the first line drops to reveal an eargasmic mash-up of the band’s influences—whether it’s their rendition of “Where Is My Mind” by Pixies or their original material, this quartet does not disappoint.

With the lofty aspiration to save the world one pop song a day, it is not at all astonishing that Your Imaginary Friends is answering the call. Pop fans welcome the four-piece and their music with more than open arms and ears, putting them on the fast track to their purpose of resuscitating an industry already overwhelmed by insipid repetition. Due in 2009 is a two-song release in collaboration with Lilystars Records. Anticipating this is in the horizon, there is nothing to fear for the future of pop music.

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After a night of rummaging through a big bag of mini v8s of live footages with Law and Antonette, we decided to share these fantastic moments of music and drunken hours beginning with the modfather himself — Paul Weller.

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Paul Weller (born John William Weller on 25 May 1958) is an English singer-songwriter.

Starting with the very successful punk-rock band The Jam (1976-1982), Weller then went on to branch out musically to a more soulful style with The Style Council (1983-1989). In 1991 he re-established himself as a successful solo artist, and continues to remain a respected singer, lyricist and guitarist, a fact reaffirmed by his recent awarding of the 2009 BRIT award for ‘Best Male Solo Artist’. He has remained a national rather than an international star, which may be unsurprising considering much of his songwriting  is rooted in British culture. He is also the principal figure of the 1970s Mod revival and is often referred to as the Modfather. (source: Wikipedia)

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The Butterfly Collectors - A Night of Paul Weller Classics

It was an inevitable choice. I am a big fan of The Jam ever since I heard Morrissey’s gloomy version of That’s Entertainment. And over the years I was introduced little by little to Weller’s crooning and evolution. The event happened four months ago but watching the footages gave us an enormous sense of well-being for something you don’t hear quite often that only a scattering of music aficionados can relate to.

The event title was taken from one of The Jam’s B-side song titles.  As positive as it may sound “The Butterfly Collector,” penned by Weller, speaks of amorality and abuse. Something very socially relevant with the ‘butterflies’ amongst us directly related to unscrupulous politics and the entertainment industry as a whole.

Needless to say it was a fun intimate jam and we are grateful to all the bands that lovingly participated and the appreciative audience which made it far more memorable. Below is a video clip summary of what transpired.

(Video song sequence: Come To Milton Keynes – The Gentle Isolation, You’re The Best Thing – Kate Torralba & Cameron Aquino, From The Floorboards Up – Turbo Goth, David Watts – The Bernadettes, Start! – The Camerawalls)

Here’s a complete list of Paul Weller tunes covered during the night (some songs contain links to a full live video):

Come To Milton Keynes (The Style Council) – The Gentle Isolation
From The Floorboards Up (Paul Weller) – Turbo Goth
David Watts (The Jam) – The Bernadettes
You’re The Best Thing (The Style Council) – Kate Torralba & Cameron Aquino
Start! – Patience Dear Juggernaut
My Ever Changing Moods (The Style Council) – Patience Dear Juggernaut
Shout To The Top (The Style Council) – Patience Dear Juggernaut
Start! (The Jam) – The Camerawalls
Town Called Malice (The Jam) – The Camerawalls
The Butterfly Collector (The Jam) – The Camerawalls
To Be Someone (The Jam) – The Camerawalls
That’s Entertainment (The Jam) – The Camerawalls
From The Floorboards Up (Paul Weller) – The Camerawalls

I read this somewhere — a quote from English dramatists Beaumont & Fletcher. Indeed many will be gauged during disastrous moments such as one of extensive impact on Manila and 25 neighboring provinces under the name of Typhoon Ondoy (internationally know as Typhoon Ketsana) which displaced almost half a million people with at least 240 on the death toll and covering 80% of Metro Manila with flood water rising to unbelievable heights in less than 12 hours. This happened on September 26 — a first after over 4 decades in Philippine geologic  history.

The past few days have been both devastating and inspiring. Me, my family and close circle of friends were fortunate enough not to be affected by the calamity (although some relatives in Bulacan experienced leaving their homes completely submerged in water). It was heartbreaking to hear the news and updates as we follow each happening on the telly and the net. But it was also heartwarming at the same time to find out how a lot of civilians went out of their way to organize rescue and relief operations, volunteer and give donations. Some exemplars are musicians, film makers, celebrities and broadcasters that inspired us from Lilystars Records to participate in our own little way with the relief campaign.

Last Monday a number of artists flocked Jam 88.3 to perform live for “Project Ondoy: Downpour Of Support” including some of Lilystars roster to play live and invite fans and listeners to donate and actively participate in the relief operations. Present from Lilystars were The Gentle Isolation, Turbo Goth, The Camerawalls and The Bernadettes upon the gracious invite of DJ Tracy Abad. For photos click here.

To augment this Lilystars Records and The POP Shoppe! in cooperation with Jorge Portrait Studio and Jam 88.3’s Project Ondoy is hosting a benefit show tonight, September 30, 9pm at Route 196 called “Driven For Life” – a relief drive/fundraiser for typhoon victims/evacuees. Performing are The Camerawalls, Turbo Goth, The Bernadettes and Your Imaginary Friends.

We will be accepting donations at the venue. The following will be of great help:
+ Clothes (as well as blankets, towels, socks etc)
+ Food (Canned goods, Rice, Instafood, Milk, as long as it’s not perishable for weeks)
+ Water (Bottled)
+ Basic Medical Supplies

You can drop off your donation during the gig or at the offices of LILYSTARS RECORDS and JORGE’S PORTRAIT STUDIO located at 35 P. Tuazon St. Cubao, Quezon City and RAVEN BROADCASTING CORPORATION/JAM 88.3 at Unit 202 Strata 2000 Bldg., F. Ortigas Jr. Road, Ortigas Complex, Pasig City. This will be ongoing in an effort to share provisions to thousands of evacuees and homeless.

For more information contact the following numbers: 09054441229/09164004343, 7233586/4114512.