Saturday, September 30, 2017

Got the new Tarsius EP Igado


I have been a fan of Diego Mapa's work be it Monsterbot, Pedicab, or Tarsius. While I am not too big a fan of electronic music, I do give the time to check it out. I thought that Tarsius' Primate was pretty cool especially "Deathless Gods". Angas nun, bro. 

Igado, the new EP from Asian label, More Rice, is all right. I prefer the B-Side with "Am" and its two versions -- the original mix and Manuel Fischer's Farang Kee-Nok Mix.

Am a lucky dude as there are only 30 copies of Igado available in Manila. 

Orange and Lemons’ comeback show is smashingly brilliant

"I later struck up a friendship with Clem Castro and have constantly watched all his shows and picked up his records. And of course, witness this second act in the life of a great Filipino band."

Orange and Lemons’ comeback show is smashingly brilliant
by rick olivares

Last Saturday, September 23 at Mow’s was a preview. A preview of a certain type of madness that pop music brings. Crashing New Wave Night at that venue, the crowd gathered and crammed the small space that it was almost impossible to turn around. They hollered, sang, and demanded for more. And after four songs, they quickly exited and vanished into the night. It was a tasty morsel that left one even hungrier.

September 29 seemed so close and yet so far away. And since I referenced U2, here’s an anecdote about the Irish superstars that I recalled while at Mow’s and once more at 70’s Bistro.

And I thought back of when Irish band U2 first toured the United States during the release of their debut album, Boy. The madness that followed caused Bono to exclaim, “If this is America, I want more.”

And that thought crept back to me after Orange and Lemons’ triumphant official return show at the 70’s Bistro on the 29th. Despite being bigger than Mow’s, that granddaddy of band clubs didn’t seem enough. Over 400 crammed into 70s Bistro with more outside unable to get inside. And to think some weren’t able to go due to Carmageddon on payday-Friday.

The hottest ticket in town was in a steaming hot venue. Even the bar ran out of cold water bottles to sell.

The venue was chosen for a specific purpose. It was the site of their very last gig before ONL embarked on an American tour. Even during that night, in which I was present, it was all over for this Fabulous but Fighting Four. During that show at 70’s Bistro, they sang the Beatles’ 'Don’t Let Me Down’ and when Clem Castro sang the chorus “don’t let me down’ there was extra emphasis; a tinge of anger if you will. And he would look at his erstwhile bandmate Mcoy Fundales with whom he had a testy relationship later in the band’s first career.

Ace del Mundo added, “Dumating yung araw na ang reaksyon ko, ‘may tugtog na naman kami? Magkikita na naman kami? Hindi na siya fun.”

During the comeback show Friday night, -- "unfinished business that continues in this venue" said Clem -- I oft would glance at Ace and the band’s close associates Antonette Maniquis and Ace's wife, Lui Cornelio. Throughout the hour and a half show, Ace smiled so much I deigned to ask if his facial muscles hurt from all the emotion on his face. As for the latter two, it was observing them take in the madness. The smiles too were written all over.

And I thought: “If this is what the comeback is like, then who wouldn’t want more?”

During New Wave acoustic night at Nomixx Retro Grille along Visayas Avenue last June 9, occasional Castro-cohort, Rain Paggao, who is a top musician in his own right, couldn’t believe that the ONL reunion was going down. “Nung una, katuwaan lang. I thought it was a nice joke. But Clem was serious. Dead serious. And now it’s all happening.”

It was a happening. When was the last time the media covered a “small” gig in some old rock club in Quezon City? The show was equal parts concert and karaoke night. Save perhaps for two songs, the 350-plus strong crowd sang along to the songs including the two covers from the band’s influence, the Smiths.

That is a testament to the band’s popularity and superb catalogue of songs that spanned the debut “Love in the Land of Rubber Shoes and Dirty Ice Cream” to “Strike Whilst the Iron is Hot” and “Moonlane Gardens”. They wrote some of the most memorable songs of the first decade of the new millennium. They claimed the throne that was vacated by the Eraserheads and Rivermaya. They were so popular that if they weren’t gigging, they were appearing on television or radio, they were writing commercial jingles. They toured relentlessly and released one hit single after another. And then they went away.

And they are now back.

“Sorry,” apologized Castro after two songs in. “Medyo excited. Three times lang kami nakapag-ensayo.”

Someone shouted back, “Okay lang yun. Nandito na kayo!”

Castro smiled back.

And watching the band 10 years later and despite missing Fundales, their growth as musicians was evident. When they cut “Love in the Land of Rubber Shoes and Dirty Ice Cream”, Ace admitted that he wasn’t happy with his drumming. “I was learning the ropes,” he cheerfully recalled. “It was only by ‘Moonlane Gardens’ that I felt that I got the hang of it.’

Well, racing through their songs, their musicianship is never more solid. Ace... is now a beat master and his smile and ease is evident for all to see. Castro has grown into a real frontman after having fronted the Camerawalls and the Dragonfly Collector after ONL’s breakup. JM on the bass is perhaps the one constant. His face is impassive; he’s locked in. Just his performance game face. But he’s stoked. When the show is done, he allowed himself to break out into a smile. That was all you needed to know. And Paggao who was so nervous that he retreated to the solitude of his car before the show to steel himself and listen to ONL songs just to make sure he knows the guitar parts down pat was a wonderful revelation. “Galing, no?” later said Castro to the live audience while he referred to Rain.

As for the show… it was bloody brilliant warts and all. After ONL ended their set with “Hanggang Kailan”, the crowd begged for more.

This time, ONL didn’t vanish into the night.

Clem put his hands together in a praying position and bowed to offer thanks but also to apologize. Yes, there will be more. They hung out. Posed for photos and accepted well-wishers. And announced their gig sked (hey, there is a tour being planned) that will be released the following day.

If this is the comeback, I can’t wait to see where this goes.



I was living in New York City and my youngest brother would oft send me CDs of bands back in Manila. He sent me ONL's "Love in the Land of Rubber Shoes and Dirty Ice Cream" with a post it note: "I know you love the Smiths so you must listen to this." And I did. When I came back to Manila, I only caught one gig and that happened to be their final one domestically before they broke up and that was 70s Bistro. Of course, I didn't know that until much much later. 

I later struck up a friendship with Clem Castro and have constantly watched all his shows and picked up his records. And of course, witness this second act in the life of a great Filipino band.




Tuesday, September 26, 2017

On a Paul Weller soundtrip


I have been a fan of Paul Weller since his days with the Jam and the Style Council. And of course, his solo career. Playing his first self-titled solo album as well as his 13th effort, A Kind Revolution.


Dream Theater in Manila 2017; My post-concert thoughts.



There are bands that are just awesome live. What I mean is they are able to not only replicate their sound in the studio (with its overdubs and layers of sound) but they better it.

Dream Theater is one such band. Theirs is always a powerful live performance. On display are not only darn good songs but the band’s collective and individual brilliant musicianship.

Prog Rock among Rock Music’s multiple and varied sub-genres is one of those that really showcases a musician’s talent and technical expertise. Aside from that, what I have always loved about Dream Theater is their combining metal with post-punk sensibilities to go with some classical and jazz undertones. Especially their 90s albums that came after Images and Words, you could hear a certain grunge and punk influence coming from John Petrucci’s guitar. Yet first and foremost, Dream Theater is a progressive metal band.

I have been fortunate enough to see Dream Theater previously with Mike Portnoy on drums. While I was sad to see him move on, the man pounding the skins in his place, Mike Mangini, is no slouch. He’s plenty awesome himself.

I also like the fact the lead singer James LaBrie engaged the audience in conversation. I love the interaction. While LaBrie constantly asked the audience to sing along – and I think it’s cool – I am of the school where I prefer to watch and listen to the band. I can understand all the cellphones and iPads coming up to take pictures or videos of the performance but too much of it can get irritating. Sometimes, it obscured my view. But I was fortunate to stay near the production booth which is higher so I have a good view of the stage. Plus, the music isn’t blasting into my face so it comes out great.

The first set took me by surprise. I thought they’d play songs like Dance of Eternity, A Nightmare to Remember, Lost Not Forgotten, Lie, Octavarium, and Peruvian Skies but they didn’t. Nevertheless, the songs they chose weren’t bad at all. Four of the seven songs from the first set were recorded in the Mangini-era.

Of course, hearing them play Images and Words complete and in the order of the track listing was awesome. It is something you will not see them do again.

That album was released in 1992 and I remember going to HMV just near where I lived in Hong Kong. One of the people who worked at the store knew I was a massive fan of Rush so he said, "Hey, you gotta listen to this album." And he offered me a CD of Dream Theater. I liked the name right away and put the CD into my basket. When I got to my apartment that was about five-minute walk from HMV, I played the CD and as soon as Pull Me Under played, I remember going, "Holy fuck! What the heck is this shit?" And I back tracked and picked up When Dream and Day Unite. Been a massive fan since. 

Yet like every Dream Theater performance I have seen, I was blown away. The crowd was great as well and you can see the band feed off on that energy and it made for a memorable show. I wonder if the band considers their Manila show as one of this tour’s best.

Me? I enjoyed every minute of this three-hour show. And this is gonna stay with me for a while.

Set 1
The Dark Eternal Night (From Systematic Chaos)
The Bigger Picture (From Dream Theater)
Hell’s Kitchen (From Falling into Infinity)
The Gift of Music (From The Astonishing)
Our New World (From The Astonishing)
Portrait of Tracy (Jaco Pastorius cover from the late bassist’s self-titled album featuring a John Myung solo)
As I Am/Enter Sandman (From Train of Thought)
Breaking All Illusions (From A Dramatic Turn of Events)

Set 2 (All from Images and Words)
Pull Me Under
Another Day
Take the Time
Surrounded
Metropolis Part 1: The Miracle and the Sleeper
Under A Glass Moon
Wait for Sleep
Learning to Live

Encore (From A Change of Seasons)

A Change of Seasons I: The Crimson Suicide

A Change of Seasons II: Innocence
A Change of Seasons III: Carpe Diem
A Change of Seasons IV: The Darkest of Winters
A Change of Seasons V: Another World
A Change of Seasons VI: The Inevitable Summer

A Change of Seasons VII: The Crimson Sunset

Sunday, September 24, 2017

Isang Gabi with Orange and Lemons


Isang Gabi with Orange and Lemons
by rick olivares pic from antonette maniquis

“Makikigulo lang kami,” apologized Clem Castro to the Friday night crowd that gathered at Mow’s Bar in teacher’s Village, Quezon City. The crowd erupted in cheers. “Okay lang!” yelled back one patron to which Castro smiled.

It was New Wave Night with some top notch indie bands such as We Are Imaginary and Paranoid City in the line-up. Yet, a surprise late additional performer, the newly-reformed Orange and Lemons literally stole the show.

“Our real comeback show is slated for the 29th of September at 70’s Bistro,” Castro explained earlier as the band cooled their heels at a nearby hamburger joint a couple of hours before they were due to take the stage. “This is a secret show; four songs – that’s it. A teaser if you want.”

“I’m nervous and excited,” offered drummer Ace Del Mundo while his brother and band bassist, JM sat nearby and nodded in agreement. The coffee didn’t calm their nerves one bit.  “It has been 10 years since we last performed. We performed some of the Orange and Lemons songs with Kenyo (the Del Mundo brothers’ band with Mcoy Fundales, the band’s other vocalist and guitarist who decided not the be a part of the comeback due to a rift with Castro) after ONL broke up in 2007. Masasabi ko lang, ay nakaka-miss.”

Ace revealed that he received entreaties from Clem for a reformation some time ago but he never gave it consideration. With Kenyo in hibernation as Fundales has been busy with his work, the brothers decided the time was right for a reunion even if the fourth member of the popular group is unavailable.


“Sabi ko, if okay sa kapatid ko then I’m in,” added JM.

“Hindi ko alam what kind of reaction we will get,” wondered Ace. “One thing we all agreed on is we are doing this to make music. Kung hindi magustuhan ng tao, okay lang; tuloy pa rin. Kung magustuhan, eh, wow… tignan natin kung saan tayo makakarating.”

Already the band has been busy recording a new song that will be revealed before their official comeback show by month’s end.

Leading up to the secret show at Mow’s, the appearance of ONL was kept a secret. Towards D-Day, the organizer dropped hints such as a poster online that featured Castro and the Del Mundo brothers in a crowd --- that is if you could spot them. However, by 9:45pm, it was decided to announce it. After Paranoid City’s set (We Are Imaginary was the closing act), it was as if the lid of a pressure cooker was about to blow as the audience of some 50-plus people brimmed with excitement. They crowded the front area allotted for the band with cellphones and cameras ready to record the momentous event.

“Marami bang tao,” asked Ace while hanging outside by the holding room reserved for bands. He didn’t want to go inside until the band was due to take the stage.

He got his answer when past midnight, they took the stage (along with Castro’s occasional collaborator Rain Paggao on second guitar) to bedlam.

Their sound check had fans cheering. When the bass line to “A Beginning of Something Wonderful” (from their magnificent debut Love in the Land of Rubber Shoes and Dirty Ice Cream) rumbled in the roar was deafening. Whatever trepidation ONL felt prior to the show evaporated. The fans sang along, some danced, while some lost their minds. They segued into the Echo and the Bunnymen classic “Bring On the Dancing Horses” then to another original, “Caught In A Line” (from their second album Strike Whilst the Iron is Hot) to which the crowd sang the chorus. They closed their short but sweet set with the Smith’s “This Charming Man”.

“More” begged the crowd but just like that, ONL quickly exited to the holding room.

“That was good, huh?” said Castro as the bad sat down with the adrenaline still pumping. Ace, who articulated his nervousness and excitement no end broke out into a broad grin.

“Wow,” was the only word that emitted from his lips.

Next up… the comeback show on the 29th at 70’s Bistro that was the site of their last domestic show before the band parted ways in 2007. “The venue is by design,” revealed Castro. “This is unfinished businesses.”