I Got My Music Fix at Route 196

I got my music fix at Route 196. 

Before I bid goodbye, allow me to take a trip down memory lane.

At one point in my life, I felt as if I was at the center of the rock and roll universe in the Philippines.

I lived in Cubao. About a 150 meters from where I lived was an old school chum Dominic Gamboa. Down the western half of the street – but you had to turn left – was the office of Jingle magazine.

If I walked a bit more to Edsa, there was Club Dredd. In fact, I did walk to the late great club. If I turned right into P. Tuazon from my street along 8^th Avenue, at the corner of Ali Mall was the Cowboy Grill that had this great house band with a female American vocalist who gave the best impression of Robert Plant until I saw Heart’s Ann Wilson.

At the old Shakey’s in New Frontier, man… there were bands galore. And at Farmer’s Plaza, there were all these shops that sold punk rock tapes and gear. 

And there were at least eight record bars in the area alone! 

They are all gone now. 

As someone who has hit mid-age, I cannot help but wax nostalgic each and every time I pass by my old stomping grounds. And I always look at all where these places of my youth used to be and the memories come flooding back in vivid details and color.

Then my family left and moved closer to Katipunan. Unfortunately, I was done with school by the time we moved so it was my sibling who benefitted being closer to Ateneo.

After returning to the Philippines after some time abroad, I was happy to see Route 196 along Katipunan.

While I would go to Mayrics, Saguijo, and 12 Monkeys once in a while, I really preferred the clubs in the Quezon City side – Tomato Kick, 70s Bistro, and Mow’s. Perhaps the one exception to that was the Darkside Bar along Nakpil Street in Manila. 

But Route 196... it was introduced to me by former FHM editor-in-chief Allan Madrilejos – who co-owned the club at one time -- who was a batch behind me in Ateneo.  I loved going there because I lived close by. And since parking was always a bitch, I oft would walk although it was like a 15-minute walk. I liked the smallness and intimacy of the venue. How everyone knew each other and mingling with the bands was the order of the night.

There were some bands I would always watch when they were there – Ang Bandang Shirley, Itchyworms, and Ciudad to name a few. It is where I became friends with Kate Torralba. It is where I first saw Narcloudia that I wrote a blog post and an article that in their next gig at Tomato Kick it was filled with people because of what I wrote about their show at Route 196. It was where Sugar Hiccup played their last show. It’s where I caught Stomachine and interviewed them for a story on their album launch night. I wrote my first Squid 9 article during an album launch of theirs. Ditto for the Assembly Generals and many others. 

As with most of everything in this pandemic, it is hard to process loss. Most everyone or everything that has shifted this mortal coil – well, in my opinion, it wasn’t their time. It is because of some virus that emanated from that country west of Taiwan which is why the world is in this mess. Of course, this government has bottled it as well making me doubly angry.

This obituary for Route 196 is obviously days late. That’s because I am still processing it.

Even before the news of their closure hit, I would always pass by and look at the venue; just like I do when I see that old spot of Club Dredd along Edsa. I wondered how long can they hold on. Not for long, I guess. 

These past few days, I have seen a lot of bands and performers posting their pictures and sharing their memories of Route 196; and what it meant to them. 

Truthfully? It was painful reading them. 

I know every good thing comes to an end. 

The day that NU107 signed off, I was a guest by Pontri in his last show. It sure was a treat that I had a sports talk show on NU107 (right after Papadom’s Dread at the Control). I stood outside along with many others when it finally signed off and I felt like I got hit in the stomach. 

I got to see the Juan dela Cruz Band in their prime and in their very last show. 

And well, one of my fave indie bands, Narda… well, they’re gone too. 

There’s more. 

It is said that songs are actually time machines because they take you back to places you never thought you’d go back to. It’s true. 

I guess, you can say the same for these rock clubs that are now gone.

Thanks Route 196. 

Now where the F do I get my music fix?

Chickoy Pura and the story of The Jerks’ anthem “Rage”

Chickoy Pura and the story of The Jerks’ anthem “Rage”

By Rick Olivares

Where does folk music intertwine with punk rock?

The twain meet at the intersection of social commentary and mainstream excess making for an explosive concoction. 

And Alfredo “Chickoy” Pura Jr. finds himself smack dab in the middle. 

As a folk musician, Pura channeled his inner Bob Dylan and Neil Young.

As front man for The Jerks including the constant ebbs and flows with different line-ups, they morphed from their New Wave and Punk roots to a raunchier sound more akin to The Rolling Stones.

The Jerks…. they were never conventional. They submitted their first songs - “Romantic Kill” and “Big Deal” – on cassette and were played on DZRJ’s “Pinoy Rock and Rhythm” show that was hosted by DJ Howlin’ Dave in 1981. Those songs – now considered classics – have never been given the vinyl or cassette treatment. 

Instead, their debut album was actually a live recording that was released in 1994.  Three years later, they followed that up with a proper self-titled studio debut that featured classics such as “Haligi sa Maynila,” “Sayaw sa Bubog,” “Reklamo ng Reklamo,” and “Rage.”

Last August 9, “Rage” elevated from classic into anthemic. 

A music video – spearheaded by Mrk Estandarte of Pasada, Pol Torrente of Plagpul, and Monet Pura, Chickoy’s wife -- featured 35 musicians from the alternative scene performing “Rage” as a form of protest to recent controversial events that have rocked this country. 

Could The Jerks’ anti-fascist song now replace “Bayan Ko” as the new protest anthem? More so now that the singer of that latter song has crossed over to the establishment’s side?

Chickoy Pura laughs. He isn’t concerned about plaudits or iconic status. He is more concerned about what has happened to the world we inhabit. 

“As an individual, you have to draw the line when you face this specter of fear,” emphasized Pura. “A lot of what has been going on is insensitive and cruel. We are in the middle of a pandemic and kung ano ano pa ang ginagawa pangigipit sa tao.”

Then as in now, the song’s lyrics remain poignant if not prophetic. 

“And the names and faces of the tyrants change.

But poverty, pain, and murder remains. 

And the voices of truth are locked up in chains.

Darkness remains, freedom in flames.”

When Pura wrote “Rage,” he wanted to paint a picture of poverty in Manila. In doing so, he quoted the late Welsh poet Dylan Thomas’s famous verse, “But I’ll go not gently into the night. Rage against the dying of the light.”

But the germ of the idea for the song came from a painting Chickoy’s sister-in-law gave him. 

“I was given this painting made by a political detainee,” recounted Pura. “It depicted a dove flying away into the darkness and it quoted Dylan Thomas. I had to look up the poet and the poem and found both powerful. It gave meaning to the song. And yet, in hindsight, I wish I asked for the name of the detainee.”

“Folk and punk rock music are about social issues and I decided to write about the social injustice and human rights violations in the country,” he added. “As for Dylan Thomas’ poem… it was waiting for someone to write it.”

And the song and its music video is every bit as ferocious as the title implies with Pura’s pained voice spitting out every word with exasperation and anger. In between the words and verse, then-bandmate Nitoy Adriano’s discordant guitar licks added an element of danger.

As for the jam re-make? It’s equal parts passionate, powerful, a powder keg of emotions let loose.

And the video was a bold statement. It outed every musician who feels the same way about what is going on.

“Well, there are expected trolls,” laughed Chickoy with a hint of sarcasm. 

This isn’t Pura’s first bit of commentary about these times. In October of 2017, he recorded a new song “Sa Madilim na Sulok ng Kasaysayan” along with drummer Ray Marasigan and bassist Buddy Zabala who both appeared on the Rage PH video. The song had this Bo Diddley vibe yet with the trademark Pura grit.

“As a songwriter, I have always addressed the world in which we live in. Yung sinusulat ko, kung magmulat ang mata ng tao at makakbuti para sa lahat, then I have done my job.”

For Chickoy… he can’t wait for this crazy world to go back to its usual axis. He misses the exhilaration of live shows, performing for audiences, and interacting with fellow musicians and fans. “Music for me is, was, and will always be a form of expression. But I also want it to be a vehicle to provide for my family.”

For someone who carried the flag for Original Pilipino Music, and bravely planted into onto Manila’s mean streets, Pura isn’t done. “I have more songs in me,” he proclaimed.

Why at the intersection where folk and punk rock meet… you’ll still find Chickoy Pura, guitar in one hand, and still raging against the dying of the light. 

The new Insektlife Cycle single on wax Zookeeper's Cardinal Healing Forum!

Noel Cabangon gets creative in this pandemic

Noel Cabangon gets creative in this pandemic

By Rick Olivares

It is said that turbulent times make for fertile creative grounds. 

In the midst of the ongoing Covid-19 pandemic and these haphazard times that go along with it, musician Noel Cabangon is experiencing a re-birth of sorts.

“Actually, I am surprised because I haven’t written these many songs in my career,” sheepishly admitted Cabangon in a Zoom interview last Thursday evening.  “Dati halos dalawang taon wala pa nasusulat. During this pandemic…heto.. marami – iba’t iba.”

Since the Philippines went into lockdown last March 11, the fires of industry have been lit in the Cabangon household. The veteran musician has penned seven new songs and is hard at work on an eighth.

Showing dexterity and a new-found creative jones, Cabangon is embarking on a 21^st Century version of Old Blue Eyes’ Duets – where he writes and collaborates with a new generation of performers and musicians of varying genres. 

Some of his recent efforts include the song “Habangbuhay” (recorded with pop duo Leanne and Naara) and the recently released track, “Pag-Ibig,” with hiphop artist Aikee. 

“It’s me writing a hiphop song although my voice isn’t what you normally associate with hiphop,” laughed Cabangon about his stab at the latter song.

By no stretch is he the musician or the man he was when he came into public consciousness with his band, Buklod, in 1987. Through seven solo albums that followed and the numerous awards he garnered in that span, he has been pigeon-holed into an artist who writes socially-relevant songs. 

Cabangon has been unfairly labeled as a “folk singer” as he has dabbled into rock and pop. “Maybe because that is where I started,” he reasoned. But he is quick to dispel that… I’ve done rock music and…. I hope to do some jazz.”

It is certainly possible to cross over into different genres.

English guitarist Peter White made a name for himself performing with folk rock musician Al Stewart and collaborated on many of the latter’s biggest hits. He formed a pop rock group, Shot in the Dark, that backed up Stewart for two albums, 24 Carrots and Live Indian Summer after which they released a vastly underrated album. White then to join pop jazz artist Basia before embarking on a successful solo career as a jazz fusion artist.

“I think a musician should grow and learn all the time,” emphasized Cabangon. “You have to be exposed to different genres and modern music if you want to grow.”

And time is what Cabangon and well, everyone has had lots of in this pandemic. 

Before the Covid-19 virus wreaked havoc on an unsuspecting world, Cabangon was looking to do his version of duets albeit with new compositions instead of his classics but all recorded with some of his favorite new artists such as Ben&Ben, Moira dela Torre, and December Avenue to name a few.

There’s one in the pipeline where he hopes to work with 3D – Johnoy Danao, Ebe Dancel, and Bullet Dumas – in a move akin to late 1980s supergroup The Traveling Wilburys that consisted of Bob Dylan, George Harrison, Jeff Lynne, Roy Orbison, and Tom Petty). 

“Na-limit yung paggawa ng album na ito but it’s all about navigating this pandemic in a different way every day,” the singer-song writer pointed out.

Every day.

The day starts for Noel in the early hours of the morning. “The stillness of the morn,” is how he describes it. “Ako ang pinakamaaga gumising. I do it to take advantage of the stillness of the morning and the freshness of my mind.”

The living room has been set-up for creativity – the guitar rack and keyboard are present in one side as is his laptop to record his ideas. A cup of coffee – a non-negotiable stimulus for the singer-songwriter -- is always within reach. 

“Of course coffee really helps,” he said while holding up a mug as proof.

“I have a lot of time to think and to reflect,” Noel bared. “And today’s context is really conducive for my style of songwriting. I write what pops out and record whatever motif maisip ko. I scribble down concepts, ideas, words… whatever comes to mind and see how I can string it into a song or save it for later.”

“I do not want to sulk in one corner. I condition my mind to be productive.”

More to any new album, Cabangon is busy with the ongoing Linggo ng Musikang Pilipino; a virtual music festival from August 19-28. As chairman, Cabangon is excited for this as it gives Pilipino music a chance for more eyeballs, participation, and awareness with most people staying home.

Linggo ng Musikang Pilipino offers a caboodle of music performances, single and album launches, workshops, creative webinars, talks, and more. 

Second win for his career?

“No,” enthused Cabangon. “It is me being grateful to have achieved this status in my career and to be able to give back. And well… to re-invent myself.”

It’s now close to 9:30pm as we concluded the interview. Apparently, the day isn’t done for Cabangon. He has still some song ideas to scribble down.

Itchyworms’ new album The Waiting for the End to Start is “imperfectly perfect”

Itchyworms’ new album The Waiting for the End to Start is “imperfectly perfect”

By Rick Olivares

Are you waiting for the end of this pandemic and the start of normalcy or whatever will pass for it tomorrow?

Are you waiting for the end to an embargo on live performances and to start kicking back and swaying to a manic and propulsive beat?

Are you waiting for the end of this extended bout of anxiety and the start to go on the road to recovery?

“It could mean whatever,” clarified guitarist and vocalist Jugs Jugueta. “Depende kung saan ka ngayon it can refer to relationships such as the end of one and the start of being single or vice versa.”

The new – and fifth – opus from alternative rock act, Itchyworms... The Waiting For the End To Start doesn’t answer those questions. What it does is it gives a voice to the gamut of emotions that the world has felt in this pandemic. And in traditional Itchyworms fashion, the songs, delivered in rollicking fashion, provide a backbeat of hope so you can smile and wait for a new dawn.

Recorded in isolation, The Waiting for the End to Start, is perhaps this quartet’s deepest and most introspective recording to date.  

Like the rest of the planet reeling from the effects of the pandemic, the Itchyworms - from Jugueta to drummer and vocalist Jazz Nicolas to bassist Kelvin Yu to guitarist Chino Singson – dealt with the lock down in their own manner. 

“Whatever plans we had before ECQ are up in the air,” admitted Jugueta rather mildly. 

It is easy to equate Itchyworms’ zany personas and rollicking performances (and videos) to shiny happy people. And while they are, many of their songs drip with melancholia and its related flavors. 

“Malungkot yung songs namin,” offered Nicolas. “But when we play them, we don’t try to make them sound sad because the lyrics are already sad.”

And I agree as it reminded me of American alternative rock heroes R.E.M.’s “It’s the End of the World As We Know It (And I Feel Fine).” 

And fine Itchyworms is. The new album is therapeutic. Cathartic. 

“We’re fun people,” corroborated Jugueta, Nicolas’ frequent co-writing partner. “Yung paglabas ng sama ng loob… doon lumalabas sa kanta.”

One of the first songs released online from The Waiting For the End To Start is “The Silence” is especially telling for the reflects the solitude one felt during the lockdown; of being mostly unable to go while being unable to mostly express one’s self given other social challenges. The song though is best listened to along with its accompanying video; a powerful interpretation of emotions people went through.

And Singson felt it, “Guys, tinamaan ako sa feels (ng kanta).” 

“Armageddon Blues” – the other song released thus far -- is a bluesy rocker to shake the blues away.  

                                                                  

The rock and roll may chase the blues away and pandemic be damned, the band has not lost its sardonic sense of humor. 

The next single – “Sam Day” -- is an Indie pop jazz-avante garde song that clocks in at 6:59 long.

And then there’s the James Bond element.

Explained Jugueta, “Mula nung nagsimula yung lockdown lahat ng tao nanonood yung Netflix at yung tulad nito. Malaking influence yung soundtracks ng series and movies. In fact, the title track, ‘The Waiting For the End To Start’ is a homage to those James Bond films. Parang ‘The World Is Not Enough’, ‘Tomorrow Never Dies’ or ‘A View To A Kill’. 

The fifth album was recorded with what equipment was available, and crappy internet, at least for drummer and producer Jazz Nicolas during the ECQ.

And yet, the band pronounced themselves happy with the result. Perhaps, their best even.

“I haven’t been happy with this in a while,” bared Singson. “I have this greatest sense of satisfaction. I had more time with the work flow. Mas nabigyan ko ng care yung guitar parts. Of course, in no small part because the songs are so good. I discovered given enough time, I can craft good guitar parts. Unlike in the studio before the dinner break may magandang part na nailapat.”

“I’ve never felt the need to record by myself (except for a demo),” admitted Jugueta because the band had its own Big Baby Studios in San Juan. “So it was a struggle for us.”

Summed up Nicolas, “It’s not a perfect album but yun ang maganda about it.  It’s not perfect, but because we had more time, we can absorbed the songs longer. So it is 

imperfectly perfect.”

Itchyworms will hold the virtual launch of The Waiting For the End To Start on Monday, the 17^th August at 7:30pm on their Facebook page. 

How Island Records Philippines’ Zack Tabudlo wrote a love song during math class

How Island Records Philippines’ Zack Tabudlo wrote a love song during math class

By Rick Olivares

Imagine being in math class and the numbers you are seeing are chord progressions.

That is proof positive that inspiration can strike you when and where you least expect it.

And that is precisely where 18-year old Zack Tabudlo got the idea for “Nangangamba” in his Island Records Philippines debut.

“I was going through this relationship there was this girl I liked and she was in the same class as me,” related Tabudlo. “Everything was flowing but she was playing hard to get. So I didn’t know what I was doing and because of that, I didn’t know that I had legit feelings for her.”

The impetus for “Nangangamba” came a few days later.  “I was in this math class and I had these chord progressions in my mind,” excitedly recounted Tabudlo. “I grabbed my phone and told myself that I needed to record this.”

The problem was it was during class and if he waited for the session to end, he might forget the chords. If he recorded in class, he ran the risk of having his phone confiscated.

In a stroke of good fortune and timing, his math teacher was called out for a few minutes giving Zack the opportunity to record the music. “My friend had his ukulele lying around and I used it to record the chords on my phone,” he described of his impromptu recording session.

However, the song remained unfinished until a few weeks later when another burst of inspiration struck while hanging out with his friends that also happened to include the object of his affections.

“The melody popped out,” he enthused. Only this time, he seized the day. “When I got home I wrote the song in around two hours. The entire production took about in five hours.”

And now it’s a song that has been released on all digital platforms worldwide. 

In a few weeks’ time, Zack Tabudlo is entering first year college at the University of Perpetual Help in Las Piñas. Most youngsters his age will worry about the challenges of online schooling, the pandemic, not being able to go out and hang out like before, or even meeting up with friends and exploring relationships.

Zach will also have the distinction of having a resume this early.

After all, he is signed to Island Records Philippines. 

The label is home to world-famous acts such as Elton John, The Killers, The Specials, Shawn Mendes, and Keane to name a few (not to mention it also being home to Bob Marley and the Wailers and Bon Jovi). 

Even before classes begins for Zack, he is seeing some numbers this early. 

He has close to 15,000 monthly listeners on Spotify. “Nangangamba” that clocks in at 3:30 minutes long was released on the 7^th of August. 

Plus, he has new songs all ready to wrapped around a debut album.

As for the girl who was the inspiration for “Nangangamba”… Zack isn’t sure if she has heard the song. 

He isn’t quite sure what will happen. It could be a moment of awkwardness.

Maybe. Just maybe… this could lead to another moment of inspiration.

You can already put one and one together that it will have hit single written all over it.