Scalper:‭ ‬“Sir tickets po‭?‬” Us:‭ ‬“No,‭ ‬please go away.‭”

As soon as we got out of the cab in World Trade Center the scalpers flocked to us like flies.‭ ‬After‭ ‬avoiding them,‭ ‬we managed to sneak off to a quieter spot where we smoked cigarettes while surveying the people around.‭ ‬Lots of familiar faces,‭ ‬mostly people from other bands.‭ ‬We were all there for one thing though:‭ ‬mother‭ ‬fucking Morrissey will be playing in a few minutes.‭

The security was tight,‭ ‬they even confiscated our packs of cigarettes and tossed it in a plastic bag by the side of the door.‭ ‬We were‭ ‬too excited to even care and made our way inside.‭ ‬We decided to get beer and the only thing they had were‭ ‬200‭ ‬peso beers from Italy.‭ ‬We opted for some vodka instead,‭ ‬which cost‭ ‬150‭ ‬pesos.‭ ‬While enjoying a platter of vegetarian-friendly food,‭ ‬we saw a mini Eraserheads reunion happen as Buddy Zabala,‭ ‬Raimund‭ ‬Marasigan and Ely Buendia were mere feet apart from each other

Yes,‭ ‬this night is going to be special.

We finally went inside the hall.‭ ‬There were a lot of people,‭ ‬especially for a Sunday.‭ ‬While a sound clip of bells plays,‭ ‬Morrissey and the band take to the stage.‭ ‬Morrissey greets the crowd with a‭ ‬“Kamusta kayo‭?‬” then a familiar riff starts to play.‭ ‬He opened the show with The Smiths‭’‬ “How Soon Is Now‭?‬”

Everybody was cheering and singing along,‭ ‬and we knew right away that we were in for a treat.‭ ‬He immediately followed the intro with‭ ‬“Alma Matters‭”‬ and‭ ‬“You Have Killed Me‭”‬.‭

He played favorites from his solo stuff as well as some songs from his time with The Smiths.‭ ‬Everybody went wild when he‭ ‬played the crowd favorites‭ ‬“First Of The Gang To Die‭”‬,‭ ‬and‭ ‬“Everyday Is Like Sunday‭”‬.‭ ‬The energy was just bouncing off the walls.‭

Morrissey is still an amazing performer,‭ ‬and his voice is still as magnificent as ever.‭ ‬The band was also really talented,‭ ‬with most of them switching to different instruments‭ ‬for some of the songs.‭

All in all it was a memorable show even though it was a bit short.‭ ‬We sure went home satisfied,‭ ‬the set‭ ‬list‭ ‬filled with amazing songs including‭ ‬“Shoplifters Of The World Unite‭”‬,‭ ‬“Everyday Is Like Sunday‭”‬,‭ ‬and‭ ‬“There Is A Light That Never Goes Out‭”‬ which he played during the encore.‭

The concert was a once in a lifetime thing and everyone in the room knew it.‭ ‬Seeing Morrissey live is now something that we can cross off our collective bucket lists.‭

photos by ©PTMTolibas2012

How does a band avoid the dreaded “sophomore slump”? Ace Cada and company have managed to avoid this by having some damn good songs in their repertoire. The lyrics may not be particularly profound but they sure are honest. That’s the thing with Bagetsafonik’s self-titled sophomore album: it’s hard to find fault in something that’s  so honest and sincere.

The music is more than just your run of the mill “pop rock”. The instrumentation serves the song and not the other way around, with the band opting for a more synth-driven wall of sound on some tracks while sometimes pulling back and letting Ace Cada’s vulnerability through in some of the more slower tracks. The lyrics are articulate, lovelorn, and brilliantly self-depracating. These songs are love songs that avoid cheesy over-sentimentality.

When you listen to these tracks individually they may lack the emotional punch we’ve hinted at earlier. But if you listen to the album in its entirety it makes for a cathartic experience that’s rare in albums nowadays. This is an album that forces you to listen to it in its entirety.

“Bagetsafonik” opens with the slow burn of “Curtain Call”, a song that sets the emotional tone of the album, and closes with the knockout 1-2 punch of “Parang Pelikula” and “Despedida”, probably two of the best OPM songs to come out this year. “Parang Pelikula” is a midtempo tale of heartbreak awash in neo-psychedelic instrumentation. Much like the opener, “Despedida” is another slow burn, starting out with only Cada’s voice accompanied by finger-snaps, backing vocals, and a bass guitar before it builds up to a cathartic ending complete with guitars and synthesizers.

Some of the best tracks in the album including “Airports”, “Silverstar” and “Word For Word” features the band doing what they do best: catchy and danceable rock music. “Word For Word” in particular is one of the more catchier songs in the album, with synth-player Marcushiro Nada trading in the synthesizers for some catchy melodica lines. The song sounds like a lost Replacements track straight out of the 80‘s.

Much like Beulah’s “Yoko”, this is an indie rock masterpiece that’s emotionally mature and yet playful. And just like a really good love letter, it’s honest without being over-sentimental to the point of being cheesy.

Photos by James Bringas

Aseana Avenue seems to be an unlikely place for a music festival but once you‭’‬re there it‭’‬s not surprising why it became the venue of choice for the first Manila Music Festival.‭ ‬With the success of the Malasimbo Music and Arts Festival,‭ ‬it was pretty clear that the next phase‭ ‬is to hold a festival in the capital city of the Philippines.‭

Let‭’‬s get this out of the way first:‭ ‬Yes,‭ ‬the turnout was a lot fewer than expected,‭ ‬but that doesn‭’‬t necessarily mean that the festival was a failure.‭ ‬It succeeded in bringing people together to witness some of the best musicians the country has to offer,‭ ‬and share the stage with legendary international artists.‭ ‬If there‭’‬s one observation we would like to point out,‭ ‬it is that we hope for more diversity in the lineup in the future.‭ ‬We have more to offer and with a killer lineup I‭’‬m sure the next Manila Music Festival will be‭ ‬10x more successful than the last.

Before the show began,‭ ‬Splintr got the chance to talk to Afrika Bambaataa and we were able to get a short interview regarding his thoughts on the state of music in general.

Splintr:‭ ‬How do you like the Philippines so far‭?

Afrika Bambaataa:‭ ‬I like it but I‭’‬m waiting to see more.‭ ‬You know,‭ ‬driving around the cars and just snapping pictures.‭ ‬I definitely want to go to Tondo and see what‭’‬s happening‭ ‬‘cause in the‭ ‬70‭‘‬s they started the Zulu Nation there.‭ ‬So I‭’‬m looking forward to seeing more of the land and the people.

Splintr:‭ ‬That would be interesting if you go over there and see the talent coming out of there.‭ ‬It‭’‬s a whole different scene.

Afrika Bambaataa:‭ ‬I was trying to get the government or somebody to set up some speakers and turntables out there and let us play for the people.

Splintr:‭ ‬You pioneered a lot of what Hip Hop is today.‭ ‬What do you think of how it‭’‬s progressed‭? ‬I mean,‭ ‬you‭’‬re still out there doing your thing,‭ ‬but what do you think of the Hip Hop scene now and what DJ-ing has turned into‭?

Afrika Bambaataa:‭ ‬I don‭’‬t like when the media doesn‭’‬t play all the different music.‭ ‬You know,‭ ‬play the old with the new.‭ ‬Same with the television,‭ ‬you know…‭ ‬play the old videos with the new videos.‭ ‬This way it keeps where the history comes from.

Splintr:‭ ‬You don‭’‬t think the media are doing that enough‭? ‬Mixing it up and giving everybody equal exposure‭?

Afrika Bambaataa:‭ ‬Yeah they‭’‬re messing it up.‭ ‬They‭’‬re nothing like the internet radio stations or the satellite‭ ‬radio stations.‭ ‬We need more balance.‭ ‬In music and television…‭ ‬you don‭’‬t call a woman a bitch or use the‭ ‬‘n word‭’‬.‭ ‬What we‭’‬re here about is love and‭ ‬“Fight The Power‭”‬ and all that.‭ ‬You can play Jay-Z and still Grandmaster Flash and Bambaataa…‭ ‬you can play Limp Bizkit and still play Rolling Stones.‭ ‬You‭’‬re playing Filipino music,‭ ‬play the old with the new.

Splintr:‭ ‬You mentioned Zulu Nation.‭ ‬That‭’‬s something you started.‭ ‬How‭’‬s that going‭? ‬Are you still politically-inclined in your music and what you do outside of the music scene‭?

Afrika Bambaataa:‭ ‬We‭’‬re always dealing with social issues.‭ ‬We want to keep that fifth element of Hip Hop and knowledge going.

Splintr:‭ ‬What do you think about being invited to a music festival for different kinds of music that you don‭’‬t hear on mainstream radio‭?

Afrika Bambaataa:‭ ‬That‭’‬s beautiful.‭ ‬We need more of that.‭ ‬We need more of the Manila Music Festival.‭ ‬We need all the type of festivals that keep people doing more constructive things instead of causing chaos.‭ ‬We‭’‬ve got to put some love back in the universe otherwise you will see that water rising high to wipe out as many islands and cities as it can because of all the evil in the universe.

The afternoon was marred with minor sandstorms,‭ ‬with DJ Joey Santos opening the show on the‭ ‬2nd stage that‭’‬s reserved for the DJs and the Hip-Hop acts.‭ ‬Local post-punk band Nameless Heroes on the other hand were the first to play on the Main Stage that‭’‬s reserved for the bands and the foreign musicians Ali Shaheed Muhammed,‭ ‬Afrika Bambaataa,‭ ‬and Shinichi Osawa.

One of the most amazing performances that night was the Similarobjects set.‭ ‬When Jorge Wieneke was setting up on the‭ ‬2nd stage,‭ ‬the people were scattered all around.‭ ‬But once he started to play,‭ ‬people were flocking to him like as if he was an electronica messiah.‭ ‬He was a commanding presence and to see people responding to his music‭ ‬shattered the notion that original Filipino music is dead.

Back on the rock stage Sinosikat performed to a slightly bigger crowd.‭ ‬They owned the stage with their own brand of soul music that‭’‬s both refreshing and exciting.‭ ‬After Sinosikat,‭ ‬Kjwan took to the stage and were joined by Louis Isok of Enemies of Saturn and Wilabaliw.‭ ‬They played some songs from their new album as well as some classics that were given a harder edge by Isok‭’‬s guitar playing.‭ ‬Wilabaliw was another band that did not disappoint.‭ ‬With their tight musician and energy,‭ ‬they made the stage their own.

Other standout performances that night include June Marieezy‭’‬s set,‭ ‬with the‭ ‬Ferris wheel in the background serving as the perfect backdrop for June‭’‬s fresh take on RnB.‭ ‬Razorback was another band that delivered a kick-ass set despite the absence of guitarist Tirso Ripoll.

Of course by the time Ali Shaheed Muhammed took to the stage the crowd was wild and was ready for the party that was about to ensue.‭ ‬DJ Shinichi Osawa and Afrika Bambaataa delivered equally mesmerizing sets perfect for the crowd that partied it up all throughout the evening.

While the turnout may not be that huge,‭ ‬the event was a memorable one.‭ ‬And here‭’‬s to hoping that the organizers make the next one bigger and better with a more diverse lineup.‭ ‬After all,‭ ‬there‭’‬s no way to go but up and this is a damn good start.

More photos from the first Manila Music Festival here http://jbringas.blogspot.com/2012/05/manila-music-festival.html

Ang Bandang Shirley has always been one of the best live bands in the local independent music scene.‭ ‬They were able to take catchy melodies,‭ ‬pop hooks,‭ ‬vocal harmonies,‭ ‬and technical skills,‭ ‬mixing it in with a truly Filipino sensibility that shoots straight for the heart and the gut.‭

The past couple of years they have been hard at work in the studio for the follow-up to their debut album‭ ‬“Themesongs‭”‬.‭ ‬On Saturday,‭ ‬they‭’‬ll be unveiling the fruits of their hard work by holding a listening party at Route‭ ‬196.‭ ‬There will also be performances by Ang Bandang‭ ‬Shirley and the members‭’‬ other projects including Slow Hello and The Purplechickens.‭

Come to the show and buy a limited edition shirt designed by IDKIDS for P300-350.‭ ‬Entrance fee is‭ ‬150‭ ‬pesos and it will get you a free drink plus some limited edition‭ ‬“Tama Na Ang Drama‭”‬ stickers and postcards by Everywhere We Shoot,‭ ‬Tof Zapanta,‭ ‬and Yasmin Sison.

It‭’‬s been a long time coming.‭ ‬Come by on Saturday and celebrate this milestone with the band.‭

Here is a list of who we think are the most influential record producers in the history of music. These people are the masterminds behind some of the greatest albums of all time. Think of this list as an educational piece. Think of this list as a tribute. Think of this list as a guide to help you appreciate all the hard work that these unsung heroes put in.

George Martin

Credits: The White Album, Rubber Soul, Revolver, Sgt. Pepper’s Lonely Hearts Club Band, Abbey Road

George Martin worked with many artists ranging from Matt Monro to The Mahavishnu Orchestra, but it was his partnership with The Beatles that is responsible in cementing his mark in the annals of Rock and Roll history. The Beatles have always been a great studio band because of their ambition and creativity. George Martin was able to harness these traits and because of their respective skills they were able to produce some really brilliant albums that still hold up to this day.

George Martin’s production style has always been imitated especially by countless psychedelic pop acts, but if you listen to the Beatles records that he worked on, they possess a density that was truly unique to them.

Brian Wilson

Credits: Pet Sounds, Smile

Brian Wilson was the creative force behind The Beach Boy’s 60‘s output. Brian Wilson is also a mad genius. If you listen to Pet Sounds, these are more than just brilliantly arranged pop songs. Every song is a masterpiece in its own right and mostly it’s because of the way Brian Wilson captured the melodies, the harmonies, and the lush instrumentation. Brian Wilson’s music is only limited by his imagination.

Steve Albini

Credits: Surfer Rosa, No Pocky For Kitty, In Utero, Rid Of Me

As a musician, Steve Albini is known for his abrasive brand of rock music with his bands Shellac, Big Black, and Rapeman. As a recording engineer (he hates being called a ‘producer’) he has worked with a diverse lineup of artists from Nirvana, to PJ Harvey, indie rock heroes Superchunk, and the Pixies. He’s known for his penchant for analog recording. He captures a performance in its most primal state, giving them a distinct sound.

Lee “Scratch” Perry

Credits: Soul Revolution

Lee Perry is a producer who has worked in his own records as well as in records by other reggae artists like Bob Marley and The Wailers. He’s more known for his contribution to music in general rather than a particular album. His experimentations in the recording studio gave birth to what is now commonly referred to as dub.

He made reggae music exciting, and for that alone he deserves to be on this list.

Brian Eno

Credits: More Songs About Airplanes and Food, Q: Are We Not Men? A: We Are Devo!, The Joshua Tree

Brian Eno is an innovator. From his days with Roxy Music to his ambient projects, Eno has always been experimenting with soundscapes. He was able to use this talent to great effect on albums by bands like the Talking Heads, Devo, U2, and even Coldplay.

Butch Vig

Credits: Nevermind, Dirty, Garbage, Wasting Light

There’s a reason why Garbage’s Butch Vig is probably the most sought-after record producer in the world: everything he touches turns to gold. He knows the quintessential rock sound and he knows how to make everything sound big and arena-ready. The Foo Fighters’ latest album “Wasting Light” is a perfect example of Vig’s genius. For an album recorded in a home studio he was able to make everything sound so polished and punchy.

Jerry Wexler

Credits: Donny Hathaway, Slow Train Coming, This Girl’s In Love With You

Jerry Wexler was responsible for the birth of Atlantic Records along with Ahmet and Nesuhi Ertegun. He was also a music journalist. Add his production work to his resume and he is clearly a jack-of-all trades. He has produced mostly RnB artists like Donny Hathaway, Wilson Picket, Ray Charles and Aretha Franklin, but he was also the producer responsible for Bob Dylan’s born-again album “Slow Train Coming”.

Sam Phillips

Credits: Hound Dog, Heartbreak Hotel, Don’t Be Cruel, Rocket 88

Without Sam Phillips there wouldn’t be rock and roll. With The Memphis Recording Service and Sun Records, Sam Phillips recorded and released songs by blues musicians and rock and roll pioneers like B.B. King, Howlin’ Wolf, Carl Perkins, Elvis Presley, Johnny Cash, Roy Orbison.

Sam Phillips is also responsible for The Million Dollar Quartet, probably the first example of a supergroup. The Million Dollar Quartet was a group comprised of Jerry Lee Lewis, Carl Perkins, Elvis Presley, and Johnny Cash.

John Cale

Credits: The Stooges, Horses, The Modern Lovers

John Cale was a founding member of the iconic experimental rock group The Velvet Underground. Ever since his days with the Velvets, it was clear that John Cale’s creative vision is uncompromising and sometimes hard to fathom. He brings this mindset to his production work for artists like Nico, The Modern Lovers, and Patti Smith.

He also produced The Stooges’ self-titled album, arguably one of the most important albums in the history of rock music.

Phil Spector

Credits: End Of The Century, Ronettes, Let It Be, Death Of A Ladies Man

The scandals in Phil Spector’s life overshadow his brilliance as a record producer. Phil Spector is eccentric, yes, but Phil Spector also knows pop music. He made the Ramones’ “End Of The Century” for chrissakes, and that album is filled with saccharine melodies and big arrangements that is typical of Phil Spector’s “Wall Of Sound”.

To put it simply, with the “Wall Of Sound” you cram as much orchestration possible into a track… though that explanation does not give justice to the nuanced brilliance of Phil Spector’s recording techniques.

Rick Rubin

Credits: Raising Hell, Licensed To Ill, Blood Sugar Sex Magik, FutureSex/LoveSounds

Def Jam Records co-founder, the extremely prolific and recognizable Rick Rubin is regarded one of the most important record producers of the last 30 years. Credited for his stripped down style and for fusing rap with heavy rock, his work for Run DMC, Beastie Boys, LL cool J, and Jay-Z is greatly responsible for hip hop music’s mainstream popularity. He has also produced albums for other artists such as the Red Hot Chili Peppers, Mick Jagger, Weezer, Neil Diamond, and Johnny Cash.

–

The next time you buy a record, read the liner notes. See who produced it. Listen to the music closely and appreciate every tiny detail. Keep in mind that the record wouldn’t be possible without the creative input of the people behind the scenes.

Munky doing some shopping.

Photo credit: Rosario Herrera of Status Magazine and Greyone Social

Morrissey…‭ ‬either you love him or you hate him.‭ ‬One thing is perfectly clear though:‭ ‬no matter which side of the fence you‭’‬re on,‭ ‬you can‭’‬t deny his influence in music.‭ ‬He burst on to the scene with the band The Smiths,‭ ‬a band that‭’‬s well known for their crafty,‭ ‬literate,‭ ‬and unabashedly British take on pop music.‭ ‬The success of The Smiths can be attributed to the musical partnership between Morrissey and guitarist Johnny Marr.‭ ‬Johnny Marr‭’‬s sparkly guitar lines and melody serve as the perfect background for Morrissey‭’‬s dryly poetic lyrics that straddle the line between being self-deprecating and insufferably narcissistic.

Every partnership‭ ‬must come to an end,‭ ‬and The Smith‭’‬s demise was a particularly ugly one marred with countless of lawsuits.‭ ‬But life goes on.‭ ‬Bassist Andy Rourke and drummer Mike Joyce are now DJs,‭ ‬Johnny Marr is continuing his musical career with bands like Modest Mouse and The Cribs,‭ ‬and Morrissey‭ ‬is‭ ‬still making records and touring the world.‭

On May‭ ‬13,‭ ‬2012,‭ ‬Morrissey will hit the stage at the World Trade Center in Pasay.‭ ‬Yes,‭ ‬ladies and gentlemen,‭ ‬Morrissey will be performing in the Philippines as part of the Asian leg of‭ ‬his Greatest Hits‭ ‬world tour.‭

As a primer for the upcoming show,‭ ‬we compiled a list of the‭ ‬5‭ ‬most memorable Morrissey songs.‭ ‬It‭’‬s hard work,‭ ‬but someone has to do it.‭

NOTE:‭ ‬The songs on this list are also perfect for that‭ ‬mix tape you are planning‭ ‬to make.‭ ‬You‭’‬re welcome.

1.‭ ‬First Of The Gang To Die‭ (‬You Are The Quarry‭)

One of Morrissey‭’‬s most memorable songs from his latter albums,‭ ‬“First Of The Gang To Die‭”‬ is a catchy romanticization of street life complete with youthful and ultimately tragic protagonist by the name of Hector.‭ ‬This may very well be the‭ ‬“Pancho and Lefty‭”‬ of our generation.

2.‭ ‬We Hate It When Our Friends Become Successful‭ (‬Your Arsenal‭)

The track was produced by Mick‭ ‬“Spider From Mars‭”‬ Ronson.‭ ‬His sensibilities mixed with Morrissey‭’‬s lyrical genius resulted in this perfect example of quality pop music.‭

3.‭ ‬Suedehead‭ (‬Viva Hate‭)

This track from the classic album‭ ‬“Viva Hate‭”‬ is probably one of the most Smith-esque of Morrissey‭’‬s songs.‭ ‬The instrumentation is simple and pushes Morrissey‭’‬s trademark voice to the forefront of the track.‭ ‬The way he sings the line‭ ‬“I‭’‬m so sorry‭”‬ is nothing short of heartbreaking with its sincerity.

4.‭ ‬Boxers‭

An example of Morrissey‭’‬s love for kitchen sink storytelling,‭ ‬this single is a short account of a defeated pugilist.‭

5.‭ ‬You‭’‬re Gonna Need Someone On Your Side‭ (‬Your Arsenal‭)

It‭’‬s a tremolo-laden rockabilly tune with Morrissey‭’‬s trademark croon.‭ ‬It shouldn‭’‬t have worked,‭ ‬but it did.‭ ‬It‭’‬s actually a match made in heaven.‭

MORRISSEY Live in Manila is happening on Sunday, May 13, 2012 at the World Trade Center in Pasay City. You may contact TicketWorld at www.ticketworld.com.ph or call at 891-9999. Ticket prices as follows: VIP P5,799 (reserved seating), TITANIUM P3,710 (FREE SEATING) plus applicable service charge.

Ed Kowalczyk was an important part of the Alternative Rock explosion ever since his band Live released the album “Throwing Copper”, an album that we love in these parts. So of course we will never pass up the chance to see the former Live frontman in action. Fans of both Vertical Horizon and Ed Kowalczyk were lined up outside the Smart Araneta Coliseum; the scalpers were discreetly peddling their “wares”… all in all, it was a normal concert night at the Araneta.

We got in and bought some beer and snacks and waited as Vertical Horizon set up. The venue wasn’t as jam-packed as we hoped, but it was still a good turnout. Finally Vertical Horizon starts the show. They were decent. A lot of people were singing along to their songs. Let’s just leave it at that.

We were there for Ed Kowalczyk.

After Vertical Horizon played their biggest hits, they finally left the stage and the roadies were setting up Ed Kowalczyk’s equipment. It took a good 15 minutes, then suddenly the place goes dark and operatic music starts to play. The band walks in, followed by Ed K himself.

Kowalczyk’s set was probably one of the best performances we’ve seen this year. His band was pretty tight, his voice was perfect, and he’s still an energetic performer. They played classics from Live’s discography including “Selling The Drama”, “Lightning Crashes”, “Lakini’s Juice”, and “White, Discussion” (arguably Live’s best song).

They also played songs from Ed Kowalczyk’s solo album, which is a bit more pop compared to his earlier work. Oddly enough, one of the best songs he played that night was “Zion”… a song from his solo record. It sounded like Throwing Copper-era Live complete with country music influences and brilliant lyrics.

The concert ended early. We can’t speak for everybody else, but we here at Splintr went home satisfied at what we just witnessed.

It’s Ed “Throwing Copper” Kowalczyk, man.

Photo by Magic Liwanag for Ovation Productions.