soapdish!
Sounding a decade gap or less would label a suggestive sound that of our current year, 2005. Hints as expected vary from a squalling answer of: Yano? Parokya ni Edgar? Grin Department? THE ERASERHEADS? After image? And for the bunch of femme fatales or female fronted bandwagon: Keltscross? Prettier than Pink? Hungry young poets?
Thus the sprung of ‘was-90s’ gave birth to the existing term known as TUNOG KALYE (music of the street), for the 90’s alternative pop/rock scene is considered big at that time so as to every men outside their own barracks relate to the easy-listening or at some point, at the double-edge meaning of the lyrics.
Some critics even branded it as the novelty of that decade.
Lito Camo even released the Eraserheads-sounding “kung ikaw” a fraction from that era which instantly became a hit.
But that’s not the deal here; ‘was-music’ is never a bad thing to give birth on the 2005 aural trend. Instead, it is more of an indication to a widening audience whom tried learning to appreciate quality music, atleast on their very little knowledge of the scene.
Take the band, Soapdish for example. They were humble enough to be in debt of their sound to the good old alternativity of the 90s, particularly The Eraserheads – parting an impression of their tune that brews at such degree of lyrical compassion and impressive pop hooks.
Scoring a copy of their self-titled CD painted me the absolutes of comparison with Hagibis (??), obviously The Eraserheads, PAROKYA NI EDGAR at hefty, and the comic stints of Weezer, Foo Fighters and Yano (think: ESEM and SENTI).
“tensionado” is a doppelganger of Parokya ni edgar’s SORRY NA and the over-all touch of “would you” will make you chant of another parokya ni Edgar ditty (wag mo na sana akong pahirapan pa.. kung ayaw mo sa akin ay sabihin mo na…). The title of the song escapes my mind at the moment but I’m sure that it’s from PNE’s.
Mimicries are limited to just the latter two songs mentioned as far as effect to the album’s over-all appeal is concerned. Speaking of which, the packaging and CD cover depicts the image of circling bubbles implying what the record tends to sound on joints – edgy, popish, and fresh –- and the ideal description fits the hauler single “ewan ko,” every torpe’s soundtrack. Already on the music channels of the boobtube, the video of this song illustrates the mohawked vocalist Jeff accompanying a similarly mohawked kid to the clinic for circumcision purposes, only to find out that it’s Jeff who needs to be circumcised. Funny at some sorts.
The vocals of Jeff conferred me a subtle reminder of a constipated Marc Abaya especially on the taglish-laden “hintay,” whose dense drums are too evident that it showcases the band’s strong suit on its rhythmic aspects. “pain redefined” breaks new ground with tip-offs of looming guitars soaring to the pinnacles of Jeff’s drowsy voice having a propensity to cast away spells of depression and heartache. Jeff’s good at it, really. But on “Nana song” he offshoots pitchy as he tried to reach the high note (not so high note.. hehe!) – just a minor slip though (most bands I know have the same problem. Take Paramita’s takipsilim for an an instance).
I’m very particular with roadtrip soundtracks, and the slippery “dahil sa ulan” would in any case be firmly a good driveway theme.
On tracks “Aimee” and “Higher,” Soapdish pulls that Third Eye Blind influence in them: simple utterances of anger, anxious at a happy period. Opposite contours are what these two songs commend.
The intro of “Sandali” rings me the bell of a Hagibis song which I won’t rather mention. It’s bald chorus candidly speaking, is plain boredom – probably the faintest of Soapdish’s dozen efforts.
Played acoustically is the emotional “pwede ba” moving hope and chance in the guy’s offering of enduring love (“puwede bang, sabihin mo… maghihintay ako sayo / kasi medyo naiinip na ko sa ikot ng mundo”). Another foolishly sentimental is “Sana Sinabi,” a sequel (on my stance) to the miscarriages of puwede ba where regret is at the end of the wait.
All in all, the record is a safe one, yet not trying to be pretentious. And that trait alone is a delicate beginning of the band’s future to the ‘still-ambiguous’ music scene of ours.
Better phrase to rate the record: a run in the mill.
Thus the sprung of ‘was-90s’ gave birth to the existing term known as TUNOG KALYE (music of the street), for the 90’s alternative pop/rock scene is considered big at that time so as to every men outside their own barracks relate to the easy-listening or at some point, at the double-edge meaning of the lyrics.
Some critics even branded it as the novelty of that decade.
Lito Camo even released the Eraserheads-sounding “kung ikaw” a fraction from that era which instantly became a hit.
But that’s not the deal here; ‘was-music’ is never a bad thing to give birth on the 2005 aural trend. Instead, it is more of an indication to a widening audience whom tried learning to appreciate quality music, atleast on their very little knowledge of the scene.
Take the band, Soapdish for example. They were humble enough to be in debt of their sound to the good old alternativity of the 90s, particularly The Eraserheads – parting an impression of their tune that brews at such degree of lyrical compassion and impressive pop hooks.
Scoring a copy of their self-titled CD painted me the absolutes of comparison with Hagibis (??), obviously The Eraserheads, PAROKYA NI EDGAR at hefty, and the comic stints of Weezer, Foo Fighters and Yano (think: ESEM and SENTI).
“tensionado” is a doppelganger of Parokya ni edgar’s SORRY NA and the over-all touch of “would you” will make you chant of another parokya ni Edgar ditty (wag mo na sana akong pahirapan pa.. kung ayaw mo sa akin ay sabihin mo na…). The title of the song escapes my mind at the moment but I’m sure that it’s from PNE’s.
Mimicries are limited to just the latter two songs mentioned as far as effect to the album’s over-all appeal is concerned. Speaking of which, the packaging and CD cover depicts the image of circling bubbles implying what the record tends to sound on joints – edgy, popish, and fresh –- and the ideal description fits the hauler single “ewan ko,” every torpe’s soundtrack. Already on the music channels of the boobtube, the video of this song illustrates the mohawked vocalist Jeff accompanying a similarly mohawked kid to the clinic for circumcision purposes, only to find out that it’s Jeff who needs to be circumcised. Funny at some sorts.
The vocals of Jeff conferred me a subtle reminder of a constipated Marc Abaya especially on the taglish-laden “hintay,” whose dense drums are too evident that it showcases the band’s strong suit on its rhythmic aspects. “pain redefined” breaks new ground with tip-offs of looming guitars soaring to the pinnacles of Jeff’s drowsy voice having a propensity to cast away spells of depression and heartache. Jeff’s good at it, really. But on “Nana song” he offshoots pitchy as he tried to reach the high note (not so high note.. hehe!) – just a minor slip though (most bands I know have the same problem. Take Paramita’s takipsilim for an an instance).
I’m very particular with roadtrip soundtracks, and the slippery “dahil sa ulan” would in any case be firmly a good driveway theme.
On tracks “Aimee” and “Higher,” Soapdish pulls that Third Eye Blind influence in them: simple utterances of anger, anxious at a happy period. Opposite contours are what these two songs commend.
The intro of “Sandali” rings me the bell of a Hagibis song which I won’t rather mention. It’s bald chorus candidly speaking, is plain boredom – probably the faintest of Soapdish’s dozen efforts.
Played acoustically is the emotional “pwede ba” moving hope and chance in the guy’s offering of enduring love (“puwede bang, sabihin mo… maghihintay ako sayo / kasi medyo naiinip na ko sa ikot ng mundo”). Another foolishly sentimental is “Sana Sinabi,” a sequel (on my stance) to the miscarriages of puwede ba where regret is at the end of the wait.
All in all, the record is a safe one, yet not trying to be pretentious. And that trait alone is a delicate beginning of the band’s future to the ‘still-ambiguous’ music scene of ours.
Better phrase to rate the record: a run in the mill.
posted by karizza at Thursday, August 11, 2005
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