The Filipino language just has that kick, in both everyday speech and in song. The Purplechickens showcase all-Filipino songs from their newest record, with (more than) a little help from Pedicab, Imago, Peryodiko, and Bullet Dumas, August 1 at saGuijo. August is, incidentally, Buwan ng Wika in these shores.
By the looks of it, the July 26 leg of Go! Experience may be the most ambitious one yet, focusing on a less-than-ideal, dystopic future and how to survive it. If that sounds too heady for ya, there will also be music from Slow Hello, Brisom, Jireh Calo, and the legendary Joey Ayala! Details here.
“There is some truth to the death of the music industry: meaning the music lives on while former concepts of industry are barely surviving in the massive shark tank that is the internet,” writer-critic Alice Sarmiento says in Part 2 of her mini-series “OPM by the Numbers.”
“Anak ng Diyos” by Malay is “a well-constructed track, highlighted by subtle but soaring choruses, propelled by the rhythm section’s tight, minimalist groove, and displaying textbook power trio dynamics all throughout.”
“A solid, consistently enjoyable effort, and a triumphant studio debut for Mayonnaise’s current lineup. Production-wise, it’s [also] probably the band’s best-sounding release.” Jason Caballa sounds off on “Tayo Na Lang Dalawa,” Monty Macalino and company’s latest.
"[Acid jazz has come to mean music that tries] to get a little bit more funk, a little bit more edge, a little bit more acid, or corruption, inside the thing, that tries to mix this thing up and corrode it a little bit," Bluey Maunick and the rest of Incognito tell Planet Jazz. Read more here.
Since its inception in 2012, Heart of Music has always been at the forefront of musicians' welfare. On March 18, this cause will be furthered via a fundraiser featuring Dulce, Skarlet, AMP Nonet, and many others.
Let the erstwhile singer from Ambrosia be your early Valentine. Swoon over the crooning of Kevyn Lettau and Spencer Day, too. Three smooth-jazz masters from three different generations in one night. Show happens February 1 at Solaire.
From “Big Girls Don’t Cry” to “Can’t Take My Eyes Off of You,” you can’t help but bop your head to these tunes and just feel uplifted. Karl R. de Mesa weighs in on the Frankie Valli-propelled OST for the Clint Eastwood-directed “Jersey Boys.”
Desplat’s “Budapest” OST has both the polish of an old-school gentleman’s shoes and the grime of gunpowder that presages its descent into filth. Echoes his work on “Mr. Fox” and “Moonrise” but with a definite, uncompromising edge.
“[Alexandre] Desplat was going for a brutish kind of direct aesthetic instead of continually beating around the bush,” Karl R. de Mesa writes about the score for “Godzilla,” which is “as stupidly big” as the beast in question.
"Henry Jackman's rousing score hits the bull's eye [and] provides an aptly paranoid and gloriously over-the-top accompaniment to the Captain's brave new world." Writer Karl R. de Mesa weighs in on the OST of the new Cap movie.
"For his ambition alone, [Nathan] Furst gets high marks as he tries to outdo his own previous B-movie efforts with his debut into the big screen's film-score elite." Our man Karl R. De Mesa on the music and score for "Need for Speed."