Ang Bandang Shirley, Flying Ipis, Kala, Penguin, Mad Hatter Day, and Farewell Fair Weather are set to rock that Jack Daniel’s stage this Friday (October 3) at Alphonse. Now you know where to spend your first October weekend.
Camden. Rough Trade Records. The Tate Modern. These and more Anglophile ephemera coming to you by way of J. Sonic. Pedicab, Sandwich, and the rest of the gang are playing Leeds September 27 and London on the 28th.
Sandwich, Pedicab, Squid 9, The Diegos, and Top Junk, among other superb Pinoy acts, are in the UK now for a two-date stint: Leeds on Saturday and London the next day. Jason Caballa gives us a digest of the goings-on. This is installment numero uno.
Autotelic (whose new full-length launches September 27) are definitely capable of coming up with a spotless, meticulously-performed recording, and they deliver exactly that in “Dahilan.” Read about it (and stream it) here.
Though invariably pigeonholed as the country’s answer to Tony Bennett, Arthur Manuntag is, in reality and without paradox, a jazz-vocal original. Take a gander at Richie Quirino’s Q&A from a while back.
"[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.
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."