Where the Wild Things Are (2008)

Photo courtesy of Ser Dino Ignacio

Dino Ignacio’s Fecund Imagination
by Nickee V. de Leon
AJPress

In an alternate universe, there exists an adroit creature called Dino Ignacio. Here, beings that we’ve known and loved had alter egos-Bert is evil, droids did not have artificial intelligence and the Superfriends are not super friendly.

This seemingly dark microcosm is all in Dino’s head. I have been meaning to write an article about ‘Ser Dino’ (a name that I’ve coined, perhaps both out of respect and endearment) for the longest time, but circumstances have prevented me from doing so. I finally had a chance to do some catching up with him over the phone a few days ago. Dino finally cleared the cobweb of hearsay and revealed truths about himself that have eluded me all these years.

Dino and I met during our college years in UP. We were both students in the College of Fine Arts and both ran for office in the student council. He was (for a lack of a better word) an enigma -a phantom who sporadically appeared and vanished from view.

Almost ten years after he left the Philippines, we got reacquainted in San Francisco. At that time, he was finishing a course in Computer Arts at the famous Academy of Art. It seemed that the Dino that I saw was different from the Dino that I first knew. Something about him seemed less elusive and more grounded this time around.

The last time I saw ‘ Ser Dino’ was during the Myx launch party at the Henry Ford Theater in Hollywood in 2006. Back then, he was still working in ABS-CBN as creative director for Myx. He has since moved to Electronic Arts, a leading independent developer and publisher of interactive entertainment software. Dino works as a user interface designer. He is currently working on a game called Dead Space, due for an October release.

The Tower of Misunderstanding
Our conversation eventually veered towards reminiscent thoughts. Dino almost became an elusive entity after he dropped out of his Fine Arts course in UP in 1996 (a decision he made for very valid reasons). He remained a prominent figure in the art scene and made appearances here and there, especially since he got published for a children’s book called The Tower of Misunderstanding in 1997.

Dino spoke about the source of his muse for writing the book. He was coming to terms with his cousin’s death at that time. “It was a time for me to let go of understanding and accept things,” Dino recounted. A former girlfriend’s little sister would always ask him to tell her a story before going to bed. Usually he had one or two prepared, but that particular night he had none. He decided to weave one as they went along and realized that in doing so, he felt a sense of comfort and healing.

A new frontier
The Internet was still in its infancy during the late 90s, but Dino was quick to claim new territory. Fascinated by kilobytes and html’s, he formed a tri-media design studio called Binary Soup with a few friends. “It was a lucrative time to break in the industry,” he said. The business was actually groundbreaking at that time. They were able to market their services to clients over a few drinks and a lot of chika.

Bert is Evil
This newfound media became Dino’s new canvass for his wild ideas. The controversial Bert is Evil was born in 1998. Armed with a crazy concept and some Photoshop skills, Dino juxtaposed visuals of Bert (from Sesame Street) with infamous personalities as Adolf Hitler and Jerry Springer and tragic events in history as the JFK assassination.

Bertisevil.tv states, “We have reason to believe that Bert of Sesame Street is evil and you should keep your children away from him.” Here in these pages are collected incriminating images and documents that prove that Bert is not the lovable harmless geek he so successfully makes us think he is.”

Bert is Evil became a phenomenon among humorists and earned Dino, along with Wout J Reinders and Jasper Hulshoff Pol, a Webby Award and the People’s Voice Award for Best Weird website at the Palace of Fine Arts in San Francisco that same year.

However, Bert is Evil was treading on dangerous ground. Because of its raging popularity, maintaining the Bert is Evil site became too costly for Dino. Instead of shutting the website, Dino allowed it to be mirrored. It gave other humorists a chance to create their own images, linking Bert to “current and historical atrocities.”

After 9/11, while in his junior year at the Academy of Art, Dino got a phone call from Reuters and various news agencies. Reuters called to verify the authenticity of an undoctored photograph that they published. The photo showed a rally of Bin Laden supporters in Bangladesh with a banner of Bin Laden showing a small image of Bert over his shoulder in the background. The Bert-Bin Laden image was posted in a Bert is Evil mirror site in 1998 and was not of Dino’s doing.

Dino got a kind letter from the Children’s Television Workshop, creator of Sesame Street, requesting that he take down the Bert is Evil site. With a statement saying that “I am doing this because I feel this has gotten too close to reality and I choose to be responsible enough to stop it right here,” Dino permanently removed the site from his server.

However, Dino was powerless over mirror sites.

Apparently, a mirror site maintained by Dennis Pozniak was the cause of the ruckus. He continued where Dino left off, creating new “evidence of Bert’s evilness.” Pozniak posted an image of Bert with Bin Laden that was made by a contributor only known as J-roen in 1998. After the controversial photograph was released, Pozniak was pummeled with questions by the media which led him to eventually shut down his mirror site as well.

Maritess vs The Superfriends
“I’m just cooking fish! I’m so sorry Aquaman!’” is perhaps the most popular line from Maritess vs The Superfriends. It’s funny, ironic and self-deprecating all at the same time.

The 2002 debut of this Rex Navarrete-Dino Ignacio collaboration brought as much hype as Bert is Evil – with more positive and enduring results. Maritess vs The Superfriends is not only laugh-out loud funny, it also brought socio-economic issues and issues on equality and gender into the forefront for Filipinos all over the world to digest.

Maritess vs The Superfriends is about the confessions of Maritess, a Filipina housekeeper who works for the Superfriends in the Hall of Justice. Because of extreme poverty, Maritess was drawn to a job ad in the paper. Whisked by Wonderwoman in her invisible jet, Maritess flew from her native Zamboanga to the United States to work for the Superfriends where her (mis)adventures unfolded.

Dino met Rex Navarette, the man (yes, that’s his voice) behind Maritess, in 1999 at a film screening in San Francisco. For six months, Dino and Rex worked together closely on the project.

Among Dino’s other well-received projects were Mongodroids and the Weng Weng sticker campaign. Dino is a well of whacky ideas that will never run dry. His legacy of wild, irreverent concepts continue to fascinate millions.

He is now happily married to to Nina de Torres Ignacio and lives in San Jose in northern California.

 

The Majestic Morrissey (2007)

“Who Put the M in Manchester?” is Morrissey’s ultimate comeback
By Nickee V. de Leon
Asianjournal.com

Picture this. A legendary performer devises a live show in his hometown on his 45th birthday, armed with a killer setlist of his most popular songs. What can be more compelling than that?

Originally released in 2004 in the UK and 2005 in the US, “Who Put The M in Manchester?” is a befitting companion to Morrissey’s “Live from Earl’s Court” DVD and “You are the Quarry album.” Both were released in 2004.

An Impressionable Youth
Stephen Patrick Morrissey (a.k.a. Morrissey) was born on May 22, 1959 to Irish Catholic parents in Davyhulme, England but was raised in Manchester. His childhood was spent developing a number of interests. His role models include the likes of 60’s girl groups and female singers as Marianne Faithfull, Sandie Shaw and Timi Yuro. He also fancied kitchen sink dramas of the late 1950s and early 1960s. He cites William Butler Yeats and Oscar Wilde as his literary heroes.

The Moors Murders of the early 1960s had a large impact on the crooner during his formative years. Included in the Smiths’ eponymous debut album released in 1984 was a track entitled “Suffer Little Children.” Morrissey wrote the song to pay tribute to the child victims of the hideous crimes.

Considered as one of the most prominent alternative pop icons in the history of Britain’s music industry, The English singer-songwriter began what would turn out to be an illustrious career in the 1980’s as the lyricist and vocalist of The Smiths. After the group disbanded in 1987, Morrissey ventured on a solo career and immediately soared to stardom, with ten Top 10 singles in the UK charts.

Manchester – May 22, 2004
The DVD opens with an electrifying feeling of anticipation. A die-hard Morrissey fan who flew all the way from San Diego, California just to watch the Manchester show is interviewed:

“He’s meant so much to me ever since I heard him in ‘88,” quips the (nameless) giddy, Morrissey-tattoed fan. “I’ve just grown so much from the Smiths and grown into his own solo work, and never stopped ever since, never gave up…He’s always meant the world to me. His lyrics are just beyond anyone else’s and he’s just so personal. He’s not just saying things just to say it… I followed him, I love him…we’re just so happy to be here. We know that we just couldn’t miss this day,” he further adds.

The show kicks off with Morrissey crooning an improvised a cappella of Frank Sinatra’s “My Way,” a spectacle of lights spelling his name in the background. He then quickly shifts to an upbeat performance of “First of the Gang to Die,” his first official song for the evening.

Sans his rock star demeanor, Morrissey was prim and proper in a smashing suit. Fans threw themselves at him, delirious with love and worship for their Brit pop demi-god. Despite his sweat-drenched shirt ( a glaring reminder that Morrissey is still human, after all), Morrissey is in good spirits and even throws in a humorous line on turning 29. “Where did the years go? Why did the years go?,” he exclaims good-naturedly.

Even in his mid-40’s, Morrissey’s vocals is still unmistakably evocative, mellifluous and resonant.

After severing ties with EMI, his previous record label for eight years, the crooner spent seven years in dormancy before he was able to release “You are the Quarry.”

Yet despite his long absence from the music scene, Morrissey redeems himself by staging a timely comeback that coincides with his 45th birthday. His fans are finally pacified, seeing their idol back onstage. Indeed, timeliness is next to godliness.

Morrissey has already earned his rightful place as an 80s icon, comparable to the likes of his American predecessors, Elvis Presley and Frank Sinatra.

Songs of note in the setlist of “Who Put the M in Manchester” include old-time favorites as “Hairdresser on Fire,” “Everyday is Like Sunday,” “Shoplifters of the World Unite” with “There is a Light That Never Goes Out” as the fitting finale.

The DVD also includes special features which include five live performances from the 2004 Move Festival in Manchester – “Irish Blood, English Heart”, “Everyday is Like Sunday”, “First of the Gang to Die”, “I Have Forgiven Jesus” and “There is A Light That Never Goes Out.”

Produced by Attack Films and Sanctuary Records, the DVD was released by Evolution Ltd. in the Philippines on July 20, 2007.

 

Reverberating in Hollywood (2006)

Echo and the Bunnymen at the Music Box
By Nickee V. de Leon
Asianjournal.com

HENRY FONDA THEATER, HOLLYWOOD – After missing Echo and the Bunnymen’s tour in 2005, I finally got to see them perform last Monday, June 12, in Music Box at the Fonda. Echo and the Bunnymen is currently on the first leg their U.S. tour with a new single album,”Scissors in the Sand.”

For 80’s music junkies, Echo and the Bunnymen is one of the well-respected bands of the post-punk era, comparable to legendary groups as The Cure and New Order. With phenomenal hits as “The Killing Moon,” “Bring on the Dancing Horses,” (which was used by John Hughes in his quintessential 80’s film “Pretty in Pink”),” and covers like “People Are Strange,” by the Doors and “Paint It Black,” by the Rolling Stones, Echo and the Bunnymen’s music was as ubiquitous as the dos that they donned at that time.

From Liverpool, UK, Echo & the Bunnymen is Ian McCulloch on vocals, Will Sergeant on guitars and Les Pattinson on bass,with percussions originally supplemented by a drum machine (which they referred to as “Echo”). The British threesome formed in 1978, after McCulloch left his band, The Crucial Three. The group debuted in 1979 with the single “The Pictures On My Wall”, under Zoo as their record label. Pete de Freitas soon became the band’s drummer in 1980, when they released their debut album “Crocodiles.” The critically-acclaimed “Heaven Up Here,” made it to the Top Ten in 1981, as well as “Porcupine”(1983) and “Ocean Rain” (1984). The group then took a brief hiatus in the latter part of the decade. Their 1987 self-titled LP only made it to a small American audience.

In 1988, McCulloch quit the band. A year after, de Freitas died in a motorcycle accident. Sergeant and Pattinson took Noel Burke to replace McCulloch in Reverberation (1990), but did not incite as much enthusiasm among their fans and critics. The three eventually split after that but reformed in 1997 to release Evergreen. Pattinson had to quit in 1999 to attend to his mother’s health. In 2001, the remaining band members released “Flowers” and “Siberia” in 2005. The band’s old following caught the drift and supported the return to their original sound. The band also gained some following from a younger crowd.

Currently, Echo and the Bunnymen is McCulloch and Sergeant playing with young and talented musicians during their tour.

So what is Echo and the Bunnymen about? From their profile in www.myspace.com,the band members described their music as “an evocative, atmospheric sound combining solid pop sensibilities and intriguing progressive instincts.”

Young as I was back then, Echo and the Bunnymen’s music resounded in my impressionable mind. It was a most memorable resonance that I’ve come to associate with my childhood and that era.

The gig kicked off with front act band the Billy Nayer Show, mixing idyllic country vocals with the twangs and bangs of what my newfound friend described as “industrial music.” It was a fresh approach, mixing two entirely opposing genres, but the bold instrumentation did not quite mesh well with the bucolic quality of Cory McAbee’s melodic vocals.

After a full set of BNS’s songs and another half hour’s wait, Echo and the Bunnymen finally emerged onstage. McCulloch is still as handsome and sprightly as he was twenty-something years ago, with his signature tousled hair, raspy-sounding voice and constant cloud of smoke. The ambience of the theatre quickly changed from wholesome hillbilly to Donnie Darko gloom.

The crowd became agitated as McCulloch, Sergeant and the rest of the band unfolded their setlist for the evening. I was lucky enough to be stationed at the foremost front of the stage, with that list only less than a meter away from my probing eye. I mastered the art of inverted reading in a matter of minutes.

My first song of frenzy for the evening was “Seven Seas,” off their first album “Songs to Learn and Sing”(1985). This was immediately followed by the more popular “Bring on the Dancing Horses,” “Disease,” “Scissors,” and a couple of other songs before finally hitting “The Killing Moon.”

Surprise, surprise, they had strings in the house but it was subjected to the discriminating ear of McCulloch. The temperamental frontman had to stop in mid-song after his dismay over the “instrumental imperfections” of his protégés, only to deal later with a major boo-boo himself. McCulloch stumbled on the lyrics at the second try and had to apologize to the unaffected audience.

Other songs that drew cheers from the crowd were “Never Stop,” “Villier’s Terrace, “All My Colours,”(Zimbo), “Rescue,” and “The Cutter.”

Of course, I might have spoiled the fun by knowing that there was going to be an encore performance, and the line-up that they already had prepared for it. So when McCulloch and his party re-emerged onstage, I knew what to expect. “Lips like Sugar” was in the bag, even for those who didn’t know the setlist. And so it was the final song after “Nothing Lasts Forever.”

I have always preferred the quaintness and intimacy of a small venue over the highly-commercialized coliseum. That and the privilege to get as close as possible to one of the bands that I thoroughly respect were enough to make the memory of this gig reverberate in my head for years.

 

Hello, Vertigo! (2005)

U2 Soars in 2005 Tour at the HP Pavilion
By Nickee V. de Leon
Asianjournal.com

Talk about the ultimate tour de force. Tickets to this gig got sold faster than you can say U2. I had to endure a 14-hour road trip from L.A. and back plus a hundred-dollar-a-night’s stay at one of the lousiest motels in San Jose (A major rip off! Remember that greater consideration was given to proximity rather than function), just to witness what is considered as the “most celebrated event of 2005” in America.

Two decades of pure talent and sheer activism have made U2 one of the most transcendant and formidable Irish rock bands of its time. It all started in the autumn of 1976, when drummer Larry Mullen left a note on the bulletin board at Mount Temple Comprehensive School in Dublin in his attempt to form a band. Four friends signed up: Paul Hewson (aka Bono Vox), Dave Evans (aka The Edge) , Dik Evans and Adam Clayton. Dik moved on to join another band called the Virgin Prunes while the other four stuck together to form “Feedback” which then evolved to “The Hype” and finally to U2. The release of their first LP ‘Boy’ in October of 1980 received widespread acclaim. U2’s intense popularity emerged with the release of “War’ in March 1983. ‘New Year’s Day’,hit the UK charts at Number One and catapulted U2 to mainstream fame. (www.threechordsandthetruth.net/u2bios)

Throngs of fans and supporters packed the gargantuan venue which is the HP Pavilion. It was a pleasantly cool Sunday night to witness an adrenalin-pumping performance and state-of-the art lighting concepts and stage design which is yet another trademark of U2’s gigs. The show kicked off with a front act performance by the Kings of Leon, a Nashville-based band of brothers with Caleb (vocals and rhythm guitar), Matthew (lead guitar), Jared (bass) and Nathan Followill (drums) enticing the crowd with their raucous vocals, powerful guitars and a Southern rock and rollish drumbeat. The Kings’ music pacified the already rowdy crowd.

Despite that stellar performance by KOL, U2 won’t be U2 sans the dramatic entrance. Clad in black, the foursome entered the circular stage, carrying powerful maglights. ‘Love and Peace’ from ‘How to Dismantle an Atomic Bomb’ was the first song of the evening, followed bya more energetic ‘Vertigo’ that sent the crowd on a wild frenzy, singing along with Bono. The stage was explosive with its astounding display of red and orange lights and circular-moving red neon lights surrounded the stage reminiscent of the music video. ‘Elevation’ was third on the list followed by ‘Cry/ Electric Co.’, ‘An Cat Dubh/Into the Heart’ with a guitar solo performance by Edge, ‘City of Blinding Lights,’ where Bono fished a lipstick off his pocket, put some on and said “We are in the Bay Area…” The crowd grew wild and ecstatic at the remark.

‘Beautiful Day’ was followed by a moving introduction by Bono about his encounter with the Pope before the pontiff’s recent demise. He then brought out the rosary given to him by the pontiff, put it around his neck and sang ‘Miracle Drug,’ his tribute song to the Holy Father. The crowd grew reverently silent as Bono crooned on.

‘Sometimes You Can’t Make It on Your Own’ was next in line,and yet another exciting song that brought cheers from the crowd. ‘New Year’s Day’ was met with the same thunderous applause as it did twenty years ago.’Sunday, Bloody Sunday’ was dramatic with Bono wearing a cloth around his head with writings that suggested unity between Jews and Christians. ‘Bullet the Blue Sky’got Bono walking blindfolded onstage. ‘Running to Standstill/The Hands That Built America/When Johnny Comes Marching Home,’ a combo of song snippets, was a tribute to all the brave men and women of the United States. Articles of Human Rights scrolled onscreen and drew cheers from the audience. ‘Pride’(In the Name of Love), ‘Where the Streets Have No Name’ showcasing a montage of different flags as the backdrop and ‘One’ was the climactic succession of songs for the evening. ‘One’ is the carrier single of Bono’s ONE campaign aiming “to rally Americans ‘ONE by ONE’ to fight the emergency of global AIDS and extreme poverty”. Here, Bono promoted the cause with a photomosaic backdrop of people from around the world, and a number flashing onscreen “To join, text UNITE (86423)”. A display of of the texters’ names also grazed the screen immediately after. The ONE Campaign was met with much enthusiasm and support and was the moving force that got me wearing the ONE wristband after the show. (For more information regarding the campaign,visit www.theonecampaign.org).

‘Zoo Station’ the next song came with a solo piano introduction by Edge. ‘The Fly’ followed suit with a flashing montage of words as death, color, etc. Yet another climactic moment in the line up soon ensued when Bono picked a girl from the crowd, a girl named Iris who started gyrating to ‘Mysterious Ways,’much to the amusement of the crowd. The songs that followed were Original of the Species, All Because of You and Yahweh. U2’s trademark finalé ‘40’ was the final song, where Bono took the rosary off his neck to punctuate his cause for the evening. The audience made another wild,enthusiastic and extended applause for an encore performance.

Overall, the gig was highly-energetic, fast-paced, visually spectacular, and movingly political and spiritual. It was a night that was not merely meant for a fanatic’s musicfest or a spectator’s eyecandy. It was a night of U2’s regal performance to instill a worthwhile cause to its audience and sent goosebumps into our souls. Drunk and lightheaded with ‘Vertigo’ we galloped four blocks back to our cheap beds, the best sleep we’ll ever have in years.

 

The X&Y Factor (2005)

Coldplay Shines in Twisted Logic Tour
By Nickee V. de Leon
Asianjournal.com

IRVINE – The long wait was finally over.Two grueling months after X&Y’s launch, we finally got to see the awesome foursome in action. Humble seats at the Terrace level and a less-than-satisfactory performance by front act band Black Mountain did not daunt our spirits.Coldplay is undoubtedly one of the most prodigious must-see bands of this era.

Coldplay is Guy Berryman on bass guitar, Jonny Buckland on lead guitar, Will Champion on drums and Chris Martinon guitars, piano and vocals.

Coldplay has been in the rock scene since 1999, scoring their first top 40 single “Shiver” in March 2000 and affording the band their first MTV airplay. June 2000 became a pivotal moment for Coldplay when they embarked on their first headlining tour, with the notable release of the single “Yellow.” The track landed fourth on the UK Singles chart and formally introduced Coldplay to mainstream fame. (www.wikipedia.org)

Two albums and almost two years of hiatus later, Coldplay is back with a vengeance with the release of X & Y in June pre-empted by the debut of its lead single “Speed of Sound” in April.

Originally set for release in 2004, X&Y was subjected to more rethinking and regrouping before it finally launched in 2005.

Chris Martin on X&Y: “In mathematics, X&Y were always the answers, but in life no one knows. To me the album is about those unanswerable questions, and what you should do about the fact that you can’t explain all the unknown variables.” (www.coldplay.com)

X&Y is a distinctive combination of Coldplay’s trademark flanger, Chris Martin’s evocative vocals and a sound inspired by the likes of Kraftwerk. Comparedto Parachutes and A Rush of Blood to the Head, X&Y hasdefinitely veered away from the dreamy quality of Coldplay’s first two albums.

The gig had a well-rounded selection from Coldplay’s three albums, kicking off with “Square One” from X&Y, followed by “Politik” from A Rush of Blood and “Yellow” from Parachutes. “Yellow” was touching with its display of yellow balloons and confetti. The sophisticated technology used for lighting and effects coupled with Chris Martin’s humorous wisecracks definitely made it for the amused fans.

With a setlist boasting of phenomenal hits as “The Scientist, Clocks and Ring of Fire”, a tribute song for Johnny Cash, the venue was bursting with ecstatic cheer.

On the more serious side, there was a short & sweet video presentation on Coldplay’s support for Oxfam’s Make Trade Fair Advocacy Campaign, imploring the audience to support the cause by texting 87233.

The encore performance was stellar, justified by the much sought rendition of “What If” from X&Y, “In My Place” from A Rush of Blood and “Fix You” also from X&Y respectively.

Overall the show was an astounding cocktail of high-energy crescendos and low-key acoustic performances with the occasional witty lyric adlibbing by frontman Chris Martin and a spectacle of eyecandy effects and lighting.

It was just one helluva show and I’m so looking forward to the next album, which Chris Martin promises to delve on the darker side. Only this time, I’m hoping that its release would be faster than the speed of sound.

 

Dramachine: The Quintessential Sugar Pill (2005)

By Nickee V. de Leon
Asianjournal.com

It’s just charming how a succinct expression of a romantic thought can be so earnest and poignant. My first experience of Sugarfree (with their pilot album ‘Sa Wakas’) brought melancholic mornings listening to ‘Burnout’ and sleepless nights gabbing with my hunny over the musings behind ‘Telepono.’

Ebe Dancel, frontman and genius behind Sugarfree’s ’soothingly sappy songs’ is the incarnate of the romantic tragedy. He has a knack for concocting just the right amount of syrupy sweetness with tearjerking bitterness to evoke emotions and make you blurt ‘Pa’no n’ya naisip yun?’

Mighty thanks to my friend Jovan who got me into a ‘gig fetish’ back when I was still in Manila so I got to see these guys in action. I didn’t realize that a cult following was already brewing at that time that even my hunny (who’s from San Francisco) caught the drift and became just as hooked as I am with the saccharine trio.

Two years later, Sugarfree is still caramelizing with more ‘feel-good’ compositions. TFC was instrumental in introducing the band to the Fil-Am community here in California.

Sugarfree made the cut with the launch of ‘Hari ng Sablay,’ perhaps the most popular track off their current album ‘Dramachine,’ with an even more popular and endearing music video that has been the talk of Pinoytown for weeks. ‘Hari ng Sablay’ is chocfull with its amusing, self-deprecating and clumsy humor.

But what grabbed me about the album were the more seriously written tracks: ‘Kuwentuhan,’ which is about ungodly hours spent on engaging conversations about anything and everything; and ‘Tulog Na,’a soothing lullaby of carefree abandon.

What’s amazing about ‘Dramachine’ is not only its ability for palpable expression but its capability to ‘progress,’ as if the tracks are episodes of a long, convoluted love story. Yet each song affects the listener in a unique and different way, depending on how he relates to the ‘drama.’

Dramachine’s phenomenal appeal stems from the fact that it reaches out to the masses in a simplistic yet severe ‘kurot sa puso’ manner.

Undoubtedly, Sugarfree has found its niche in the rock scene, combining the richness and poignancy of the traditional ‘kundiman’ with the edginess of contemporary Pinoy rock. Dramachine is indeed, a satisfying treat for all closet hopeless romantics from Manila to California.

(Sugarfree is Ebe Dancel on Guitar and Vocals, Jal Taguibao on Bass and Mitch Singson on drums. ‘Dramachine’ is music from EMI Records.)

 

September (2006) Gig Madness

By Nickee V. de Leon
Asianjournal.com

SO I went overboard with gigs last month. What can I say? I’m an incurable addict. That and the fact that these gigs were worth every buck. (Except maybe the nerve-wrecking front acts that I would care to mention later in this review.) Anyway, sit back, relax and read on.

Nouvelle Vague with The Submarines, September 8, Henry Fonda Theater
For a supposed whim, I would have to say that I was severely entertained by this gig. Seeing Nouvelle Vague with the Submarines at the Fonda was perhaps one of the most fun, spontaneous things I’ve done in a long time.

Even as an opening act, The Submarines were already a highlight of the evening. After hearing them perform “Peace and Hate” in KEXP, I knew right then that they were special. Of course, the pre-arranged synthesized tunes and the ubiquitous Mac laptop were quite the overkill, but the music is dreamy, light and Trembling Blue Stars-ish. Kudos to that.

Nouvelle Vague was artful and tongue-in-cheek with their novelty music, amusing act and unique instruments. The music takes you to that state, somewhere between nostalgic childhood memories and traditional French sensibilities.

I also found it amusing that they could effortlessly swap songs and performances. “Heart of Glass” had male vocals in the album, while Phoebe Killdeer did her own rendition with a more bluesy sounding interpretation. Phoebe Killdeer’s sexy, sultry voice and Melanie Pain’s all-too-frenchie ala Frenté vocal chords were both a perfect combination and a wild, contrasting alternation.

Other songs included in the setlist were “Dancing With Myself,” “Love will Tear Us Apart,” “Bela Lugosi’s Dead,” and Depeche Mode’s “Just Can’t Get Enough” as the perfect encore performance to cap the evening.

Nouvelle Vague may be vague in terms of having their own original music, but their unique interpretation of covers makes them an A Bande on my list.

Totally 80’s with Psychedelic Furs, Human League and ABC, September 23, Hollywood Bowl

Been scoping this gig for months, but never really planned on seeing it.

For fifteen bucks a tix at the day of the concert itself, I’m glad I did go. I came in late though and missed out on ABC’s performance, but still caught Psychedelic Furs in the middle part of “Heaven,”and the latter half of their setlist. Richard Butler sang off-key the entire time, but I didn’t really mind.

The songs reminded me so much of my warm, fuzzy childhood days, of “Pretty in Pink,” of Amanda Jones and Keith Nelson sitting on that same stage in “Some Kind of Wonderful” while Watts cried her eyes out from the bleachers (although there wasn’t a single Furs song in the soundtrack).

Human League stole the show with their outrageous ala “Matrix” outfits and more careful rendition of popular hits as “Human,” “Fascination,” and “Electric Dreams.”

For an 80’s reunion of bands (almost) long forgotten, the gig was indeed, a refreshing reminder.

I would have to say though that I couldn’t help but be appalled by the sight of Jane Wiedlin of the Go-Go’s in an ugly pink tutu, making a fool of herself (What’s up with that anyway?).

Snow Patrol with Augustana and Martha Wainwright, September 27, The Wiltern
Having two front acts is totally unnecessary. Especially if both of them are equally underwhelming.

Snow Patrol was definitely worth the wait,(and a long one at that, after they postponed the L.A. show for months). Sure, they sold out by giving “Chasing Cars” to Grey’s Anatomy as the carrier track for last season’s finalé, but hey, we all need to make a living sometime.

Even the lighting effects of the show were reminiscent of Coldplay’s Twisted Logic Tour in 2005, but Snow Patrol made up for it by giving us an overwhelmingly flawless live performance. Gary Lightbody (vocals) had a cleaner look, sans the big hair and scruffy-looking outfit . He was charming and congenial the entire evening. SP’s setlist was just one great song after the other. The experience was an osmosis of impeccable instrumentation and vigorous vocals of feel-good, lyrical songs.

Sonic Youth with 16 Bitch Pile Up and The Skaters, September 28, The Wiltern

The front act(s) in this show just made it in my book as by far the worst opening performance(s) ever. There is a fine line between really bad music and pure, unadulterated, annoying noise. 16 Bitch Pile Up’s irritating racket fits the latter while The Skaters’ “apocalyptic pandemonium” would fall on the former category. They were both, for the lack of a more appropriate adjective…ear-splittingly horrible.

Watching this gig was yet another whim. I came to the show with no expectations whatsoever. Admittedly, I’m not a fan of Sonic Youth and my knowledge of their music is very limited. I know that probably seems pretentious, but I only hear good words about them from music enthusiasts, so I figured, maybe they’re worth seeing after all the hype.

As a band who has existed for more than two decades, Sonic Youth is definitely well-established and sure-footed. The music, which is mostly unorthodox guitar tunings, is consistent and authoritative. Vocals, instrumentation, even the stage design are signature expressions of this remarkably unconventional group.

 

A ‘Love Haight’ Relationship

By Nickee V. de Leon
AJPress

It seemed like a lifetime ago since I last visited Haight-Ashbury (also known as The Haight) in San Francisco.

I took the MUNI 71 from Powell to get to Haight-Ashbury and saw a side of the district that I’ve never seen before. The usually bustling bohemian community was deathly quiet, perhaps, because it was a weekday.

Nevertheless, it didn’t deter me from taking my obligatory stroll around the neighborhood. The Haight’s colorful cluster of shops and restaurants is therapeutic eye candy. Smoke shops, coffee places, fashion and book stores line this most historical avenue.

My favorite stop is the Amoeba Music store. Living in Los Angeles has made me a rummaging patron of Amoeba Music in Sunset and Vine in Hollywood. I also had the opportunity to explore the store in Telegraph Avenue in Berkeley. For some reason, the store in Haight-Ashbury seemed more compelling. Perhaps its the history behind The Haight that has sparked my unconditional love for and sporadic pilgrimage to this mecca of hippie culture.

SFgate.com describes The Haight as an area that “evokes images of the long-gone ’60s hippie culture… Fragments of that flower-power, incense-burning, acid-dropping, tie-dye-wearing, peace-and-love-vibing era can be purchased at smoke shops and Eastern-influenced outlets bearing names like Dreams of Kathmandu, Pipe Dreams and The Love of Ganesha. But save for a few hippie relics, the Haight today is a whole new scene. Exclusive boutiques, high-end vintage-clothing shops, second-hand stores, Internet cafés and hip restaurants have all settled in, making the Haight one of San Francisco’s commercial centers.”

A history of Haight
Haight Street may have derived its name from Henry Haight, the manager of Page, Bacon and Co. It was Henry Haight who founded and provided the land for the Protestant Orphanage, says sfmuseum.org.

Haight-Ashbury was a name derived from the intersection of Haight and Ashbury Streets. “The neighborhood is bounded by Stanyan Street and Golden Gate Park on the west, Oak Street and the Golden Gate Park Panhandle on the north, Baker Street and Buena Vista Park to the East, and Frederick and Ashbury Heights and Cole Valley neighborhoods to the South,”says wikipedia.org

What used to be a vast area of isolated farms and sand dunes quickly became an area of affluence. The completion of the Haight cable car In 1883 brought a connection between the west end of Golden Gate park and the central Market Street line together with the rest of the city. “The cable car, land grading and building techniques of the 1890s and early 20th century reinvented the Haight-Ashbury as a residential upper-middle class homeowners’ district. It was one of the few neighborhoods spared form the fires that followed the catastrophic San Francisco earthquake of 1906.”

The Depression of the 30’s and World War II took its toll and transformed The Haight into a virtual ghost town. The crowded and declining neighborhood was quickly abandoned by those who still had enough money to burn. They opted to migrate to smaller suburban homes in the bay area instead. World War II brought a shortage in housing and turned large-single family Victorians into apartments to serve as shelters for war workers coming back from the piers. Others were converted into boarding homes for profit. Many buildings and units were left vacant and were rented out because of the middle-class migration to suburbia.

Cheap rooms and vacant properties in the district brought droves of hippies during the 60’s. The hippie subculture rooted itself firmly in The Haight, of which it became known up to the present day.

The sixties, drugs and rock & roll
By the mid-60’s,the proliferation of the use of marijuana, LSD and other hallucinogenic drugs made Haight a center of illegal drug culture and rock and roll lifestyles. 1967 was an important year for Haight. It brought psychedelic rock performers and groups to the neighborhood including Janis Joplin, Jefferson Airplane and The Grateful Dead.

“In 1967, The San Francisco Bay area was the epicenter of a cultural and political upheaval that challenged the very meaning of America. California had long been the American location, in myth and history, where the bold and the hopeful migrated to realize ultimate visions, the place where the American dream hit its last edge,” wrote Mikal Gilmore in Rolling Stone’s 40th anniversary issue special on the Summer of Love.

The Summer of Love (1967)
In “The Legacy of ‘67,” another article in Rolling Stone Magazine’s 40th anniversary issue, Sean Wilentz wrote “The Age of Aquarius is dawning in 1967 – but so is another, very different age… The year brought important breakthroughs in what historian Theodore Roszak later described as ‘the making of a counter culture’…the long suppressed tradition of Walt Whitman–washed over American culture.”

1967, in a nutshell, was a year of revolution — a definitive era of change that “split America in two,” according to Wilentz. Ronald Reagan, Martin Luther King, Jr., the Vietnam War and Richard Nixon were prominent figures in this tumultuous period in American history.

“By the time the fabled Summer of Love hit San Francisco 40 years ago, the party was already over in the Haight-Ashbury. Yet the mythology of that summer has never disappeared. The San Francisco hippie, dancing in Golden Gate Park with long hair flowing, has become as much of an enduring American archetype as the gunfighters and cowboys who roamed the Wild West, ” wrote Joel Selvin of the SF Chronicle in his article “The Summer of Love – 1967: The stuff that myths are made of.”

“The rise of ’60’s counterculture has had a significant impact on our culture today. The Summer of Love resonates in strip mall yoga classes, pop music, visual art, fashion, attitudes toward drugs, the personal computer revolution, and the current mad dash toward the greening of America. While some of the counterculture’s dreams came true, others particularly the movement’s idealistic politics, evaporated like the sweet-smelling pot smoke that saturated the air that summer,” Selvin further wrote.

To the unsuspecting tourist, The Haight may seem nothing more than a place of novelty — a respite for runaway teenagers, druggies and hippies and a treasure trove of all things unnecessary. But underneath its colorful and seemingly commercialized facade lies the undeniable the fact that it was once the birthplace of radical ideas, the active variable in a brew of constants — one that has deeply influenced and defined America’s cultural landscape.

Perhaps one day, when I take a leisurely stroll in Golden Gate Park and find a group of hippies swaying to the beat of their own drum, I just might join in.

 

The Madhatter, Live in Montreux

Jammin’ with Jamiroquai at the 2003 Montreux Festival
By Nickee V. de Leon
Asianjournal.com

He is notorious for (literally and perhaps, figuratively) wearing many hats. Described in the DVD as the fleet-footed lead vocals of Jamiroquai , Jay Kay is one of the most recognized acts of a generation.

A band with a most unusual name, a portmanteau of “jam session” and iroquai” (based on the Iroquis, a native American tribe), Jamiroquai has been in existence for a decade and a half, with 24 million albums, 6 multi-platinum albums, a Grammy award, the Ivor Novello and five MTV awards to boot. The group is definitely more than just an English jazz/funk/soul band.

According to wikipedia.org, Jamiroquai “was initially the most prominent component in the London-based acid jazz movement in the ’90’s, playing alongside groups as Incognito, the Brand New Heavies, Galliano and Corduroy. Subsequent albums have explored other musical directions such as, but not limited to, pop, rock and electronica. The band has sold well over one million records in the United States alone.”

Jamiroquai is Jay Kay (vocals), Rob Harris (guitars), Nick Fyffe (bass), Sola Akingbola (percussion), Matt Johnson (keyboards), Derrick McKenzie (drums), Hazel Fernandes (backing vocals) and Lauraine McIntosh (backing vocals).

“The band, as virtuosic as they are intuitive, leave fans and detractors alike with their jaws on the floor on a nightly basis. Together they make an unstoppable force of nature, with an undisputed reputation for edge of the seat performances. It’s a reputation built on playing to five million people in 38 countries on four world tours, and is as cherished by Kay and company as every album sale, magazine cover, award and number one record,” says the DVD about the indomitable eight-man(and woman) group.

Jamiroquai is known for its ever-changing and ever-evolving performances. “Sometimes it’s a triumphal celebration of hits, a goodtime party with plenty to sing and dance about. Sometimes it’s a breathtaking voyage off the beaten track, with early album tracks and live favorites deconstructed, reinvented and turned into extended remixes on the spot.”

Switzerland’s best-known music festival, The Montreux Jazz Festival is held annually in early July in Montreux on the shores of Lac Léman. The first Montreux Jazz Festival was held at Montreux Casino in 1967, lasting for three days and featuring almost exclusive jazz artists.

What started out as a pure jazz festival has evolved into a celebration of nearly every imaginable music style. Jazz, however, remains an identifying element in the concept. Currently, the Montreux Festival lasts about two weeks, attracting an audience of more than 200,000.

Wearing an Indian-inspired hat and a white track suit, Jay Kay kicks off the performance with “Use the Force” a high-energy track embellished with melodious guitar riffs and bossa nova accompaniments. The song plays on soulful funk with expanded use of guitar riffs to create the groove. The DVD describes this effort as “riding in on an electro-funk snarl.”

“Canned Heat” is a percussionist’s dream track, combining crisp bass guitars with the soothing beat of bongo drums. Jay Kay’s unique vocals complement the impeccable funky-sounding instruments, turning it into a hip-shaking, fast-paced, “canned heat in my heels” tune. The song is boldly expanded from its original version.

The DVD describes this effort as “broken down into fundamental grooves and rebuilt from the ground up as taut, futuristic cruisers, complete with sleazy rock diversions, low-slung bass shimmies and extra strut.”

By popular demand, “Cosmic Girl” quickly stole the limelight, with the audience’ working up the beat as the song unfolds.

However, Jay Kay’s creativity starts kicking in at the onset of “Blow Your Mind,” “High Times” and “Travelling Without Moving.” Here, Jay Kay works up his influences from the likes of Miles Davis and James Brown and does spontaneous changes and redirections.

For Jamiroquai, the record is a mere skeleton that awaits a different breath each time to become flesh and blood. One that can be made even more robust, taken to new heights with every performance, as the audience waits with bated breath for genius improvisations and expansions.

And if these were not enough, the DVD also comes with a bonus track of the 1995 version of Space Cowboy, recorded on July 12, 1995 at the Montreux convention center.

Indeed, Jamiroquai has surpassed the cookie-cutter culture that most of their contemporaries most likely suffered during the onset of acid jazz. It has become, perhaps, one of the genuine international icons of its genre.

 

A Big Feat for the Little Ones

By Nickee de Leon-Huld
Asianjournal.com

Their name may seem trivial, but their reputation is hardly minute.

Five-piece group The Little Ones is currently on tour around the United States and Europe with Paris , Southampton, London and Manchester as some of their destinations this May. The Little Ones will also be playing at the Sasquatch Music Festival in Seattle this July, along with The Cure, REM, The Flaming Lips, Modest Mouse, Death Cab for Cutie and Flight of the Conchords.

With their summery-sounding, handclap-and tambourine-peppered music, The Little Ones – Edward Nolan Reyes (vocals and guitars), Brian Reyes (keyboards and bass), Ian Moreno (guitars and percussion), Lee LaDouceur (keyboards and bass) and David Esau (drums) – have been compared to the likes of The Beach Boys, The Zombies and The Kinks.

In an exclusive interview with the Asian Journal, frontman Edward Reyes shared some of his thoughts about their music and how it feels like to be associated with these bands.

“It’s great, it’s good company. I know that that’s the kind of music we wanna be making…” he quipped. Edward admitted that they truly respect the way The Beach Boys, The Beatles and The Kinks wrote their songs.

“I really think [our music is] actually uplifting and social [such that] a lot of people have a good time. We are an indie rock band with music that’s for everybody.” He believes that The Little Ones’ undeniable connection with the audience makes the band stand out.

The first steps
Edward worked for a college radio station during his so-called formative years in Los Angeles. There he met Ian, and the two formed a band called Sunday’s Best, which ran for six years. After that, Ian and Edward decided to take a break and concentrated on writing their music. They started bringing friends in for jam sessions. Edward also brought in his brother Brian to play keyboards and bass and David to play the drums.

Edward said that the “journey out of the land of white noise” is The Little Ones’ effort to create something different.

According to the band’s website, their nights were spent holed up in “Uncle Lee’s” studio, just creating and playing songs. They even adopted a “just write and don’t tell anyone” policy for more than a year just to get their muse working. It was during these nights that The Little Ones came up with a new barometer—Uncle Lee’s Rule of Feet.

“The rule stated that a song was deemed appropriate, if, and only if; each of the Little Ones’ feet could shuffle.” This philosophy gave birth to enlightenment and soon enough, The Little Ones became confident of what they produced and took the next step—recording.

David Newton of the Mighty Lemon Drops was instrumental in bringing the Little Ones’ music to the airwaves. The band met him through a mutual friend. Their rollercoaster sessions in Newton’s Burbank studio produced a showcase of songs with “subtle textures, rhythmic pulses and sharp melodies.”

A previous stint with Astralwerk Records afforded the band a first EP release, Sing Song, on the spring of 2006. They eventually landed a worldwide deal with Astralwerks in the US and Heavenly Recordings in the UK and Europe.

In October 2007, an announcement was made on their official website, confirming that Morning Tide, their full debut album, was slated for an international release in April 2008. However, the group broke ties with Astralwerks and the release, to date, has not been made. November 2007 marked the debut of their music video Ordinary Song on MySpace.

Terry Tales and Fallen Gates
Edward described their current tour album, Terry Tales and Fallen Gates, as a collection of songs about their take on life. He also said that some of the tracks are old songs from sessions off their first EP that were still thematically-relevant to their new album.

Their new single, Boracay, one of the tracks that Pinoys will surely relate to, was inspired by the few trips that Edward made to the island. He found something lyrical about the island’s tropical vibe and decided to write about it. For him, the idea of a song describing a vacation in a remote tropical paradise in the Philippines seemed more uncommon.

In the first episode of The Little Ones’ podcast, Edward further described Boracay as a song with “a percussive nature, tons of fun, a virtual paradise with white sand and blue waters and a good place for margaritas.” The use of steel drums in the track also gave it a tropical flavor.

Playing with the giants
The Little Ones were also fortunate to have played alongside popular English bands, Kaiser Chiefs and We Are Scientists.

“Playing with the Kaiser Chiefs was amazing. We were able to open for their tour in the US and [that’s how] we became close to them. They also [invited us] to tour with them in the United Kingdom. It was the best experience ever, playing infront of 10,000 people every night,” Edward recounted.

Support from ‘kababayans’
The Little Ones started their US tour on April 5th this year. Edward cited their gig at the Mercury Lounge in New York as one of the most memorable experiences they had so far.

Edward shared his encounters with Pinoy fans in their tour. “You’d be surprised, like here in Minneapolis, last time we played, I met a couple of Filipinos that we’re living here, and also in the UK as well. Filipinos are everywhere,” he said.

Thoughts on being Pinoy
AJ asked Edward what part of being Filipino he liked the most . He said that the one thing he loves the most about being Filipino is the family aspect. He understands Tagalog but confessed that he still isn’t very good with conversing in Tagalog. “I love the culture and I enjoy going to the Philippines, visiting. I think that it’s a unique culture that’s slowly becoming [popular] in the US,” he quipped.

Indeed, more and more people are shuffling their feet to join the The Little Ones in their journey out of the land of white noise to the world of indie rock fame.