June 20, 2013
The best moment in the song comes when Francis felt completely defenseless to his intense emotions despite the effort to harbor a relaxed, carefree vibe. Held in dazed gasps, he could only murmur “you don’t have the right to find me” and do away with any grand gesture of melancholy to hide from the world that he’s hurting inside, bleeding in the deep as the music swells in moody calmness and lush, orchestral ambience.
June 18, 2013
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June 12, 2013
Equally great are the compelling verses delivered by some of the country’s most respected MCs, from Syke’s graceful, vintage flow to Bambu’s well-articulated hustle. Their contributions somehow propelled the track with added resonance, its meaning transcending over arena-rock guitars and amped up fuzz.
The official clip for Nouvul’s R&B come-on “Hopes Up,” basks in the retro vibe of ‘90s computer games, indirectly paying tribute to one’s good old childhood. As much as the treatment revolves around Jorge Wieneke seemingly focused on his computer screen, there lies the motive that got him inspired to complete the game: he needs to fight through hell and mud to save his princess, played by the lovely and svelte Miki Hahn, who in return, also sings over the actual track. It all plays out like the antithesis to the radio cult hit “Dota o ako,” minus the legit patok-jeepney mix. Watch it:
June 11, 2013
Count “Nature Trips” as another addition to Eyedress’ long list of low-budge but slick-looking vids. Helmed by Bee Eyes’ Julius Valledor, it features Idris Vicuna’s real life girlfriend, Maya Kibbel as the waifish, big-eyed muse who makes fun of herself at the camera, treasuring every moment like it’s the last. Nothing really special here, but Maya’s gawky charisma and quirks can razzle a sensitive gents’ feelings without even trying. The video looks specifically made for her, about her—an MPDG turned real life sweetheart of your dreams. Watch it below:
June 10, 2013
June 7, 2013
It’s in this aloof kind of charm that makes people like me appreciate The Geeks. On “The View (Stalker Song),” they channel adolescent feelings with words that chug god-awful truthfulness in every heartbeat; its wistful guitars and minimal drums bared in its wimpy California glow. "It hurts that it’s over, you know,” Jam repeats and tosses off his beaten emotions down the drain. His frustrations, hopeless and intense, lingers just as you were about to freeze any attempts to revive old memories. Too bad, it would take time before you pull your ears away from its mopey sentiments.
June 6, 2013
This complete acid trip is captivating in its quite possibly nonsensical sense. But stripped off its fractal plot, the video offers a beguiling entertainment that sets beauty apart from madness, brewing cinematic magic that’s bound to mystify, exasperate, and leave a bittersweet taste in the end. Watch the video below:
June 3, 2013
Gone are the days when chillwave, electro-pop and other related bedroom projects find exclusivity in obscure music blogs, fading into oblivion the next week after. Now, its domain is available in wider varieties, thus catering to even the most finicky palates. But what appeals the most and what sets the best apart from the rest is when one capitalizes on a very unique style defined by his or her personal tastes. It might be a mix of influences, trends, technological innovation - all sculpted into a distinct form of its kind. And when you listen to No Rome, it sounds like a montage of your teenage years wrapped in his own twisted afterglow.
One might catalog his EP, Fantasy as K-Pop-slash-electro-slash-bubblegum-pop faddy, and it's completely fine. But that doesn't take away the fact that at first listen, it brings back nostalgic feelings of harmless firsts. Puppy love, first kiss, all these uncomplicated phases of our lives documented in a youthful, zesty take.
Fantasy opens into a mellow foray with “2k5,” a hallmark soundscape that dabs on lush pads and supple ambient flourish, setting the Asianwave tone of the record. The remaining 3 songs are signature No Rome: melodically rich and injected with youthful vibe. Splashed with skippy grooves and darted bass, “Tru Feelings” is the best track to shimmy to all night long, pumping bright colors from its woozy millennial ambition. Title-track “Fantasy” frolics into a light-hearted love song glazed with poppy bleeps and chimes. It also features samples from the hit Korean series, The Princess Hours. And then there's a swooping quality in the Zeon Gomez-assisted “Don't Let Go” that makes it the perfect closing track, with its swirly synths and slushy beats taking all the flirting to its final base.
Rome's first 'blondeelectro' offering is still raw. But time after time, many have proven that rawness does not equate to mediocrity. And so this is why even at this point, we won't be surprised if this young man wins in the next beatsmith skirmish. B
via Mary Christine Galang
Reinterpreting the golden years of slow jams with detached prettiness, Jorge expands his repertoire with songs that might attract mainstream listeners who aren’t drawn to the sleek, lo-fi mutations of R&B: liquid and fragmented downtempo beats, wafting electronic tones, rhythmic counterpoints and all that Miguel-meets-Gaye quirks. His debut EP TwinFlames works on this premise, hard and cold, emphasizing the searing pain and joy of adolescent relationships while beating it under a sonic sculpture. Skeptics who still can’t get pass the trendiness of its bedroom production might dismiss this record as lacking in personality, even pick on the alienating approach that shaped its muddle of washed-out soundscapes and experimental energies. But unlike the bandwagon fetishisms of most releases filed under “drugged R&B”, Jorge makes accessible jams that weave impeccably through smoke and haze.
On “TheyDreamLady” and “Wayu” Jorge breathes new life as a pillow-talking gentleman taking on slow, seductive numbers that have more bump-and-grind feel to it than contemporary bluster. And while his production often lives up to the throwback breeziness and slink of R&B records in the 90s, the songs always connect with surprising amount of staying power and emotional sticking points.
Miki Hahn, who shares her languorous sweet vocals on three tracks (“Hopes Up,” “VIP,” and “EndofDay”), sounds great on slow-burning anthems developed with darker, more atmospheric strain. Her velvety singing, stuffed with melismatic sultriness and restraint, plateaus softly as it transitions from one beat to another, never too forced to peak that easily. It makes perfect sense that Jorge is careful not to overrun Miki’s vocal affectations with his trademark fractious production. After all, the inner beauty of these tracks lies on how calm and soothing Miki’s voice is, and a clever producer should know how to exhaust such quality to fuller effect.
Over the course of half an hour, TwinFlames churns lush, spacious bedroom jams that push the limitations of R&B to narcotic stretch. Jorge’s treatment on his new record doesn’t even come close to groundbreaking, but his efforts take it a step further to soothing extremes, enticing us back for a few more rounds. B+