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Wednesday, 13 March 2013
Russell Brand hosts the 21st annual event, held at the Gibson Amphitheatre in Los Angeles. "The Hunger Games" and "Bridesmaids" lead the nominees, with eight nods each.
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Sunday, 27 January 2013
Saturday, 19 January 2013
Slapshock is one of the premier heavy metal bands today in the Philippines. The band formed in 1998, when many heavy metal acts were being signed left and right by the major recording companies in the Philippines. Six years into the business, it can be safely said that Slapshock is no flash in the pan. To date, they are the only band amongst those signed during that particular genre's boom that is still visible and active. While most acts have gone back to the “underground,” Slapshock now has five major albums to their name and two compilation albums, too.
Slapshock produces music as loud and violent as its name. Slapshock is usually compared to Korn, Limp Bizkit, and Slipknot, as the band combines hip-hop and heavy metal to feed the market's appetite for brutal, in-your-face rap-rock. Slapshock formed in Manila, Philippines, on February 14, 1996, with vocalist Reynold Munsayac, bassist Lee Nadela, guitarists Leandro Ansing and Jerry Basco, and drummer Chi Evora. Nadela, Ansing, and Munsayac met at college; they were all attending UP Diliman in the Philippines. Wanting to alter their sound, the group dropped Munsayac and replaced him with Basco's cousin, Jamir Garcia, who had just returned from the U.S. While in America, Garcia had a band called Bruce Lee's Curse and was familiar with the East Coast hardcore rap scene; his background greatly contributed to the direction Slapshock would quickly take. The group built up a following in Manila's underground clubs. The band was quickly lumped in with two other almost interchangeable Filipino acts -- Cheese and Greyhoundz -- who pounded listeners into submission à la their foreign counterparts. When Slapshock opened for the alternative metal group Wolfgang during its Serve in Silence tour, the band generated excitement amongst angst-ridden teens in the Philippines as well as scorn from conservatives who felt such bleak, blisteringly noisy music was a bad influence on youth. Older fans who believed they were blatant bandwagon-jumpers ridiculed them. Nevertheless, Slapshock's 1999 debut album, 4th Degree, did well. On August 30, 2002, the band performed at the Folk Arts Theater in Manila and became the first rap-metal act to sell out all 8,000 seats in the venue. The band's songs continued to dominate modern rock radio in the Philippines as its third full-length, Project 11-41, was released that year. Project 11-41 displayed some sense of melody, but a number of critics felt that the group was still too derivative to be taken seriously. Despite that, Project 11-41 was one of 2002's most commercially successful albums in the Philippines, and Slapshock was voted Artist/Band of the Year at the NU-107 Rock Awards.
In the late 90s, rap metal was all the rage on the music scene. Bands like Limp Bizkit, Linkin Park, Rage Against the Machine, and Papa Roach took the world by storm. The local music scene, too, was swarmed with rap metal bands. And one of the most successful was Slapshock.
For a band to stay long in the biz is one tough feat. While most of Slapshock’s contemporaries went back to the “underground,” producing albums and singles under indie labels, Slapshock has stayed afloat longer than anyone expected. For a period of eight years, the band has managed to come up with five albums namely 4th Degree Burn (1999); Head Trip (2001); Project 11/41 (2002); Back to the 2 Inch (2003); and Novena (2004).
After taking a break from the recording scene—although they never stopped performing for true-blue rock fanatics—the band composed of Jamir Garcia (vocals), Jerry Basco and Lean Ansing (guitars), Lee Nadala (bassist) and Chi Evora (drums) returns with a 13-track album called Silence under EMI, featuring the first single “Direction.”
Silence, the new sound
“We have traded our screams for melodies,” Slapshock’s frontman Jamir Garcia shares as they bring out their fifth album. “But the Slapshock trademark sound which is music-heavy, is still there.”
Jamir wrote all 13 tracks of the album, with two songs in Filipino. According to the band, they have grown professionally. And they no longer consider themselves as a rap metal band.
“We’re typically a rock band,” Jamir quips.
Their new sound may be a little softer compared to their previous outings but it’s anything but soft. The brilliance of the band shines throughout the album’s less-lyrics-more-musicality experiment as it promises something “hard, heavy and sing-able.”
“It’s a collective effort,” explains bassist Lee Nadala. We (the band) produced this album. We’re all in this together, solid kami.”
Recorded at the famous Backyard Studio in Cebu, where they also recorded tracks from the album Novena, Silence is actually the extreme opposite of their music.
“We never really left our music. This is just a product of our silence after Novena,” Lee explains.
As they break their silence, Slapshock’s new sound is another surefire hit.
“It doesn’t make sense that we would back down now. We’ve been here for eight years. As long as we’re happy, we’ll do it. This is something that we really love to do,” adds Jamir.
Silence includes heavy riffs and haunting melodies with tunes like “Shed Your Skin,” “Sleepless Blvd.,” “Pagtila,” “Waiting,” “Back Home,” “Divine,” “What We Are,” “Adios,” “Walk Away,” “Last Ride,” and “Stranded.”
Slapshock has come a long way. But the road to success was anything but easy. Luckily, it was music that kept this band together.
“If one is not interested anymore, no passion to do what we do, it’s hard to continue,” says Jamir.
Lee adds, “There’s the money matter, but that is only second to our passion which is music.”
The band admits that at first, they were not aware how the industry works. And this has caused them to lose lots of money.
“Some of our past managers got richer. Thanks to us,” reveals Lee.
“There was this one time that we came across the producer of one of our shows and he told us that they liked the show and hope to invite us again but they could no longer afford us because our asking price is high. We learned that our manager was actually signing us for a higher price when in fact we ask only this much,” laments Jamir.
Good thing they have EMI on their backs now.
“We’re confident enough to say that EMI knows what we really want,” says Lee of EMI Artist Management that also handles the careers of rock bands Hale and Sugarfree.
“There were a lot of offers from other recording companies. But why go if you don’t have problems here? Why go to others if they don’t fulfill their promise?” Jamir points out.
In 1998, Slapshock was still struggling. They were hoping to seal a deal with a major label, but were not able to do so. While they sent demo tapes to different recording companies, it was EMI who signed them.
“Some of the record labels didn’t want to get us because our music is ‘too loud’ for their taste. But when our songs became popular on the radio, all of a sudden these record labels wanted to get us,” recalls Jamir.
Music as principle
While they have nothing against artists—bands specifically—who get their musical influences from prominent bands and other popular music, Slapshock pays high respect to rock acts who, like them, write their own songs.
“If they like to do what they do, then go. As for us, we will not compromise our music for the sake of commercial success,” says Jamir, referring to some bands that take the music of other famous bands as their own. (To give you an idea, The Care and Silver Chair are just some of the victims of these copycats.)
One might notice that Slapshock don’t get as much TV appearances as other bands. They even turned down an offer to appear on the TVC of a popular beer brand. The reason? “As much as possible, we don’t want to appear on TV. If you want to watch us, then go to our live gigs and you’ll be assured of a great show. We don’t perform in variety shows because some want us to perform songs other than our own. Some even want their mainstays to sing with us which would be a disaster because most of our songs are hard to sing,” explains Lee, who is also directing the band’s music videos. “If we want to do a commercial, we can do it. But we’re calling the shots.”
So is Slapshock ready to claim the title as best rock band in the local music scene?
“We don’t want to compare ourselves to other bands. We just do what we love to do. We stick to our principles and set our personal goals,” quips Jamir.
About Parokya ni Edgar
Naming themselves Comic Relief, the band members were originally composed of three vocalists and two guitarists - Seth Aguda, Christian Bas, JC DE VILLERES, a certain Miko and Jerick. Their after-school jamming honed their musical skills, making themselves worthy enough to deserve the opening number for an Eraserheads concert. This "break" made the band members decide to add a drummer and a bassist, enter Dindin Moreno and Buhawi Meneses. This same performance marked the change of the band's name to Parokya ni Edgar. After high school, two of their members,
Jerick and Miko pursued other interests and left the band. Far from being discouraged, the remaining band members invited to their fold guitarist Darius Semaña.
The name was said to have been derived from an old classroom joke involving the main character in Noli Me Tangere, one of their school subjects.
The band soon started playing at the legendary local band hub, Club Dredd. Coming out during the height of the Pinoy rock explosion, with the Filipino rock community giving into the influence of foreign bands, especially grunge acts such as Nirvana, Pearl Jam and Soundgarden, Parokya ni Edgar stood out as the band that played like no other. Their jokes, silly antics, and outrageous performances paved way to the popularity that they currently enjoy.
Eventually, the late Bella Dy Tan, managing director of Universal Records signed them up as contract artist after viewing a gig at Club Dredd. Soon their initial recordings such as Buloy, Trip and Lutong Bahay were heard all over the air waves across the nation. Their first album, Khangkhungkherrnitz became a triple platinum hit.
Though they still remain very active in their musical efforts, their unmatched staying power in the Philippine recording scene already is garnering favorable critical comments on their band achievements. The secret of their success is centered on Chito Miranda's musical and band leadership. He is the core that keeps everybody in the band together. All music and artistic ideas pass thru his judgement, filtering it which often is up to date to the taste and reception of their audience. They seem to be making fun of themselves and easy-going but close associates and friends of the band point out that this band persona is actually calculated and to a certain extent planned. The humor and relentless technique of self-immolation shall be the hallmark of their musical contributions.
They now make commercial Jingles, campaign jingles for politician and novelty songs which in direct line of Lito Camo, Philippines most iconic novelty song maker. They can also be invited at childrens party and stag party
Saturday, 5 January 2013
Top 10 Songs ranks the 10 most popular songs of the week, month and year based on the top downloads from online song retailers since July 2004. Below this week's top 10 songs chart are links to all of our song charts.
About Session Road
sessiOnroad is an alternative rock band from the Philippines. Band members are Hannah Romawac-Olives (vocals, rhythm guitar), Coy Placido (lead guitar, synth), Chavi Romawac (drums, percussions), Richard Carandang (bass), and JV Romawac (percussions, back-up vocals).
Coy and Hannah are the group's chief composers. sessiOnroad's music showcases a fusion of different genres--rock, pop rock, alternative, reggae, soul, and mainstream.
The band's first album was produced by Grace Nono and Bob Aves under Star Records. It was the release of the first single SUNTOK SA BUWAN, from their second album of the same title and produced by Alpha Records in September 2004, that gained for sessiOnroad a lot of recognition from the listening public. The song topped the charts in almost all major radio stations in Manila for two straight weeks since it started airplay. Suntok sa Buwan was nominated song of the year for 2004. "Blanko" a meditative song about emptiness, from the their 2006 album "bakit hindi?"(why not?), won the band's AWIT AWARDS' Best Music Video under the people's choice category in 2007.
About Brownman Revival
Perhaps one of the most enduring and familiar legacies to come out of the Caribbean shores would be that sensational dance-rhythm phenomenon born in the late 60’s, accented with a delirious and bewildering backbeat known as reggae. Armed with cool, soothing melodies and infectious grooves, reggae music chose to celebrate life, love and dance, amidst heated surroundings of ferment and crisis. It shouldn’t be hard to imagine then why nearly 180° degrees around the equator and thirty years later, on an isle quite similar to Jamaica, several young lads aimlessly floating in the doldrums of urban
campus life caught on to the reggae fever and formed BROWNMAN REVIVAL.
Started in late 1994, the band re-captures the original groove and spirit of the reggae vibe - when reggae appealed more to the heart and the hips, infusing it with pop undertones that strike a familiar chord with Filipino “aural palates”, not to mention their pelvic areas. BROWNMAN REVIVAL is made up of the one-drop rocksteady beats of drummer Dennis, the sensual grooves of Jao on bass, the sexy accents from percussionist Januarie, the steady “chanka” rhythms of Alphy on guitars, the wicked horn riffs of Jayson on trombone, Jojo on sax, Ambet on trumpet, capped-off by the passionate wailing of frontman Dino.
Drawing heavily on contemporary reggae acts such as Big Mountain and UB40, BROWNMAN REVIVAL creatively mixes the traditional roots sound of venerated reggae icon Bob Marley, with an OPM sensibility producing a festive but sensuous strain of Lover’s Rock reggae with such vibrant energy that never fails to leave the crowds winding and grinding their sweaty bodies to the band’s euphoric reggae party.