IN HEAVY ROTATION: January February 9, 2011Posted by Richard Bolisay in In Heavy Rotation, Music.
Hey, a new project. As if I really need one. Well, I hope I can keep this up, at least for this year, with a little help from my friends.
Here we go. Running! Police on my back!
“Sino Nga Ba Siya” (Sarah Geronimo) The timing isn’t anything but timely, Sarah trying to make it sound like her previous hits, sentimental, high-key, pandering to what her fans have wanted to hear from her since she lay low and started getting old. But her first line gives it away as she takes on a song whose message she really went through and felt, a song she could’ve written herself, a song that could otherwise be called “The Theme from the Rayver Cruz Saga.” Someone please sneak this into Cristine Reyes’ iPod.
“Hold It Against Me” (Britney Spears) Really, there’s a lot to hold against this poor Britney comeback but above all, it’s the low-par and pathetic attempt to do catchy disco that annoys the most. Talking about skimpy kitsch.
“Mahal Kita (Di Mo Pansin)” (Kyla) Army pop Kyla does seem comfortable with the frequent booms of drums and strums of sugar-coated strings because her voice stairways to stony heaven, unwavering and limbering, before eventually yielding to an Aaliyah-inspired mellow languor.
“Grenade” (Bruno Mars) Understandable is how or why pop music gives birth to someone like Bruno Mars and lets him believe that he’s good, but it’s rather insufferable to see people lap him up like he’s some sort of gifted singer-songwriter who’s man enough to stand by his lackluster figures of speech. Oh ya.
“Call Your Girlfriend” (Robyn) You can’t blame me if I’m still high on Robyn. Her three exemplary albums last year continue to ring in my ears, all full of earworms both aching and exhilarating like this one, when she’s no longer dancing on her own but giving her man some advice on how to leave his girlfriend quick, whispering to him while pumping the dance floor and doing endless headspins. “Don’t you tell her how I give you something that you never even knew you missed / Don’t you even try and explain how it’s so different when we kiss.” Yeah, bitch.
Reptilians (Starfucker) More like I fell in love with the album art first before the record went on several repeat, which is a pity because Starfucker are mindfuckinglyblowing every time they pop the dance glock track after track. Don’t take my word for it. Your loss, not mine.
Kaputt (Destroyer) “Don’t be ashamed or disgusted with yourselves,” how sweet of Dan Bejar to say, as if he knew us, as if he met up with us last night and told us his problems and we told him ours, over beer and cigarettes, over smokes and mirrors, his soothing voice clearing our heads, keeping them steady with a drizzle of cheer and comfort.
Cape Dory (Tennis) Ten tracks freshly picked and squeezed out of Patrick Riley and Alaina Moore’s experiences at sea, summer music being cool and hip these days, salivating with fancy claps and shananas, nothing different from those hear-one-hear-all new bands coming along many times a year.
Limiters of the Infinity Pool (Pupil) A third album means the first and second have followers, which also means that Pupil have enough fire to keep them going, enough material in their stash to dig up gems that don’t sound like Ely and Yani and Dok and Wendell have made with their other bands, but the truth is, Pupil have reached the point when praise is only natural to give, especially when the result is as deftly made as this.
Napoleonette (Matthew Friedberger) The piano is a monster and it’s going to eat you up and spit you out. Matthew Friedberger channels Jeff Tweedy, Salvador Dali, Andre Breton, and Ravel in one dazzling work and comes up with an opus raining cities and colors.