Exclusive cover photo by Richard Saguirre

By Ted Reyes

Barbie Almalbis (Photo by Richard Saguirre)

THE general ambience inside the venue of the Barbie Almalbis concert doesn't necessarily convey a jovial message. In fact, the message it sent was macabre.

For all we know, the Rebel in Midtown Manhattan houses one of the biggest goth rave parties in the east coast -weekly.

The interiors had it all: Red lights, medieval cages that looked like those that gave temporary shelter to heretics during the inquisition, and a mezzanine floor where huge antique mirrors hang over blood-red pin lights.

Well, Barbie is not a goth act. Actually she is a Christian artist, and her love for Jesus and the whole mankind seep through her songs like newly-fermented water flowing into an alabaster jar.

The stark contrast between the artist and the venue was as profound as good and evil.

Anyhow, the venue was cool and the sound was spectacular.

The opening acts were, of course, the first ones to savor the richness of the sound system.

The Kuwagos (Photo by Ronnie Lao)

First up was The Kuwagos. The Bergenfield quartet who recently released their debut album tore down the house with four tracks from their CD: Gusto Mo, Pansinin, Eh Ano Ngayon, and Ikaw Lang.

It was only 6:30 PM when they got off the stage, but the crowd was pumped up to the maximum.

Bleud (Photo by Ronnie Lao)

When Bleud came on, the crowd was still reeling from the excitement of the Kuwagos set, but like in every rock show, excitement is a renewable resource.They played three new songs from their upcoming sophomore album: Ordinary, Out of Control and Swing. They closed their set with their hit song Bye Bye Na. The crowd had it.


Rachel Ann Wolf (Photo by Sheryl Garcia)

Next up was the show's host Rachel Ann Wolf, who did a couple of songs from her album as well. Rachel was simmering hot that night and she did very well on her hosting job.

Attaku was the next rock band to grace the stage. Their sound was a heavy mixture of progressive and classic rock. They rocked the place so hard, nobody noticed their their shredding guitarist was blind. Legally blind.

It was an unforgettable set from this amazing band.

Some balladeer followed and mellowed the crowd a bit. It is really hard to mix pop balladeers with rock groups and vice versa. They just don't mix well. Balladeers can snuff out the life force of any rock fan, and in the same way rock artists can overdrive any body who came in for the soothing calm of a love song. In fairness, the singer that night was okay, it just didn't match the event.

S.I.G.H (Photo by Ronnie Lao)

The last hard rocking band to get on stage before Barbie was S.I.G.H.

S.I.G.H hails from New York and they are fronted by a charismatic female singer named Sigh Robes.

Their brand of rock is exactly what it is on the charts right now - emo, nu-metal kind of stuff. The band was tight that night and they successfully kept the crowd in hyper-mode, in spite of the misplaced balladeers in the lineup.

A rap artist from New York, L.A.D, was the final opener before Barbie, who was still stuck in NYC traffic during that time. L.A.D.'s routine was great. His rhymes were eloquent and smart. It may sound a bit strange that a hip hop artist was in a rock gig, but for some reason, rap blended well with rock better than pop ballads. Perhaps the sweaty and sensual beat of hip-hop is more agreeable to rock audiences.


Barbie Almalbis (Photo by Marco Galsim)

When Barbie arrived after a delayed flight and a mad rush to the venue, the anticipation was high.

At last, one of the most famous rock artists in the Philippines was about to hit the stage. The audience was pulsating with excitement and glee as she took the stage and set up her gear. All eyes and ears were at the rock princess as she strums the first chords of her opening song. A collective gasp form the crowd was heard when she uttered the first words to her song -Torpe.

Barbie Almalbis had come.


Barbie Almalbis (Photo by Ronnie Lao)

Barbie's repertoire was a nice mix of old hits, new songs and revivals. From her Hungry Young Poets days to her latest incarnation as a solo performer, she performed almost everything, hit after hit. The audience heard all the songs that they came and paid to hear.

The only qualm about her performance was actually the lack of it.

Barbie, as everyone knows, is on the family way. And that may have played a big part on her performance that night. She didn't stretch her vocal performance enough for the people at the back to hear. She was cautious with her every move, perhaps worried that extensive movements might jeopardize the life inside her. She was economical with her gestures. She exuded a vibe that she didn't want to rock hard.

It was perfectly understandable, given her circumstances. After all, the audience didn't go there to judge but to enjoy. And everyone enjoyed.

Though her set somewhat brought down the energy level set up by the opening acts, it still wasn't enough to match the gloomy and gothic aura of the venue. It was still fun and good.

It is hard enough to produce mega-shows like this that's why it is important to give props to the producers of the show who did a spectacular job in pulling this one off. Dante Opulencia of D' Opulent productions, Glenn Jacinto and the many sponsors deserve cheers for a job well done.

Bleud (Photo by Sheryl Garcia)

The Happy Analogues (Photo by Sheryl Garcia)

JERSEY CITY - Two of the most prominent Fil Am bands in the music scene, Bleud and The Happy Analogues will appear on the ABS-CBN TFC program “Speak Out” on February 25 and March 4, respectively.

The bands, both under the Fil Am independent record label, Soulworks Records, were invited to play their music on the youth oriented talk show which airs every Sunday at 7:30 PM (EST) on the Filipino Channel. The Jersey bands flew to San Francisco to tape the episodes early this month.

Bleud made an impact back in 2005 after releasing their best-selling debut album, ‘Musings of a Caffeine Addict’, which turned out a number of hits, including the original version of the song ‘Bye Bye Na’.

They also became the first independent band from Jersey City to land on the most popular internet music store, Apple’s iTunes Music Store, due to the album’s popularity.

The band is currently recording their sophomore album that is scheduled for a fall 2007 release, and they are also releasing their second music video for the single ‘Animé Girl on March 3, 2007 at Wazzup Café in Bergenfield, NJ.

The band’s first music video was for the single ‘Hello My Friends, Hello’, which was released in the Philippines by Alpha Music Philippines.

Meanwhile, the Happy Analogues has made its way into the competitive music scene via hit singles that they released on two critically-acclaimed compilation albums: Perf De Castro’s ‘Leyte Benefit Album’, which features the Analogues’ song ‘Beautiful Pain’, and Soulworks Records’ summer 2006 hit compilation ‘Rock in the Box', which contains their hit single, ‘Alaala’.

The Analogues are releasing their debut album called ‘Lilacs & Politics this spring.

Visit the bands’ websites for more information:
www.bleud.net; www.myspace.com/bleud;
www.thehappyanalogues. com; www.myspace.com/thehappyanalogues

Title: New Beginnings
Year: 2007
Label: 2heaven Muzik
  
1. In A Little While
2. Stay
3. Di Na Ako Aasa Pa
4. Just A Dream
5. Calling All Nations
6. However Which Way
7. Desire
8. Tell Me Why
9. Maynila
10. Kaibigan
11. Kailanman
12. Line To Heaven
13. Will I Survive
14. More Than A Friend
15. Living My Life
16. Eroplano
17. The Big Ride
18. Lullabye

THE opening track of the Introvoys' new greatest hits album, 'In a Little While' is not the typical Introvoys sound that most of their fans are accustomed to. It sounds heavier due to its dependence on guitars and independence from the introvoys' trademark instrument - the keyboard.

As most of us know, the band's biggest hits are more often than not graced by JJ Buencamino's instrument.

Think of 'Calling All Nations'' and 'Di Na Ako Aasa Pa'. These songs have sold more piano sheets back in the 90's than Mozart. But during the first moments of the band's new album, the absence of the keyboard is evident.

To avid fans of the band, it is enough to get them off-balanced and ask them where did the band that they have loved for years go.

But that is the whole point of the new greatest hits album: Jonathan, JJ, Paco, Chot and Steve made it a point to make their old songs sound new. And whatever the band was thinking in bringing the guitar upfront more than the black and white keys, I guess they thought right. It works for me.

The great thing, though, is that, altogether, the band did not leave everything like such.

There are key moments in the album that bring the keyboards back in the spotlight,. Moments that would transport every listener to a place where everything is familiar.

'However Which Way' still has that goose-bump inducing piano intro as well as 'Will I Survive'.

'Just a Dream' has that trademark keyboard lick similar to one of my all-time favorite Introvoys number that I wish was on this album - 'White Roses'.

Nevertheless, the album is a gem. It will definitely win the band a new generation of listeners and likewise tickle the memories of life-long fans.

This release further give credence to the truth that that songs are independent of their recordings.

And great songs like the ones that are in New Beginnings can stand independent of any musical arrangement. The band can even do all these songs A Cappella, and still make it work.

It will work because however which way you take these songs, they remain beautiful.

But too tell you frankly, I kinda miss the harmonica/accordion fill on 'Maynila.'

You can purchase this album at
http://www.introvoys.net/new/shop.htm
Poptimes Rating: 4 Pops.

Legend:
- Sell everything and get the CD
- A classic album/Must have
- Buy it if you have extra money
- hmm just burn a copy
- Forget it. Go to a peep show instead.

Noizytoyz

IT took the Toronto-based Filipino-Canadian punk quartet, Noizytoyz almost 16 hours to get to New Jersey to play a gig at Bistro San Miguel last January, but with the intensity of their performance that night, it seemed like they live a block from the venue. IT was high-octane Fil-Can punk at its finest.

The band' s leader and main songwriter, Andy Gutierrez, is a veteran of the music scene way back home in the Philippines. He is a survivor and alumni of the legendary Club Dredd with his band Feet Like Fins in the early 90's. But like most Pinoy rockers, the lure of a better life led him to Toronto. Thus, Noizytoyz was born.

The band is perhaps the most successful Fil Can band in recent years.

They have won numerous recognitions including the prestigious Supernova Battle of the Bands 2004, which earned them an opening slot for the band Lucid and 16 hours of free recording.

They have also been invited by internationally acclaimed Japanese punk group, 'Kamikazee Bombers' to join them in Japan for some shows. It doesn't stop there. Andy even sang the theme of the 2004 Energizer Battery commercial that aired all over Canada.

Completing the lineup for Noizytoyz are: Rikki Hesita on Guitar, Dennis Lauchengo on Guitar and Alvin Santos on Drums.

According to Andy, the band is indebted to their fellow Filipino-Canadian artists and indie labels like Minerva Records and Radio Insect Records, who bonded all together to create a music scene that they can call their own.

Now, the band plans to move across the border and bring their brand of Pinoy punk to the Fil Am music scene.

Their January gig in South Jersey was a fitting kick-off. And once again, in March, they are booked to play yet another date at BSM.

Noizytoyz recently re-released their debut album, ' Biyahe sa Kabilang Mundo', which contains 10 original songs. The album is available on their website - http://www.noizytoyz.com

You can also visit their myspace: http://www.myspace.com/noizytoyzmusic.com

On January 27, 2007, The Kuwagos launched their debut album at Wuzzup Café and Restaurant in Bergenfield, NJ amidst great expectations from the whole Fil Am music community. It was a successful launch, which also saw great performances from several bands in the scene like Qwadra, Circled Sin, Bleud, P.I., and The Happy Analogues. The show was hosted by the WPOP Deejays, Brijo and Binky, with a special appearance by Animé Girl herself, DJ Microsarah.
(Exclusive Poptimes Photos by Sheryl Garcia)


Qwadra

Circled Sin

Bleud

P.I.

The Happy Analogues

The Kuwagos taking the stage.

The Kuwagos in front of a jam-packed Wuzzup Café.

Mayhem at the mosh pit. Cho of The Kuwagos body surfing.

The Hosts: DJ Brijo, Binky and Microsarah.

Cheers from their peers. L-R(standing): Ronnie of the Happy Analogues, Lloyd of
The Moonbugs, Jojo of P.I., Jerwin of Bleud, Jonas of Circled Sin and Ted of Bleud,
The Happy Analogues and Poptimes Magazine. Seated L-R : Deo of Circled Sin and
Jheasar of P.I.

The Beauties: Charmaine, Mary and Figs.

**Special multimedia slideshow of The Kuwagos album launching party.
Slideshow by Poptimes Magazine, Photos by Lek Manalo, Music by The Kuwagos.
Check our new Poptimes Multimedia Page or click here**

THERE is absolutely nothing derogatory about the term 'front-act'.

In fact, it is tantamount to what the Marines believe when they boast on being 'first in the line of battle'.

Marines go in front of any other unit of the military in times of war. They secure beachheads, they clear mountain bases, and they procure enemy-infested villages so that the big wigs, the colonels and generals, can later on pose for photographs when victory is achieved.

Fil Am artists are like the Marines whenever there are big Pinoy artists heading for the States.

Producers rely on the local Fil Am artist to draw the local crowd and set the stage for the big stars to party on. Otherwise, these big stars would only have people watching TFC or recent immigrants for their audience.

That's why it is imperative that producers get local bands that have a sizable draw to secure a successful turnout.

This doesn't take anything away from the big Pinoy artists.

Superbands like Parokya ni Edgar, Rivermaya, whose catalogue of hits have become a part in every Fil Am home can easily fill up any venue in Manhattan.

But in a producer's mind, there's nothing wrong with putting more sardines in a packed sardine can.

In the case of 'not- so- super Pinoy bands/artists', the need for local artists to open their shows become a matter of financial life and death. It could spell the difference between profit and loss, success and failure.

In recent years, the Fil Am music community have seen numerous artists from the Philippines playing shows here in the States and they can't help but notice that the local bands opening up for them rarely change. The reason?

These local Fil Am bands are so good that they bring their followers anywhere they play - including the ones that they play as opening acts.

These great artists like, S.I.G.H, The Kuwagos, Warholsoup, Rubberband, Qwadra, Blue Mellon Pop, Bleud, PI, The Moonbugs, Circled Sin, Piece of Mine, Pedro Gil, The Jumping Jacks, Noizytoyz, Trickbag, The Happy Analogues, Kamandag, Kayumanggi, Ben Paltik, Alfa, Jay Legaspi, Binky Veloria, Jing R.A., The Grudge, Grim Bottle, Aikostar, are headliners in their own right. And to serve a noble cause, they become like the Marines and pave the way for their Pinoy counterparts.

Just how long these great artists will remain openers for Pinoy acts remains a question to this day. But they won't be forever openers for sure.

Time will come that the word opening act would be replaced by the ringing sound of 'back-to-back'.

And like every Marine who trooped to secure beachheads and trenches and survived to became colonels and generals later on , Fil Am bands will get to the see the day when they become co-headliners with Pinoy-based acts, and be certified headliners all over the world.

EVEN as a married man and a father of one, love still drives me crazy.

Chris Rock once said that you never really thought of killing a person until you have fallen in love. Spending ETERNITY with my loving wife is enough for me to kill myself.

But all kidding aside, love does make us capable of doing things we normally wouldn't.

In college, I went out with a popular girl in the university. Let's call her Candy Pacanton.

Candy was a biology major. She was pretty, with great hair, and a pair of legs that just won't quit. I'm not a tall guy, and she had a good two to three inches over me. She was so tall that one time I started kissing her from her toes to work myself up to her neck, and by the time I got to her knees I needed two glasses of water to rehydrate myself.

And man, I swaggered in campus like a peacock knowing I was dating, if not the hottest, one of the hottest girls around.

Anyway, a lot of the guys wanted to ask her out and the girls wanted to hang out with her. And for the life of them, they couldn't figure out why Candy was going with me.

I couldn't either.

But later on I would realize that she had affections for me similar to how you would feel drawn to a motherless puppy. I will explain later.

All was going well until a month before the semester ended. I gathered enough guts to tell her that I have a girlfriend of five years waiting for me back home. She flipped. Hard.

On that same evening, her friend came knocking on my door and, in tears, told me that Candy slit her wrists!

So I went to get her and, after yelling a few obscenities at her, rushed her to the university hospital and was treated for minor embarassing cuts.

The next morning, the news of Candy slitting her wrists buzzed around the campus like wild gamugamo over a kalabaw's head. And since she was well liked by people, in one instant I became the scum of the university.

In the weeks during the summer vacation, I was treated to her waiting inside a cab outside my house, received mailed copies of forged prescriptions made to her name for pre-natal stuff, and phone calls at two in the morning telling me to go to hell. It was a very eventful summer.

What compelled her to act like that? Maybe because she knows she could have anybody and could not believe a nobody like me could walk away? Maybe because the reason she hooked up with me was because she felt like reaching out to the unpopular guys in campus, like helping a leper perhaps?

Whatever it may be, no guy is worth all she did. Especially with an a-hole like myself.

How could anybody think that acting like a crazed lunatic will win another person's affection?

Love is an unregulated drug that can either heal or devastate a life. We get high on it and believe all is well in the world. And it's free.

Take it away and you just might lose your mind faster than Pete Dougherty in a buddhist temple in Mongolia. Sometimes we have to keep ourselves in check if our love is harming the very person we are falling in love with. By all means, fall in love, and be ready to get hurt. Because in knowing and expecting to get hurt will we know know that we have completely given ourselves to another person. But it does not give us the right to inflict pain and suffering to ourselves and others. So go crazy, fall in love, get hurt, get back on your feet, and fall in love all over again.

I have been proven wrong a lot of times, this may be one of them.

Back when I was in college, I had developed this crush on a girl that I had known as a friend of a friend.

Every once in a while, I would bump into her at the cafeteria, the student lounge even the gymnasium.

For some silly reason or another, I never even tried to get to know her. She seemed to be nice, She appeared to be popular with the guys. She was ecclectic. She had that 'girl next door' look to her. She was basically everything I thought I was looking for in a girl. But again, I never took the chance to try and get to know her. Purposely.

I’d compare it to having a favorite singer.

So for example, you’re at the supermarket picking up groceries for the week when suddenly on the pa system, a sweet, mellow song begins to play. You find yourself tapping your foot to the beat, listening intently to artist, trying to make out the words that she’s singing. It has a catchy hook, she has a lovely voice and then at the end of the song, you find out the title and the artist. You pick up her album and you listen to it over and over. You end up following her career, developing great admiration for her work. After her sophomore album debuts, you defend her against critics who feel she has no business having any type of airtime. You share in her joy when she finally wins a Grammy feeling that this triumph was way overdue.

And then one day, while you’re standing in line at Starbucks, waiting for your Mocha Frappucino, you realize that she is standing right next to you. You realize that this moment is the perfect opportunity to let her know how her music has inspired you; that it was her music that you related to when you broke up with your girlfriend; that it was her words that spoke exactly how you were feeling; that you understood the pain that she felt.

Now was your chance to tell her exactly how amazing you thought she was. You search your pockets for anything to write with and be written on, gather enough guts to ask for an autograph and that person then says, “I don’t sign napkins”, takes your Mocha Frappucino and walks away.

Your ego is crushed, your heart sinks into the bottom of your socks and your whole image of who was once your favorite artist is now destroyed.

Sigh.

Last night, Bleud had a performance at the Laugh Lounge in New York City and as shocked as I was, my college crush was there. Yes, the same girl that so many years ago, I would bump into at the cafeteria, notice from afar as she walked across the campus courtyard or as she swung her racket during a game of doubles tennis. After a few minutes of deliberation, I had finally talked myself into walking up to her and finally introducing myself, but as I did, as I saw her across the room sitting at the bar, I realized that that was the only way I wanted to see her. I only wanted to remember her as a crush, as a person with absolutely no flaws and as a person whose image would never be shattered.

I just think that some things are best left as just that, especially in the type of world we live in today; where expectations are usually higher than we’d prefer and where most things are a let down. There are some things that you just want to hold onto and never let go. And there is never any question about how things might or could be. You just accept it as it is.

And sure there will always be the argument that she might have been having a bad day and you may have caught her at the wrong time, but still. First impressions really do go a really long way.

If you’re staring up at beautiful moonlit sky or if you’re sitting by the lake with your feet wading in the water, you never ask why. You just appreciate. You don’t disrupt. You just let things be. Just be impressed.

LAST year, Poptimes Radio opened up and launched a show called Poptimes Radio Sessions, which featured live acoustic performances by some of the best Fil-Am artists like, The Kuwagos, Trickbag, Alfa Garcia, Binky Veloria, Warholsoup, Grim Bottle, P.I. , The 3rd Element and The Moonbugs.

This March, after a brief hiatus (off-season), The Radio Sessions will return and will have more live performances from you favorite artists.

If you want to be a guest on the show, email us and send in your electronic press kits/bio.

Also do visit www.poptimesradio.com for further details

She is best known for her spunky stage presence, stylish get-up and signature vocal flair. She  astounded audiences everywhere when she hit the local airwaves through the songs ‘Manila Girl’ and “My Boy Lollipop” and as the enigmatic front woman of The Brownbeat Allstars. Now, Myra David-Ruaro re-emerges with a new name to boot, SKARLET.
 
Like the vivid red color that her name implies, Skarlet’s spunk and spirit resemble her brilliant musical style, edging out other vocalists in the local music scene today.  Her powerful vocal prowess and dynamism  are showcased in her debut solo album ‘The Powder Room Stories’ under the independent jazz label Candid Philippines.  She now joins the roster of it’s artists including London International Jazz Competition Grand Winner Mon David, Mr. Jazzhound Johnny Alegre Affinity and Ms. Mishka Adams.
 
Backed-up by some of the biggest names in the jazz scene today including Aya Yuson on guitar, Simon Tan on upright bass, Koko Bermejo and Alex Fidel on drums, Joel Galang and Henry Katindig on piano and Ronald Tomas on tenor sax.  Others who lend their talents on this much awaited jazz album of the year also includes master percussionist Bo Razon, Freddie Samson, Ronaldo Banaag, Ramon Mancio, Sherwin Valencia, Jekjek Cenidosa, Paul Tadeo, George Abundo, Roxy Modesto, Wynton Magsalin and Mei Tayengco.
 
Skarlet’s 14- track CD includes 10 original  compositions and 4 renditions that epitomize her journey through life and music.  The album opens up with the self-titled song, ‘Skarlet’, as she reveals her true self in a spunky 30’s-inspired arrangement followed up by a mid tempo swing version of  Iconic punkrocker Debbie Harry’s ‘Call Me’.  The highly sentimental ‘Lullaby for Ganei’ was stripped down to Yuson’s guitar masterwork and Edgar Avenir's arrangment of The Brownbeat Allstar's "The way that you do will surely make anybody do the boogie. Hank Hunter / Jack Keller’s ‘One Way Ticket To The Blues’ was rearranged by the mastery of Mr. Noli Aurillo.  The album also includes two rarities from the OPM archives,  Ani Montano’s ‘Babae Ka’ and Francis Manglapus/ Freddie Kauffman’s ‘Im In Love With A Dream’. 
 
The CD release marks Skarlet’s re-emergence as the NEW Philippine’s Jazz Princess.