Ely Buendia finally revealed the real true meaning of “Spoliarium”, to the dismay of fanatical fans, budding conspiracy theorists, and wannabe UP professors. And if you are one of those who used to believe that the myth wasn’t just a myth, that there’s really something behind what’s written on the wall Continue reading “The Real True Meaning of Eraserheads’ “Spoliarium””
I already wrote a long-ish one about ‘Kaliwete’ — yes, that song, and no, it’s not what some people thought it was about. Now, it’s time we get into the other songs from Eraserheads’ first and only fifth album. I don’t really feel like writing a long intro so I won’t be dissing IVoS or Ben&Ben fans this time. By the way, I think I liked Hope Sandoval & The Warm Inventions’ Bavarian Fruit Bread Continue reading “Explaining Eraserheads’ ‘Andalusian Dog’, ‘Ha Ha Ha’, & other songs off Sticker Happy”
Kurt Cobain, widely known for playing guitars left-handed (like Jimi Hendrix and Paul McCartney), was actually right-handed and wrote with his right hand.
I’m not really into songs’ lyrics. Not that much. At least not as much as those who make himay-himay the lyrics of their favorite songs. Or like those IV of Spades fans on YouTube. By the way, I’ve already made up my mind. I like the Ben&Ben fans more — those who post their heartbreaking sob stories in the comment section. Continue reading “The Real True Meaning of Eraserheads’ “Kaliwete””
1. Do you have any fan merchandise that is unusual?
Hmm, not sure if it could be considered as a band merch or something, but… I got a souvenir from the Mocha Girls, and this was back when they were still APOLITICAL, and in some of their shows, they would throw panties at the audience. You know, you have to jump and catch them or fight with the others. Continue reading “Barbie, Thom Yorke, Mocha Girls, Unit 406, etc.”
Eraserheads’ Sticker Happy Turns 20
They called themselves Eraserheads. They took it from David Lynch’s surreal horror film, which was released in 1977, the same year Punk exploded. Eraserheads took off in 1993, two years after Nirvana and grunge broke into the mainstream. Apparently, Lynch’s film was still popular among late ’80s – early ’90s film school circles. Punk, on the other hand, was on the verge of another revival. The Eraserheads were never punk, though they flirted with punk and discord more than once (i.e., Insomya). What they surely had in abundance though, especially in their early days, was “punk attitude”. Twenty years after David Lynch’s film debut came Sticker Happy. And twenty years later, the girl in front of the upright piano still has her back on us, but that’s OK—the songs are still sticky, colorful. We, the fans, happy.
Wala lang. 20th anniversary kasi ng paborito kong album na Sticker Happy. Oo, tama yung may nakahubad na babae sa cover. Wala na sigurong mas iconic pa dito. Kahit yung cover ng paborito kong Abbey Road (yung LP ha, at hindi yung EP na may “The” sa title)? Walang sinabi yun. Pero di tulad ng Pavement, Radiohead at Nirvana walang inilabas na re-issue o special edition ng Sticker Happy (ganun din naman yung mga naunang albums ng ‘Heads). Samakatuwid, walang Wowee Zowee: Sordid Sentinel Edition o Slanted & Enchanted: Luxe and Reduxe. Pero OK lang, pwede namang magpatugtog ng mga live recordings nila circa Sticker Happy mula sa baul ni Schizo (unfortunately, wala palang bootlegs sa mga panahong iyon).
Mahirap i-describe ang mga kanta ng Eraserheads. May mga kantang malungkot ang tema, pero masaya. Maganda ang melody pero maingay din kung minsan. Pangkaraniwan ang boses ni Ely, di tulad nina Bamboo o Axl Rose, pero kakaiba ang dating ng mga kanta nila. Hindi masyadong teknikal, pero magaling. Madaling sakyan pero hindi baduy. Pero ibang usapan na pagdating sa Sticker Happy. Mas mahirap i-describe. Lalo na yung sound nila. Heto lang masasabi ko: medyo bastos yung “Kaliwete”, wasak yung “Ha Ha Ha”, walang sense ang “Kananete”, at di pa rin ako sigurado kung 100% sincere si Ely sa “Para sa Masa”. Maganda yung “Milk and Money” at “Andalusian Dog”, parehong lumang kanta na binigyan nila ng panibagong areglo, pero ayoko nang himayin pa kung ano man ang sinasabi nila sa lyrics.
Sa kabila nito, may isang kanta sa Sticker Happy na simple lang, pero malalim. Hindi sya maingay, walang masyadong gaheto—distortion man o sampler—pero mabigat. Tungkol ito sa love, tungkol sa faith. Tungkol sa mga bagay na akala natin ay totoo, pero malalaman natin sa huli, na hindi pala. Mga bagay na pinaniwalaan natin nang bata pa tayo. Napag-usapan namin dati yung line na “someone up there is waiting with arms open wide and smiling”. Sabi ko, ang pagkakaintindi ko, tungkol ito sa mga trapo, na tunay na tao lang pag malapit na ang eleksyon. Sabi ng kaibigan ko hindi, tungkol ito kay Papa Jesus. Napaisip ako noon. Sabi ko, hmm, may point sya. ‘Yung linyang “suffering is what you get for living” naman, nito ko rin na-ii-relate sa mga nababasa ko tungkol sa spirituality, sa Buddhism, at sa Tuesdays with Morrie. Life is suffering, yun ang totoo at “wala ka nang magagawa kundi sundin ito.” Ganun din ang mga pagkahaba-habang pelikula ni Lav Diaz. Naalala ko tuloy nung minsang napanood ko yung Melancholia. Tapos kinabukasan umuwi ako sa amin. Habang nasa bus, narinig ko yung “Gusto Ko Lamang Sa Buhay” ng Itchyworms. Muntik na akong mapaluha. Sa unang pagkakataon matapos mapanood ang walong oras na pelikula ni Lav Diaz, nakaramdam ako ng tuwa. It’s hard to explain. Matigas ipaliwanag.
Ang mga larawan ay hiniram lamang sa Facebook page ng ERASERHEADS : The Greatest Filipino Band Ever (Believe it or else.) at nilikha ni ACIII. This blog entry is brought to you by the numbers 6 and 9 and by the letter Ng.
A few of my favorite records came out in 1997. Pavement’s fourth “masterpiece” Brighten the Corners was released that year. Ditto with Radiohead’s critically acclaimed OK Computer and Foo Fighters’ The Colour and the Shape. In the same year, Teeth returned with Bum Squad EP and a healthier Glenn Jacinto. Then the Eraserheads, fresh from their first US gig, surprised us with Bananatype, a five-track prelude to their most perfectly imperfect fifth album – Sticker Happy – which also came out that year.
Sticker Happy is one helluva record; Eraserheads’ unheralded masterpiece – if there should be one. Not their best, but definitely their craziest; and one with the best damn cover art. It’s a cacophony of zany things; the Eraserheads both old and new, guitar pyrotechnics, pop songs, techno, sex, booze and rock & roll – a strange brew that spins violently and destroys everything along the way.
Looking back now, Sticker Happy may have been a bit too much for most fans to fully appreciate at the time. It was their least accessible album up to that point. It also marks the time when the band took away some of the things, fans love about their songs. No more silly love songs about Toyang, Shirley or Ligaya. Instead, we got “Kaliwete”, a song about a two-timing hottie and the band’s flippant tribute to Rico J. Instead of songs about things we could easily relate to, they gave us “Downtown” and “Balikbayan Box”.
Sticker Happy kicks things off with cartoon theme-like “Prologue”, and things go bonkers from there on. “Futuristic” is anything but. But just like “Kaliwete”, it’s built on an icky riff and sets the tone of the album; their modus operandi – in-jokes, guitars, loosely tied lyrics, melodies that stick and more guitars. Way before Hopia, Mani, Popcorn, Rico J. Puno – the mustachioed grandfather of OPM – gets the homage he rightfully deserves, via innuendos, catchy choruses, and spoken words.
At the core of Side E, are songs that best exemplify the less popular side of Eraserheads, the deeper cuts in their catalog. Lyrically dark, witty and self-referential while loops, samples and drum machines meet interlacing guitars. There is “Maalalahanin”, where Raymund Marasigan lays down the grungiest pile of noise he could muster, on top of electronic and acoustic drums. Then, Ely Buendia takes a few bong hits, and ponders on the meaning of life and caressing the future on the brilliant dark comedy “Ha Ha Ha”. Then there’s “Balikbayan Box”, a song that perfectly captures the woes of living away from home and the excitement of going back. Discord and noise has been a hit and miss in Eheads’ past albums (i.e., Monovirus from Fruitcake, Bato and Insomya from Circus); but here, we have the Luis Bunuel film-inspired “Andalusian Dog”, one of their successful attempts in marrying melody with psychedelic overtones and noise.
Not Side E is more unwieldy, and opens with “Downtown”, Marasigan’s electro-dance-funk about his escapades in downtown LA, which is also the grandfather of all Squid9 songs. The lyrics on “Kananete”, part two of Buendia’s Hand Trilogy, are nonsensical at worst, but the lumbering guitars and driving basslines more than makes up for it. Buendia and Marcus Adoro then get rid of their fuzz boxes and let Buddy Zabala take over the drums, on a song about disbelief and love. It’s a well needed rest; a few minutes of lull. Then things get dark, drunk (“Spoliarium”), heavy and funky again (“Ambi Dextrose”), before they go for an early closing, with a sober sorry song – the piano ballad “Para Sa Masa”.
Sticker Happy isn’t perfect; almost, yes. I could do without “Everything They Say” and “Bogchi Hokbu” could have been a minute shorter. On some days, “Ambi Dextrose” is fine. On some days, it is like The Matrix Reloaded or Return of the Jedi – the weakest part of a trilogy. But these are minimal trade-offs, considering the extent to which the band tried to expand their sound on this album. Plus, the album cover is just fucking unreal – white skies, a red balloon, green grass, mountains and a beautiful piano undressed in stickers.