Buddha’s Pest (The Mongols, 2004)

mongbudGot Buddha’s Pest few months ago—got it pre-loved, second-hand, from eBay. As advertised, it is in mint condition. The CD inserts, with production notes and lyrics, are still intact—means the previous owner really took good care of it. It’s quite amusing though, that the liner notes come with directions and precautions, warning about the dangers in playing it loud and listening closely. That at full volume, it is no different from the red pill that could lead you down the rabbit hole; that it’s as potent as any mind-altering substance that could trigger mental time travel or worse, disorient and fuck the brain.

Buddha’s Pest is Jesus “Dizzy” Ventura’s (a.k.a. Ely Buendia) first proper release, post-Eraserheads; and The Mongols, his first formal band since “graduation”. Like the five-track EP Fraction of A Second, which was sold in their gigs in CD-R format, Buddha’s Pest is also self-produced by the band, released via their own Criminal Records, but under a major label imprint for wider distribution. Much like Teeth’s unintended swan song I Was A Teenage Tree, Buddha’s Pest  is criminally underrated.

Quite interesting that The Mongols open the album with repeated sampled noises (which echoes, whether intentional or not, the electronic beats and loops from the Heads’ last outing), before kicking the flood gates open with “The Keeper”. What follows is a string of tunes that not only recalls the early ’90s—particularly shoegaze and grunge—but also reminds of Ely Buendia’s witticisms and penchant for melody—with the latter having gone a bit suspect on Carbon Stereoxide.

The Mongols mine old gold, both tuneful and mouthful: whether it’s the fragmented lyricism of “Bulakbol”, Buendia’s internal monologues in “Bakit Nga Ba?”, or his parade of comic-book characters in both the Billy Corgan-esque “Wig Out” (a troglodyte, a silent sentry, the Minotaur) and the impossibly sublime “Irish Spring” (the dragon-slayer, his lady fair, and the little monster). The words aren’t just sounds that flows with the tunes. There are stories in there, floating in a whirl of fuzz and distortion. Needless to say, this is easily Buendia’s best set of songs since Sticker Happy.

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Complementing Buendia’s full-on comeback is Teeth’s Jerome Velasco. Velasco’s guitars provide the grit and nuances, shifting between chunky distorted riffs and dreamy soundscapes between and within songs while the band flies high on intricately layered song constructs and simple chord progressions.

But to credit everything to guitarists Buendia and Velasco would be harshly unfair to the rest of the gang. There’s the dreamy “Pony”, a song about a girl who loves to tell stories about girls and bands, penned by Yan Yuzon and Bogs Jugo—the other half of the band, relatively newcomers whose names suspiciously sound like they were lifted from comic books. Then there’s “It’s Over”, another solid contribution from Yuzon, which is not really for the embittered Eheads’ fans (So hold my hand/ We’ll take a bow/ The world can do without us now).

This album has plenty of highlights, but for me, “Heroine”, a song credited to all members of the band, takes the cake. This is where all hell breaks loose. Mid-song, there’s a campy exchange between GOD (played by Buendia’s muse, Diane Ventura) and Satan that sounds like a scene straight out of the first Heavy Metal movie—it’s hilariously grungy and head-bangingly cool. But what sets this apart is the chorus; it is heavenly—like the whole band speaking in tongues—a modern haiku for the ages.

I promise you my heart/ we’ll never be apart/ I’m gonna fuck you like there’s no tomorrow.

No other band—not the Radioactive Sago Project, not Wolfgang, not the Eraserheads, not even the Urban Bandits—has ever gone this pure. This magical. This visceral.

“Heroine” is its fuckin’ nirvana and Buddha’s Pest is bliss.

 

*Album inlay from Schizo Archives.

Have you ever wished you were a 90’s kid? FYI, the 2000’s was awesome too!

Note: This was originally written in September 2016, around the time everyone was going crazy over a TV ad featuring the Eraserheads.

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“We grew up listening to the music from the best decade ever.”

                                                             – Lariat (Stephen Malkmus & the Jicks, 2014)

Everyone wants to be a 90’s kid these days. Everyone wants to relive those times when “Pare Ko” hits the top of the charts; when “Alapaap”, “Banal Na Aso” and “Laklak” almost got banned; when Rivermaya premiered their music video for “Elesi”; and when the boys of Parokya Ni Edgar debuted on national TV, wearing skirts and dusters. Nostalgia moves in mysterious ways. There’s probably another Eraserheads reunion brewing around the corner (or maybe that’s just how a certain Telco giant wants us to think and feel). There’s also this rumor spreading around of the band re-recording Ultraelectromagneticpop. But the Eraserheads and their fans aren’t alone on the reunion bandwagon. Four out of five members of Rivermaya’s 1994 lineup had a one-night reunion last January. For some, it was a night to remember, with or without Bamboo; for the others, their wish remains the same – the reunion of the “original” Rivermaya.

We’re halfway past the 2010’s already. It makes me wonder. Are we gonna be nostalgic soon for the previous decade, as we were for the 90’s ten years ago? In case you forgot, Ultraelectromagneticjam came out in 2005, a few days before the 10th year anniversary of Cutterpillow. And if you want to gauge how nostalgic we were back then, just think about this – Ultraelectromagneticjam was a tribute album for a band that disbanded merely three years prior. Yeah, that’s how badly we missed the Eraserheads, specifically the Eraserheads of early-to-mid 90’s (the Eraserheads of late 90’s to early 2000’s? Not much, I guess).

How about the 2000’s? Doesn’t anyone want to go back to the early to mid-2000s? Are we not going to see our collective nostalgia snowball into a Sugarfree reunion? Or at least make the members of Orange & Lemons play together again? Would there be online petitions for the members of Bamboo and Rivermaya circa 2004, to double-bill one big concert?

Honestly, that would be awesome.

There’s no denying that the 90’s was great for local music, but I’m afraid that we’re very much inclined to overlook a lot of things – bands, music, albums – that came out after the 90’s. As far as I’m concerned, the 2000’s was just as good, if not better.

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Here’s a list of notable/favorite albums from the previous decade. And they are just as good and as interesting as the best albums from the 90’s. I think Peryodiko’s self-titled debut, which was produced by Robin Rivera (Eraserheads, Dong Abay, Sugarfree), is an underrated gem. Ditto with Archipelago’s one and only CD. Among the albums listed below, those from Ciudad, The Purplechickens and Narda are probably the hardest ones to find – which is quite sad because those are among the finest indie records from the last decade. If you don’t like MYMP because of their sappy acoustic covers, you’d be surprised that their debut album, has nine originals and only two covers (The Police’s “Every Little Thing” and Bob Marley’s “Waiting In Vain”). And Juana’s only album, which sounds very 90’s (think of Prettier Than Pink, only better) is actually fine.

A is for Alternative: Free (Rivermaya); Tuloy Ang Ligaya (Rivermaya); Live & Acoustic (Rivermaya); Bagong Liwanag (Rivermaya); Behold! Rejoice! Surfernando is Here Nah (Markus Highway); Travel Advisory (Archipelago); Peryodiko (Peryodiko); The Noontime Show (Itchyworms); Sa Wakas (Sugarfree); Flipino (Dong Abay); Beautiful Machines (Pupil); Wildlife (Pupil); Buddha’s Pest (The Mongols); Thanks to the Moon’s Gravitational Pull (Sandwich); Contra Tiempo (Sandwich); Bigotilyo (Parokya Ni Edgar); Your Universe (Rico Blanco)

Indie Darlings: Hello! How Are You, Mico the Happy Bear? (Ciudad); Is That Ciudad? Yes Son It’s Me (Ciudad); Formika (Narda); Discotillion (Narda); A Postcard From (Narda); Swerte (Narda); Rhomboids (Monsterbot); Here’s Plan B (The Purplechickens)

Jazz Folk & Funk: Urban Gulaman (Radioactive Sago Project); Rippingyarns (Cynthia Alexander); The Powder Room Stories (Skarlet); Is Love (Out Of Body Special)

Pop Princesses: Misbehavior (Juana); Suntok Sa Buwan (Session Road); Kitchie Nadal (Kitchie Nadal); Soulful Acoustic (MYMP); Todo Combo (Moonstar88)

Punk Post-Punk New Wave: Flowerfish (Sheila & The Insects); Guerrila Ballroom (Agaw Agimat); Bitch for Change (Reklamo); Nut House (Hilera); Strike Whilst The Iron Is Hot (Orange and Lemons)

(Photo of Narda’s Salaguinto’t Salagubang EP by Rain Contreras.)

Zilch (Pupil, 2015)

PhotoGrid_1462695497194Three albums in and Pupil goes back to zero – a restart, a new beginning. Yan Yuzon’s out and erstwhile Mongol Jerome Velasco comes in. The angular riffs and dream-pop soundscapes are out – traded for the more compact ones. The alt-rock palette with strong post-punk leaning, they decided to explore no further. We saw the band’s sound evolve from Machines to the Infinity Pool – what we have here is the same sound overhauled. Forget about My Bloody Valentine and Interpol then, Zilch has Pupil defaulting to rock – with shades of Smashing Pumpkins, The Cult and Pixies, thrown in to thicken the mix. This time, arena-sized wails, metallic riffs and a drum kit straight out of ZoSo, are front and center.

The Ornussa Cadness starrer “Out of Control” is the funkiest of the lot – also contains Ely Buendia’s wittiest wordplay in a while. Second single “Why” faintly echoes the Pumpkins’ “Quiet” from Siamese Dream, but the chorus is totally Buendia’s – and it’s catchy as hell. Speaking of hell, “MNL” spells some irony about the titular city, a.k.a. the gates of hell, in between metallic riffs and furious pounding. Where Zilch falls short, is in providing breaks between the din, in the same way “Cheap Thrill” pours like ice water, on this hot hot summer. And this is where the rivets start falling. Compared to Buddha’s Pest, in which the dreamy shoe-gazers splinter the grungy ones, Zilch has lesser variations one can latch onto. Not a total loss, not remotely bad even. Yet somehow, it feels like this is where the winning streak ends.

P.S. The cover art is irresistibly hot, despite its black paint mud and cold metallic feel.