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The Age for New Beginnings: 30 by Adele

By Alex Amorado

Adele’s 30, was everything her fans wanted and more. Much like her other albums, it is named after the age she wrote the songs. The age of 30 for Adele was especially significant and filled with profound of emotions as she journeys through life’s complexities following her divorce.  This album can be said as Adele’s best album yet, expressing her rawest and realest form. Narratives of the things she has gone through are found all throughout the album.

Themes of heartbreak, finding oneself, moving on, and love (romantically, for her son and for herself) are evident in the 12 diverse and brilliantly unique crafted songs. 

"Strangers by Nature," the hauntingly beautiful opening track of the album, sets the stage for an emotionally charged journey that lies ahead. With delicate organ chords, Adele's voice soars and echoes over the melancholic orchestral arrangement, creating a powerful yet vulnerable atmosphere. The depictive lyrics of a scene in the cemetery and ends with the line “Alright then, I’m ready” brings the audience in to Adele’s life in the that her marriage and love was something she had to bury for her own peace.

As the album unfolds, each song offers a unique perspective on love, heartbreak, and empowerment. "Easy on Me," the globally acclaimed piano-ballad that has won the hearts of people, as Adele's passionate voice brings to life the heart-wrenching lyrics about the consequences of staying in a love that erodes one's sense of self. It’s a reminder that even when loving other people, we also have to stay in love with ourselves– careful not to lose ourselves in loving others. As Adele journeys through her divorce, she asks her son to go easy on her as she tries to explain why their marriage did not work out. 

The album plays on different subgenres such as Jazz and R&B fusion heard in  "My Little Love"  that draws inspiration from a heartfelt conversation between Adele and her son. The velvety background vocals seamlessly enhance the narrative, a poignant tale shared by Adele about her relationship with her son. Vulnerable and honest, she lays bare her anxieties, fears, and vulnerabilities in this deeply personal piece.

Departing from her signature melancholic ballads, the album takes an upbeat turn with "Cry Your Heart Out" and "Oh My God." "Cry Your Heart Out" surprises with its vocal layering and brass instrumentation, infusing the song with a perky and soulful style that contrasts the introspective lyrics of two sides of the same coin, crying over loss but also happy crying for new beginnings. It’s a song of juxtaposition, where you can happily dance based on the tune and cry while listening to the lyrics. On the other hand, "Oh My God" embraces a playful production, utilizing claps, keys, organ, and bass to create an electro-pop feel that complements the exciting lyrics about the experience of being flirted with after a divorce.

With the divorce, Adele also wishes to find an everlasting love which is something she writes about in the song “Can I Get It” somehow asking if she could actually get that ever-after love she has been dreaming about. It’s a beautifully written song that showcases an upbeat acoustic guitar style accompanied by claps, whistling, drums, and subtle hints of trumpet, resulting in a lively and intricately layered song about the pursuit of everlasting love. 

Is it not like everyone else, when we are going through something it seems a little more bearable when we have wine on our side? The title “I Drink Wine” may give the same idea however it barely talks about the act of drinking but rather it becomes a lot more personal for Adele as it reflects both the repercussions she got from her father’s alcohol addiction as well the divorce she was going through. It’s a simple composition, with just Adele's soothing backup vocals blending with a gentle piano and drum accompaniment that reflects how she was “bounded by choices that somebody else”.

The interlude, "All Night Parking," holds a special place in the album as it features the renowned American jazz pianist Erroll Garner. With its dreamy sound, the interlude encapsulates the phrase "short and sweet," providing a moment of reflection and transition.

After that moment of reflection, we are reminded that self-empowerment and leaving something that is not worthy of you is something that worth celebrating, and “Women Like Me” does exactly that as Adele celebrates the importance of knowing when to walk away from a situation that no longer serves us. Adele reminds us that knowing when we deserve better is so important. But just as letting go can be difficult, sometimes holding on to something is also just as difficult, heard in her song “Hold On”. It’s a song written like a letter to herself about how “it's hard to hold on to something when I’m [she] stumbling in the dark for a hand”. It’s a song of double meaning where she’s losing herself trying to hold on to her failing marriage but at the same time trying to hold on to herself-no matter how little is left of her. The song in particular evokes a feeling of catharsis resonant to its listeners towards the end of the song as the orchestra intensifies to a crescendo. 

Closing the album with its final two songs, "To be Loved" begins with a piano intro that harks back to Adele's past relationship, a reminder of what she had to let go in order to find true love and be loved in return. It is a passionate and heartfelt anthem about sacrificing something that once meant everything. Lastly, "Love is a Game" ends the album with its silky cinematic jazz sound, exploring the notion that love is a game for fools. Adele acknowledges her hesitation to be love and vulnerable again, but ultimately admits that she would willingly embrace love's unpredictable journey.

This whole album is a masterpiece of real emotions transcending beyond the typical heartbreak albums as it touches on real-life complexities, making Adele more human and reachable by her audience. It’s a 5-star album and might I say her best album yet. There is no miss in this album with all very well written and proves and reassures the fact that 30 could indeed be the start of a new chapter with new beginnings. The album is incredible beyond belief, hence being nominated for two Grammy Awards, including Album of the Year, and it winning the Brit Award for British Album of the Year at the Brit Awards 2022.

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The 1975’s “About You” is a shoegaze masterpiece that is sure to make its way to the strings of your broken heart

By Kenzie Sy

“About You” serves as a lyrical masterpiece as it is a continuation of their 2013 Single titled “Robbers”. A long-awaited, but unexpected, sequel to their previous hit. The 1975 heavily emphasizes the self-referential aspect of “About You”, which makes the song even more interesting after knowing the history and inspiration behind it. 

The narrator of the song talks about the nostalgia and grief of a previous relationship. The singer, Healy, emphasizes the lines “Do you think I have forgotten? About you?” multiple times throughout the course of the song. It talks about how, despite the time that has passed, he still remembers the connection he had with this certain person and reassures them that he has not forgotten anything about them. 

The song spans over a good 5 minutes and 26 seconds, with one of the greatest instrumental pieces of the band that leads the listener to experience the emotions in a heightened state. This song also features Carly Holt, the wife of The 1975’s lead guitarist Adam Hann.

In the first verse of the song, Healy sings about “a place” that he goes to when he needs to remember his ex-lover’s face. Indicating that even if he has forgotten certain things about the person, he still remembers them as a lover. Meanwhile, the chorus highlights his feelings of uncertainty and his thoughts of whether this person has faded away completely. 

It all comes down to the bridge, which is one of the best parts of the song. As Holt sings “And there was something about you that now I can't remember. It's the same damn thing that made my heart surrender,” it underscores how, in a sense, he has forgotten about his ex-lover; that he can no longer recall why he was in love in the first place. Ultimately, the song calls attention to his desire to keep his ex-lover in his mind even if the memories have faded. Through this song, he reminds that person that he is able to miss them even without the emotions they have shared. 

During the coda of the song, the words fade out to a long instrumental that captures the emotions of the song. It includes a fuzzed-out guitar and a very unique saxophone sound. 

In the song, Healy sounds very comfortable in the song as he harmonizes with Holt. Although they are singing two very different melodies, their voices fit together perfectly as it creates a harmony that The 1975 has never been able to create before. 

“About You” does its job of serving as one of the best songs in the entire album. I believe it also encompasses the album title “Being Funny in a Foreign Language” perfectly. The song, like the album title, is saying something that only Healy can understand, and though his listeners can associate his lyrics with their own experiences, in the end, he is expressing himself in ways the audience cannot fully understand — like being funny in a foreign language. 

To me, one of the most important parts of understanding the lyricism of “About You” starts in the bridge. When Holt sings it, it evokes a certain emotion from the listener that creates a memory of nostalgia and heartbreak altogether. “I never know what to think about, I think about you,” this lyric, for me, expresses how Healy thinks about this certain person when he no longer knows what to do as if this person gave him a certain direction and drive in his life. As if to say, when I am lost, I think about you. 

I believe that “About You” does a great job in moving the audience, even the way the Y in “You” is capitalized makes the audience understand that this is for a very specific certain someone, the “someone” that we all have in our lives.

I would highly recommend this song to those who appreciate the previous sound of The 1975 as well as those who are inclined to listen to sad songs. The nostalgia and emotion it provokes is simply one that is unique to this song only. Even the instrumental, without the lyrics, can bring out an emotion that you did not know you had in you. 

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Ode to Motherhood: A Review on Cleo Sol’s “Mother” (2021)

By Ashlee Baritugo

In British R&B/Soul artist Cleo Sol’s “Mother” (2021), motherhood is a revelation. Released just the same year as the birth of her first born, the singer-songwriter’s sophomore album is as sweet as much as it is soulful; with instrumentals raw as much as they are uplifting and lyrics hopeful as much as they are heart-wrenching. 

Known for her critically acclaimed debut “Rose in the Dark” (2020) as well as her enigmatic work with British R&B collective Sault, Cleo Sol has established her spot in the world of British neo-soul. Real name Cleopatra Nikolic, the “Sol” in her stage name is a tribute to the word “sun” in Spanish, her mother’s own ethnicity. Even in one of her earlier singles like “Sweet Blue” released 2019, Cleo Sol’s mother evidently played an integral role not only in the singer-songwriter’s music, but also in the perspectives and values she sings of. 

The album’s cover paints the perfect picture of the album; behind Sol, seated on the sofa with her new born, is a framed photo of her mother on the wall. Co-written and produced by Inflo (Dean Josiah Cover), “Mother”, then, is culmination not just of her own voyage into motherhood but of her mom’s, too. The lyrics are hard-hitting, with lines like “Love is a sacrifice, I know that you’re hurting / Nothing replaces a mother’s love” in first track “Don’t Let Me Fall”, and sometimes seemingly an outlet of frustration like “‘Cause you / Nearly broke me down, mama … Mama, please, stop acting 23” in 23. But Sol balances the raw, journal entry-like lyrics with the syncopated and groovy beats of a signature soul track. The layering even seems strategic: her powerful, emotive vocals somehow adding a smooth emphasis to the lyrics while back-up vocals add even more of an impact listeners won’t expect. 

The best part of the 66-minute album though is its introduction: a two-part opening in which “Don’t Let Me Fall” transitions seamlessly and extremely satisfyingly into “Promises” over subtle, continuous dream beats that finish off the first song and lead us into the very intro of “Promises”, the best track of the album, where Sol gracefully confronts yet another aspect of motherhood over spacious yet steady drums. In the track written much like a letter to her mother, Sol questions: “We get closer, but not close enough / Why’d you have to leave? / Why’d you have to go?” over the same drumbeats carried over from the last track. Its after this steady beat in “Promises” that we begin to realize how large of a role the drums play in the album, as subtle as they may be. We hear its solemnity again in “Sunshine”, a track on transformative love, when it enters halfway into the track and turns the mood into an entirely different direction. Percussion is the backbone of the album, and “Promises” shows us how. This track, too, brings us back to that strategic vocal layering we hear throughout the album; it’s like Sol is singing right into our ears, and nothing hits the spot more than an R&B track so smooth it feels as if its embedded in your soul.

As much as the album is a plethora of introspective lyrics, however, there remains a large space of ambiguity that listeners are left to fill; which arguably makes it even better. The tracks in the album are long – “Build Me Up” and “One Day” both going as long as eight minutes – mostly because there’s a common spaciousness between Sol’s vocals and the instrumentation. That spaciousness when the listeners are left alone with the instrumentation somehow adds room for appreciation; there’s nothing else to do but listen to the steady percussion or the groovy frequencies of the bass alongside reflections on love, motherhood, and the journeys they call for. “Mother” is bursting at the seams with intricate melodies and complex rhythms over hard-hitting emotive lyrics: the exact recipe for the perfect R&B album.

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Ending the Debate: A review of because I liked a boy by Sabrina Carpenter

By Sam Castillo

Despite having released her debut song back in 2014 and finding little to no luck in finding mainstream success, Sabrina Carpenter finally breaks out as she finds her rhythm. The 24-year-old, actress turned singer, released her breakout song entitled “because I liked a boy” alongside her album entitled “emails I can’t send” on July 15, 2022, by Island Records.

The success of the song may be attributed to her recent involvement in a love triangle between rising popstar, Olivia Rodrigo, and her now ex-boyfriend, Joshua Basset. Although the song does not name anyone explicitly, the subject matter is clear. Finally putting the rumors to rest, Sabrina conveys her truth and her side of the story through the lyrics of because I liked a boy. 

The song is structured like a typical pop song with it going in the order: verse, chorus, verse, chorus, bridge, and final chorus. Moreover, it uses a 4/4 time signature and is in the key of B Major. The song stands out amongst the rest as it features a haunting yet flowing melody that is pleasant to the ears despite the sad nature of the song.

 The song starts mellow, with only a soft-sounding guitar to accompany the singer. The first verse recounts how her and Basset met and the innocent nature of their relationship. She recounts these moments and ending it with the lines “Fell so deeply into it, it was all so innocent.”

Despite starting sweet and mellow, the song’s lyrics and dynamic take a sharp turn as the chorus comes in. “Now I’m a homewrecker, I’m a slut, I got death threats filling up semi-trucks. Tell me who I am, guess I don't have a choice, all because I liked. I’m a hot topic on your tongue. I’m a rebound getting ‘round stealin’ from the young.” These explicit yet raw lyrics show Carpenter recounting all the hate messages she received due to the media painting her out to be what caused Rodrigo and Basset to break up. These lines underscore the absurdity of being labeled and judged based on someone else's actions, emphasizing the unfair burden placed upon women in the public eye.

In an ethereal sounding bridge, Carpenter sounds like she’s falling from the sky as if the drama surrounding her has resulted in her fall from grace. She then adds a cheeky little line to address the situation singing: “Dating boys with exes No, I wouldn't recommend it.”

The last chorus starts out soft with only her vocals occupying the song. However, it starts getting louder as more instruments come in, signifying Carpenter rising up to the situation and finally standing up for herself against the hate. She finally shuts down the haters one last time with the final lyric of the last chorus, and arguably the best lyric in the whole song: “And all of this for what? When everything went down, we'd already broken up.” Alluding to the fact that at the peak of her receiving hate online for being the so-called mistress, her and Basset had already broken up thus her no longer being involved with him yet still getting caught up in the gossip.

The music video for the song further reaffirms this narrative as the video surrounds a well-beloved circus ringleader, Carpenter, who eventually loses the public’s favor as people mistakenly blame her for being the person responsible for the lion’s disappearance. Just like what the song suggests, the video shows the damage done to her reputation by fake news spread by the media and the masses which leads to her being the target of the daggers thrown by the public.

The song perfectly delves into the complexities of young love, public scrutiny, and the unfair labels placed upon women. Carpenter's powerful vocals convey the pain and frustration of being vilified for simply pursuing her feelings. This comes as a reminder to fans that although celebrity drama may be interesting, the center of these controversies are also people with feelings too. Carpenter's vulnerability and honesty resonate with listeners, making the song a relatable anthem for anyone who has ever been unfairly judged or silenced.

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Boy Pablo Takes You to Prom with “Roy Pablo”

By Alfonso Navarro

Before the world tours and highly-anticipated albums, Boy Pablo once earned themselves the status of Indie Pop princes on the internet with the debut release of their innovative 2017 Extended Play (EP), “Roy Pablo.”

Born out of a group of friends in 2015, this project arguably established the band as Norway’s biggest pop export to the world.

Through the six-track EP, it can be argued that the band has innovated the Indie Pop genre, as no other artist has created a sound so innovative, yet nostalgic. Many would say that Mac Demarco’s wavy sound-heavy projects from 2012 to 2015 have laid the groundwork for the genre, yet it appears that Boy Pablo has elevated it to greater heights.

Band headliner Nicolas Muñoz and his friends open the shortened album with “Yeah,” a song that strongly sets the tone for what the listener should expect. The track’s intro feels like a fresh, strong breeze of air, as it forces you to take a step back and relax as you reminisce about a teenage love that you’ve once had. The strong opening is consistently carried over by the next track.

“Everytime,” the EP’s most popular song, is argued to be an integral pillar of the Indie Pop scene, as it serves as an introductory track to anyone who wishes to delve into the genre. The song is so simple, yet provides an orgasmic combination of both solo and rhythm guitars. It’s as if both instruments have created a wonderful art piece to the ears. The song also serves as the primary source of the album’s theme, as its lyrics hint at an innocent teenage puppy love that is relatable to the listener. “She doesn't know who he is. No, she doesn't know what he's up to (oh),” the band strongly proclaims.

The blood-rushed experience of a first love continues, as the band invites you to shuffle your feet with “Dance, Baby!” The track brags itself as one of the more upbeat and faster songs of the EP, as its body-twirling sound takes listeners to a higher level of ecstasy. The rhythm makes anyone feel like they are in prom again.

Entering the latter stages of the EP, “imreallytiredthisdaysucks” and “ur phone” serve as filler songs to help the listener take a break from the first three tracks. Both tracks are more mellow and simple, as the lyrics and chord progressions ease up a little bit. They feel like simple poems combined with easy-to-follow melodies.

Upon analyzing the dynamics and structures of the first five songs, one may notice a pattern that is up for interpretation. Yeah is filled with euphoria and fantasy, but everytime levels you down to bitterness. Dance, Baby! brings you out of your seat, yet imreallytiredthisdaysucks and ur phone eases you. This rollercoaster-type energy may reflect the awkwardness and mixed signals one may get as a teenager in love. Yet, the songs’ melodies reflect the dominant presence of teenage optimism.

Arguably the most important reason for this project’s success is seen in their strong finish, as the band catches listeners with one final twist.

All that puppy love and happiness is thrown out the gutter as Boy Pablo leads the listener out the door with “Ready/Problems.” Despite remaining loyal to the synth-wave innocent sounds of the band, the song symbolizes the emotions that come with rejection. It reminds the listener that love is something that is not always about sunshine, but also about rainy days. Its main lyric, “‘Right place, wrong time,’ is what she said to me,” ultimately realizes to the listener that a first love will most likely never last. It’s an emotional song that makes you beg for more.

Roy Pablo is a project that can be best described as an angsty teenager who is exploring the world of love, while also dying to experience it. Hence, it is an album that is easily relatable and lovable. From its charming, exhilarating sounds to its down-to-earth lyrics, the EP is an amazing example of what the Indie Pop genre has to offer for new listeners.

The work is by no means perfect, as it lacks a certain kind of depth which is usually restricted when it comes to EP releases. Boy Pablo may have provided their listeners with a more diverse vision through their 2018 album entitled “Soy Pablo,” but its predecessor is argued to be more successful.

Such success can be attributed to the gigantic heart of the project. It is a musical work that does not expect your praise, but humbly asks you to feel and relate to its themes. Many other artists such as Clairo and Cuco share the same “bedroom soft-pop” sound, but the Norwegian band takes its place as the rightful pillar of the genre.

Although the group has created much longer works that brag about unique themes, such as “Wachito Rico” (2020), this debut project remains at the top of Boy Pablo’s discography. Its replayability is second to none, as its lightheartedness and simplicity subtly invite listeners to loop the album for hours.

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Moira Dela Torre's "Take Her to the Moon" – A Letter of Love, Life, and Loss: A Cosmic Overture of Bittersweet Love and Goodbye

by Alex Amorado

Moira Dela Torre once again captivates and is able to tug the heartstrings of her listeners with the release of "Take Her to the Moon," a poignant track featured on her 2018 album, "Malaya." The song is 5 minutes and 23 seconds long and features Jason Hernandez as the second voice, complimenting the expressive voice of Moira.

This heartrending ballad delves into the depths of bittersweet goodbyes, showcasing a love that surpasses physical boundaries and resonates on an ethereal plane – the kind where they will do the good of the other despite it being gut-wrenching and painful. The song then evokes the emotions of sacrifice, loss, and acceptance.

As the song begins, the simplicity of the piano chords sets the stage for Moira's melancholic and evocative vocals to take center stage. With every note, she weaves a narrative that establishes an intimate connection with her audience. Gradually, delicate percussion and haunting violin melodies add layers of depth, as if carrying the weight of the lovers' shared memories. The carefully placed instrument such that of the piano which gives the most delicate start and finish, the violin that gives warmth to the ballad which start at 0:55 and only until 1:50 does the percussion creep in, cautiously and gently adding layers that enhance the intimacy already established in the song, without overpowering its essence.

The opening lyrics, "I know it's been a while since our eyes last met, too many words were left unsaid," give the initial impression of a typical heartbreak or sad love song where two lovers are separated but still have unspoken feelings or unresolved conflict between them. However, upon listening to the song even more, it’s not just unspoken words that separate them, but rather the eternal absence of the other that does. It's a heartrending portrayal of loss with the hopes of seeing them again in the beyond. The sentiment of the song is even more evident in the chorus, where there is a crescendo in Moira’s vocals, highlighting the narrative of unfulfilled promises due to the painstaking parting. However, despite this, the persona still wishes for the other's happiness as they eagerly await the moment of reconnection.

In an interview, Moira revealed that the essence of the song is rooted in what she believes people who have passed away would want to express if they were given the chance. Similarly, this was also why I fell in love with the song when it first came out as I resonated from a grieving heart to another as I had just lost my bestest friend, my grandfather and all the words said in this song is something I can imagine him saying to me especially the words– “so be happy, don’t be afraid to be happy”. 

The song also took inspiration from the character Bing Bong, from the 2015 Pixar film, "Inside Out." Bing Bong selflessly sacrificed himself in order for Joy, to find their way back to Riley. Likewise, Moira drew inspiration from her friend Rocky, who lost his lives in a flash flood during an outreach program trying to save his finance, Kristine. Despite Rocky being safe away from the waters, he ran in to save Kristine. She survived, but unfortunately he didn’t. The song not only draws inspiration from a film but also pays homage to a real-life act of selflessness.

“Take Her to the Moon” really is a heartfelt composition, where Moira's poignant vocals, coupled with the delicate instrumentation, create a sonorous experience that envelops the listener's soul. The ethereal melodies and introspective lyrics invite the listeners to embark on an introspective exploration of love's boundless dimensions, just like how love even after the earthly life has passed will transcend all the limitations and still be felt by another. Essentially, love defies the rules of life, as it lives on even when one has passed.

 This is a song that I recommend people to listen to even to those who have not exactly experienced the same situation, but to anyone who has experienced a loss of a loved one. This song gives a sense of comfort in the way that regardless of no longer being physically present, their love and their wish for our happiness will always still be present. And that even in the sense of mourning the loss of a loved one, we are allowed – even pushed, to find happiness. 

"Take Her to the Moon" is a musical masterpiece that transcends the boundaries of time and space, leaving an indelible mark on the hearts of those who encounter the celestial beauty of genuine love.

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“A Day in the Life, as a kolehiyala”: A Review of "Ultraelectromagneticpop!" (1993) by Eraserheads

by Julianne de Guzman

Eraserheads' debut album, "Ultraelectromagneticpop!" hit the scene in 1993, marking not just the birth of a new era for Filipino rock but also embodying the band's innovation, lyrical prowess, and the spirit that defined Filipino youth in the 1990s. Tracks like "Ligaya" and "Pare Ko" vividly captured the angst and enthusiasm of youth. The album burst onto the scene with an infectious energy, encapsulating the band's unique sound – a mix of catchy melodies, witty lyrics, and a rebellious spirit. Their versatile blend of rock, punk, and pop influences labeled them as trailblazers in the OPM (Original Pilipino Music) scene. "Ultraelectromagneticpop!" not only shot Eraserheads to superstardom but also etched an indelible mark on Filipino music, reshaping the OPM scene and laying the foundation for their illustrious career.

The album's charm lies in its seamless genre blending, creating a sonic tapestry that is both diverse and harmonious. With this, tracks like "Pare Ko'' showcase the band's rebellious spirit, with raw guitar work and unfiltered lyrics resonating with the angst of youth. On the other hand, the track "Toyang'' exhibits a playful side, showcasing the band's versatility and variety. This dynamic range of styles not only keeps the listener engaged but also underscores Eraserheads' refusal to be confined by the traditional OPM musical norms during that time. The first track “Easy Ka Lang” sets the lively mood of the whole album’s overall theme of that youthful, coming-of-age spirit. "Ultraelectromagneticpop!" is a celebration of the youth’s vibrancy and life's easygoing nature, with "Easy Ka Lang" serving as the perfect introduction to the band's unique sound and message. Lyrically, "Ultraelectromagneticpop!" delves into the everyday experiences of Filipino youth, covering love, heartbreak, and social commentary. Tracks like "Shake Yer Head" and "Maling Akala" highlight the band's knack for infusing humor and wit into their lyrics, creating a lyrical landscape that resonates personally and culturally.

The standout track, “Ligaya,” narrates the joys and struggles of courtship, which proves the band’s ability to infuse romance and intertwine it with the lighthearted quirkiness of their musical stylings. In essence, "Ultraelectromagneticpop!" perfectly paints a narrative of coming-of-age for individuals transitioning from adolescence to young adulthood.

The album perfectly captures feelings of joy, rebellion, frustration, and struggle, narrating relatable storylines through lyrical expression. With this, the band has been able to make their mark in encapsulating the nostalgic and reminiscent days of growing up, moving out, and moving on. These elements not only add an authentic touch to the album but also reflect the band's dedication to their craft, paving the way for musicians in the OPM industry. I remember listening to this album during the quarantine, wishing for my on-campus college days to come sooner so that I could experience the same things that the Eraserheads sing about in their songs.

As a fourth year college student, I listen to this album with a more reminiscent heart as I look back on the memories and friends I made in college. This album is a classic that lets you relive the “glory days” of campus life. The stories shared throughout the album make it so that anyone who has lived life and who has experienced the same feelings of infatuation, frustration, excitement, exhaustion can relate to it. Regardless of what batch you graduated from or how young or old you are, this album provides its listeners with a universal listening experience which caters to any and all memories made not just in college, but in life.

Eraserheads' "Ultraelectromagneticpop!" is more than a collection of songs; it's a cultural gem that surpasses its time and place. As a debut masterpiece, it not only propelled the band to national fame but also left an enduring mark on the Philippines' musical landscape. The album stands as a testament to how the Eraserheads captured the essence of a generation and led a musical revolution. "Ultraelectromagneticpop!" is a cultural artifact – a sonic manifesto that continues to inspire and resonate with listeners, securing its place in the pantheon of Philippine music history.

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In “If I Believe You”, The 1975’s Matt Healy Can Talk to God

by Ashlee Baritugo

Consider English pop rock band The 1975 safe from the “sophomore slump” in I like it when you sleep, for you are so beautiful yet so unaware of it (2016), the band’s second studio album released in 2016. Nestled right in the middle of the 75-minute album is the track “If I Believe You”, in which frontman Matt Healy ponders, questions, and puts on a one-sided confrontation with God and religion over a synth-pop, jazzy beat and, more uniquely, the chorus of a choir.

Healy introduces the six-minute track with the confession: there’s a God-shaped void he’s terrified of. Starting slowly with minimalistic instrumentals over Healy’s emotive vocals in the beginning of the song, the first few minutes of the track open as an invitation for listeners to join in on the raw introspection of faith and doubt that the rest of the song has them in for.

Eerily resemblant of jazzy gospel music, “If I Believe You” proves the power beyond lyrics, as the irony of its gospel-like sound as well as the consistent, powerful presence of a choir compliments Healy’s back-and-forth with God and his lack of belief throughout the track. The drum beats are slow and steady, restrained yet impactful as drummer George Daniel keeps it at a consistent yet crucial mood. The track’s guitar (Adam Hann) and bass (Ross MacDonald), while subtle, offer a foundational and grounding structure to the instrumentals that set the tone. 

“And if I believe You / Will that make it stop? / If I told You I need You / Is that what You want? / And I'm broken and bleeding / And begging for help / And I'm asking You Jesus, show Yourself,” Healy pleads in the chorus. It’s in the chorus that we begin to hear the gospel choir enter at just the right times, adding a rich and powerful emphasis behind its brave questions. The intensity of the choir even varies throughout the song, making for an almost transcendental – even spiritual – atmosphere behind the vulnerability of its lyrics and Healy’s raw vocals. Somehow, the consistent presence of the backing choir as Healy questions religion adds a fervent throughout the song.

Halfway into the song and it begins to feel as if listeners are simply just listening in on Healy’s one-sided conversation with God. “I mean if it was You who made my body / You probably shouldn’t have made me atheist,” Healy declares in a later verse. 

This poignant track isn’t quite new to the award-winning band’s small collection of songs about faith and religion, as the award-winning band had previously released songs surrounding the same topic, like “Antichrist” from their debut self-titled album. Healy, who was born and raised by popular British actors Denise Welch and Tim Healy, is known to be steadfast on his religious perspectives, openly identifying as atheist and unabashedly discussing religion in previous interviews. Written solely by Healy himself, “If I Believe You” is a testament not only to his long-time debate with faith, but also to a somewhat vulnerable desperation that comes with the absence of it. He’s desperate for answers, broken and bleeding, even angry, and the intensity of this desperation throughout the track is a presence undeniable. 

Smooth, soulful, and in perfect timing, saxophonist John Waugh enters with a beautiful instrumental after the last chorus that’s just as powerful as the lyrics themselves, transitioning the song into its outro. Almost as if in defeat, the track closes with the repetition of just one line: “If I'm lost, then how can I find myself?” Healy begs. The song, while spent in a back and forth with God, faith, and purpose, intense in some parts and soft in others, is over. After the daring and brazen questions we hear throughout the song, it’s in the repetition of this line that we feel the surrender. Healy still doesn’t have the answers, and the God-shaped hole he sings of in the intro is still there. This confrontation with God was one-sided, and six minutes later, is over.

[highnoteblog]

Wallows’ sophomore album “Tell Me That It’s Over” showcases a classic indie rock ode to a new era of music

by Kenzie Sy

“Tell Me That It’s Over” is Wallows’ 2nd studio album in the genre of indie rock. This album was released in 2022, with 10 tracks spanning the entire album of 33 minutes and 58 seconds. Braeden Lemasters and Dylan Minnette (both actors and musicians) moved to LA when they were both nine years old, they met in a Cheesecake Factory and eventually became bandmates. Three years later, after joining an LA music program called “Join the Band” they met Cole Preston. 

Following their first album, “I Don’t Want To Talk”, “Tell Me That It’s Over” tackles a different direction from the usual nostalgia that they play. This Wallows sophomore album portrays a superlative ode to a classic indie rock tune. From the lyrics to the musical instruments used, Wallows showcases their variety and range through these two albums, specifically their sophomore album. This album also followed their 2020 extended play titled “Remote”.

As the album begins, the listener is immediately introduced to “Hard to Believe”, a very exciting way to start their sophomore album as it maintains the original sound and style of their first album, but this time, Wallows is able to explore more on their instruments and mix. Minnette’s voice also blends flawlessly with the instruments that the band plays. 

As the album progresses through “I Don’t Want to Talk”, “Especially You”, and “At the End of the Day”, it becomes clear that relationships are often the album’s common theme. It was said that while the artists of Wallows were writing, they were all either starting or ending major relationships. Because of this, the album captures the highs and lows of dating in your mid-20s, as well as how important it might feel to be getting older. The singer mentions “At this point in your life, decisions seem more significant because they seem to have an effect on how your future turns out.”

With this knowledge, it makes the entire album more personal and significant, not just to Wallows but everyone else who is experiencing the same thing. It is clear that as the album goes on, the arrangement becomes more and more personal, and also tells a story of the post-coming-of-age life. Like in the song “Missing Out”, Wallows sings “Something’s different now, we’ve been changing” which references both the inspiration of the songs but also the direction of their band. From their first album to this sophomore album, both changes and consistency can be heard. 

“Tell Me That It’s Over” encompasses most of Wallows’ best hits and simply becomes an album that’s dancy, depressing, and relatable. Though these emotions may not sit well with each other, it becomes an ode to a new era of music and a new era of their lives as a band, but also as individuals. 

I do think that their sound and instrumentation elevate the artistry of the singer’s work and succeeds in moving the audience in its purpose, considering that Wallows originally started as a small indie band that has not found their sound. The storytelling of the album is so evidently flawless as you listen to the tracks, whether in order or shuffled, it is able to represent the emotion and gets their message across. 

The album then ends with the perfect last song “Guitar Romantic Search Adventure” which encompasses the entire album, as if like a summary. The slow and steady tune of this last song sounds like a perfect end but also a promising beginning to their next album. “My life’s going by, but it just begun,” is one of the most relatable lines in this song. For the artists, it can be interpreted as just starting as a band and becoming rising stars, but for listeners who are in their post-coming-of-age. 

This album serves as a reminder that life will go on and no one can tell you that it’s over.

[highnoteblog]

Mac Demarco playfully forces you to overthink with “Another One”

by Alfonso Navarro

With bittersweet and hopeless emotions ironically elevated by optimistic delivery, Indie Rock innovator Mac Demarco extends his immersive profile with “Another One.” This 2015 single precedes his fourth studio album, which interestingly shares the same namesake.

Bragging a diverse repertoire of rock and synth sounds in previous works, the song is only a taste of what the happy-go-lucky Canadian has uniquely crafted with the aforementioned album, as the track has displayed a wonderfully new mix of jazzy, slow, vintage sounds that would make any listener feel some form of familiarity.

Moving over to the song’s melody, listeners are greeted by a drowsy, somber-like instrumental which sets the tone for what to expect: a track that will grab your attention and demand you to open up your emotions.

Demarco’s ability to create such movement within the listener is seen in his ability to connect chords that produce a heartbreaking aura, with a rhythm that is contrastingly skippy and upbeat. This stark contrast creates a melancholic sound that displays the rocker’s musical genius. This skill set is elevated by his ability to create impactful lyrics.

Although Demarco’s structure choice follows a simple verse-chorus-bridge pattern, this did not limit him from expressing simple yet hard-hitting statements.

Through the song’s lyrics, the vintage sound-wielding Demarco places himself as a conscience, subliminally feeding the thought that the listener’s hypothetical partner is fading away from them. “Feelin' so confused. You don't know what to do. Afraid she might not love you anymore,” Demarco devilishly sings, “And though she says she does, and hasn't lost your trust. Who could that be knockin' at her door?” Simply, Demarco hints at a possible third party that may ruin a relationship.

The chorus straightforwardly plays devil’s advocate. “Must be another one, must be another one she loves,” the track suggests. Although the piece’s chorus only repeats the aforementioned phrase, it is a strong statement that implants itself in the mind of the listener.

Although the verses and chorus are written with simple, digestible phrases, this makes the song one of the more memorable tracks in the album. It is a tune anyone can understand and, hence easily relate to. This is what Demarco has mastered throughout his extensive career as an indie artist: write songs relatable to even the most innocent of hearts.

From your daily commute to your vulnerable moments of self-reflection, the track will never fail to make you feel something every listen. As much as you try to ignore the feelings that arise in each verse and chord, you cannot stop yourself from feeling even the smallest amount of sadness.

Ultimately, the song and the album it is a part of is a testament to Demarco’s talent. His 2012 album entitled “2” showcases his ability to rip through trippy rock melodies, while “Salad Days” (2014) displays his ability to mellow down his music and take an emotional path. Yet, it is in “Another One” that the indie goofball displays his diversity as an artist. It is not he who composes these powerful melodies, but rather, the emotions that stem from the lyrics he jots down. “Another One” is a song that is arguably timeless, as it has placed itself on a level of its own. No other song before it has copied its aura, and no other work after it may accurately emulate its sound. Demarco can endlessly share with the world that he is just like any other guitar player (See 0:58-1:27), but the craftsmanship and attention to detail he puts in albums are second to none. This track bears witness to Demarco’s importance in the indie rock scene.

[highnoteblog]

A Girl Who Loves and Leaves: An Album Review of Nicole by Niki

by Sam Castillo

Born in Jakarta and currently based in Los Angeles, Niki goes back to her roots in Indonesia with her second album entitled Nicole. Nicole Zefanya, known as Niki, is a rising Indonesian pop, r&b, and folk singer who is currently signed with the popular Asian record label: 88Rising. Her album, Nicole, features 12 alternative folk-pop tracks - with all of it featuring her undeniable talent for storytelling as she recounts fun memories growing up in Jakarta as well as the pain of leaving things and people behind. Moreover, Niki collaborates with her younger self in this album as the singer had stated that the first half of the album features new songs and the latter half features her songs that she had posted in her YouTube channel in her early days of becoming a musician - thus bridging the gap between two different eras of her life and career.

The album opens with the first song entitled Before which foreshadows the central theme of the album about how things in her life have changed. It predominantly features a sad-sounding guitar that silently strums as Niki says her lines. The song starts with her recounting memories of her first long-distance relationship. However, as the song progresses, problems in the relationship arise and it becomes clear to Niki that their relationship has changed. Despite the lyrics full of mourning and sadness, it is contrasted with an upbeat and fun tune. The line “It's so cruel how things are only almost like they were before” makes it clear why Niki had chosen this song to open the album; letting the audience know that this album tackles the changes she had to face in her life - more specifically in her romantic love life.

Following the first song is High School in Jakarta which is a fun and upbeat tune that features Niki recounting her days in Jakarta by addressing an older boy that she had dated before. Despite addressing her ex in the song, the song’s theme isn’t centered about romantic love but rather her stories growing up in Jakarta before she left to study abroad. The percussions in the song gives staccato breaks which results in the song’s cheery feel.

A standout song of the album is Backburner which features themes of feeling forgotten in a relationship. The song features dynamic sounds as the song progresses from quiet to busy with multiple instruments to convey the building up of emotions - one notable instrument being the drums that help build up the emotions of the song in the chorus. Niki’s lyrical ability shines in this song as she perfectly tells the story of a forgotten love to the audience, making it so much more relatable. 

Continuing with the theme of the end of relationships, Keeping Tabs is an upbeat song that deals with the topic of the difficulty of letting go of a past relationship. Here, she continues Backburner’s storyline post-breakup, showing a cheeky perspective that not all breakups are linear and that it is hard to completely cut out a person from one’s life. A highlight of this song is the upbeat drum which features percussive breaks that help the song become more lively. 

The album then takes a slower and mellow pace as the songs that follow are all soulful and sad songs that one would listen to when grieving an ex-lover. The Apartment We Won’t Share, Facebook Friends, Anaheim, Milk Teeth, Autumn, Oceans & Engines, and On the Drive Home all share similar themes of regret over actions made in a past relationship, as well as the acknowledgment of needing to move on when one knows that a relationship is doomed to fail. 

Take A Chance With Me closes the album with a stark contrast from the sad mellow songs that came before it. Unlike the previous songs that surrounds an end of a relationship, the last song of the album takes a hopeful turn for the singer as she sings about a promising start of a new relationship. Like the start of the album, Before, the last song also features a guitar that highly influences the tone of the song. Unlike it, however, the guitar is more playful which upholds a more gleeful tone. Moreover, the song is more upbeat and holds a soulful tune - a tune that most would assume is what a sunrise of a new day would sound like. 

Looking at the album as a whole, an arc can be established: finding love to having to fight for it, yet having it eventually taken away. This storyline is delivered by the Indonesian singer in a confessional style, building up the dynamics and emotions of the song from light melodies to a crescendo of built-in emotions that are dying to be let out.

Niki has always been an artist who leans more on creating music that surrounds her love life, more specifically the failures within it, but it was clear that in her previous album, entitled Moonchild, she was slowly pulling away from her comfort zone as themes of the songs were diverse and focused on her own journey. Moreover, it was clear she was experimenting with elements and instruments as songs from this album strayed away from what you would expect in pop or r&b songs as it had a mysterious feel to it. However, in Nicole, we see that Niki takes a few steps back from the steps she took in Moonchild and went back to her old ways and in her comfort zone - which is to sing about gaining love and losing it.

Nicole predominantly features songs that tackle the subjects of heartache and saying goodbye to a lover - a theme that Niki excels in most of her popular songs that are not featured in the album. Although the songs execute this theme well, the album lacks diversity in the themes found in each song. It would have been the perfect opportunity for Niki to explore more themes that do not necessarily involve romantic love - or the lack thereof. Once Niki explores her songwriting ability to produce more songs that are not what is expected of her, she will truly shine and be acknowledged as one of the greatest storytellers of the newest generation of musicians in the industry.

[highnoteblog]

“And, At Last”: A Review of “I Finally Found Someone” by Barbra Streisand, Bryan Adams

by Julianne de Guzman

Barbra Streisand's "I Finally Found Someone" is an enduring ballad that intricately paints a narrative of love, anticipation, and ultimate fulfillment. The powerful vocals of Barbra Streisand and Bryan Adams come together in a ballad that sings about finally finding “the one” - a romantic partner seemingly suited to accompany them for the rest of their lives. Part of the soundtrack for Streisand’s self-directed movie, “The Mirror Has Two Faces”, the song unfolds the story between two individuals who start as friends who had coffee and let their relationship blossom into the feeling of completeness and lifelong companionship.

The song starts out softly with the piano, reminiscent of the same tune that will eventually play in the second verse. Known for his distinctive raspy voice, Bryan Adams contributes his vocals to this duet at the first line when he talks about finding the one that “completes” him. This intertwines perfectly with Streisand’s soft and delicate singing style, showcasing her duality and variety as an artiste known for her opulent and powerhouse vocals. The first verse manifests itself in a storytelling manner as it describes the way the two lovers began their relationship then gradually evolves, introducing lush orchestration which effectively enhances the lyrical narrative. A personal favorite is the way Streisand and Adams converse as the song continues, as if lovingly reminiscent when asked: “so how did you two meet?” As the dialogue becomes more conversational than narrational, the ebb and flow of emotions mirror the blossoming romance between the two narrators. By the chorus, feelings of anticipation, excitement, and thrill arise as the song climaxes into a louder, more electrifying feel. The last two lines of the chorus make it obvious that the two love interests have no other plans but to simply settle down. It is as if they are saying that “this is really when my life starts because it’s the life I’ll get to live with you”.

“‘Cause whatever I do, it’s just go to be you My life has just begun, I finally found someone”

The lyrics of "I Finally Found Someone" articulate a story which starts with yearning, powers through with excitement, and concludes with completeness, eloquently capturing the emotions of an individual who has desperately sought a special connection and has, at last, found it. Streisand's rendition of these lyrics is nothing short of masterful; each word is infused with a depth of intimacy and authenticity that transcends beyond the written text. This composition distinguishes itself from any other pop-jazz-slow rock song through its ability to convey a spectrum of emotions, ranging from the infatuated excitement to the profound sense of fulfillment when in love. The orchestration, featuring strings and subtle percussion, introduces a cinematic quality to the song, transcending it beyond the confines of a typical love ballad. The dynamic shifts in the music exquisitely mirror the manifestation of emotions, contributing to a nuanced and captivating listening experience.

Barbara Streisand and Bryan Adams, each a musical powerhouse in their own right, converged to create a masterpiece that transcends beyond the boundaries of its own classified genre. The song's musical excellence, heartfelt message, and impeccable delivery by both artists elevate it to a distinguished status within the realm of romantic ballads, leaving an iconic mark on the hearts of listeners.

This song has always been a personal favorite of mine because of the kilig factor it speaks about when “feeling right” about someone for the first time. Though, it may not always be the case, the song talks about that feeling in that moment when you’re in love and infatuated - a beautiful, irreplaceable feeling part of the human experience. No matter how often you fall in love in your lifetime, this song is sure to lift your spirits - even after the first kiss of your third date, after your first relationship.