SLAPSHOCK plays the Dubai Desert Rock Fest '08

Pinoy heavy hitters SLAPSHOCK recently joined some of the world's great rock bands for the annual Dubai Desert Rock Fest in the United Arab Emirates last March 7, 2008. This year's line-up included Korn, Velvet Revolver, Killswitch Engage, Machine Head, Muse and As I Lay Dying.




JAMIR GARCIA


JONATHAN DAVIS


AS I LAY DYING


MACHINE HEAD

SLAPSHOCK are the first band from Asia to be invited to one of the best rock festivals this side of the planet. Past performers include Iron Maiden, Mastodon, Robert Plant, Incubus, Testament and Megadeth. Congrats Slapshock!


http://www.desertrockfestival.com/

BACK IN THE DAY..

RAZORBACK circa 1994 taken beside Kalye Bar in Makati. Their first album, "Hebigat Sounds Vol. 1" would be released a year later.
(left-right: Miguel Ortigas, Tirso Ripoll, David Aguirre, Kevin Roy, Louie Talan)

PINOY ROCK TRIVIA...

DID YOU KNOW that the term 'Jeprox' was coined by the late Anak Bayan drummer and Pinoy Rock icon Edmond Fortuno? 'Jeprox' was a term used in the 1970's to describe male rockers who sported long hair and lived the rock n' roll lifestyle. It actually started as a shortened version of the phrase, "Jeepney Rock", which in itself described the classic and hard rock music that was being played inside local jeepneys at the time.


EDMOND FORTUNO

Mike Hanopol would later immortalize the term 'Jeprox' is his mega-hit "Laki Sa Layaw" in the late 70's. But it was the inventive mind of Edmond Fortuno who came up with the word which is now a part of Pinoy slang.

**It was also Fortuno's idea to write Tagalog lyrics with rock music which eventually evolved into Pinoy Rock. Pinoy rock bands of the late 60's and early 70's were only doing covers of foreign acts at the time and hadn't written any original material yet.

WELCOME TO REHAB!

The word ‘rehab’ can mean different things in certain contexts. It usually means another chance for wayward sons and daughters to return to society with a more stable state of mind. Back in 1980’s-era Manila, someone you knew about was sent to it’s grim facility in Bicutan after getting busted by his or her parents. Hollywood party animal Lindsay Lohan has frequent flyer miles in the local “LaLa land” rehab center while trouble-addled singer Amy Winehouse sang about refusing to go but ended up checking in to Hotel California anyway.

In this particular case however, the ‘Welcome To Rehab’ phrase represents the latest production outfit to hit the active local rock scene. With a number of “prods” circulating the Metro and various cities around the country and each showcasing a certain sub-genre of Pinoy Rock, ‘Rehab’ boasts their roster of old-school hard rock, blues rock and reggae artists. Bands that have rocked the ‘Rehab’ shows include surging up-and-comers Kastigo and Powertone, hard rock heavies Monks’hood and E.R.F., classic rockers Holy Water, Timog and House of Ravens, reggae masters Coffeebreak Island and Reggae Mistress and power trios Reklamo and Hilera. Even Pinoy Rock veterans The Dawn have graciously lent their time and talents to give WTR some much-needed street cred.


COFFEEBREAK ISLAND


HILERA

As others would use a production outfit to promote their own agenda and personal ambition, ‘Rehab’s’ founder prefers to be anonymous. So, for the sake of identification in this article, I shall name this mystery person ‘X’. “I don’t want to take any attention away from the bands. Because it’s all about them and not about me.” says X. “A lot of people, including myself have been complaining about the state of Pinoy Rock and all these stupid ‘pogi rock’ and ‘emo’ bands all over the place and no one was really doing anything about it. I just decided to put my money where my mouth is.”

These particular groups of Pinoy Rock musicians have always been “nomads” or “rolling stones”. Satisfied with just playing anywhere they’re welcome and doing things on their own terms. The sole mission of ‘Rehab’ is to “rehabilitate” Pinoy Rock. To unify these artists and to give them a home where they discover fellow artists with similar tastes in music. This creates new friendships, mutual admiration and respect and maybe even collaborations that lead to interesting music. It also aims to give real Pinoy Rock fans a reason to come out of hiding and be part of a vibrant scene that has been absent for quite sometime. “The bands are starting to respect and interact with each other and that is a very good sign for things to come”, ‘X’ enthuses.


POWERTONE's RED DELA PENA


KING ANTARES' ATTICUS KING


KASTIGO's CARLO ORDONEZ


E.R.F.'s SIOPAO

Started in February of ’07 and going full throttle since October, the ‘Rehab’ shows have streamlined into a venue of blistering musicianship and unbound genius. This is the house where the almighty guitar riff reigns supreme and where expressive (but not self-indulgent) guitar solos are encouraged. Where booming backbeats pound the stage and where the low bass frequencies shake your internal organs. Although there is a deep well of talent that’s ripe for the picking, WTR still have high standards with regards to whom they give a precious 30-minute set to. “We help bands who have high aspirations and who aren’t just some timid musical intellectual who wants to play somewhere other than his bedroom,” explains ‘X’. “Bands who want to record albums, promote their music and tour the country and beyond are the people we want to help out by giving them a stage to improve their craft. Everyone who’s involved with us already have recorded demos and even independently produced full-length albums or E.P.s (extended play).”

And the fruits have been evident. Kastigo and Reklamo were both nominated for the “In The Raw” category at the 2007 NU107 Rock Awards, where the latter won. Hilera won the “Best New Artist” award. Holy Water
marks the long-awaited return of hard rock riff-meister Mike Bewer. Kastigo continues to tour their debut album and get radio airplay without the help of a major label while other bands are setting release dates for their independent albums as well. “These bands need all the help they can get to succeed in this commercialized business and WTR wants to contribute in any way we can”, says ‘X’. “Hopefully, with our experience and their talents, we can put real, hard, classy, sticky and sweaty Pinoy Rock back on the map”.

Aside from the major developments that some bands have achieved, a lot of promising talent is also coming out of the practice studio and on to the WTR stage. “King Antares is a really good band as well as Cosmic Love. New reggae group Lady i has a powerful female vocalist that’ll blow your brains out. Dr. Mindbender are a great live band too and are so entertaining to watch”, remembers ‘X’. “I hope they stick it out and keep improving their music.”


COSMIC LOVE


MONKS'HOOD's JEYVI CASTILLO


REKLAMO's LC DE LEON

With all this positive energy abound, is there any downside to all this? “The downside is really the work you have to put in”, explains ‘X’. “Contacting bands and their managers is a tricky thing when it comes to scheduling. Dealing with some venues has been frustrating especially with venue managers or owners who give me attitude but have no idea whatsoever about live rock music. Makes you want to crack some skulls sometimes. Sitting through at least four hours of loud music can be taxing on the senses as well. But all the bands have been great, with their attitudes and their work ethic. And the music that comes out of these bands is awesome. So it’s all very much worth it at the end of the day.”



So what does the future hold for ‘Welcome To Rehab’? “I just want to keep it simple for now and keep rotating a group of bands that I especially like”, says ‘X’. “I do hope that more fans would come out and support these new bands. It’s really about building up a strong scene, creating great music and promoting real, solid talent.” See you at the next doctor’s appointment.

CHECK OUT:
http://www.welcometorehab.multiply.com

WHERE ART THOU, PINOY ROCK?

Coming back to the Philippines in late 2006 after four years would be an eye-opener I never would have expected. I realized how much I missed the different things I had taken for granted; the beautiful countryside on the way to the Batangas coast, the homely taste of lechon kawali and sizzling sisig that can’t be found anywhere else and the warm sound of the tagalog language filling my ears as I walk thru a crowded Megamall. As I slowly fall in love with my hometown, one thing was not quite right and sadly, it was the most important aspect of Pinoy life for me...the music.

I started hearing negative rumblings through different yahoogroups about the state of the local scene spanning three years since ‘03. Rants from every which way bashed and criticized the “acoustic duo” wave and eventually, it’s bastard offspring, the “pogi rock” genre that presently permeates the country’s popular musical landscape. The only thing going through my mind was, “what the hell is happening back there?”

When Lokomotiv did our Philippine tour last November, I had to see for myself how things really were. It didn’t take any longer than watching one hour of a local music channel to discover the horror that was only hearsay a few months earlier. Video after video of bands with names like Hale, Cueshe, Sponge Cola, Calalily and 6 Cyclemind filled the television screen as one word kept coming out of my mouth, “lame”.


SPONGE COLA

Subsequent videos of a band singing about fake DVDs, a Japanese suicide bomber-named band doing an Apo Hiking Society cover and a group of former alternative rock purists turned bubble gum pop did not make matters any easier. Even if these videos were on the “rock” segment of the show, there was little distinction between them and the pop music that was coming on. I now understood where all the hostility from the rock fans was coming from and was myself getting agititated.

As the band tore through our gigs in different venues and festivals, I got to talk to a lot of our fans and most of them were thanking us for touring the Philippines ‘coz there was finally a real rock band that was playing actively on the mainstream track. I’d ask them why that was the case and they had answers like, “bands like Razorback and Kapatid don’t play much anymore” and “puro pogi rock na lang kasi sikat ngayon”. How could a whole successful pinoy rock scene from the 90’s just disappear into the underground in a matter of months? How could a whole country of rock music fans endure music that has no depth, no longevity and no cojones? Who could the PInoy Rock torch be passed to?

Everything that was getting attention was either too light & cheesy on the right or too aggressive on the left (a distinct characteristic of bands like Queso, Greyhoundz, Sky Church, Sultans Of Snap and Slapshock). No one was representing the middle ground and what everyone seems to underestimate is that the audience of that center is probably the biggest and the most loyal. The situation was finally taking shape in my head and I did not like what I was seeing.

So, whom do I blame for the chain of events leading up to this absurdity? Do I blame the A&R people of record companies who’ve signed these artists? Do I blame the older bands for being content with their status and aren’t playing actively anymore? Do I blame the fans for surrendering to age and conformity? Do I blame myself for leaving the country to pursue my personal aspirations? Reflecting on these thoughts, I decided that instead of pointing the accusing finger, I should be an instrument of change and help get real Pinoy Rock back on it’s feet again. But where would I start? How could I help? Where would I find hope?

Apparently, all I had to do was look into the underground scene for answers. Hanging out in bars around the metro revealed a slew of great bands playing their own brand of original Pinoy Rock that made the hair on the back of my neck stand. They were also armed with much cooler names like Urbandub, Salamin, Salindiwa, Milagros Dancehall Collective, Typecast, Southern Grass and Kinky Hooters. I would discover more astonishing performances in the next few weeks from Reggae Mistress, Coffee Break Island, The Mobsters, Powertone, Gasulina, Lahi and Kastigo.


TYPECAST


REGGAE MISTRESS


SALINDIWA


URBANDUB

My spirits were suddenly lifted as if my heart was jumpstarted by high voltage. I knew that my beloved Pinoy Rock is alive and was not going down without a fight. It was now clear to me that when everything seems to be decaying that is where great art is born. This is the genesis of a revolution and I am a part of it. There are uprisings happening all over the country in provinces like Laguna, Cavite, Cebu, Cagayan De Oro, Bulacan, Iloilo, Legazpi and more rock n’ roll rebels are joining the cause.

It’s only a matter of time that the underground will be contained no longer and the country will experience the great music that is being made right under their very noses. An earthquake has occurred and a new Pinoy Rock tsunami is coming. Take cover or be swept away.

THE SOUND UNDERGROUND \m/

A new Pinoy rock resurgence has begun and here is the first installment of underground bands that are waiving the flag for the cause. Representing Luzon, Visayas and Mindanao, these bands have only one thing in common...to rock the nation. VIVA LA REVOLUCION!


POWERTONE
Members:
Red Dela Peña - Vocals
Atoy Arce - Guitars
Laschober Gojar - Bass
Rayman Malaluan - Drums

Formed by guitarist Atoy Arce and naming the band after his rehearsal studio in Marikina Heights, Powertone started off by learning classic rock covers from Deep Purple, Dire Straights and The Knack. Garnering success in a number of local band competitions, the group has moved up from classic rock showband status to writing their own original material. Most notable at this time is the raunchy blues tune, “Kama” that is on their demo cd alongside the mid-tempo rocker, “Bulilyaso”. The group is presently doing the rounds of the Manila bar circuit spreading their rock n’ roll gospel while adding more original tunes to their repertoire.

http://www.reddelapena.multiply.com


E.R.F.
Members:
Siopao – Vocals & Guitars
Ryan Padilla - Guitars
Melvin Lu - Bass
Monch Paredes - Drums

Being in existence on and off since 1998 from multitude lineup changes, hiati and a couple of disbandment, the reformed lineup of E.R.F. is totally new with returning original members Siopao and Paredes. Describing their music as “heavy-alternative”, E.R.F. unites a double-guitar onslaught with Siopao’s powerful and melodic vocals. Their first potential single and video, ‘Sinag’ brings back the hard rock stomp of 90’s rockers Candlebox and Faith No More. The group is currently producing their independent debut album to be released this year and are preparing for their follow-up video, ‘ The Marionette’.

http://www.siopao69.multiply.com


MONKS’HOOD
Members:
Jeyvi Castillo – Vocals & Guitars
Cramm Ponce - Guitars
Aries Villariez - Bass
Paulo Sison – Drums

San Pedro, Laguna quartet Monks’hood was formed in 1999 and have been actively playing ever since. Going as far as reaching the grand finals of Red Horse Beer’s Muziklaban in 2005, the band are veterans of the Manila live band circuit. Their brand of Pinoy rock is a combination of heavy guitars, steady rhythms and the baritone voice of Castillo. Their first single, “D.Y.I. “ has gotten airplay on RJUR 105.9 and NU 107 and they are presently producing their debut album for a 2008 independent release.

http://www.monkshoodrocks.multiply.com


TABULARAZA
Members:
Iking Rañises - Vocals & Guitars
John Comeros - Bass
Bammers Roa - Lead Guitars
Adrian Dal - Drums

Hailing from Cagayan de Oro and formed in mid-2001, Tabularaza became a finalist in the Muziklaban “Battle of the Bands” that same year. The band opted to skip the competition and went to Cebu to record their first 5-track self-titled E.P. and released it in early 2002. They’ve gone on to record two full-length albums; 2004’s “Diversity Issue” and 2006’s “SheWowAh”. Their music is laden with vocal and guitar hooks backed by a tight and powerful rhythm section and topped with Rañises’ melodic vocals and thoughtful lyrics. Tabularaza continues to tour the Mindanao region and regularly visits Cebu and Metro Manila. Southside represent!

http://www.tabularazaband.com


HOUSE OF RAVENS
Members:
Mike "Midnight" Puangco - Vocals, Guitars, Harmonica
Chris "Badfish" Tolentino - Guitars, Keyboards
Ton "Tones" Gregorio - Guitars
Erald Mendoza - Bass
Rhodson Sta. Maria - Drums

House Of Ravens is a blues-rock band based in the south of Manila, with its members hailing from Sucat, Alabang, and Laguna. 
Formed in March of 2006, the band is unique for their use of three, count ‘em, three guitars. An approach never before used in Pinoy rock and rarely heard in rock music itself thru bands like Lynyrd Skynyrd, Blue Oyster Cult and Molly Hatchet. Still a young band, HOR are honing their skills and perfecting this extraordinary and challenging concept. Success would result in a new and interesting Pinoy rock sound.

http://www.friendster.com/houseofravens


M-JAH
Members:
JR Cabansal - Vocals
Jam Pendon - Guitars
Jec Dan Borlado - Bass
Daniel Ascano – Drums

Coming out of the Iloilo underground is Christian rock band, M-Jah. This genre of rock doesn’t hold a lot of street cred because of too much “happy, praise the lord” rhetoric, but M-Jah (meaning Mighty God) keep it down-to-earth and on a more personal level. Naming themselves with God’s cool Jamaican nickname should give a good idea where they’re coming from. Heavy guitars, solid backbeats and melodic vocals on their song “Crimson Stain” sum up M-Jah’s sound. As part of the burgeoning Iloilo/Bacolod rock scene, the band has released it’s first independent album, “Cause And Effect” last year and continues to work hard, with other local bands, for more recognition of the Illonggo contributions to Pinoy rock.

http://www.myspace.com/mjahband


LAHI
Members:
Enos Pangan – Vocals
Marco Abelardo – Guitars
Den Madarang – Guitars
Chip Estable – Bass
Patrick Ronquilio – Drums

Reuniting in 2005 after various stints in high school bands in the mid-90’s, Abelardo, Estable and Ronquillo formed Lahi and enlisted Madarang and Pangan later on after the departure of two original members. With the desire to help the country’s hard rock scene spring back to prominence, Lahi employ the heavy riff techniques of classic rock and metal bands of the 70’s and 80’s while combining the melodic qualities of 90’s grunge and alternative music. They’ve already released their “Ang Simula” 5-song EP last year and have just finished production on their full-length debut album with an early 2008 release.

http://www.lahiboys.multiply.com


KADANGYAN
Members:
Bhava Mitra - Vocals, Mityapi, Plawta, Gangsa, Kubing
Bhakta Raja - Djembe, Udan-Udan, Gabang, P'tadjong
Saryo - Drums, Tukatok
Agit - Bass
Govinda - Djembe, Bidjang, Kubing, Budjong, Gangsa

Cebu-based Kadangyan continue the legacy of the Pinoy ethnic-rock movement started by stalwart groups Pen-Pen, Ang Grupong Pendong, Joey Ayala at ang Bagong Lumad and Pinikpikan. With members hailing from different regions of the country (Cebu, Iligan, Tacloban & Ifugao Mt. Province), this group could very well represent the Philippines’ diverse cultures and languages in one entity. They combine local ethnic instruments with western, eastern and African instruments and come up with rhythm-laden songs topped with hypnotic chants that puts its listener into a trance. Their busy schedule allows Kadangyan to continue promoting their ideals of peace, environmental concerns and universal humanism as well as promote a new appreciation for Philippine ethnic-rock music.

http://www.kadangyan.com


REKLAMO
Members:
LC de Leon –Vocals, Guitars
Ciro de Leon - Drums
Mig Dayang Hirang – Bass

If there ever was a band whose name described their music, Reklamo is that band. Formed in early 2006 and consisting of seasoned session musicians, the group is solely dedicated to vent out frustrations, hate and envy towards anything and everything in the form of music. Though that style can get boring and annoying in the hands of inexperienced artists, Reklamo do a good job of augmenting their rants with quirky rock music that’s reminiscent of Frank Zappa, Primus and Mr. Bungle; sort of putting negativity on a silver platter. After the success of two rock singles, “Pat’s Problem” and “Three For One Hundred”, the band represented the Philippines in the World Battle of the Bands held in Singapore last November. They also won the "In The Raw" award at the 2007 NU 107 Rock Awards.

http://www.reklamoband.multiply.com

ALBUM REVIEW: JUAN DE LA CRUZ's "MASKARA" *****

Every great band has their masterpiece album; The Beatles had "Sgt. Peppers Lonely Hearts Club Band", Pink Floyd had "The Dark Side Of The Moon" and Metallica had their self-titled 'black album'. For Pinoy Rock champions Juan De La Cruz, it was their 1975 magnum opus "Maskara". This line-up's second album finds the trio in top musical form. Unlike it's predecessor, 1973's "Himig Natin", which consists mostly of blues covers, this album is all original with most songs sung in Tagalog.

Opening with the psychedelic title track, Joey Smith invites the listener to open their hearts, minds and ears to the music. Hearing the lyric, "...hubarin mo ang iyong maskara, upang ikaw ay makilala...", one can't help but follow the Pinoy Pied Piper's request. The band then starts it's engine and revs up with 'Pinoy Blues' and clutches it into gear with the scorcher 'Nadapa Sa Arina'; Smith's ode to his adventures with the new designer drug of the times, cocaine.

"Maskara" also contains some beautiful ballads with 'Nakatagong Mata', 'We Love You' and 'Naglalakbay' that can all lull a baby to sleep. But it is the album's heavy hitters that gives it it's mystique. 'Rak En Roll Sa Mundo' shakes the foundations and the Wally Gonzales-sung 'Palengke' grooves like no other. The Philippines would be changed forever with the album's two biggest hits. Smith's 'Beep Beep' and Hanopol's 'Balong Malalim' capture the vibe of 70's Filipino life thru the eyes of the jeepney driver and it's dazed and confused youth. They are the musical equivalent of the Roman gods Apollo and Mercury. These two paeans about urban Pinoy culture have stood the test of time that bands still cover them to this day.

Sadly enough, this would be the trio's last album in the 1970's. Joey Smith left the band to pursue a solo career and adopt the nickname 'Pepe'. The remaining members called it a day soon after. Wally Gonzales recorded two albums, "Tunog Pinoy" & "On The Road" while Mike Hanopol would launch into his greatest work with the smash hit, 'Laki Sa Layaw' as well as composing hit songs for the Pinoy version of the disco group The Village People, Hagibis.


Mike Hanopol's solo album, "Buksan"


Cover of Wally Gonzales' solo album, "Tunog Pinoy"


Hagibis

JDLC would reconvene six years later and record the slick reunion album, "Kahit Anong Mangyari". Although it was a great comeback album with it's own roster of hits, it didn't replicate the vibe and aura that "Maskara" had in 1975. Thankfully, this classic is available today as part of a reissue series by Vicor Records. Experience the power and majesty that is "Maskara".

ALBUM REVIEW: JUAN DE LA CRUZ's "HIMIG NATIN" *****

As part of a classic reissue series, "Himig Natin" is the 1973 groundbreaking album that sparked the origin of the term 'Pinoy Rock' and the wave of original Filipino rock music that would dominate the 1970's. Interestingly enough, this is the group's second album but the first with it's classic power trio line-up of bassist/vocalist Mike Hanopol, guitarist Wally Gonzales and drummer/vocalist Joey Smith (the first album is from 1971 called "Up In Arms" with Gonzales as part of the original band).


JDLC's 1st official album, "Up In Arms"


Aside from the classic hits, 'Rock N' Roll Sa Ulan', 'Mamasyal Sa Pilipinas' and the seminal PInoy Rock anthem, 'Ang Himig Natin', this album is drenched in psychedelic rock and heavy blues. As the group opens with 'Take You Home', the only word that comes to mind is...H-E-A-V-Y. This is the aural equivalent of a herd of brontosauruses trudging thru the flatlands several million years ago. 'I Wanna Say Yeah' has a R&B Motown feel reminiscent of Jimi Hendrix's Band Of Gypsys. They use a Chicago blues feel on 'Round And Round' and down n' dirty Delta blues on 'Blues Train' where Wally Gonzales burns the fretboard like a man possesed.


Wally Gonzalez


Joey 'Pepe' Smith


Mike Hanopol

The Smith-penned 'Shake Your Brain' is another gem that deserves 'classic' recognition. The spotlight though, is on the title song. A song about how important music is to the Filipino and should be one of the top 5 best Filipino songs ever written. All the planets were definitely aligned when JDLC recorded this masterpiece. From the opening acoustic guitar riff and piano accompaniment to it's beautiful lyrics and Wally Gonzales' awe-inspiring guitar solo, it is the perfect song that touches the very core of being Filipino. The impact that this song and album made on PInoy Rock was never imitated and can never be duplicated.

ALBUM REVIEW: KASTIGO's "OUR DAILY RIOT" ****

The first thing that comes to mind as soon as the guitar-flanged opening salvo of 'Mga Pagbabago' bleeds off the speakers is quite simply, "thank god, finally some good shit!!". Yes, this is Kastigo...my favorite band at the moment. They've come a long way from when I stumbled upon them at the Purple Haze bar in T. Morato last January to their album launch this past August and "Our Daily Riot" is the badge of honor they can wear with pride. One would definitely mistake this band for older, seasoned musicians because of the well-developed songwriting and astute lyrics. In truth, the eldest member is unbelievably only 20 years old. The only explaination I can come up with is that these are a group of old souls that haven't left this world for the sole purpose of coming together and making great rock music.

And it is the music that gives this band it's power and depth. Eleven songs about love, heartache, escapism, confusion and political issues comprise this ruckus of a debut. Frontman Carlo Ordonez combines the vocal attributes of Basti Artadi and Jett Pangan. His tagalog lyrical prowess evokes the styles of Wolfgang's Mon Legaspi and Yano's Dong Abay while his english poetry harken back to a young James Hetfield and new wave-era Bono. Guitarist Joshua Montecillo's sound blends the shred techniques of early 80's metal axemen and the atmospheric qualities of Rush's Alex Lifeson, U2's The Edge and David Gilmour of Pink Floyd; guitarists who made their mark on rock music when Joshua wasn't even a thought in his parent's minds. And all these without the aid of a guitar pick. The rhythm section are no slackers either. Bassist Sans Fojas projects earthy bass tones that rumble the low frequencies as her huge sound and intensity masks her tiny frame. Mark Santiago pounds the drums with steady authority and drives the tempos at an almost-perfect speed while weaving in and out of different cadences that will surely make you downshift and press that gas pedal a little harder.


Mark Santiago


Sans Fojas


Carlo Ordonez


Joshua Montecillo

Kastigo divides the album into various rock styles; 'Aria', 'Himlaya' and 'A Bitter Passion' ooze with hard rock energy. 'Our Daily Riot', 'Divine' and 'Complicated Man' apply the spirit of 80's power metal and dip into progressive rock at times. Beauty and harmony are the foundations of ’Kapag Kapiling Ka’, 'Larawan' and 'Don't Bother' which have the word ‘HIT’ written all over them. As an added bonus, check out the surprise located a minute after the last track ends. The band successfully translates their music into a superbly produced album with the help of engineer and co-producer Hazel Pascua. The only other thing that can blow your mind after listening to Kastigo's debut is the thought of how compelling their music will sound as they mature with age.











You can purchase the album at Kastigo's shows. Check them out at www.bandangkastigo.multiply.com