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TUBE 2011

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TABLE of conTEnTs

4 6 8 12 14 16 18 22 24 26 30 32 Tube Playlist Raid A Call for Evolution by Issa Perez De Tagle LoveatfirstHeardbyKyleTerrenal IntothemixbyPatriciaMarieLafiguera HeartCavitiesbroughtaboutbymixcdsbyForestCandelaria Through being Cool by Carina Samantha Santos NoHardfeelings,JustthefuturebyMarvinSayson Goodbye NU107 by Isa Almazan Awesome bands you should hear this 2011 FluxbyAceLibre Name your indie band by Deane Miguel 2010: The Year the Real World occurred to me by Marvin Sayson

from ThE EdiTors

Lester Cruz

Editor in chief / Art Direction

Mare Collantes

Editor in chief

This has been a 3 month job and it really makes me happy to see this magazine work well. Thank you so much for downloading this pdf. It's good to know there are people who still have the virtue of patience. You will be rewarded by an abundance of information and visuals. It's still a baby but we're sure it'll grow into some nice thing.

Working on this has been very interesting and awesome, I hope that you'll be satisfied with what you read, see and feel. Here's to continuing the legacy of great music `til the very end. :)


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Tube / vol1. 2011



What's on your playlist? Tube randomly approached a lot of strangers with earphones just

to ask them what's playing on their mp3 players. We decided to be more intrusive by actually making them shuffle their list to see what they've (secretly) been listening to. Here's some of their lists.

Santiago's Playlist

Elvis Costello + The Attractions "I Want You"

This is my favorite Elvis Costello songs and it's also one of the greatest torch songs ever made. Few people can articulate pain as well as Costello does here. Look up the Fiona Apple cover of this song. The hairs at the back of my neck stand whenever I hear it.

Coverge - "Losing Battle"

Converge's Axe To Fall was one of my favorite albums of 2009 and it's definitely one of Converge's finer moments. On this album, Converge was finally able to recapture the raw energy of their breakthrough album Jane Doe while still bringing in enough new ideas to keep things interesting.

Mango's Playlist

Led zeppelin - Rock and roll

there was a time i was just downloading old stuff, so you have to have led zep there. i like this because it's kinda standard blues but upbeat and i really like how page sings here.

Franco - Next train out

well, 2010 was franco's year (onga no, last day of the year. sakto). so cheers to them

Deep Purple - "Stormbringer"

One of my favorite Deep Purple songs ever by my favorite Deep Purple line-up. Most people love the Mk II line-up with Roger Glover and Ian

Melt-Banana - "Like a White Bat in a Box, Dead Matters Go On"

My favorite Japanese noise core band. Agressive hardcore beats backed-up by driving bass lines and schizophrenic guitar noodling tempered by Yasuki Uno's Hello Kitty from hell vocals.

Kjwan - twilight

highschool sounds = emergence of opm rock bands and rock scene, kjwan was a great one among them. this song is actually one of my favorites from this album.

Finch - Fireflies

i also loved this band from hs, but in [Say Hello To Sunshine], they steered away from being emo and went to a more experimental, heavy feel. this is one of my favorite albums ever.

Gillian but this particular line-up was my favorite. David Coverdale and Glen Hughes brought in the funkier riffs to balance out Ritchie Blackmore's more classically inclined style.

Joola's Playlist

Erykah Badu - The grind

Because aside from my preferred genres being rnb and soul, this song in particular is smooth and sexy with a good beat. Erykah Badu also has a fantastic voice even if it's not the most ideal voice quality. She has great technique.

Chris's Playlist

Sinosikat? - Tragic beauty

Kat Agarrado is one of my favorite performers and she's an incredible vocalist. Since I sing, i mostly pay attention to the singer more than anything else, but as far as I can say, I really love their sound. I often listen to some of their songs when I'm at home.

Allen Lande - Wake Up Call

The songwriting is very intricate. Great lyrics, inspires me a lot. If you search for the lyrics on the net, you'll know why. Much more if you search it on youtube and listen to the track there.

Symphony X - Out of The Ashes


Backstreet boys - More than that

Well, for one, 90's music is insanely awesome. Anyone who doesn't agree is crazy. Second, this song is relaxing and the lyrics is really heartfelt. Good for rainy days (emo LOL)

Chillitees - Sama na

Aside from the fact that they're OPM, this song is one of those happy, chill songs that definitely puts you in a good mood.

Iron Maiden - Two Minutes To Midnight

It's a classic! Iron Maiden is one of the pioneers in the rock/metal industry. They've inspired a lot of musicians, including myself of course.

Spastic Ink - The Mad Data Race

Because the band is full of capital GENIUS. Pure technical talent here. Many people will NOT understand this type of music.


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Tube / vol1. 2011


A cAll for Evolution

It's a common misconception that Darwin's Theory of Evolution can be summed up in the phrase, "survival of the fittest". The truth of the matter is; it has absolutely nothing to do with strength or any other characteristic you might already be born with. Instead, it has everything to do with one's ability to adapt, change and mould oneself into something that can weather the trials and tribulations of living in the real world. Man is the perfect example of this. With the development of technology, mankind has set in motion more change in the last two thousand years than in all of the earth's 4.5 billion years of existence combined. The advances are so drastic and dramatic that we overwhelm even ourselves, spilling over to things that we probably didn't expect it to. For example, before I left for California, I remember talking to one of my bestfriends about the precarious situation the OPM scene was now left in. Gig venues were closing left and right and banner station NU107 was signing off. She told me that she wasn't surprised. The people who love this kind of music were the same kind of people who knew how to get it elsewhere ­ without leaving the comfort of their own homes. Am I suggesting then that technology is killing the local music industry? Am I suggesting then that we are responsible for our own musical crisis? Well, in a way... yes. How scandalous! But I think what's even more

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by Issa Perez de Tagle

scandalous is how true this accusation is. The fact that the internet has made it possible for us to share and obtain music with a few clicks of a mouse is simply astounding. Not only can we watch music videos and download songs (although I'm not supposed to endorse that), we can now even create and control our own virtual radio stations all for free. Indeed, these are marvelous things but at the same time, I think it's made us take for granted the process of actually leaving our laptops behind to see the real thing. After all, it is easier and infinitely cheaper ­ two things that are definitely important with the difficulty of dealing with today's economy. Still surprised that gig venues, despite the census of musical acts and patrons, are closing down? Or that NU107, despite an enthusiastically large following, found itself financially incapable of staying on the air? The fact that this situation makes us all feel so uncomfortable is that we know that it's our fault. So... now that we have accepted the cause... how we do we change the effects? What can we do to ensure the survival of the industry we are so passionate about? Technology isn't going to go away. People aren't going to stop using Facebook, YouTube, or and they won't stop buying iPods. But technology has never been the enemy ­ we just haven't been using it right.


The fact that the internet has made it possible for us to share and obtain music with a few clicks of a mouse is simply astounding.

Losing NU107 has made the concept of internet radio more appealing. The former rock jocks get together every now and again and use UStream to broadcast and play music and their fans have enthusiastically followed suit, making their own NUstreamers account. I think this is definitely an avenue worth exploring. With enough traffic and sponsors, manning an internet radio station could very well be profitable especially since operational costs would be marginal. There wouldn't even be as many rules to bog it down. Also, another concept that live streaming has given birth to is that of online gigs. Bands can post notices on Facebook, set up in their garage and broadcast to a whole web full of fans.

But there's nothing like really being there, right? True. Technology also offers the challenge for us to get more creative and resourceful. If there doesn't seem to be anywhere you can play, are you going to give up? No. You keep looking. You make your own venues if you have to. I'm seeing a lot of production companies organizing tours outside Manila and that's a start. Get word out and play in your village basketball courts if you have to. It's difficult and definitely a whole lot more work will be involved ­ maybe it might not work a lot of the time ­ but who said it was going to be easy? Science proves it. We can have all the God-given talent in the world but if we don't have the determination and the will to adapt to the times... we will be as dead as dinosaurs. So yes, we can take back control and we can "save the music". We just can't sit back and mourn what was lost as things move forward and leave us behind - that's how we lose even more. We have to recognize that change is happening and change with it. Goodluck!.

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Roberto Sena of She's only Sixteen

at first

a photo essay by Kyle Terrenal


I just never really understood the deal with the whole music scene. Sometimes its just really loud, my ears feel like they'll blow up any second.

Armi Millare of Up Dharma Down

Sometimes bars are just filled with the smell of smoke and alcohol, full of the sound of chatter and

Paolo "8" Toleran of Franco

drunk laughter. But you know, one thing just takes your mind elsewhere


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Tube / vol1. 2011


Ean Mayor of Up Dharma Down

AA Enriquez of Pascalene

Have you ever stopped to think about the first sound you hear when a band is about to play?

Whichever of these, as long as you realize for a second that someone's going to play, you stop and listen.

Ton Vergel De Dios of Tonight We Sleep

Sarah Gaugler of Turbo Goth

Sometimes it's the scratchy sound an input jack makes and then some other times it's the random shaking of the snare wires or cymbals.

Like moths to a flame, instinctual attraction plays a role in our love for music. We like it because we just do.


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Tube / vol1. 2011


To those who don't know, a "mix" is basically a set of songs. In the 90's, mixes were used as sort of love notes but they can be used for anything really; may it be a love note, a birthday greeting, a mother's day message or a break-up in musical form.

Point C: What is the message you want Point D: Don't forget to attach a little

to communicate using this mix?

Think of a message or what you want to say and find songs that express this message. For example, "It Means Nothing" by Stereophonics would probably correspond to the message "If you're not here, there's nothing I care about". The message conveyed by the mix must be constant in every song. Here is a guide on making a mix and that's all it is. This isn't some pretentious manual that claims to contain the secrets to eternal life or possess medicinal properties. The mix you will be making might not help you through your break-up, make you pass your classes or give you passage to the chamber of secrets. In fact, it might do just the opposite. Point is, I'm not promising you world peace, just minutes of pure entertainment. In making a mix, you must consider the following points. Don't go from "Your Boyfriend Sucks" by NOFX in track1 to "Love Story" by Taylor Swift in track10. It's just not going to work.

note to your mix that preferably contains the same emotion as the songs in the mix.

Sample note: In this mix, you will not find whiny musings of pre-pubescent boys. Do not expect disgusting pop ballads either. You can: listen to this while driving, while taking a dump or while listening to another mix. I don't care. You cannot: give this to someone else, use in some Satanist cult ritual and most of all, not listen to it. None compliance to such guidelines will result in loose bowel movement. Moreover, if you attempt to duplicate this mix, you will spontaneously combust and if that's not enough to scare you, well then I'll break up with you again. PS. I want my stuff back.

Point E: Give the mix to the right person.

Once you've wrapped up your mix-making, you are ready to deliver the goods. Make sure you're giving it to the person you made it for. The last thing you want is miscommunication. Your dad won't be pleased if he accidentally hears the mix that was actually meant for that ex who cheated on you with 2 guys and a girl.

Point A: Materials.

First, look for a working burner or recorder. Next, look for a medium on which you will write the songs onto. Since cassette tapes are pretty much obsolete, you should probably use a CD. There are those regular sized CD's which are roughly the size of your hand or if you're aiming to be cute, you can use one of those mini CD's but your attempt at cuteness probably won't work anyway so don't waste your time picking out the CD. It doesn't matter.

Point B: Who will be listening to this mix?

The audience, the reader and the spectator have always played an important role in the appreciation of the different mediums of art. You have to keep in mind that the songs in the mix CD must be appropriate to the person or persons who will be listening to the mix. Enough said, common sense would tell you that if you're making a mix for your mom on mother's day, do not include songs like "Shawty it's Your Booty".

WArninG/ discLAimEr:

The author cannot be held responsible for any break-ups, cat-fights, hold-ups etc. etc. that will be caused by any mix made with the use of this guide. Any complaints on how this isn't the "right" guide or process for which to make a mix will be ignored. This is merely personal and for entertainment purposes only. It is not based on fact so don't come to me saying I'm a liar or that I ruined your relationship with your girlfriend. No animals were harmed in the making of this guide.


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Tube / vol1. 2011


Heart Cavities Brought About by Mix CDs

by Forest Candelaria

Contrary to popular belief, I never did have much self-esteem. There's always something wrong with me, and I believe that despite what most concerned friends say. I'll be honest; having a girlfriend who is way out of my league doesn't help. It's nice that she's so supportive though, telling me how handsome I am and how much smarter I am than her exes. It must be hard lying all the time. As far as I was concerned, every other boy she's been with was a loser. She dated a pothead, a skater boy, a farmer, and a carpenter. I have nothing against those professions and hobbies. Personally though, future Palanca awardee sounds much better. At least that's the term my girlfriend uses when I start to pull jealousy's green head out despite the fact that I stalked their Facebook pages and found out that "pothead" is actually "avant-garde artist," "skater boy" is now "a marine who is kicking ass in Afghanistan," "farmer" has arms the size of my thighs, and "carpenter" is now seven feet tall and is able to grow a moustache.

They are what I want to be and they have things that I would very much like to have; like a great body, some artistic skill or a moustache. If you were me, you'd feel pretty small. I didn't though. As I do with many people, I like to kid myself as well. I branded myself as "really-cool-dudewho-goes-to-all-these-musical-concertsand-gigs-and-likes-to-comment-aboutthe-music-in-the-snootiest-possible-waywhile-wearing-the-most-delightful-pairsof-shoes-with-no-regard-for-the-time-andlittle-regard-for-the-law-if-there-is-indeeda-need-to-break-it-and-what-not." It's way better than "pothead who likes to throw paint on canvas and call it art", "dumb jarhead", having steroid-arms, and being tall and hairy. I prided myself because I knew music. There are bands that I love that you've never heard of before. I know every opening riff from the Beatles and Metallica. I was cultured like Freddie Mercury was gay; very. Knowing my love for music, my girlfriend gave me two CD organizers full of random mix CDs. In a span of a year, I had easily listened to all fifty-six CDs in it, except for one; a mix CD given to her by "avant-garde pothead." Why, yes. I am a pussy.

I was keeping myself safe. I didn't need to put myself through the pain of listening to what would probably be the shittiest compilation of songs ever made in the history of mankind. Also, I wanted to avoid all the emotional torment, but that's just a little part of it. Not. After a year and a half of dating, I finally decided to listen to that CD. I popped it in after bringing my girlfriend home from a date. I was feeling pretty good about myself at that time, until the music started playing. I cried all the way home. It wasn't because the songs were touching or heartfelt. The CD just made realize that I was the loser. There were songs that I had never heard before but liked, and there were songs that I had always loved. It wasn't the cliché mix CD you give to an ex to make her feel bad. This one had songs that you actually listen to. As each song ended and started, they all went back to "avant-garde artist", "marine who kicks ass in Iraq", Hulk-arms, and "tall, sex-beard". I started to drown in my tears and self-hate. I was the loser. I always thought I'd be the guy who she'd love because of my awesome musical taste. If we ever broke up, I wanted to be described as "guy who knew his music". Now if we break up, all I'd be is "guy who thought he was special." Contrary to popular belief, I don't know my music.


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Tube / vol1. 2011


Through Being Cool

by Carina Samantha Santos

Not two days ago, a friend called T, told me over an instant message: I've wasted too much energy thinking about what other people thought of me over the years. I'm a natural observer, and I've developed a keen sense of what is cool, and what isn't. It's an almost effortless practice, using music preferences to perpetuate an image of yourself to show to people, rather than having an actual personality that people can get to know. An idea I found absolutely cool was something I had learned from High Fidelity, which I saw as a sort of Bible of Coolness, even though the characters were mostly jerks and losers. Rob Gordon, the anti-hero, goes, "...what really matters is what you like, not what you are like... Books, records, films-- these things matter," and going by this, I've judged countless people, often pushing them away just because they didn't like the same things I did. As you can imagine, that narrowed down my world A wise gentleman by the name of Chuck Klosterman wrote in an essay published in Esquire in 2004: "It never matters what you like; what matters is why you like it." considerably. A friend of mine asked me yesterday, "What's that one band you told everybody you liked just so you could look cool?" My mind went back to high school and I thought about how I told everyone that my favorite band was Iggy Pop and the Stooges--a complete and utter lie. (His was Joy Division.) What I really enjoyed listening to was a lot of pop punk and emo, but I would claim them to be my "guilty pleasures"--things I wasn't "supposed" to like. Somehow, using the term guilty pleasure seemed to erase the stigma that surrounded these types of music, and made it okay for people to like them. Just as long as you didn't like-like them, then it was acceptable. After all, why put so much importance on coolness? In the 2000 film Almost Famous, Lester Bangs lets William in on a little secret: "The only true currency in this bankrupt world is what you share with someone else when you're uncool." And suddenly--light. In a world that is still bankrupt after all this time, this remains to be one of the truest things I know. And so, I'm trying to be done with "guilty pleasures," and constructing fake personalities to be able to superficially connect with other people who are putting up similar fronts. I like what I like, because I respond to it, based on my collective human experience. Things mean something to me. Some of them I like just because they're fun; nothing else to it.


envy how you are immune to all things uncool.

T was currently obsessing over Jessie J, the British 22-year-old responsible for penning the Miley Cyrus classic, "Party in the USA," allegedly "set to rock the music world." Prior to this discovery, she was all over Ke$ha, growing more and more terrified of her burgeoning non-ironic love for her. "Jesse McCartney," I quietly tell her, letting her in on my not-so-secret secret shame, and she rolls over and dies. Metaphorically, of course, but I suspect she has ceased to be envious. A thing for which I'm glad, because I'm slowly trying to quit being cool for the sake of being cool.


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Tube / vol1. 2011



aka My 10 anticipated albums in 2011

by Marvin Sayson

photos by Miko Galvez

Giniling Festival

Lil Wayne (The carter iV)

After spending eight months in jail, Lil Wayne came out with a new single entitled 6'7, featuring Cory Gunz. If this record is a preview of his new 2011 record, then I can say that the convicted rapper is in good shape. It shows a lot of charisma and energy, and his SNL performance with his come-back counterpart Eminem proved this all right. The said show featured Lil Wayne backed up by a live band, and they played the song 6'7 with a more alternative rock instrumental arrangement. The title of Lil Wayne's 2011 release is The Carter IV, which I hope will mirror the elements of a classic record of the same Roman numeral.

Limp Bizkit (Gold cobra)

Everyone's favorite NU Metal guilty pleasure is back, armed with their hard-hitting old groove. Thanks to the reunion of their old members, Limp Bizkit is ready to release their Gold Cobra record this year. It's not a mystery to their fans that Limp Bizkit hit an all-time low after the departure of Wes Borland. Now that the shock rocker is back, everyone better hang tight as the gang releases Gold Cobra; a record said to carry their old mix of hip-hop and hardcore. Gold Cobra is scheduled to release in 2011 under Interpol Records.

Taking Back sunday

Three albums and two replacements later, John Nolan and the rest of Tell All Your Friends's line-up are back with Adam Lazarra as Taking Back Sunday hit the studios for a new record. "No hard feelings, just the future," is what the band said in their first announcement of the reunion. John Nolan's return makes fans hopeful for better guitarist-to-front man collaborations as Adam Lazarra is reunited with his old wingman. Studio recordings have been bootlegged for their new release in 2011, with an unknown date and title.

Giniling festival (makamundo)

People say the second album is the hardest to release, pressed with expectations from a band's first issue. Thank God Giniling Festival's creative juices show no signs of running out, as their second album is fun-filled with their trademark comedy lyrics and a new, darker guitar sound. The band's strong affinity to the music of Queen and System of a Down is displayed in this next record. Expect to hear more harmonies and intricate guitar lessons from the new album, scheduled to release independently in the second quarter of 2011.


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Tube / vol1. 2011


death cab for cutie

Coming up with a follow-up to Narrow Stairs, Death Cab For Cutie has been said to release a new album entitled Codes And Keys. Ben Gibbard proclaims that the album is the least guitar-centric of all their records, and somewhere in an interview refers to a Brian Eno (Another Green World) record as an influence. That sounds like a tall order to me, but knowing the band's songwriting prowess and their ability to create chemistry in even the most idle parts of Narrow Stairs (such as the hollow yet cathartic ending of the song Bixby Canyon Bridge), mixing the influence of Brian Eno's sound engineering techniques and Ben Gibbard's poetics sounds good. Codes And Keys is scheduled to drop Spring 2011.

Tonight We sleep

After playing shows for three years, Tonight We Sleep is ready to launch their debut album. Despite hurdles and being busy with school, the boys from Quezon City managed to record ten quality songs with Knive Recording, including crowd favorites such as Gabrielle and Angels Leave in November plus songs you've never heard before. Tonight We Sleep is one of the Philippines' premiere heart-on-sleeve bands, mixing their relatable lyrics with ambient and heavy guitar sounds. Their album is scheduled to be released within the second quarter of 2011, independently under Mary Moon Productions.

Tonight We Sleep

The Lonely island

After its December 18 2010 debut, I Just Had Sex appeared to be Lonely Island's bat signal to its fans. The SNL Digital Short featured Blake Lively, Jessica Alba, and their guest rapper Akon, making a statement that the comedy rap trio wasn't going down after their first release Incredibad. The levels of anticipation for their next release are getting higher as Andy Samberg has been doing well in SNL, upping their ratings since his Digital Shorts. SNL's writing format is slowly getting outdated, but Andy Samberg and his Digital Shorts have been making the show relevant, and The Lonely Island definitely has a hand in this generation of the world-renowned comedy show.


People get tired of Glassjaw's way of hooking crowds into their surprise releases and secret shows, but fans are hopeful that the Long Island post-hardcore four-piece will finally release a new album in 2011. You Think You're John Fucking Lennon has created buzz in the internet world with its old Glassjaw elements, screaming with promise. Fan-shot videos of their live shows from 2010 also show that the band is still alive after break-up rumors.

Pains of Being Pure At heart

The New York-based indie shoegazers released single entitled Heart In Your Heartbreak in late 2010, making it known to fans that they have learned consistency and a sense of direction. I really enjoyed listening to their 2009 self-titled release, but I felt like they had a lot to learn. This year, they are going for the kill with Belong. Pains Of Being Pure At Heart's mix of indie pop, shoegaze, and buzz makes excellent earcandy. Ready to come out and play, they are scheduled to hit the shelves in 2011.

states (full-Length)

With Copeland and Lydia breaking up, the Laurenson brothers and Mindy White decided to form States in 2010. Their debut EP entitled Line `em Up released in the same year, wooing fans of their former bands. They hit the road for a mini East Coast tour in late 2010 and garnered recognition, playing shows in bars and ending the tour by opening for alternative mammoth Switchfoot. The marriage of the two bands' former pieces has been successful so far, as Mindy White had informally announced on her Tumblr that they will be going back to the studios in 2011 for a full-length album.


Tube / vol1. 2011

Tube / vol1. 2011


Goodbye NU107

by Isa Almazan / Photo by Miko Galvez

"It's a minute before 12. NU107 is DWNU FM at 107.5 Megahertz in Pasig. Once the loudest and proudest member of the KBP. This has been NU107, the Philippines` one and only home of new rock. This is NU107, we are signing off." I shudder as one of the most celebrated songs of OPM finally puts a close to the longest and only running rock station in Manila. I look around me and see the sea of people gathered, not really for anything out of the ordinary but to simply listen to radio. No fireworks or special performances. Just radio. Just the music. I guess one of the reasons I favored the art of music over anything is for how democratic it is. And here, right outside the grounds of Ortigas is proof that it doesn't matter in which end you stand- whether you're a musician, a listener, or a middle man, the music is just as yours as the person next to you. Highschool and I would listen to Radiohead, R.E.M, Wolfgang, Portishead, Joni Mitchell, Beastie Boys, P.O.T, Foo Fighters, Bon Jovi, The Smashing Pumpkins, Tori Amos, Red Hot Chili Peppers and some other things. But basically, all the others didn't. It was quite lonely, not having anyone to share mixed CDs with. But one day, playing with the radio knob turned out to be a breakthrough and a half. I found NU 107. I finally had someone who shared the same music collection as I did. It even gave me new things to listen to. It was great because I found a friend. I found a home. alongside hundreds of fans, to the only station that mattered to me. It was the home of new rock for its conception until now, November 8 2010. Tomorrow, I wonder, where will be home?

"Nakakaindak, nakakaaliw, Nakakatindig balahibo"

I look around and wonder how I got here, how we all got here. Over 23 years ago, NU 107 was born. It took a whole lot of passion, heart, and delusion to create this heaven for musicians and fans alike. The station, the music it played, the jocks who took care of the listeners, our fellow supports fell into that familiar realm we considered family. The news of NU's demise came as shock not only to me but for everyone. Until the very end, people were hoping it was all some big prank. One week, I was closing University Rock with my fellow jocks. The following week, I was having the time of my life in the last ever Rock Awards. And well.. before I knew it, I'm here. I'm here to say goodbye,

"Lahat ng pangarap ko'y bigla lang natunaw, Sa panaginip na lang pala kita maisasayaw"

I am now a nursing a lump in my throat. I am about to cry. If I just hold my breath tighter, I won't. If I don't sing along with the chorus, I won't. If I just close my eyes, I won't. If I wasn't here, God, I wish I wasn't here. I wish I wasn't here, having to witness the end of a generation- a generation so blessed with a place to call home. This is the home of new rock. This is the home that served us a place to feast on music. This is the home that took care of its musicians, its listeners, and its supporters. This is our home.I walk on over to the entrance of the station, light my candle and silently give my thanks. It is home- not was, but is and will always be home.

"At walang kamalaymalay, na tinuruan mo ang puso ko na umibig nang tunay"

I remember growing up and not really having much in common with just about every seatmate I had in school. When I was 9, I listened to Pearl Jam. It was because of this show I watched in Nickelodeon but I'm not gonna get into details. When I was 12 years old, I would repeatedly play and rewind my older siblings' Eraserheads cassette tapes. They were my Beatles. I got into


Tube / vol1. 2011

Tube / vol1. 2011


ands you wesome B this 2011. A uld hear sho

Nanay Mo

word "rakenrol." All experts in their own instruments, they don't need to worry about playing the wrong note or going off-beat, they just need to worry about how low they're rocking your pants off. The only way to describe Nanay Mo is with the

Athome Formed at Halloween 2007 during their fourth year of high school in La Salle Greenhills, Athome (ah-thaw-me) was at first just an avenue for its members to jam and play. They weren't exactly expecting to be a real, working band with gigs, but, hey, fate dishes out the unexpected to you sometimes.

Verbacoma This band is comprised of a bunch of musically talented boys from Ateneo High School (a number of years back!). Their music is in between heavy rock and alternative and although their genre is hard to classify, one thing is for sure: They are intense.

Surpresa Reggae with a twist ­ that is how Surpresa describes their music. Their influences are a mix of different kinds of music: particularly jazz, funk, reggae. The band believes that it is this diversity that makes them unique ­ the variety of their influences gives them more room for creativity in their music.

Reese & Vica Reese Lansangan and Vica Hernandez formed their duo in November 2009, two years after they first met as soloists in the Ateneo Musicians' Pool. Their folk- and indie-infused pop music comes as a result of their unique guitar and vocal styles, creating songs that are often filled with catchy, colorful melodies and vocal blending.

Leonecast Ace Libre, the frontman of Leonecast, was in an instrument skills workshop by their theater/singing group back in May 2006 when he got the idea to get some of his groupmates together. He realized that he had group mates who had potential with certain instruments, even if they they only knew the basics. He thought that maybe if they got together, they could form a band. So he did just that ­ the four of them got together one for an instrument jam and the rest is history.

Pascalene Pascalene is the delinquently soothing name of an up and coming band whose music attempts to stir a blend of love, soul, jazz and alternative...basically all that stuff we grew up listening to. Active since June 2006, we have been busy constructing more songs and gigging every now and then.

Ophidia People always tell me to protect my ears when listening to Ophidia. I tell them, protect your soul. After they play, your neck will ache. Supernatural music-snake wrapped around your neck or musichypnosis forcing you to headbang? I don't know. Both sounds good though.


Tube / vol1. 2011

Tube / vol1. 2011



1 (2 1 3 1 4)

Music is an ocean whose fabric is time. Upon impact, ripples emerge and expand away from the source--as though a signal. Eventually, these concentric trails collide and coalesce into the cosmic web of all far-flung ripples, effecting on one other as they ebb into the undercurrent. These ripples will at some points resurface, altered in form and character. Waves will rise, sink and crash against shores, alluding to change as they break into rogue fragments. Music is an entity forever in flux, never for a moment still or the same. Old and new are distinct yet ambiguous, infinitely morphing into versions of the other. his lifetime. He sought out his relevance to the universe, as reflected in his works. A man who fell into the deepest tension and misery, he had the gift of seeing the superlatives of deliverance--the prospect of falling short was his curse. Parallel to his disposition, he endeavored to trump the standard means of expression by augmenting and sharpening his musical language. His symphonies were always a grand revelation of existence and what lay beyond. Cavernous and sweeping, Mahler's works were criticized for being "hyper-emotional." Perhaps people couldn't see what he could see. Perhaps he hailed from another dimension. But he was the most human of human beings whose message to humanity was larger than life. Besides influencing revolutionary composers like Arnold Schoenberg, Mahler's music would slip notice until much later on during the century. Technological advancements in recording and equipment have generated a fresh breed of composers adhering to new-age techniques. Taking interest in Mahler's form and principles, they forged their experimental works. Symphonic music however, had long been in decline by then. Jazz and blues had grown contagious and so did Frank Sinatra. Post-war cynicism was at its most glaring and Beatlemania was on the rise. The orchestra was a fading blip on the radar. Today, the glory of Mahler's all-embracing symphonies has been shoved to the backburner--minute outliers to the main-


stream, muffled by noise. nursed a world self-conscious and indifferent at once. Third, the collective mindset has been shaped as a result of the cyclical nature of such a pattern. Disillusionment has become the habit. The culture of excess has caused arbitrariness with little regard for consequences. Selfconsciousness and indifference have given way to vanity. Such perceptions-turnedrealities are often the current driving today's art. Mute Math's song, The Nerve paints an accurate portrait of the world's trending state. At 0:07 Darren King rams through the intro with his signature bass-snare-hi hat combination. Gunning the 140 beats-per-minute track with sixteenth notes--practically triple the tempo--Mute Math breaks into a sprint. A riff on the thirds F sharp and A is done by a distorted guitar above a sparse bass line in dotted quarter notes and syncopations on F sharp. Meany has witnessed a running pattern of rejecting age-old values and traditions: First, postmodernism has dictated begins his vocal engagement via rhetorics at 0:21 with Can you believe this world's got the nerve to insist it won't trade for a better one?/Can you believe this world's yellin' out in the dark/ it wants to be left alone? The succeeding lines are composed of more self-evident questions stuffed with metaphors showing no signs of resolve. Their solution, however, is blasted out: set it on fire. Mute Math are so wellknown for their high-energy arrangements that Armistice has been accused of "overdoing it." Despite this, The Nerve stands out because it embodies the bipolarity of the 21st century. The drum-bass tandem is symbolic of the instance when an unstoppable force collides with an immovable object.. The nimble percussions are a mimicry of 1. technological trends 2. fads and 3. people's frenzied pursuit of the first two--all of which are arrows

by Anthony Libre

3 (1 4)

Man's reality is enslaved by his perception. The human mind is inclined to seek patterns in everything, and commits to construct its own in their absence. This generation

"The culture of excess has caused arbitrariness with little regard for consequences. Selfconsciousness and indifference have given way to vanity.

in part, that everything means nothing. This philosophy has spewed out the laissez-faire culture pervading our breathing space. Failure and disappointment abound despite knee-deep expectations. Second, the grand hypnotic mechanism known as media has

2 (1 3 1 4)

Gustav Mahler was a stray his whole life. Marginalized for his nationality and religion, he was constantly in search for substantial and lasting welcome. He would never attain this in


Tube / vol1. 2011

Tube / vol1. 2011


without a head, shooting out in all directions. The bass lines in their stasis are a negation to the beat. Merged, these represent what speeding with a lack of destination yield: nothing. The poetry voices out the frustration and sarcasm that everyone carries and has grown tired of. By phrasing familiar sentiments in familiar form, Meany has drafted a caricature of the century's disposition: a television blaring out

a million devils at once.

humanity has been a cast since its inception. The storytelling did not fade with his music. His voice grew louder with each scene and chapter--from the march of soldiers during the Second World War to the druggie culture of the psychedelic era, the quest for meaning grew insatiable. Humanity hardly recovered footing when the 21st century exploded and sucked everything into its self-feeding black hole. The

brutal shift in social, technological and cultural landscape was inescapable. An entire realm of possibilities splintered open and man was left to his devices. Eventually, schools of thought and whims dethroned established values and traditions, giving birth to a generation of aimless wanderers. Mahler's narration resumes in Mute Math's The Nerve, a product of regurgitation and comment on the

backwardness of man and the system he has made for himself. The plot is yet unfinished. There is no telling the precise extent a musical work affects the world. It may slip consciousness or memory but it will never vanish. Like all things, it will change. No musical work is so old that later generations will fail to appreciate or draw significance from it. Conversely, no work is so new that it has no preceding

work influencing it in any way. Just as man's fundamental conflicts have different manifestations over time, the basic moving power of music has progressively varying nuances. This way, a 20th century symphony is no different from a rock song made more than a hundred years later.


It would be silly to discuss the direct connections linking Gustav Mahler's works with those of Mute Math. Absurd as it is to force an exposition, it is truth to assert that both lie within the same continuum and arguably share threads of meaning: With the Resurrection symphonies, Mahler unleashed an allegorical narrative of which

is enslaved by his perception. The human mind is inclined to seek patterns in everything, and commits to construct its own in their absence."

28 Tube / vol1. 2011 Tube / vol1. 2011 29

"Man's reality

Include an animal in your band name

Animals can add spunk to your name. Use exotic wildlife to really give it that

Use a pop culture reference

Whether it's an 80's movie, a random catchphrase or a character from a comic-pop culture references can make you look, well.. cultured. It's a great way of forging an image of your band as witty and cool; two things you'll need if you want to push for the whole "indie" vibe. Bands that have used this method: S.P.O.C.K, The Clockwork Oranges and Alice in Videoland.

HOW TO: Name Your Indie Band

By Deane Miguel

extra spice. Choose a rare and unusual animal. The goal is to ignite people's curiosity and make them listen to your band. Examples of exotic animals you can use would be wallaroos, capybaras, or ocelots. My favorite is kinkajous, for the very obvious reason that it has kink in it. Examples I came up with: The Dancing Wallaroos, Revenge of the Ocelots.

Quirky, random, long, short---we've seen them all. And no, I am not talking about a certain male body part. I am talking about indie bands and their band names that pretentiously cry out the words: we-are obscure-so-listen-to-our-music! Let this mini-feature be your guide as you try to put a stamp on your struggling artist facade.

These are just a few tips in helping you name your band. Although band names are key as they help you reel in curious listeners, remember: band names are just 5%, the rest of the 95% are about your music. At the end of the day, even if you have a kickass name, if your music is shit, then you will go nowhere. (That is unless, your singer is kind of cute.)

Use a phrase from a book

Choosing lines from a random book is the way to go if you want to sound meaningful, and deep, and shit. Simply flip through a book and use a string of words that sound vague and profound. Best to use a classic or a science fiction book to really give off that mysterious feel. I took three of my favorite novels (props to you if you can guess what books) and picked out a few phrases. Here is what I came up with:

Stars and Garters Doors of the Silent Houses People See Apparitions The Examining Magistrate

Use your own name, you vain person, you

Using your own name can really give off that unconventional feel. Adding an extra word can make it sound oh-so-indie and edgy. Examples: Ramona's Breakdown, the Ulysses Submission, Jamie's Comets. Tip: Use as much gibberish as possible; the more cryptic, the better.

...Nifty huh?


Tube / vol1. 2011

Tube / vol1. 2011


2010: The year the real world occured to me

A couple of days before my college graduation, Conan O'Brien got raped by his home network. Let's just say that if TV show hosts were chess pieces, the whole board was rearranged, and disregarding rules of etiquette, Conan got demoted to a pawn and Leno magically turned into a Queen. It was painful, embarrassing to Conan of course, and sad. He got rickrolled, he got screwed over, his aspirations got kicked to the curb after dedicating his life to its achievement. His last words in his dream arena, the Tonight Show With Conan O'Brien: Work hard. Be kind. Amazing things will happen. For someone on his way to the finish line, that seemed to me like excellent words to hang on to. That time, I was working on a short film score, my senior dissertation's finishing touches, and backpack marketing a record I co-produced. I found myself in Conan's words as well: I was working hard, I (hope) I was being kind, and amazing things were happening, actually. But little did I know that the real world was going to be a little meaner than that. Graduation was through, and I had the best send-off to LA. Armed with a backpack of promise and my white Fender Telecaster, my first mission was to make a band with an old friend in Pasadena and a fellow college graduate in Westwood. I made a four-song demo and they seemed to be okay with it, so we rehearsed the songs and got some shows down. We eventually found sessionists off MySpace and made really good friends with their band named Rogue Sounds. Chain Reaction has always been my dream venue. I remember watching videos of Saosin perform in that same stage back in high school. I wanted to conquer it badly, and I was thankful that we got a show. It was pay-for-play. If we were in Manila, I wouldn't have approved of it, but I said to myself, maybe this is how it really starts in LA. I felt cheated, though. After pre-selling a couple of show tickets and throwing $160 out of our pockets (which we painfully had to prick out, considering we were all jobless), we finally got on stage. Set up was done. As I was leading into our first song, I surveyed the crowd. It was my family, and my bandmates' friends. One girl came up to me after the show saying she liked our set, and I appreciated that. But everything else was a dark corner in my history of playing shows that I do not want to look back to. The thing is that LA is always running after bands that make money. It's a dogeat-dog world in here. This is the entertainment capital of the world. I was led to hypothesize that if your band does not make any profit, those "indie" production outfits will not cater to you. Said "indie" outfits are the managements that embrace every other hardcore band that sounds like your next-door neighbor with a BC Rich Warlock, a Marshall halfcab and a bunch of pedals but no soul. I'm talking about the usual suspects; the ones who are literally shat out by "counter culture" couture Hot Topic, gracing the stage with their swooping haircuts, skinny leather vests, guyliner, and all that crap. With a crowd like that, you really can't tell guys from girls, as I've experienced. In the middle of our sets, I'd remind myself despite the abundant I couldn't wait to get home. pression: Work hard. Be kind.

by Marvin Sayson

illustration by Rob Cham

frustration that eventually turned to deI felt so cheated and screwed over. It was a real downer. We were halfway through our four-show mini South California tour and my inferences got confirmed. We joined this some kind of a talent exposure showcase and got to meet with a few record label head honchos. I could only see $$'s in their eyes. We got some praises from the audience for being the only instrumental band the whole night, but they were all from hollowed-out beer bottles. I got myself a $3 cup of Corona with the proverbial lemons and just drank the night away with my only money. Work hard. Be kind. Conan left out the part where you had to be a hobo for a while. And like an epiphany, I remembered the words of Ludacris in that Fergie song: "If you ain't got no money, take your broke ass home."

It was so sad, how I was exposed to this side of LA in my first attempt to achieve


Tube / vol1. 2011

Tube / vol1. 2011


my dreams of touring. I keep on reading in the LA Times that somewhere in downtown LA, there is a thriving local indie scene ­ not the one that's straight out of Hot Topic, but one that's pure and true. I'm sure that for every fake boob in Hollywood there are ten artists in the underground making real things out of nothing. LA has two sides to its glory: it has a rich history of entertainment production and internationally renowned talent managements, but some parts of its downtown district are very sick and poor. I know, I know, F. Sionil Jose told me in a roundtable discussion of his works that "There is nothing romantic about poverty." But if you look closely you might find something you like. My friends and I went to the bench where (500) Days of Summer was shot. It was Tom and Summer's favorite spot in LA. In the movie, you see the great view, the awesome architecture, and the fabulous clean skyline. In real life, you see bums sleeping in that same hill, buildings taken for granted, and a skyline occupied by ad spaces. This, for me, was LA: bittersweet and ran over by Father Time's dry sense of humor. On to the home stretch of our mini-tour, we played a show in UCLA. I love how I went back to school. I returned to that same place where I started ­ a place

where people are just being themselves, trying to get out of responsibility and doing all they can, while they can. I'd have to say that it was our best show. It was then when I decided that I would take some time off the band because of our geographical differences (we had about 150 miles between us), and I wanted to fix my life. I wanted to work hard and be kind and get something out of it It took me a lot of patience and questioning. Being a bum sort of took its toll on me, until a blessing fell on my hands: a job offer from my favorite computer company's retail district. I'm at the bottom of their food chain, but I'm eating it up. Not only am I learning the true meaning of working hard and being kind; I am also starting to give importance to patience and grace. It will take some time. It will take some stumbling. I know I'm not touring anytime soon, but at least I'm making music. It's been a trying year but I'm glad 2010 spared me. My eyes are wide open for 2011. I'm always transitioning. I never stop creating. Let my search of the Holy Grail continue. When the time is right, I'll come home to Manila. But for now, I have a city to conquer, and a world to see.


Tube / vol1. 2011

Tube / vol1. 2011


When Music FAils As A UniVersAl LAnguAge

by Stephanie Shi

illustration by Kara Chung

Music is the universal language. Perhaps everyone has heard that line before, and perhaps a lot have agreed to it; hence making it a so-called common knowledge or simply put, a fact. It is undeniable how magical it is to have a group of people who come from all these different places and have different backgrounds compared to one's own come together, all for the love of listening to music as well as the passion for creating it. It is as if seeing all these streaks, waves and swirls of different colors become one in a van Gough painting that inevitably makes an outsider so immersed in the picture because of the beauty in the variety, a beauty that is called art. As for the artists, those who unite themselves because of the same heart beat, they are the masters who present themselves in the best way they can for all the world--ideally--to smile, cry, love or hate life with them.


Tube / vol1. 2011

Tube / vol1. 2011


The division--yes, there is one--comes in when a musician, or just any person who knows some things about musical terminologies and a nonmusician (someone who merely enjoys listening to music and not be so aware or interested in the theories or concepts) talk about songs: the best and worst of parts, what makes it a hit and a miss, and so on. It is inevitable that upon talking about music, the non-musician would be taken off guard and most likely ask himself, "What in the world does falsetto mean? How do pinch harmonics go?" and then remind himself to play it cool and hide his cluelessness to save himself from looking like an idiot. Clearly, if music were a universal language, such a scenario wouldn't even happen because the musically inclined and the otherwise would understand each other perfectly. Neither one would feel smarter nor feel more stupid, having both stand on equal footing. Just as songs and the emotions that come with them draw people together, these musical concepts that float in the air should fall crisp, clear

to all ears. That is certainly not the case. A universal language should bridge gaps and destroy walls, not build a Tower of Babel with music lovers who speak in different tongues for residents. With the way music is treated in reality, as though it were an accessory that people flaunt as they communicate with these high-falluting words with the intent of showing others who's who or act in so airy a manner only to pose as virtuosos who have every bit of skill except that of being modest, the essence of music is tainted--it becomes an object of pride and vanity from a pure passion. There are instances, out of pride and/or vanity maybe, when people fancy their tastes to be the best one to the point that the artists or genres they like are put on a pedestal and whatever that is not to their liking is considered, forgive the word, crap. From there people have also begun stereotyping others based on what they listen to: the hardcore, the chill, the emo, the diva, etc. and even go as far as bashing and laughing at fans of a pop sensation or whoever

because of having poor taste in music, whatever "poor taste" means. With that said, how can music be a universal language if people themselves are partial and unable to tolerate some genres outside their comfort zones? How can people even call it universal, if those in the crowd in a concert or a gig are localized as fans of so and so? Where is the idea of entirety, a language that is for everybody? If "universal" were to mean something as particular as "all lovers of so and so," then perhaps music is a universal language; however, "universal" is defined to be "of, pertaining to, or characteristic of all or the whole"--in other words, a state of no restrictions. It is evident that such a state together with music, put in our cliquey hypocritical lifestyle, will not form one substance. I throw you, "So what?" So what if music fails to be a universal language because there are those who construct gaps of every architectural form? Who says music has to be a universal language and that a universal language should even

exist? A piece does not become any less beautiful just because a person doesn't understand the different concepts and theories, nor does it become any more beautiful just because another knows everything about music. Music is what it is. How an individual takes it in is completely his own, just as how people listen to criticism. What of the musicians? Should they be stunned and disillusioned after realizing that their passion, or even their very life, doesn't always or absolutely unite people? Should they be upset at themselves or at their peers for the space between them and the nonmusicians? What are they to do after realizing that music isn't all that has been romanticized

all this time? On the other hand, should the non-musicians blame themselves for not being as passionate as the instrumentalists? Should they be depressed at their inability to absorb all there is to know about music? The answers to those questions are really up to an individual, but I say yes to disillusionment and no to depression. After realizing that music isn't all that has been romanticized all this time, continue to create masterpieces, to listen to these works of art, to love every sound that takes the soul to a place so magical and indestructible. There are people who have forgotten that music is a story that focuses on emotion, that it is a form

of self-expression; make them remember. Musicians, write songs because you wouldn't be or know who you are if you weren't doing what you do best. Compose because there is in you the urge to let others feel and live life just as you live yours. Listeners, be inspired as much as you can with each element of every song that enters your ears and touches your heart because you shall learn something vicariously. Allow yourself to feel whatever kind of emotion because there is in you a want for life--either the one that is given to you or what you want to give yourself. When music fails to be a universal language, love it anyway.

has to be a universal language and that a universal language should even exist?

"Who says music


Tube / vol1. 2011

Tube / vol1. 2011



to CDs you should listen to... or not.


This is the part where we rub our obnoxious musical opinion in your face provide you a guide

Minus the bear

omni (2010)

people making intelligent music " I n e e d yo u r c o m f o rt f o r t h e e v e n i n g " yo u a r e h a n g i n g at a f r i e n d ' s h o u s e e v o lv i n g

S n i d e r ' s f i n a l ly h i t t i n g m e l o d i c n o t e s i n t h i s a l b u m .

excuses p e o p l e w h o l ov e m u s i c. da m n. 9/10


K a n y e We s t

M y B e a u t i f u l D a r k Tw i s t e d Fa n t a s y ( 2 0 1 0 )

N o t h i n g o t h e r t h a n K a n y e We s t S c r e a m s f ro m t h e h at e rs, g o t a n i c e r i n g t o i t I g u e s s e v e ry s u p e r h e r o n e e d h i s t h e m e m u s i c amazing

Yeezy rea c h es u n prec eden ted l e v e ls o f s e lf -a w a r e n e s s w h i l e c on ti n u i n g to pu sh th e b o u n d a r ie s o f h ip -h o p

All of the Lights People who love crazy geniuses. And rap/hip-hop. 10/10


Tube / vol1. 2011

Tube / vol1. 2011


TUBE cd rEViEW PicK!

Musical O - Debutante


Musical O


Debutante (2009)

" s i n g o u r way t o t h e s k y " d r i v i n g a t n i g h t, c h i l l i n g w i t h f r i e n d s orgasm

all songs except MO start with the drums and/or cymbals

review and write up by Kevin Arellano

alive p e o p l e w h o m i s t a k e n ly t h i n k t h a t t h e m u s i c s c e n e r i g h t n ow i s l a m e o r d e a d a n d d o e s n o t c o n t a i n aw e s o m e s t u f f l i k e t h i s

Everyone passes through some kind of rite of passage, signaling their entry into a larger scope of things. Musical O is no different, as their album debutante would attest. They had been going around the usual gig

circuit for about two to three years now, gathering a respectable following among the crowd, and with the release of their album more people have become exposed to their music. The album consists of 11 tracks, one of which is a cover song from a Nickolodeon show although they do a great job of reinventing it. This is just one of the (very) notable songs on the album ­ in the sense that they play this at every gig. In general, they stick to a simple but effective formula: a mellow, subdued intro; a lengthy buildup and crescendo; finally, a chorus or outro with a full wall of sound. "Alive" and "MO" exemplify this formula, while "Liger" and "Sparta" exhibit similar dynamics as well. The other songs make use of the formula although at a lesser extent, perhaps in some sections or parts only. Rhythm is a central force in all their songs, which provides the drive and the catchiness. The guitars weave through clean and overdriven sounds, incorporating another dimension in the dynamics. The drums and bass provide solid backing sound and foundation for the guitars as the vocals round up the mix. One drawback though: the mixing does not do justice to the songs. While the album provides the listener with a competent listening experience, hearing Musical O play live is the only way to go.

OV E R A L L :



Tube / vol1. 2011

Tube / vol1. 2011


fig 1.1 we are not dead

44 Tube / vol1. 2011


23 pages

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