Gloc-9
“Talumpati”
Sony Music
The new king of Pinoy rap delivers an impassioned rebuttal to the incisive, social realism of his previous album, “Matrikula,” with this fifth and latest release, “Talumpati.”
His spine-tingling depiction of isolation brought about by political power in the award-winning “Upuan” (song of the year, Awit Awards) is updated via his own views of genuine change on “Akin Lang Naman.”
Another track, though, may be on the verge of becoming this year’s best song: “Walang Natira”—a stark narrative of the OFW phenomenon grooving to a reggae beat. If “Upuan” rocked with the haunting vocals of guest artist Jeazell Grutas of the band Zelle, “Walang Natira” stuns with the childlike but plaintive warbling of Sheng Belmonte of the group Funk United on the melody, as Gloc-9 grinds out the meat of the story.
That’s not all. This album bursts with loads of good stuff, including a love song featuring Parokya ni Edgar guitarist Gab Chee Kee on vocals (“Baon”). Gloc-9 takes his collaborative efforts seriously: McCoy Fundales, Yeng Constantino, Wency Cornejo, Tanya Markova, among others (including his own kids Sean Daniel and Daniele Shaun) have guest spots on the rest of the tracks.
Menchu Lauchengco-Yulo
“Light”
Sony Music
Seven tracks of theater musical material from a talent who deserves more exposure than this. But let’s savor it just the same, because the singer and the songs can put you in a contemplative mood at any given time— but preferably at night when there are few distractions.
This is a quiet album, mostly just piano backing up Yulo’s sultry, unadorned vocals that give life to, among others, a suburban mother’s struggle to make sense of her illness (“I Miss the Mountains,” from “Next to Normal”), a flirty, ambitious woman’s encounter with her future turf (“Buenos Aires,” from “Evita”), a dying prostitute’s lullaby for her lost child (“Come to Me,” from “Les Miserables”).
It’s difficult not to be enamored of the singer by the fourth cut (“Loving You/Children Will Listen,” from “Passion” and “Into the Woods”), and as the music ends you feel bitin with her all-too-brief set.
If you haven’t seen any of the musicals that Yulo sings about, hearing these selections should stir interest to delve into this kind of music.
Martin Nievera
“Himig ng Damdamin”
PolyEast
This all-OPM covers release comes on the heels of a series of all-English covers—all conceived by Martin Nievera’s record label. It’s a marketing move that has obviously paid off in this age of diminishing CD sales.
Theme-wise, “Himig ng Damdamin” has more sad love songs (“Kung Ako Na Lang Sana” and “Paalam Na” are two fine examples) than happy ones—which doesn’t mean it’s not suitable for sessions with the karaoke gang. In fact there’s a minus-one disc in the package to put you in that mood.
A surprising track is Nievera’s rendition of “Beautiful Morning,” Butch Monserrat’s original English lyrics that preceded “Umagang Kay Ganda.” The Tagalog version is still tops, though.
Adele
“21”
Warner Music
Amy Winehouse keeps f—ing up? No worries. Adele, a British singer-songwriter like Winehouse, is here. In “21,” Adele relives the experience of breaking up with a lover with raspy realism. The mixed emotions in her vocals shift from seething anger to mild desperation to tearful sentimentality to sweet surrender—delivered with grit and elegance.
The music is a heady old-school cocktail of soul, R&B, folk, gospel and country, with just the right dash of pop-rock that drips with brilliance on almost every track. Sparse arrangements highlight the desolate mood that accompanies Adele’s pained singing.
But don’t think this is one depressing record. The fearsome bass drum kicks on “Rolling in the Deep,” the lonesome piano on “Turning the Tables,” or the achingly sad acoustic guitar intro on “Don’t You Remember,” for instance, are just parts of a wonderful whole that includes clanging tambourines and Motown-inspired back-up vocals on “Rumour Has It,” head-bobbing grooves on “He Won’t Go” and funky rhythms on “I’ll Be Waiting.” Pocholo Concepcion