Yurei’s Random Schizoid Generator Album Launch

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On the day of where paychecks rule the minds of the Filipino; where the byproduct of such is a nerve-wrecking traffic jam and strained right feet on gas pedals along EDSA, the socially-paralyzed minority gathered themselves in a small bar known as Mow’s. Continuing themselves in the heinous act of youth and isolation filled with noise and a strange sensation that I cannot reproduce with these silly long fingers.

Random Schizoid Generator was released on September 30, 2016 by the band Yurei. Skeletons, slander, flying middle fingers, and beer in the hollow space of blue and televisions with projectors – visuals incomprehensible for the simple-minded. troublesome conversations and rage where eagles could’ve laid their eggs on. O’s (Grows, Musical O’s,No Rome, The Gory Orgies) or the enunciation of the vowel all over the place with the exception of this band filled with fuzz and vocals that reminds me of the Cocteau Twins or a 60’s woman singing on the phonograph, without the bonfire-esque fidelity from it,  just before a country enters some form of post-apocalyptic scenario (Identikit). 

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Grows was the opening act of the launch and I do not understand how such lethargic and out-of-tune can be spitted or sung ( I do not know the difference in Kaloy Olavides enigmatic style) can be laid on a microphone with The Tissue Paper of Solemnity and Melancholic Tune Otherwise and Still Draw You In, Making You Want to Weep Loads of Urine.

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Identikit then walked on stage without an eye battered on them and off the stage with the audiences eyes battered with hell and seas. No words were exposed as an Alpha and Omega. They had Joy Division in their hearts and they get into your face with synthesizers and fuzz, but absurdly reminds you of God or basic instructions on how to lock yourself inside your own closet. They also strangely flail you into a wall of past lovers even if you have none.

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No Rome came and delivered a live set of which I cannot describe. Whatever Yung Lean’s genre is, this band gives off such a familiar vibe but of its own catalyst too.  I guess it was rap, but the side of rap that makes you want to swallow knives of anxiety and feel a sense of comforting purgative. Sexy in an underrated, intelligent sense. I also learned that night that I love this band.

dsc00122Knock, knock – The Gory Orgies is back from the dead only to die again. I once created an article about The Gory Orgies and compared them to a spiritual manifestation of William S. Burroughs’s Naked Lunch. Now that I’ve seen them live, I can do nothing but affirm it. They were the crowd’s favorite but they received the most violent reactions from them.  They were a force of nature who hates being a force of nature. And thus, creating a much more destructive demeanor; embodying their values; creating a post-ironic stimulation which makes them play better every time they are reincarnated. They rush through their songs even with technical difficulties and even communication with each other.

The Gory Orgies was a paradox. They were so sad to see and hear but so ecstatic to see and hear.  And such value can be seen later on in Yurei’s set.

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Musical O then delivered a solid set by blowing the crowd away with its complex arrangements and metaphorical lyrics. They reminded me of birds the first time I saw them and now they still reminded me of birds. The difference now is that they are now smiling through each song as they blast their amplifiers with a traditional yet modern sound.

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Yurei, last but not the least, ended the show. However, they started it with all of them already drunk. Itos Ledesma’s vocals were all rumbled and mumbled to the point of vagueness and ambiguity – like how he writes his lyrics to his own songs. Jao Bernardo’s drumming was powerful and sloppy ( and not the bad sloppiness that you normally associate with sloppiness but the Jimmy Page kind of sloppiness but on drums ) to the point of chaotic neutrality and musical anomaly. Kevin Enriquez’s basslines were drenched in impact and precision despite being not-so sober at all. Jojo Sibal’s licks pushed through his amp with force and style that filled the bar with bulls without horns.

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They were on layers of distortion. And I mean in a collective sense. They were tight but at the same time not. They were spinning all over the place; messing up the drums during and at the end of each song; at the climax of their set:  Plastic, they completely screwed up the adlib part when Itos tried to jump on Kevin’s back and they domino’d their way through oblivion. They had countless of antics that I may not be able to displace for I am finite – but all of it. All of them were fantastic. It may seem like, through my explanation, that they failed their set. But they did not.  For whatever entities’ sake, we were on the perspective of a schizoid. At the end, they rambled themselves to the end of their show; and to the death of themselves as they announced that they will be disbanding. That the “incarnation” of that band is now over, said Itos.  

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Well, Itos, I’m looking forward to another incarnation and a release of your “To Be Kind” or “The Seer” album.

It was depressing, but also a sigh of relief. I can see that these people are people who hate themselves on a daily basis and on an existential level. They were meant to not live long and to burn out with their passion and ideals like that. I can reflect on that. That is why I still love this band even in their post-death.

Itos, Jojo, Kevin, and Jao – God bless you guys even though you guys probably do not believe in such.

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