ECONOMIC FLUCTUATION

1. Philippine Music
The Philippines go with the flow to whatever is popular in the world.
Filipinos imitate lots of things. Music is one thing they use to go with
the flow. Through the years, Filipino music develops with the help of
foreign musicians and musical styles according to what's popular at
the time.
1980's to 1990's
In the early up to mid-1980s, Pinoy Rock became the music of Filipino
protesters. Gary Granada and the band Buklod had socially relevant
lyrics for their songs. Aguilar's Bayan Ko (My Country) became an
anthem during the 1986 EDSA Revolution. A subculture rejected this
kind of socially-aware lyrics.
The most popular Pinoy Rock band in the Philippines in the '80s was
arguably The Dawn, whose early songs were largely influenced by
New Wave and Post-punk, the dominant Alternative Music genres in
the Philippines during that period. The Dawn came to prominence in
1986, when its independently-released single "Enveloped Ideas"
became an instant favorite among listeners of DWXB-FM 102.7, a nowdefunct FM radio station popular in the mid-'80s that heavily played
New Wave, Post-Punk, and similar genres.
Many music journalists and enthusiasts, as well as musicians
themselves, attribute the flourishing in the mid-'80s of New Waveand Post-Punk-influenced bands to DWXB-FM, which began playing
independently-released singles of unsigned local bands. This helped
many of the struggling bands in this era to achieve cult status. These
bands included Dean's December, Ethnic Faces, Identity Crisis, and
Violent Playground, all of which were able to record and release their
respective albums in the years that followed.
Other Pinoy Rock groups took their cue from these pioneers and
started recording their own songs; and this proved beneficial to the
Pinoy Rock scene, which brought back creativity and originality to the
awareness of fledgling musicians. Among the lot, The Dawn,
Afterimage, and Introvoys proved to be the enduring and more
successful groups. Each was able to sustain a relatively long career.
DWXB-FM went off the air on June 9, 1987. The new Cory Aquino-led
government began sequestering properties owned by her
predecessor Ferdinand Marcos and his cronies, including the home
that DWXB-FM beamed from. DWXB-FM was revived as an online radio
station on September 10, 2005, by Sutton Records, with the original
DJs broadcasting from Manila.
1990's to 2000
During the start of the decade, The Hayp, Introvoys and After Image
were among the prominent bands enjoying mainstream recognition.
But their collective popularity was later overshadowed by younger
bands that eventually emerged. An underground music scene was
already burgeoning in some unknown bars in Manila. Red Rocks
(which later became Club Dredd), together with Mayric's and Kampo
(Yosh in the mid '90s), were the only venues where unsigned bands
were allowed to play their own songs. From Power Pop, shoegazer,
alternative rock (Eraserheads, Color It Red, The Youth, Feet Like Fins,
Advent Call, Athena's Curse, etc.) to hard rock, heavy metal
(Razorback, Askals, Wolfgang, Dahong Palay, etc.) to hardcore, punk,
and death metal (Skychurch, Genital Grinder, Death After Birth,
Kabaong ni Kamatayan, , Loads of Motherhood, The Wuds, Yano, Bad
Omen, Rumblebelly, Deifago).
To add to the plight of the underground bands, radio stations would
not play their music due to the payola system in the radio industry
despite the fact that most of these bands, if not all, had selfproduced ([[independent music|indie) albums. But DWLA 105.9
challenged the current system by providing a venue for the bands to
broadcast their original songs. Pinoy Rock enthuthiasts were finally
elated to hear their favorite underground bands ruling the airwaves.
Radio station LA 105.9 advocated Filipino rock music, playing original
amateur (even if poorly recorded) singles and gave new avenues for
emerging bands outside organized underground concerts. Rock n'
Rhythm, a local music magazine also supported this scene with news
and updates, band interviews, album and concert reviews, carrying
on the torch that the defunct Jingle Chordbook and Moptop (popular
Philippine rock music magazines during the '70s and '80s,
respectively) have entrailed. The band explosion opened avenues for
non-traditional artists as well, like Intermidya, for example. Their
musical instruments looked like materials from a junk shop glued
together and which had names like Sandata#1, Sandata#2, Baby
Sandata, etc.
The commercial success of Eraserheads paved the way for more
Pinoy Rock acts (Rivermaya, Rizal Underground, The Youth) getting
record deals. Some brave all-female bands got signed (Kelt's Cross,
Tribal Fish, Agaw Agimat) and a few solo artists as well (Maegan
Aguilar, Bayang Barrios, DJ Alvaro). Rappers crossed over with great
success (Francis M with Hardware Syndrome and Erectus), despite
some earlier controversy with hiphop-bashing allegedly incited by
some artists. These bands adopted a variety of influences both in
image and music; many fell under a particular genre; however, the
crossing over of styles was most often inevitable.
2000s
In the early 2000s, Hip hop-, reggae-, acoustic pop/jazz-, and R&Binfluenced bands dominated the Philippine music scene, causing
Pinoy Rock to take a backseat. Only a number of Pinoy Rock bands
managed to stay in the mainstream during this period. In 2003 a notso-well-known home-educated DJ named DJ RO started playing in a

2. small bar and restaurant known as GWEILOS; DJ RO helped promote
the club every Monday night while there was an emergence of Filipino
Rock bands like Bamboo, Orange and Lemons and Kitchie Nadal that
started performing in Gweilos and eventually became popular. In
2004, Pinoy Rock once again gained prominence, with the rise of yet
another wave of Filipino Rock bands. During this time, the Pinoy Rock
music scene in Cebu also gained exposure.
2001 saw indie band The Pin-Up Girls, made up of former Keltscross
members and underground musicians, signing to Know-It-All Records
in Tacoma, Washington, making them the first Manila-based band to
sign with an American label. This development caused quite a
negative reaction from the Manila rock scene as most musicians
deemed the band unworthy of the break.
The Pin-Up Girls released an EP worldwide called "Taste Test" that
sold out. Know-It-All then printed a new batch dubbed "Taste Test:
The Expanded Menu". The lead-off single "Caress" hit number one on
the New Jersey- and Internet-based
radio www.flashbackalternatives.com.
2004 also saw the emergence of the first Philippine virtual
band, Mistula. With the internet as their stage, Mistula comes alive
through their official website, a fusion of music, graphic art,
literature, photography and other art forms.
The rest of the 2000s further ushered in the mainstream buzz on
Pinoy Rock, and along with it bands that leaned more towards pop
sensibilities. During this time, Pinoy Rock, more than ever, gained
mainstream exposure. Pogi ("pretty-face") rock was born (with such
bands as Hale, Sponge Cola, Callalily and the new, post-Rico
Blanco Rivermaya), although an obscure, provincial band that called
itself Groupies' Panciteria tried to assert a different political path,
releasing in 2009 an mp3 album for free downloading
on Soundclick.com after having been inspired by the politics of ultraindependent rock artist Dong Abay; the half-send-up-of- and halftribute-to-commercial-TV 2005 album by the
band Itchyworms called Noontime Show ; and the downloadable
protest-folk albums of Gary Granada.[1][2]
2006 was when Filipino band, KALA, appeared in the commercial
music scene with their full length album entitled "Manila High"
distributed by SonyBMG Music Entertainment. Their first hit was
Jeepney which was released summer of 2006. According to the
Philippine Daily Inquirer, the band started the resurgence of the
Manila Sound genre into the modern world through their own mix of
funky jazzy electronic rock music. The tribute album Hopia Mani
Popcorn was also launched. Popular bands frontlined the remake
album. KALA made a funky remake of VST and Co.'s Rock Baby Rock
which hit number 1 in the airwaves.
In recent years as well, bands
like Urbandub, Chicosci, Slapshock, Pencil Toe and Typecast have also
played in other countries such as Singapore and the US, amongst
others. Some have even garnered nominations and recognition from
internationally-based publications and award-giving bodies. This is
mainly attributed to the effect of the internet and globalization on
almost anything including music, as listeners from other countries
can now see and hear songs and videos of bands overseas without
leaving their country.
Music of the Philippines
~are performance arts composed in various genre and styles. The
music of the Philippines is a mixture of indigenous, other Asian,
European, Latin American, and American influences.
Filipinos are conservative in nature, thus, rock scene in the
Philippines has taken them aback. But since when did Filipinos started
to love rock music? Blame it to the West again. It’s when Americans
and British bands like, The Shadow and The Ventures flourished way
back 1960’s and so, Filipino instrumental bands arose and they just
couldn’t stop from loving it since it thrive their sense of dynamism.
Among other famous bands during 60’s were, not to mention the
British band, The Beatles, this struck the Filipino mainstream and
boundlessly influenced Filipino rock scene. Their popularity and
use of counterculture has produced a socio-political lyrics with
mature comments in life has as well deeply influenced Filipino rock
artists. Filipino bands began adopting this music and some groups
enhanced their styles by adding unconventional instruments. In the
late 60’s the rock culture of bands like Jimmy Hendrix, Led Zeppilin,
Ironbutterfly, etc. have greatly influenced Pinoy Rock. With its
influence, it produced bands like Maria Cafra Band and the Juan Dela
Cruz Band to name a few, in Pinoy rock scene..