COG - Millipede

Members

• Eric Perlas - guitars
• Alan Po - drums
• Yagi Olaguera - vocals
• Dylan Pizarro - guitars
• Richie Ramos - bass
• Garon Honasan - sax

Biography

History

Cogs early beginnings reach back to 1999 when guitarists Joel Patricio and Eric Perlas started writing riffs together with the intent of forming a metal band. Yagi Olaguera joined shortly after and the three began writing original material. A few months down the line, Alan Po, then drummer of funk band Wild Waters, joined the lineup upon hearing some of the songs. Bass guitar duties were then taken by oldschool rocker Richie Ramos and by summer of 2000, the basic Cog lineup was complete. The band started playing live shows in August 2000 and has since then played in different venues in and around Metro Manila.

The bands first big break arrived when they had the chance to record with Maly Andres and Angie Rozul of Tracks Studios for the No Seat Affair compilation. Of the two songs recorded for the release, Drone, a mostly instrumental piece, was graced by the saxophone playing of the bands friend and collaborator, Garon Honasan. Since then, he has formally joined the lineup and has integrated his sax playing into Cog's new material.

Shortly after the recording sessions for No Seat Affair, the band returned to the studio to track more material. Most of the songs written during those sessions can be found on the band's first EP, Contact, which was released in 2003. The band then began touring heavily to support the release while balancing day jobs and schooling at the same time. On top of that, Cog returned to the studio in early 2004 to continue writing and recording new material for their debut album. Nearly three years since their first independent EP, the band finally completed their album and has since begun supporting the release with several other shows. During this timespan, the band was also included in two other compilations namely, Pulp Summer Slam 3 and First Attempt.

After what has been almost four years of studio work and gigging, Cog continues to grow in its own unique direction. Having survived possible disbanding and lineup changes, the band has been able to maintain their original lineup and continue to challenge themselves with their material. Cog currently plays regularly for several productions in and around Metro Manila.

Solitude-Cover song by Cathedral

Good Night Steve J. ~From M.A.

DATU'S TRIBE - PRANING (GALIT KAMI SA BABOY)

Datu’s Tribe

1989-1990

Vocals: Eric “Cabring” Cabrera
Guitar 1: Del Visperas
Guitar 2: Ceferino “Dos” Pacio
Bass: Mel Visperas
Drums: Gerald “Dax” Dacayan

Datu’s Tribe was formed in UP Los Baños in the wake of Motion: Battle of the Bands, a music competition sponsored way back in 1989 by the UP Chi Epsilon Sorority. Although the event itself did not produce any worthwhile group to speak of, it did give the school community the unique opportunity to see the best individual music talents on campus. A few months after the competition, newer and better bands began to form. These groups eventually laid down the foundations for what was to become the alternative band scene in UPLB and foremost in the group of fledgling talents was the starving-artist band, Datu’s Tribe.

1991-1993

Retired: Dos Pacio & Dax Dacayan
New Drums: Ian Cabanilla

During its formative years, Datu’s Tribe covered songs from acts such as Metallica, Guns ‘n’ Roses, Skid Row, The Cult, and Juan de la Cruz. But even during those early years, the overflow of collective creative energy eventually led the band to the inevitable: the creation of originals that were set apart from the rest in terms of content and musical innovation. The lyrics were biting, sarcastic, acid humor at its best; the music was an eclectic mix of influences ranging from mainstream pop to thrash metal.

Datu’s Tribe music resisted classification, but the thematic content still integrated the band’s creative output into a recognizable package. It was this dynamic that made the band an unpredictably fresh and disturbingly attractive alternative to the prevailing music acts of the time.

1994

After years of on and off gigs on and off campus, the band was fortuitously given a chance to make a demo recording of three original compositions, Praning, Kuwento ni Del, & And I See. Of the three, Praning was submitted to the Pinoy alternative music radio station LA 105.9, where it received massive airplay and eventually went on to hold the no.1 spot in the station’s countdown for six straight weeks.

Popularity bolstered the band’s reputation and paved the way for performances at rock bars such as Mayric’s and Club Dredd and at major concerts within Metro Manila. It was, however, the entry into Club Dredd that was to make the most impact on the band’s future as the club’s owner, Patrick Reidenbach, would soon offer to manage the band. It was clear to everyone that the group was about to deliver a more significant blow to the local music scene.

1995-1996

Management eventually brokered a deal with Universal Records, and in August of 1995, the Datu’s Tribe debut, Galit Kami Sa Baboy, was released into a music environment mushrooming with rock fanatics. The album contained 10 solid tracks that poured more gasoline into the fires started by the Big Three of 1994: The Youth, Yano, & The Eraserheads. Along with Datu’s Tribe, acts such as Teeth, Wolfgang, Razorback, Mutiny, and many others, released albums in 1995 and established the supremacy of Pinoy Rock in the local airwaves for several years.

After reaching sales of 20,000+ copies in a few months time, Galit Kami Sa Baboy achieved Gold Record status. A nomination in the Awit Awards for Best Rock Group, recognition from the Philippine Daily Inquirer’s Eric Caruncho as the “Best New Group” of 1995 (Sunday Inquirer Magazine’s Best of 1995) and numerous other accolades from fans and music critics alike made the band’s status in the local music scene unassailable.

Major tours in Baguio, Pangasinan, Pampanga, Cavite, Laguna, Quezon Province, Iloilo, Antique, Davao, and Gen. Santos, as well as major cause-oriented youth concerts all over Metro Maniila helped the band earn a reputation for creating unclassifiable, gut-wrenching, acid-witted songs that promoted social and political action and awareness. By the end of 1996, Datu’s Tribe had already become a household name in thousands of broken and/or mildly dysfunctional family homes all across the country!

1997-1998

Retired: Ian Cabanilla
New Drums: John Manalo

The late 90s saw the gradual decline of the “alternative” music scene as the supersaturation of the fickle local market with rock bands with rock brands of all types mutated the music into an experience that was just too much of a good thing offered too much. Along with the decline, the continued existence of Datu’s Tribe was becoming questionable primarily because two of its members (Del and Mel Visperas) were still based in Los Baños. The cost of performing mostly in rock bars in Manila soon became prohibitive and major gigs were coming fewer and farther in between. Although the drive to perform was still present, financial and domestic pressures eventually forced the band into early retirement.

Then, like sprinklings of ash on a death anniversary cake, Club Dredd closed its doors on Independence Day, 1998 to bring the era to a somewhat ironic close.

Cabring went back to fulltime teaching at UP.
Del went into part-time teaching, played in a retro-band and found a new love in tennis.
Mel eventually went into full time work at DOST.
John played in a blues band for a while before leaving for the US.

August 2004 – March 2005

After being haunted for 7 years by ghosts of dead-at-a-young-age-through-suicide musicians who prophesied that if Datu’s Tribe was not given another chance, its members would die of frustrated stardom syndrome, Cabring & Del decided to bring the band out of retirement and began work on tentative projects while searching for a new crew.

Cabring eventually hooked up with bass player André Umali who in turn asked Dax Padiernos (his batchmate in UPIS & part-owner of Purple Haze Resto & Bar) for help in acquiring a new drummer for the group. After a couple of try-outs, the group finally decided on Dax Padiernos as the new drummer. Mark Noval, guitarist of hardcore thrash outfit Genital Grinder, was added to the final mix in March.

Starting with “feeler” performances at Purple Haze, the revitalized band eventually played successful gigs at the UP Integrated School, the UPLB Fair, Gweilo’s Eastwood, the Megamall Arts@Music Festival, Rockista Reloaded, Music Museum, and the Rock Salad concert in Bulacan State U. Internet fansites, radio guestings at NU 107’s Gweilo’s Hour, Tapsi Rock, plus a new generation of listeners and supporters all coalesced into a surprisingly refreshing realization: Parang hindi nawala ang Datu’s Tribe.

April 2005

With a top-of-the-line computer system, a mixing console, a couple of thousand pesos, blood, guts, and gray matter forced into creative inspiration by liters of alcohol, the Pseudo-Acoustic Bogus-Live! EP desperately entitled FAT BURNER was born on the last week of March 2005 and released (100 initial copies out of 1,000 planned total) on April Fools Day. With demand far outstripping supply and availability, God knows what futures will be created, reshaped, or destroyed by the rebirth of Datu’s Tribe!

June 2005

Retired: Dax “Maxximum Biodaxx” Padiernos & Mark “Dr. Kram L’avon” Noval
New Drums: Paolo "Octopao" Delarama

But that’s not all! Add a new full-length album in the works, the local rock music scene gearing up for resuscitation, the country’s socio-economic development indicators at an all-time loveable low, and it appears that the band’s resurrection couldn’t have come at a more desperately opportune time.

Rest easy, ye dead-at-a-young-age-through-suicide musicians! DATU’S TRIBE IS ALIVE AGAIN!

Vocals: Eric “Ngirbac Arerbac” Cabrera
Gitara: Del “DelVis PressMe” Visperas
Bass: André “DarakStar" O'Malley
Drums: Paolo "Octopao" Delarama

The Song - Weedd

The WeedD- Pinoy Rock band from the 90's, LA 105 days (Longhair song)... Don't have much info bout the Band.. Just listen to their Overlooked Songs...Peace!

Rage - The Jerks

The Jerks was formed in 1979 and is perhaps the original alternative rock and blues band in the Philippines. The band has undergone a lot of member changes and notably a lot of the previous members of the band are now certified icons themselves in the music scene. Members like Jun Lupito, Angelo Villegas, and others have carved names in their respective niches. Former Put3ska drummer Brutus Lacano also plays session with the band..

Despite having been formed in 1979, they only released their debut record in 1994 entitled The Jerks Live, released under Gary Granada's Backdoor Records. It was recorded live at the legendary Mayric's bar and showcases the raw, passionate musicality of the band never before put into record.

By 1997, Star Records managed to convince the band to record a major label album called Haligi Ng Maynila produced by ABS-CBN's Gabby Lopez, which gave the band the opportunity to reach wider audience. This pave the way to band winning the 1998 NU Rock Award for Best Album and the 1998 Katha Award for Best Rock Song "Reklamo ng Reklamo".

The Jerks still perform regularly around Manila in bars like The 70s Bistro, Tiendesitas and Route 196 in Katipunan Extension.

Monsterbot - Explosive

Monsterbot is an Indie-alternative band in the Philippines.

Members:

Glenn Agustin (bokalista)
Carl Claudio (baho)
Diego Mapa (gitarista/bokalista)
Ryan Magsumbol (baterista)
Rem Vocalan (keyboards/synth)
Peter Ferrer (gitarista)

"We are the animals. We like the monies. We hobby the cringe. We love the drinks. We use the smokes. We gigs for the foods. We hate the redundants".

Tabi Po- Joey Ayala

Joey Ayala (born José Iñigo Homer Lacambra Ayala on June 1, 1956 in Bukidnon, Philippines) is a contemporary pop music artist in the Philippines. He is well known for his style of music that combines the sounds of Filipino ethnic instruments with modern pop music. His professional music career started when he released an album recorded in a makeshift-studio in 1982. To date, he has released six albums.

Some of the Filipino ethnic instruments Ayala is known to use include the two-stringed Hegalong of the T'Boli people of Mindanao and the 8-piece gong set, Kulintang melodical gong-rack of the predominantly Muslim peoples of the southern part of the country. He also uses modern instruments in his music, such as the electric guitar, bass guitar, and drums.

He is one of a few Filipino contemporary songwriters who insists on putting his creative energies at the service of cultural/social development, so much so that he has ventured directly into non-formal education - the running of workshops demonstrating the use of arts as a language for education.

The name of his band "Bagong Lumad" literally means "New Native" - a name and philosophy that has been carried over into Bagong Lumad Artists Foundation, Inc. (www.blafi.org), now a UNDP Responsible Party working on SiningBayan (Social Artistry) capacity-building projects with the Civil Service Commission, the Department of Education, and other GOs and NGOs in the Philippines.

Ayala also serves as the (2008–10) Chairman of the National Committee on Music under the National Commission for Culture and the Arts (www.ncca.gov.ph).