I know it’s quite late in the game to be citing the best albums of 2010, but at least you can be assured that this list was well thought of. Besides, most of these great albums are sadly overlooked and unheralded. With NU107 gone and with misinformed naysayers asserting that underground music and rock bands are out, coming up with this list became a sort of silent crusade for me. The question of how well these releases and artists actually are is anybody’s call; the reader is free to form his or her own opinion over these things anyway. Anyway, without further ado, here it goes.

11. WilaBaliW: 10-10-10 (self-produced). P.O.T., Sublime, Tool, and Soundgarden put in a blender and subjected to steroids.

12. Badburn: Crack the Weakened Surface (self-produced). “Those who gain victory over other men are strong, but those [who] overcome themselves possess true power unrestrained, uncompromised and relentless.” As brutal and relentless as the music is the message that delivers the most severe blows.

13. Imago: Effect Desired None (Universal). As Pulp music editor Jason Caballa has previously suggested, this is the first Imago album that approximates their live sound best, the album that captures and defines the sound and the vibe that the band has been meaning to achieve for years, and what their fans now have come to expect.

14. Sandwich: Contra Tiempo (PolyEast). Originally meant to be released as a three-part series of four-track EPs, Contra Tiempo is also Sandwich’s first all-Tagalog album, and also the first where Raimund Marasigan dominates in the songwriting credits. It’s also interesting to note how Sandwich has socially relevant themes on this one (“Pera,” the Sumilao-inspired “Lakad,” and the poignant, Ondoy-inspired “Putik”). “Stranded” is also one of the most inspired ballads Sandwich ever crafted.

15. Salamin: Hello Anxiety (Manila Alpha Genesis). A gigantic improvement from their debut. The message is mostly positive, and yes, spiritual, but Salamin rechannels things using a gloomier, heavier approach that doesn’t sound forced or contrived and still manages to be rakista-friendly.

16. Dello: Evolution Mixtape/Skwaterhawz: Multi-Vitamins Mixtape (Skwaterhawz). FlipTop’s Rebuttal King could very well play the second punch after Loonie to bring Pinoy rap back into the mainstream. Dello and his Skwaterhawz crew brandish time-tested elements that have made Pinoy rap such masa favorites (Filipino lyrics, the ability to effortlessly shift from gangsta posturing to love songs, ‘80s pop and Manila Sound-tinged loops), and has also added attitude, wit, and some of Eminem’s playful flow: a modern Andrew E. to Loonie’s modern Francism. Here’s to hoping the powers that be take closer notice.

17. Sleepyheads: Malnutrition of Love (self-produced). Quirky lo-fi pop litmus test.

18. Mr. Bones & the Boneyard Circus: Horror Scene (Bag of Bones)/Tanya Markova: Tanya Markova (MCA). The combination of the macabre effect and a comical disposition utilised to different effect. Bones’ brand of goofy-metal-cum-psycho-billy and Tanya’s ‘80s disposable-new-wave and heavy appropriation of Kamikazee/Parokya seem like bastard cousins.

19. Lip Service: Synapse (Outtaspace)/Nyctinasty: Camping Indoors (self-produced). Two different forms of modern rock that benefit from impressive guitar chops. Nycti is girl-talk framed in energetic modern rock (and could also be considered a veritable hybrid of Paramore and Coheed & Cambria), while Lip Service is a living shrine to Bloc Party.

20. Carlos Castaño: City Light Soundtrack (Pop-No-Comply). Honest lovelorn sentiments set to a folk/pop/soul melange. (Cris O. Ramos, Jr.)

WilaBaliW photo via their Facebook; Sandwich photo via their Facebook; Tanya Markova photo loaned to PULSE by Keith Dador for a previous story. Read Part 1 of this story here.

“Baliw na baliw kami doon, sa They Might Be Giants,” relates Heart Abunda, a keyboardist who sometimes answers to Jasper. “Pambata nga ‘yung tugtog nila, pero ang gagaling nilang musikero,” continues Iwa Motors, who sings falsetto and sometimes responds to Gel. “Eh, sir, alam n’yo ‘yung Of Montreal?” Heart then asks, and the conversation makes a drastic turn towards fanboy giddiness.

Pleasantries between music freaks were being exchanged: “Pare, ano pinapakinggan mo ngayon?” Such a question—although not necessarily asked in that form—is often thrown at musicians and musical personalities, like a data-mining tool for anybody who feels that rock music is a worthy journalistic endeavor. The assumption here may be that, if you know what one is listening to, you know where one’s work is coming from.

Several artists did come up, ranging from The Cure to Arcade Fire, from Sigur Rós to Meshuggah: an eclectic mix indeed, but one that isn’t entirely remarkable in this age of free-flowing downloadables. More and more local bands seem to jot down “too many to mention” when asked for their influences, and this particular band falls cozily within this demographic. Yet, unlike most in the scene, they are somehow driven to create spectacle not just through song, but also through makeup and costumed mayhem. What they’re listening to doesn’t quite present the entire picture…picture. So what’s up? Who the hell is Tanya Markova and why is everybody going crazy over them?

Norma Love, a mild-mannered vocalist who sometimes answers to Harlon, shares, “Nagsimula ‘yung banda [nu’ng] one time na nag-meet kami ni Gel sa bahay nila para trip-trip lang. ‘Gawa tayo ng kanta.’ Tapos, pinag-usapan namin ‘yung kay Marilyn Manson, ‘yung VH1 documentary tungkol sa kanya.”

Manson (who sometimes answers to Brian Hugh) turns out to be quite the musical godfather to the 8-man-strong band. Iwa relates, “Pangalan nga namin dati, Tanya Markova and the Satanic Nuns—parang Marilyn Manson and the Spooky Kids.” Many details concerning the group do shout out their artful ancestry to Manson: codenames culled from pop culture (as evidenced above), and costumes that at the very least leave an impression. What else?

True enough, audiences and critics alike have taken notice, although some didn’t necessarily receive the band warmly. Some insiders have relegated the band’s costumes to mere fame-mongering gimmickry. “More confidence. Talagang nagbabago personality namin,” Norma shares of what they get from their get-ups. “Third gig pa lang, may costume na kami,” relates Iwa. “Noong una, aaminin namin—papansin talaga, kaya kami naka-makeup, eh; pero ngayon, hindi na. Hindi na ako makakatugtog nang wala ako nito. Umabot na sa punto na ‘yung suot ko, parte na ng instrumento ko.”

Heart continues, “Pari nga ako dati, eh. ‘Yung black na may puti sa kwelyo. Kaso, naisip naming, baka madale pa kami sa simbahan nito. Kaya naging nurse na lang [costume ko].”  Religious groups have yet to cry foul, although there is talk that a parent had already burned their child’s Tanya Markova CD, believing the music was Satanist. Heart throws in, “Hindi kami sing-brutal ni Manson; mild version lang kami.” The band’s debut single “Picture, Picture,” after all, sounds nothing like “The Beautiful People.” Instead of Reznor-inspired riffage, the song’s focal point is a lilting lullaby-like melody that fits family noontime shows and not freakshow orgies hidden within rock concerts.

Of course, this is not to say Tanya Markova doesn’t crank up the gain knob once in a while. Their CD’s first proper track, “M.I.M” (Manananggal in Manila) reveals itself to be a decent sludge fest. Still, immediately after, is “Disney,” a sing-song, LSS-inducing track that screams in a whispery falsetto, “I am radio-friendly.” Iwa chuckles as he explains, “Gusto kasi namin dati sa Fete de la Musique, tig-dalawang member bawat stage.”

The sound of their schizo-pop vacillates yet grabs one’s attention. “Tanya Markova could be the savior of the local music scene right now. It’s been a while since a group like this can cross over genres,” posits Nick Zinger, program coordinator of UR105.9FM.  Meanwhile, NU107 radio host and musician Bel Sayson pipes in, “I definitely like Tanya Markova better than many pa-pogi groups out there with half a brain and [a] poser attitude. But to call them revolutionary is a bit off; it doesn’t do justice to these boys who are just having fun.”

On the other hand, perhaps the band is having their fun with the audience. Beyond the sugary pop trimmings are song-stories that shine on the darker side of things. The persona in “Disney” expresses a wish to go to Disneyland and spread unwholesome havoc (“Gusto ko na mag-hukay ng libingan/kay Snow White and the Seven Dwarves/ Susunugin/palasyo ni Prince Charming/Halika na’t sumama/Handa na ang gasera”). In “Linda Blair,” an irate student runs amok in school once teased by a teacher. Expletives and phlegm are then spat out, and the student justifies the outburst by claiming: “Teacher, Teacher/ ako si Linda Blair/ and the ghosts are everywhere/ I can feel it in the air/Teacher, Teacher/ako si Linda Blair/I’m just trying to be fair/Huwag ka nang mag-worry.” In “Hoy, Bampira Ako!,” the band sings about gig-going ruffians (“May mga tililing na naka-itim/matang matalim sa eyeliner na itim”) and why, come concert time, they let all hell break loose (“May tinatago kaming malungkot na nakaraan/Aming kinikimkim na galit bunga ng karanasan”).

A closer look and listen will reveal a group that understands the ability of song and spectacle to not only empower and entertain, but also to deceive and distract. Each of their machinations—from clown-faced performances to catch-all songwriting—seems to be the product of cold calculation. Every little thing is meant to test, if not one’s intelligence, at least one’s sense of humor. If that’s the case, should any of their CDs be burned?

Iwa explains: “Ang tunay na listener, magtatanong, ‘P’ano nila nagawa ‘yung kantang ‘to? Ano ‘yung naiisip nila habang ginagawa ‘to?’ Kaysa sa naririnig lang ‘yung ‘Picture, Picture,’ tapos sasabihin, ‘Ah, baduy.’ ‘Yung listener talaga, ‘Bakit?’ ‘yung tanong niya dapat.”

They’ve obviously learned much from Marilyn Manson. (Mikey “Billy B.” Abola)

Band photography by Keith Dador.

As promised, RJ Underground Radio 105.9’s third anniversary celebration will be numerically in keeping with its age: which means not one, not two, but three rock shows. The kickoff show last Friday came and went with much fanfare. How can you go wrong with such a strong lineup that negotiates the fine line between “popular” (Franco, et al.) and “emerging” (Sleepwalk Circus, et al.) with finesse?

For the second show of the R U Listening Tour of 2010, things will get revved up even further. ‘80s arena-rock stalwarts (yes, we don’t have real big-ass arenas, but what the hell) The Dawn headlines the bill. The band, after much hoopla surrounding the departure of long-time axeman Francis Reyes, is back on its feet with a new guitar player (naturally) as well as some spanking new tunes. Ria Bautista—the glorious frontwoman who’s behind the drumkit, always a killer combination—along with her band Paramita, are also set to ignite the stage (hopefully figuratively speaking). And, also, if you’re in the mood for some Otis or Weller, Bing Austria, “Papa Mod” to you and me, is expected to drive everyone into a soulful frenzy with Juan Pablo Dream.

Also on the bill are current noisemakers Tanya Markova, whose sense of quirk—both musical and beyond—is raking in listeners by the bucket, and Lady I, whose reggae-dancehall hybrid is certainly an experience. Sets by Luna, Soul Republic, and The Powertones also promise to rock as hard as a mofo.

The second leg of the R U Listening Tour of 2010 is happening on July 29 at the UNO Pizzeria, which is at SM MOA’s San Miguel by the Bay. Show starts at 7 in the evening, and, yes, it’s still free. (Pulse.ph)

“Jett Pangan – Ako Mismo” by α is for äpΩL, via Flickr. Some rights reserved. “The Magnificent Juan Pablo Dream” from their MySpace.