After making our QLE lists last year, we all had different reactions and expectations. Luis, being the resident optimist, was confident that people would be happy about the list. I, being the cynic, remember e-mailing everyone “let the hate begin”, expecting a storm of negative reaction to come our way. Erwin, being the resident Erwin, didn’t give a sh*t, really.

Thank God, then, that Luis was right. A lot of really cool things happened after the articles came out. Rock Ed put up an awards night that was really more of a get-together of music lovers than a hoity-toity awards show. I even got to sing my song of the year “A Weeknight Memoir (in High Definition)” with Taken by Cars! Some people started posting their own lists on their Facebook pages and blogs, inspired by the QLE.  There was a lot of debate online, with people playfully making up meanings for the QLE acronym (someone said “Quality Listening Experience”, o diba). Someone even went up to me almost a year later and said “we’re putting up our own awards because you didn’t recognize bladibla and blearghiebleargh in yours.” I thought I did (see last year’s article), but hey, the more the merrier right?

Hence, instead of semi-protesting the Rock Awards, QLE has a new mission, and that is to turn you on to good music that’s mostly overlooked by the pop charts. Unfortunately, 2009 was actually a really boring year in Philippine music—until the last quarter, that is. October-December saw the release of many new exciting albums from the likes of Outerhope, Musical O and the Techy Romantics, and I must admit with shame that our cutoff was the beginning of November so all you great albums will have to wait another year. 2009 in general may have been the most horrible year in the history of the known universe, however, so I thank the following musicians with all my heart for keeping me company and being that glimmer of hope in the midst of all this chaos…

awards under the cut

BEST SONG I’VE HEARD THIS YEAR

[Erwin] “Superpoke is Nothing Compared to True Love” by Us-2 Evil-0

The problem with knowing the artists involved is that it more often than not robs the music of its own personality. Especially true if you actually know them. The success of this song from Us-2 Evil-0 is that it transcends even the ironic humor of its title. Unlike their first single, this doesn’t sound like the Mich Dulce-and-Quark Henares show but rather an affecting anthem, heartfelt and impassioned but deeply introspective. When Dulce sings, “We just fade away,” it’s already happened—only the song remains.

[Luis] “The Story So Far” by Outerhope

For the past half-year or so, this song has been a welcome friend. I’ve listened to it in taxis, to calm myself while on my way to deliver lectures I felt ill prepared for; at Outerhope’s gigs, while experiencing what could be described as quiet exhilaration; and at home, singing along with feeling before I could even figure out all of the words. Written with honesty, performed with skill and love, this song is one of the most beautiful stories I’ve heard in a long time.

[Quark] “Matina Town Square” by Zach Lucero and Sarah Marco.

When Zach gave me a copy of this song last year I knew I could expect something good. Lucero, after all, was the vocalist of one of my favorite underground bands of the 90s, Fearless Freep, and I have fond memories of watching him sing a song called “Buttf*cked” on Dredd TV and thinking, “wow! This is great!” Nothing could’ve gotten me ready for “Matina Town Square”, though—an infinitely more mature, fantastically produced love song showcasing Lucero playing everything (the drums are obviously exceptional) and sharing vocals with Sarah Marco. Marco moves out of her comfort zone hipster drawl, singing more vulnerably than in any of the Taken by Cars songs. It works. “Matina Town Square” is a masterpiece that will win you over with its 90s alt rock earnestness. (album available at all Fully Booked Branches and at the band’s gigs)

BEST SONG I’VE HEARD THIS YEAR (NOT NECCESARILY OF THIS YEAR)

[Erwin] Line Drawings by Sandwich

Cruelly overlooked even by its makers, this is the one song from Sandwich’s <S> Marks The Spot that sounds more alive than any of the popular singles released from the album. It’s catchy, yes, and with an earnest lyric that would only sound profound in a pop song. But it’s got a lot of heart and it shows. Plus, deliberate or not, the reference to Poklong Anading in the song title makes just so appealing even without hearing a note. Plus while we’re at it, I’d just like to berate Sandwich for putting out great songs like “Hairpin”, “Return to Center”, “Masilungan” and still put out crap like “Right Now” as singles? Please let the madness stop!

[Luis] “Clarity (N:ua Remix)” by Bagetsafonik

The least remixes can do is tweak and transform the experience of listening to familiar material; that’s pretty much their reason for existence. But there are remixes that actually surpass the originals, highlighting the best aspects of a song while folding in new, and better, elements. This is one of those cases: while the song was good to start with, the N:ua reworking―from the 2008 Travel Agents remix album―takes it to a mesmerizing new place.

[Quark] “Mmm” by Arigato Hato

Initially misleading because of how close the title is to the Crash Test Dummies’ 90s smash hit, “Mmm” is a slow-burn delight that results in LSS for weeks to come. Its simplicity and repetitiveness only serves to highlight Cat Cortes’s dreamy voice, giving us a taste of what could be next year’s big breakout artist. (available in the A-Fest Sampler)

BEST SONG I’VE HEARD LIVE THIS YEAR

[Erwin] Juggernaut by Greyhoundz

Of all the songs ill-served by a recording’s production, this was the most compromised. No matter, Reg Rubio and the rest of Greyhoundz still pull this off to devastating effect whenever they play it live. ‘Juggernaut’ is the song that I wish they made during the band’s heyday in the 90’s. If anything, it might’ve prolonged the period so that we could’ve bypassed all the “acoustic” acts that followed them.

[Luis]”Medicine” by Waya

Already known for their stunning performances and cannily chosen covers, the band Waya unleashed its first originals just this November, and they are brilliant―drawing on influences from Blondie to Bowie and beyond, they made me want to hear them again even before they were finished. “Medicine” may have been written based on the lead singer’s experiences with asthma, but it will leave you breathless for other reasons entirely.

[Quark] Ang Huling El Bimbo by the Eraserheads

Cheating, I know, but someone has to acknowledge the sheer drama and power with which the Eheads performed “Ang Huling El Bimbo” for the “Final Set (yeah, right)” last February. Nevermind that it was the biggest Philippine rock n’ roll concert of all time; but the way they saved this for the final song of the encore, how it was accompanied by fireworks, how tens of thousands of people were singing all the lyrics simultaneously and how Ely suddenly set the legendary Sticker Happy piano on fire seems like properly closing the book on the greatest band in Philippine history. This could eventually turn out to be one of the most important moments in the story of OPM.

BEST SINGLE THAT I DID HEAR ON THE RADIO

[Erwin] “Let’s Make Babies” by The Bernadettes

This is what all pop should aspire to. It’s music drunk on its own exuberance. A classic if I ever heard one. No stag party without chicks would be complete without this.

[Luis] “Twenty Years From Now” by Outerhope

Outerhope handed over their new album to radio stations without specifying a single, so it’s interesting to see which tracks individual stations choose to air. This one seemed a natural; it may be the most immediately appealing of the lot, with its 80s influence, interweaving vocals and insistent beat.

[Quark] “Matina Town Square” by Zach and Sarah

BEST LIVE ACT

[Erwin] Turbo Goth

It’s the shoulders. They make music.

[Luis] Corporate Lo-Fi

Hip-hop with a full band setup is not a new concept, but as you can imagine, it’s not an easy thing to pull off. Corporate Lo-Fi do it magnificently, with two relentless MCs, some sweet sweet horns, a lineup of musicians made up of the best in the scene, and the infectious sense that they’re having the time of their lives.

[Quark] the Eraserheads

Again, it seems totally pointless for me to even give props to the greatest band ever, but the second reunion concert felt like a sort of homecoming to me. The band was a lot more comfy with each other, and there were moments during the set, like when Raimund puts his arm around Ely or when they ascend onto the stage with acoustic guitars to do “Julie Tearjerky”, that were pure magic. Even the second encore, something totally unplanned where Ely comes out to sing “Ligaya” and goes down to the crowd to have them sing “Toyang” is both down-to-earth romantic and legendary at the same time.

BEST SECOND ALBUM

[Erwin] Back to the Nut House by Hilera

Though it was good, I wasn’t too keen on Hilera’s debut. But there was obviously talent there already. With their second effort, they’ve grown in ambition as well as skill, delivering a modern rockabilly experience that’s even angrier but more focused than its predecessor. It still sounds as if teetering towards collapse, which just makes everything all the more enjoyable. Raucous fun.

[Quark] A Day for the Absent by Outerhope

Outerhope’s debut album Strangely Paired, though mostly overlooked, was absolutely brilliant. I have to admit though: I did have reservations about the Benedicto siblings being able to step it up for their follow-up. I needn’t have worried—A Day for the Absent is joy in a digipack. It’s the perfect Sunday afternoon record, a steady listen that showcases Outerhope’s Peanuts-score sound crisper and clearer than the first. They accomplish so much with just a piano and their voices, like on the track “The Story So Far”. Even more exciting is the fact they actually start toying around with a drum machine, and the result is the best song from the album, “Twenty Years From Now”. Sleepy and sweet, it’s well worth the four-year wait.

BEST GUITAR PLAYING ON AN ALBUM

[Erwin] Kris Gorra-Dancel

If there’s one thing to marvel at from Duster’s debut it’s the solid playing of guitar player Kris Gorra-Dancel. It’s worth mentioning just because it’s an example of what to do when you know your band-mates are already awesome—you give them the extra push. Many of our so-called guitar heroes could learn a thing from listening to Gorra-Dancel, who doesn’t need to resort to a single solo to show that she plays with balls.

BEST FRONTPERSON

[Luis] Katwo Librando-Puertollano, Duster

No offense to her husband (hi Nico), but guys and girls alike, we’re all a little in love with Katwo: she’s not the most skilled nor the most famous singer on the scene, but when she takes the stage, her passionate performances make for electrifying experiences, gig after gig. With undeniable style, spirit, and occasionally slightly off-kilter spiels, she charms and confronts and conquers.

BEST COVER SLEEVE

[Erwin] The Dingdong Dantes Experience

Self-explanatory.

[Luis] The Distinktive Sounds of Pasta Groove

The cover accurately―and attractively―represents the glorious mashup of elements inside. You know, much like the Dingdong Dantes album cover does.

[Quark] Peryodiko – Peryodiko

19-year old Paulina Ortega made this brilliant album cover by pouring and shaping real wax. She is genius waiting to happen.

BEST INTERNATIONAL ACT

[Erwin] Ciudad

Our favorite band is still at it and now they’re playing in Manhattan! The fact that they also got ex-Versus, now Plus Minus’ James Baluyut to fill in on some dates for Justin Sunico as well playing in the prestigious CMJ Festival just proves what we’ve expected all along: only people with taste like Ciudad. But apparently that doesn’t apply to music video directors.

[Quark] Nine Inch Nails

I don’t think anyone expected Trent Reznor to actually come even close to these shores. Thanks to the wonderful people at Splintr.com, however, that dream – though 10 years late, finally came true. It’s especially meaningful because this is supposedly Nine Inch Nails’ farewell tour, so most of the hits were performed, including Closer, Head Like a Hole, The Hand That Feeds, Hurt AND to everyone’s surprise, his cover of Joy Division’s Dead Souls. I don’t think Manila’s rocked this hard since Rage Against The Machine back in 97.

BEST MUSIC VIDEO

[Erwin] Us-2 Evil-0’s “Mighty Heart Attack” directed J.A. Tadena

Standing as an antithesis to all the rest of the videos gaining airplay today, J.A. Tadena’s video for Us-2 Evil-0’s first single is not a patchwork of pegs strung together from the director’s favorite videos but rather a sincere piece of filmmaking. It trusts the music enough, and isn’t too clever with the visuals to a degree that it smothers everything else. Understanding that the song’s heart lies within the group camaraderie (as well as Mich Dulce’s bosom) Tadena isn’t insecure about giving them the spotlight. Thank heavens for that.

[Luis] Pasta Groove’s “Give Bearth” directed by Paolo Garcia

Flickering and unfolding like a dream, splicing in vintage film clips with new footage made to look archaeological, the video enhances rather than detracts from the Pasta Groove experience.

[Quark] Up dharma Down’s “Taya” directed by Nic Reyes

Nic Reyes and Up dharma Down have always been the perfect pair-up, and it’s great watching this young director grow with the band. Their first collaboration “Maybe” was also coincidentally both their first single. The relationship continued with the literally spacey video for “We Give in Sometimes”, which was Luis’s choice for best music video last year. And now we have “Taya”, a true labor of love planned over two months and shot in five days using over 2,600 stills shot with a DSLR. There’s romance in how raw it is, how you can sometimes see the faded production designers Marco Ortiga and Vicki Velasco making line drawings with flashlights, and it’s always great when you can feel the director’s love for the song in a music video.

BEST LIVE ALBUM

Shuffle Union

Recorded at a tribute gig to the late Luis ‘Weslu’ Guiang in Cubao, this is certainly a testament to the spirit of the statement of its producer, Betrayed’s Je Bautista, that “ska is reggae on beer”. It proves that a genre like ska thrives in environments wherein the equipment sounds as if it’s only held together with tape but where the interaction with the audience is never distant. In this case, only the music proves to be above the street and, in its most inebriated moments, reach glorious heights.

BEST COLLABORATION

[Erwin] “Giving Bearth” by Pasta Groove

This track is a demonstration of how adept afro-Filipino stalwart Pasta Groove is in making diverse elements work to his advantage producing music that’s uniquely his own. Featuring Up Dharma Down’s Armi Millare, Rubber Inc’s Malek Lopez and Third World Project’s Allen Umali among others, ‘Giving Bearth’ is nonetheless Pasta Groove’s distinct achievement—a colorful Jeepney amid the parking lot of local hip-hop’s imitation Chevrolets.

[Luis + Quark] “Matina Town Square” by Zach and Sarah

Zach Lucero’s debut album is essentially a compilation of collaborations, with guests like Kris Dancel of Duster, Micaela Benedicto of Outerhope, and Lourd de Veyra of Radioactive Sago Project. There is no lack of worthwhile tracks, but this one was an early favorite of many. Not only would it appeal to fans of Zach and Sarah’s bands―Imago and Taken By Cars, respectively―its catchy headlong quality would win over people who were fans of neither.

BEST PROTEST SONG

[Erwin] “WALA” by Kamikazee

Ahm the protest song, something we’re supposed to be tired of after the Marcos Years and the lackluster Rage Against The Machine-abees. Well this year, we heard this song from unlikely heroes, Kamikazee. “Wala” is what’s it all about now; and where it’s at—a defiant album saying that for all the bluster our pop stars and Ilac Diaz has promoted himself with: what does it really amount to? WALA.

BEST ALBUM

[Erwin]Travel Advisory by Archipelago

“It’s not where you’re going, it’s where it’s at,” said someone cool from some cool band in a bygone era of cool music. Listening to Archipelago’s debut, one can only agree. It isn’t made of groundbreaking material nor is faultless but it certainly carries a vibe all throughout. The fact is, the music sits well with itself, assured of its own strength that it needn’t try to do anything else.

[Luis] A Day for the Absent by Outerhope

A Day For The Absent only hit the stores at the end of October, but thanks to MySpace uploads, an EP, live performances, and the band themselves, I’ve been listening to the songs from the album for most of 2009. What can I say? I never expected to love it this much. I liked their debut―Strangely Paired―well enough, and it is definitely worth checking out as well, but with this second album, their material is even better: their sound is still spare-but-lush, still based on their brother-sister harmonies and guitar and keyboards, but the songs, from the childlike yet brilliant “Lost in Numbers” to the jaunty “Anna Gabrielle” to the drum-machine driven “Twenty Years From Now” and the deeply affecting “The Man With The Pipes,” are just the best songs I heard this year. This is one album I will be introducing to others for some time to come.

[Quark] Fall Crash Infect by Zach Lucero

Zach Lucero is a funny guy. He always has a joke for something, and he usually makes them at the most inopportune moments.  He is irreverent, often bastos and a lot of the time tactless.

Zach Lucero started writing Fall Crash Infect at probably the most painful time of his life. Many things were falling apart, and he was at a point were he had to turn his whole life around. After he recorded FCI he sold all his recording equipment, and many felt that making the album was just a way of exorcising his demons.

Thus, I expected Fall Crash Infect to be one of two things: an irreverent punky album that one could expect of the drummer-turned-singer/songwriter, or an angsty piece of lovelorn emo that would reflect his current state of mind. What came out was neither – this unassuming debut, one that doesn’t even have his name on the cover, is a romantic ode to 90s alt rock and a celebration of friendship and falling in love. Lucero plays all the instruments, but gets some of today’s top female vocalists to jam (including Outerhope’s Micaela Benedicto, Taken by Cars’ Sarah Marco, Cambio’s Kris Gorra, Boldstar’s Marie Jamora, The Ronnies’ Ene Lagunzad, The Dorques’ Aimee Marcos and Duster’s Katwo Puertollano). There’s even a guest appearance by Lourd de Veyra, because like all smart musicians Lucero knows that an album can only get better if Lourd pops up. Come to think of it, Fall Crash Infect is the best thing that an album could be considering who Lucero is and where he’s been—it’s cathartic.