Godfree Hardcore — 08.17.2020
"Parang ang sarap magpa-gig dito..." ang isa sa mga ibinulong sa sarili ko nung una kong masilayan ang Green Papaya mula sa serye ng pagli-libot sa iba't-ibang lugar na may art galleries sa kamaynilaan sakay ng bisikleta na tinawag na "Art Bike."
Matagal ko nang naririnig ang Green Papaya sa isang malapit na kaibigan na mayroon ding kinalaman sa sining, subalit sa pagkakataon lang na iyon ko siya personal na mabisita.
Ilang beses na rin ako sampu ng aking mga kaibigan at kapatid sa pananalig ng "D.I.Y. underground" nakapag-organisa ng gigs ‘di lang sa mga karaniwang pinagdarausan nito, kundi pati rin sa mga hindi kinaugaliang lugar tulad ng tindahan ng bag, garahe (na ginawa rin art gallery), kalye, tapsihan, atbp. Kaya magkahalong gulat, kaba, at saya ang naramdaman ko nang maimbitahan at bigyan ng pagkakataon idaos sa gallery ang paglulunsad ng aming 7" binil, Erehe.
Gulat - dahil hindi ko kailanman inasahang maanyayahan tumugtog sa isang kilalang art gallery; kaba - dahil kahit alam kong nagkakaroon dito ng kaganapan na may kinalaman sa musika, at kabisado ang mga madalas na dumadalo sa tugtugan namin, naroon pa rin ang posibilidad ng pagkasira ng kagamitan gawa ng ingay, galit, at enerhiya ng tugtuging punk; at saya higit sa lahat dahil pagkakataon ito na ibahagi ang aming musika nang libre - kundisyon na inilatag simula pa lang ng pagpaplano, kasama ang mga grupong gusto at malalapit sa amin.
Sa tulong ng mga kaibigan, nakapagdala at nakumpleto ang mga gamit pang-tugtog na isa-isang binuo ng ilang miyembro ng banda at tauhan ng gallery. Hindi napigil ng ulan ang unti-unting pagdagsa ng mga tao at ilang sandali pa nagsimula na ang tugtugan sa pangunguna ng State of Calamity mula sa Las Piñas at Cavite ng kanilang mabilis at mabalasik na bersyon ng "street punk" tungkol sa mga hamon na kinakaharap ng indibiduwal at lipunan, pagkakaroon ng pagkakapantay-pantay, at pagbabagong nagsisimula sa sarili. Agad namang sumunod ang Surrogate Prey na nagparamdam ng bigat ‘di lang sa mga manonood, kundi pati rin sa paligid. Patunay dito ang pirming pag-alog ng lagayan ng mikropono at ilan pang isyung teknikal sa kanilang halos dalawampung minutong narkotikong paglalakbay sa madidilim na sulok ng kamalayan. Ang sumunod na grupong Veils ay may tunog na tila produkto ng dalawang naunang banda sa kanilang pagpapahayag ng galit, pag-asa, pighati, at kabiguan na sinala sa metal at hardcore. Matapos ay sinakay ang mga saksi sa alon ng feedback at riffs ng mga putiang mambabarang sa Kapitan Kulam na sinisimulan at tinutuldukan ang bawat instrumental nilang kanta sa sigaw o walang habas na pagpalo ng cymbals ng kanilang mananambol. Mga kenyong kaibigan sa Play na kilala sa kanilang pinabilis na punk at hardcore o "thrashcore" ang sumunod na sumalang at tuluyan nang nagpalikot sa madla. "Circle pit" ang madalas na sayaw sa tugtog nila, subalit sa limitasyon marahil ng sahig ay sa talunan, tulakan, at sing-along nauwi ang maikli at siksik nilang set. Sinundan ito ng mga kababayan nila sa Jahannam na lampas kalahating oras niyanig ang lugar sa kanilang makapanindig-balahibong oda laban sa relihiyon saliw ng bersyon nila ng doom metal. Sumunod ang The Beauty of Doubt at tuluyan nang sumabog ang Green Papaya sa enerhiya at lakas na dala ng kanilang mga kanta. Nagliliparan, nagbabanggaan ang mga katawan habang sumasayaw at kumakanta ang mga tao sa kabuuan ng kanilang set; ako mismo ay nalaspag at naubusan ng boses.
Sumapit na ang pagkakataon at ipinaskil na ng Killratio ang baner na "No Gods, No Masters" sa pader alinsunod ‘di lang sa tema ng gabing iyon, pati rin sa paniniwala ng aming grupo kasama ang iba pang tumugtog - na walang ibang magtatakda ng iyong buhay at kapalaran kundi ang iyong sarili. Tinugtog namin ang lahat ng nakapaloob sa Erehe at iba pang mga lumang kanta para makumpleto at matapos ang pagdiriwang ng pambihirang pagkakataon makapaglabas ng 7" binil sa tulong ng mga kaibigan sa D.I.Y. punk at hardcore underground na kanya-kanyang nagtaguyod ng mga sarili nilang record labels at distribution na walang ayuda mula sa kahit sinong korporasyon o samahan ng sining: bagay na habang buhay naming tatanawin ng may utang na loob.
Mainit, maingay, masikip, maalinsangan, at magulo ng Biyernes ng gabing iyon. Mga katagang hindi kaaya-aya subalit ang mga ito mismo ang nagbuklod sa lahat ng mga dumalo upang saksihan at danasin ang aming bersyon ng punk. Madalas ibato ang salitang "komunidad" sa D.I.Y. underground, ngunit sa pagkakataong ito at sa mga sumunod pang kaganapan, komunidad ang ibinahagi ng Green Papaya sa aming mga punkista na iba man ang bihis ay kahanay sa paninindigan at paniniwala.
zepol
Ika-17 ng Agosto 2020
English:
"It would be really cool if we could throw a gig here..." was one of the things I uttered to myself when I first caught a glimpse of Green Papaya while cycling around Metro Manila from one art space to another during one of the "Art Bike" tours.
A close friend of mine who was involved in the arts often mentioned Green Papaya so I had already heard of them for quite some time. But it was only then that I got to visit their space in person.
There were several times that I, along with ten friends and brothers, in the spirit of "D.I.Y. underground," organized gigs not just at the typical venues but at unusual places like a bag shop, a garage (that was also turned into an art gallery), an open street, a tapsilog restaurant, etc.
That was why I felt a mix of surprise, nervousness, and joy when we were invited and given a chance to use the Green Papaya space to launch our 7" vinyl, Erehe.
Surprise - because I never expected that we would be invited to play at a respected art space; nervousness - because although I know music-related events happened there occasionally, and we know our gig regulars very well, there was still the possibility that equipment will be destroyed as a result of the noise, fury, and energy of punk music; and joy most of all because of this opportunity to present our music for free - a condition that was set since the very start of planning - alongside the groups we like and are dear to us.
With the help of friends, who brought whatever we could borrow for the night, we were able to complete the necessary gear. Although it was raining, the audience slowly grew and soon enough the night began with State of Calamity, from Las Piñas and Cavite, and their fast and fierce version of "street punk" tackling the challenges we face as individuals and as a society, like the struggle for equality and changing one's self. Right after them was Surrogate Prey who were so heavy, it wasn't just us who were rocked by the tremors, but the entire space, as attested to by the mic stand's trembling and other technical issues throughout their almost 20-minute narcotic wandering around the darkest corners of human consciousness. Veils, the following group, had a sound that's like a merger of the two previous bands in their expressions of anger, hope, grief, and frustration through metal and hardcore. The attendees were then carried away by the waves of feedback and riffage by the white warlocks of Kapitan Kulam who began and ended each instrumental song of theirs with either screams or reckless cymbal cacophony. Our Bulakeño friends from Play, notorious for their sped-up punk and hardcore or “thrashcore” were the ones right after, further energizing the crowd. Although “circle pits” are a common sight during their performances, perhaps because of the room’s size, the crowd mostly jumped, moshed, and sang along during their short and tight set. This was followed by their Bulacan townmates Jahannam who shook the place for more than half an hour with their frightening odes against religion in their version of doom metal. The Beauty of Doubt came after and the space exploded with the energy and power of their songs. Bodies flew and crashed as people danced and sang throughout their set. Even I wore my throat out and lost my voice.
The time came and we suspended our banner saying “No Gods, No Masters” on the wall, in accordance to the theme of that event and to the beliefs of our group as well as the others who performed that night - that no one decides for your life and fate but you. Our band Killratio played all the songs in Erehe and some older songs to complete and commemorate the rare event of us releasing a 7” vinyl with the help of friends from the D.I.Y. punk and hardcore underground who each established their own record labels and distribution without support from any corporations or formal arts organizations: some things we will cherish with deep gratitude for the rest of our lives.
Hot, loud, crowded, humid, and chaotic could all be used to describe that Friday night - adjectives that, although are unattractive, were what united everyone who were there to witness and experience our version of punk.
The word "community" is often thrown around in the D.I.Y. underground scene but it was during this and the succeeding events that we experienced how Green Papaya truly offered a community to us punks who, although dress differently, stand with the same principles and beliefs.
zepol
August 17, 2020
Matagal ko nang naririnig ang Green Papaya sa isang malapit na kaibigan na mayroon ding kinalaman sa sining, subalit sa pagkakataon lang na iyon ko siya personal na mabisita.
Ilang beses na rin ako sampu ng aking mga kaibigan at kapatid sa pananalig ng "D.I.Y. underground" nakapag-organisa ng gigs ‘di lang sa mga karaniwang pinagdarausan nito, kundi pati rin sa mga hindi kinaugaliang lugar tulad ng tindahan ng bag, garahe (na ginawa rin art gallery), kalye, tapsihan, atbp. Kaya magkahalong gulat, kaba, at saya ang naramdaman ko nang maimbitahan at bigyan ng pagkakataon idaos sa gallery ang paglulunsad ng aming 7" binil, Erehe.
Gulat - dahil hindi ko kailanman inasahang maanyayahan tumugtog sa isang kilalang art gallery; kaba - dahil kahit alam kong nagkakaroon dito ng kaganapan na may kinalaman sa musika, at kabisado ang mga madalas na dumadalo sa tugtugan namin, naroon pa rin ang posibilidad ng pagkasira ng kagamitan gawa ng ingay, galit, at enerhiya ng tugtuging punk; at saya higit sa lahat dahil pagkakataon ito na ibahagi ang aming musika nang libre - kundisyon na inilatag simula pa lang ng pagpaplano, kasama ang mga grupong gusto at malalapit sa amin.
Sa tulong ng mga kaibigan, nakapagdala at nakumpleto ang mga gamit pang-tugtog na isa-isang binuo ng ilang miyembro ng banda at tauhan ng gallery. Hindi napigil ng ulan ang unti-unting pagdagsa ng mga tao at ilang sandali pa nagsimula na ang tugtugan sa pangunguna ng State of Calamity mula sa Las Piñas at Cavite ng kanilang mabilis at mabalasik na bersyon ng "street punk" tungkol sa mga hamon na kinakaharap ng indibiduwal at lipunan, pagkakaroon ng pagkakapantay-pantay, at pagbabagong nagsisimula sa sarili. Agad namang sumunod ang Surrogate Prey na nagparamdam ng bigat ‘di lang sa mga manonood, kundi pati rin sa paligid. Patunay dito ang pirming pag-alog ng lagayan ng mikropono at ilan pang isyung teknikal sa kanilang halos dalawampung minutong narkotikong paglalakbay sa madidilim na sulok ng kamalayan. Ang sumunod na grupong Veils ay may tunog na tila produkto ng dalawang naunang banda sa kanilang pagpapahayag ng galit, pag-asa, pighati, at kabiguan na sinala sa metal at hardcore. Matapos ay sinakay ang mga saksi sa alon ng feedback at riffs ng mga putiang mambabarang sa Kapitan Kulam na sinisimulan at tinutuldukan ang bawat instrumental nilang kanta sa sigaw o walang habas na pagpalo ng cymbals ng kanilang mananambol. Mga kenyong kaibigan sa Play na kilala sa kanilang pinabilis na punk at hardcore o "thrashcore" ang sumunod na sumalang at tuluyan nang nagpalikot sa madla. "Circle pit" ang madalas na sayaw sa tugtog nila, subalit sa limitasyon marahil ng sahig ay sa talunan, tulakan, at sing-along nauwi ang maikli at siksik nilang set. Sinundan ito ng mga kababayan nila sa Jahannam na lampas kalahating oras niyanig ang lugar sa kanilang makapanindig-balahibong oda laban sa relihiyon saliw ng bersyon nila ng doom metal. Sumunod ang The Beauty of Doubt at tuluyan nang sumabog ang Green Papaya sa enerhiya at lakas na dala ng kanilang mga kanta. Nagliliparan, nagbabanggaan ang mga katawan habang sumasayaw at kumakanta ang mga tao sa kabuuan ng kanilang set; ako mismo ay nalaspag at naubusan ng boses.
Sumapit na ang pagkakataon at ipinaskil na ng Killratio ang baner na "No Gods, No Masters" sa pader alinsunod ‘di lang sa tema ng gabing iyon, pati rin sa paniniwala ng aming grupo kasama ang iba pang tumugtog - na walang ibang magtatakda ng iyong buhay at kapalaran kundi ang iyong sarili. Tinugtog namin ang lahat ng nakapaloob sa Erehe at iba pang mga lumang kanta para makumpleto at matapos ang pagdiriwang ng pambihirang pagkakataon makapaglabas ng 7" binil sa tulong ng mga kaibigan sa D.I.Y. punk at hardcore underground na kanya-kanyang nagtaguyod ng mga sarili nilang record labels at distribution na walang ayuda mula sa kahit sinong korporasyon o samahan ng sining: bagay na habang buhay naming tatanawin ng may utang na loob.
Mainit, maingay, masikip, maalinsangan, at magulo ng Biyernes ng gabing iyon. Mga katagang hindi kaaya-aya subalit ang mga ito mismo ang nagbuklod sa lahat ng mga dumalo upang saksihan at danasin ang aming bersyon ng punk. Madalas ibato ang salitang "komunidad" sa D.I.Y. underground, ngunit sa pagkakataong ito at sa mga sumunod pang kaganapan, komunidad ang ibinahagi ng Green Papaya sa aming mga punkista na iba man ang bihis ay kahanay sa paninindigan at paniniwala.
zepol
Ika-17 ng Agosto 2020
English:
"It would be really cool if we could throw a gig here..." was one of the things I uttered to myself when I first caught a glimpse of Green Papaya while cycling around Metro Manila from one art space to another during one of the "Art Bike" tours.
A close friend of mine who was involved in the arts often mentioned Green Papaya so I had already heard of them for quite some time. But it was only then that I got to visit their space in person.
There were several times that I, along with ten friends and brothers, in the spirit of "D.I.Y. underground," organized gigs not just at the typical venues but at unusual places like a bag shop, a garage (that was also turned into an art gallery), an open street, a tapsilog restaurant, etc.
That was why I felt a mix of surprise, nervousness, and joy when we were invited and given a chance to use the Green Papaya space to launch our 7" vinyl, Erehe.
Surprise - because I never expected that we would be invited to play at a respected art space; nervousness - because although I know music-related events happened there occasionally, and we know our gig regulars very well, there was still the possibility that equipment will be destroyed as a result of the noise, fury, and energy of punk music; and joy most of all because of this opportunity to present our music for free - a condition that was set since the very start of planning - alongside the groups we like and are dear to us.
With the help of friends, who brought whatever we could borrow for the night, we were able to complete the necessary gear. Although it was raining, the audience slowly grew and soon enough the night began with State of Calamity, from Las Piñas and Cavite, and their fast and fierce version of "street punk" tackling the challenges we face as individuals and as a society, like the struggle for equality and changing one's self. Right after them was Surrogate Prey who were so heavy, it wasn't just us who were rocked by the tremors, but the entire space, as attested to by the mic stand's trembling and other technical issues throughout their almost 20-minute narcotic wandering around the darkest corners of human consciousness. Veils, the following group, had a sound that's like a merger of the two previous bands in their expressions of anger, hope, grief, and frustration through metal and hardcore. The attendees were then carried away by the waves of feedback and riffage by the white warlocks of Kapitan Kulam who began and ended each instrumental song of theirs with either screams or reckless cymbal cacophony. Our Bulakeño friends from Play, notorious for their sped-up punk and hardcore or “thrashcore” were the ones right after, further energizing the crowd. Although “circle pits” are a common sight during their performances, perhaps because of the room’s size, the crowd mostly jumped, moshed, and sang along during their short and tight set. This was followed by their Bulacan townmates Jahannam who shook the place for more than half an hour with their frightening odes against religion in their version of doom metal. The Beauty of Doubt came after and the space exploded with the energy and power of their songs. Bodies flew and crashed as people danced and sang throughout their set. Even I wore my throat out and lost my voice.
The time came and we suspended our banner saying “No Gods, No Masters” on the wall, in accordance to the theme of that event and to the beliefs of our group as well as the others who performed that night - that no one decides for your life and fate but you. Our band Killratio played all the songs in Erehe and some older songs to complete and commemorate the rare event of us releasing a 7” vinyl with the help of friends from the D.I.Y. punk and hardcore underground who each established their own record labels and distribution without support from any corporations or formal arts organizations: some things we will cherish with deep gratitude for the rest of our lives.
Hot, loud, crowded, humid, and chaotic could all be used to describe that Friday night - adjectives that, although are unattractive, were what united everyone who were there to witness and experience our version of punk.
The word "community" is often thrown around in the D.I.Y. underground scene but it was during this and the succeeding events that we experienced how Green Papaya truly offered a community to us punks who, although dress differently, stand with the same principles and beliefs.
zepol
August 17, 2020
Courtesy of Arlo Misa.
Courtesy of Keith Dador.
Courtesy of Keith Dador.
Courtesy of Keith Dador.
Courtesy of Keith Dador.
Courtesy of Keith Dador.
Courtesy of Yuji de Torres.
Courtesy of Yuji de Torres.
Courtesy of Arlo Misa.
