The Crepuscular Dawn Boy Satsat Konspirazine Interview:

Crepuscular Dawn debuted at a Food Not Bombs gig in Carmona many moons back, which I had the absolute pleasure of seeing them play live at. Their sound encapsulates dark, moody vocals with a haunting rhythm section that takes you back to a time when the world witnessed the collapse of the Soviet Union sometime late 80's-early 90's. This kind of music is best played by street wise kids who don't reside in posh condos and live off mom and pop's credit cards and surnames. In short, yung mga sumasabit sa estribo ng non-aircon buses in primetime Edsa rush hour.

Last Sunday, the 22nd, their latest full length dropped. 

It looks like out of the 28 songs the band has made, 10 made it to their new LP. 

I took the chance to do a quick catch up with their guitarist and vocalist to get the latest from their camp.

- Hi, tell us more about your band. What does the name Crepuscular Dawn represent? What is it's meaning? What were the circumstances that led to the band's formation?

Kirk: Hey Jep. The band’s name came from Paul Virilio’s book of the same name. We actually had a hard time naming the band, the initial plan was to use Russian words relating to despair, or anything that resembles world-weariness. Akin to bands like Guadalcanal Diary naming themselves after a book. We even had like an entire list of potential names before settling with the name we have today. Owing much from the concepts of Virilio himself, it’s a way of capturing the current mood of the era through music. In this hypercapitalist dystopia, even the dimensions of time and space gets diluted. In some cases, we never had much of a distinction between night and day, movement, and speed, which has been heavily influenced by capital that has severely affected the very essence of life itself in pursuit of labor. (lol what a fat pseud) Anyway, I remember that it was Archie that messaged me about starting a post punk band. I think he saw some Eastern European post punk/synthwave bands on my timeline, and this was during the time where I was just coming down from the noise/power electronics high. Miyong also mentioned about forming a post punk band during one of our drinking sessions in Romualdez. Makmak and Reidon were later on added to the ensemble and the rest is history. (although Reidon will be replaced by Louis sometime on)

Archie: It started with me seeing this fat kid hang out with the Pojax Kvlt crew. He looked very eccentric. I remember, we were seeing Urban Bandits and he was just cleaning it up on the pit, then almost collapsed because he apparently had fever. He lay there on the merch table and I gave him bottled water, really annoying at best. Then I saw he was posting a lot of these newer cold wave Slavic themed synth bands and I thought we might have something there. I had no idea he could sing, all I knew was he was into some type of noisy electronic demonic sounding shit, so I messaged him, assuming he had some sort of drum machine, synth and all that crap. I asked if he was interested in forming a new wave/post punk band. He was OK with the idea but the conversation veered away into doing an actual human band with a few other misfits that we mutually know. The first person we thought of was Miyong (no introduction needed). He was the only drummer I know who listened to the same type of music. Then I thought of getting the King of Self Loathing -Makmak, and Bahala Na Gang member Reidon. 

- I saw you play your first gig in December of 2021. What has the band become, since? I've seen you start off with your EP "In Filmic Stasis" in 2022, and now we have your full length "The Fire Tomorrow"? Can you tell me more about this latest drop you guys made. When, where and how were these recorded? 

Kirk: Much of the material for the first EP was made during the pandemic. I remember having a hard time to go around the metro during this period, and to think that the first recording studio that we recorded some of the tracks at was in a swanky subdivision near Greenhills. For the second half of the LP, much of it was recorded in Banana Rising in Alabang. I remember the band spending much of our weekends toiling to finish the tracks based on the budget we had, which was really tight. If my memory serves me right, it was Tweety who suggested that we approach a friend of hers – Dan of SPHC, in addition to Emman of DOT (I think it was Miyong who got in touch with Emman regarding the potential pressing of the vinyl). Both of them were really helpful in realizing this dream of ours ---- to be one of the best showbands in Japan (lol just kidding)

- Hoy! Pota ka!

Archie: The first EP was on its own, a very special one -recorded in the middle of the pandemic. So we heard Nonentities record their drum tracks in this studio in Greenhills and we decided to record everything there. It was really challenging due to the lockdown. The second half of the LP was done at Banana Rising right after we saw Punebre record the drum tracks there. I was too drunk all the time to remember the details. 

- Something tells me there should be more to be expected from you. I keep hearing quite a lot of your songs played live that didn't make the cut on this release.

Kirk: Factory Guadalux aka Archie is like a sonic assembly line. He just keeps on producing new tracks that the band can use as a basis for new songs. Well, it is true that we have a lot of songs that did not make the cut for the LP, but we are definitely planning to release them in the near future. But yeah, given the constant need to run in the rat race, we still ought to earn moolah for the recording. (Thank god the artist’s copies got sold out recently – we might be able to record and buy a synth)

Archie: We are a very prolific writing band but putting it all into fruition is hindered by the fact that we are working class blokes in a pathetic and perpetual cycle of chasing the old Benjamin. A 2nd LP would be ideal if everyone in the band still draws breath in the next 2 years. I never even imagined we would see the day a label will be releasing our record. We owe it all to Tweety of Choke Cocoi, Emman of DOT and Dan of course... Oh and Kirk's diplomatic wizardry too. 

- Why won't we ever see you play pop festivals, when you guys don't necessarily fit into the mold of the punk and hardcore shows I only ever see you play?

Kirk: I sold out to the government for a fistful of pesos already a few years back, so I think that will not be a good idea. Kidding aside, selling out will surely alienate our audiences. It was you guys, punks and metalheads that consume much of our material. The band does not wish to play in such festivals or venues; I feel like we are too rowdy and divisive enough to get banned in the first place! Seriously, I think it just goes against the ethos of the members. And to think that some of the old ageist “chongs” would rather give a sloppy one to some DJ to flip wax than to listen to new material. I mean, there’s also the indie crowd but I feel like we’re gonna feel like some fish-out of-water types in a scene dominated by kids. (I mean, “none of us are saints” but you do you mate) But I believe that the DIY principle, ethos, and lifestyle just runs too deep in our blood to play in those kinds of places, let alone be invited in the first place. I think we’re okay with the current state of affairs.

Archie: I feel playing for the sell out crowd would possibly alienate most of our very few friends in the DIY scene. Take note, no one was interested in us except the metalheads and punks who found their soft spot with our work. Our demos have been around, word gets around and still, only the DIY scene has supported us. Additionally, it is more likely that people who listen to underground or extreme music will have the tendency to have a broader taste which will include bands that sound like us, than it is for people who listen to indie or whatever the fuck, to appreciate metal or punk bands.

- I still call you a new wave punk band. People tell me it's post-punk. I'm gonna let that process internally for a bit. What would you say is the future looking like for post-punk in the Philippines?

Kirk: I sometimes feel that we’re somewhat in between, and in some cases I feel like the band is toeing the fine line between power pop and the Madchester sound. I mean, it’s still punk I guess given the band’s strong connection with the DIY community. I feel that there’s a difference between playing live and the recordings itself. As for the future, heck, I don’t know. I mean there’s a resurgence of shoegaze/indie acts for almost a decade now, maybe? But let’s hope that happens. It will be interesting to see a rather fresh interpretation of the genre, especially that some of the new heads out there are really good, music wise.

Archie: There is no future for post punk here because it is not profitable. Old wavers would rather die in front of a DJ and their 80s records than to give new acts like us a chance, and I don't blame them, it is their right to do that. I have been listening to bands that shaped our sound since I was a kid and I still don't know the difference between new wave and post punk. But we do tend to be in the center of it. We are generally new wave sounding but with a punk approach to recording and playing live. 

- Which New Wave bands should come to the Philippines next year?

Kirk: Let’s stretch the question a bit to include some post-punk bands. Pretty much of a pipedream but I really wanna see Sad Lovers and Giants and Skeletal Family live but that ain’t gonna happen anytime soon. But I’ll definitely watch The Chameleons this year. Just can’t miss it.

Archie: The Chameleons / Mark Burgess are coming this November. Fuck everyone else.

- Anything you'd wanna say to Duran Duran, last words, where in Asia and elsewhere should folks snag your records?

Kirk: "Duran Duran, sumayaw ba si BBM sa Girls On Film?” HAHAHAHAHAHA Jesus man, I can only imagine. What a fucking time to be alive. Also, you can get our records from the following labels:

SPHC Records (US)

Armageddon (Boston, MA & Providence, RI)

Sanctus Propaganda (Poland)

Symphony of Destruction (France)

F.O.A.D. Records (Italy)

Archie: Duran Duran? well I hope they were up early and had breakfast with our local royal kleptocracy, or else they will be the 2nd group of English lads who'll get roughed up from their hotel room to the airport innit. Not claiming to be clairvoyant, but one of our new songs called 'While Rome Burns' exactly describes this. For getting ahold of our LP - anything outside of this shithole - it's best to reach out to Delusion of Terror or message our page.

- Ahahahaha! Putanginamoka talaga, Chie! Thanks, fellas. we'll see ya's laters.

Archie: The fact that the sheep take sides in the butcher's argument does not change the fate of the sheep.

Man, that's OLD.

So hey, you can go peep their band page at Bandcamp:  and FB: and for the semi-burgis Spotify users:

Order "The Fire Tomorrow" locally in the Ph at Delusion Of Terror Records.

Watch out for the other bands they are involved with: No One Wins (Archie is their social media manager/influencer), GOO (Louis is their tour/booking manager) and Salot (Miyong is their Radio Promotion and Distribution manager). 

PS: I have confirmed that one of their members is the page admin aka DJNitor of Radyo Kantutan. Check it.

PPS: Further reading: They have a more proper, respectable feature with Kirk coming out next week on the Paco Wordslinga's cut and paste, xeroxed fanzine. On actual glorious 8.3 x 11.7 inches printed paper. Also peep Archie's sporadic web zine Tinnitus Thoughts.

Thanks to Ms. Rachel Capul Gutierrez, and Florlando Isla Marudo for the band pictures.

The Skeleton Years - "In Memoriam"

REVIEW: The Skeleton Years - "In Memoriam"

I just got my copy of the new EP release by The Skeleton Years, As a listener, I would suggest you pick up their first two EPs (2013's "Between Lunacy And You", and 2014's "Pieces Of Recovery") to understand how the band's musical direction pushes them forward with every new release.

Just when you thought this year was coming to an end without anything more to offer (Except the new Sugar Hiccup full length "Closure", but that's a totally different matter altogether), The Skeleton Years decide to stun everyone and shares to us their jawdropper of an EP, The band really flies their Dark Wave and Post-Punk flag high with their breakthrough release "In Memoriam", drawing heavy influence from The Mission, Bauhaus, The Sound, Warsaw and the likes. These fellas are definitely making the south of the Metro look and feel like 80's Manchester. Let that sink in for a bit.

Album opener 'Color Blind' sets the mood just right: The TSY that I've known still flaunts their familiar, punky, crunchy, complementring guitars, with a lot going on on all fronts. The closest to an anthemic theme I can pick up on is 'Hold Tight', although not quite as perfect as what 2013's 'Dead Night' accomplished, but zero complaints here, kids. (PS- that still tops the throne on my daily commute playlist-4 years running.) 'Killing Time' added a new flavor to the recipe, displaying the band's knack for altering the mood by taking us to more darker territories. 'Do You Really?' has that thumping bass line flirting with the listener all through their 4 minute parade. Have you ever listened to new albums coming out by artists and were disappointed when you cannot get that one track that would always bring out the best in the band's work and become that standout track that defines that particular release? 'Slow Motion' was fucking unbelievable and made my jaw drop for half a day. This track stands out the best for me on this release. It still gives me chills listening to it on repeat. The vocalist's baritone execution is totally on point. So is the perfect display of controlled, chaotic drumming, letting you sense the urgency of the music and the message. This is a totally different TSY I am hearing, and I am absolutely floored. Explosive, dark, and gloomy, yet this is where the band shines the most, and perfectly displays their influences from the Post-Punk era with a nod in the direction of the late singer-songwriter Ian Kevin. This could have easily been chosen to make the final roster for inclusion to the legendary Pinoy Indie compilation "Subterranean Romance" put out in '87.

I have switched back and forth across the whole thing trying to review any hints of any keyboards adding to their mix, and I'm pretty sure a couple of tracks or so did have them. Is this a sign of things to come for TSY? Who knows. It keeps me on my toes, though, so that is something good for me. The lyrical themes touch on desolation, emptiness, and alienation. Some very common human emotions that ordinary folks feel. And as honest as they are, the band also subtly kicks major label and mainstream, corpotarate entities' asses by sticking to their guns and consistently playing hardcore and punk shows, as opposed to playing le bourgeois shows plagued by trust fund kids looking to cash in on their next big discoveroes. TSY continues to release their music independently, with help from independent labels. They control their work. They do the band on their own terms and conditions. And that really is something I honestly respect. These band members have been former players inthe Powerviolence, Punk, Hardcore, Indie & Alternative music scenes from 2 decades back so they are, by and large scene vets, so to speak. I am not gonna see this band play any kind of Pulp or Wanderland shows in the imminent future.

When I hear a band and obbsess about them, I want to hear something new every time. The Skeleton Years manages to do it naturally with "In Memoriam". This is definitely making it to my recommended To-Buy lists of 2017.  Add a little darkness to your Christmas.

The Skeleton Years is

Darwin Dacanay - Vocals

Sharen De Guzman - Guitar

Ebong Liñan - Guitar

Marivic Liñan - Bass

Charles Villanueva - Drums

All Songs Written By Darwin Dacanay

Musical Arrangement by The Skeleton Years

Drum Tracks Recorded at Cherry Studio

Recorded Mixed & Mastered at Loud Carrot Recordings by Dave Usi

Album Cover & Design by Charles Villanueva

Produced By The Skeleton Years, Dave Usi & Still Ill 2017

PPS - Two words yung "Dark Wave", mmmkay?

Go watch the show, message the band and order all three of their releases. Tell 'em some lazy, dinosaur, old-ass blog said so.

Stalk the band at: FB

Bandcamp

The Skeleton Years - Pieces Of Recovery

REVIEW: The Skeleton Years - "Pieces Of Recovery"

As a reviewer, this proves to be a challenging feat for me as half of this band are extremely good buddies of mine and I must admit to being biased. A great deal. But I have tried for the past couple of hours to listen with the intent to understand, enjoy, and review. (yes, in that order.) And the fact remains that on this 7-track care package, there simply isn't any filler and the songs have me thoroughly enjoying what I hear. The Skeleton Years, who formed sometime in 2012, initially released their first 7-song EP, "Between Lunacy & You" back in July 2013. In such a short span of time, we now find the band more than ready to give us their second 7-song EP, titled Pieces Of Recovery" which sees them launching a series of shows this October to get their new music out.

"Awkward" starts off as an acoustic jam, with a different flavor on the guitar work, which I suspected was not traditionally how Ebong and Sharen play. Turns out I was right all along as this "unique" guitar-playing style was lent by none other than Banat Boys' Paga Manikan. It is a perfect match, though, and sets the mood for the rest of the record. Reminiscent of a Skiba-led band, "Beginnings" puts me back to the familiar sound I knew the band from, on their first EP, though my musing would seem to be an isolated case for this song, as for the rest of the EP, the band have finally managed to capture a sound I would call as their own, which, in itself is a feat that's difficult for new bands to execute. "Make Up, Break Up" is a fucking reincarnation of an old Richard Collier fave. Did anyone say redux? The TSY flavor they injected on this cover is amazingly fresh, and, in some way, is different from just a plain cover, in terms of arrangement. This becomes a problem for me as I love both Richard Collier's original version and this treatment they have given it. So now I love both versions. "Discarded" is a really cryptic tune, leaning heavily on the edge of their goth/post punk roots. "Turn Away" has Paga Manikan lending additional drum programming duties this time. This cut can easily be TSY's poppiest, but if you know the bandmembers themselves, then you know they will never subscribe to anything "pop"-media related. TSY has strong DIY roots and I would love to see them keep it that way. An acoustic version of this cut is hidden as an unlisted last track on this EP. I just fuckin' love the soaring guitar solos in "Closure", which had been another favorite of mine early on as I had been hearing this track played live for it was one of the early songs they played after releasing their last EP, and I immediately took a liking, nay, a craving for this song live whenever I go catch TSY perform.

There comes a time in everyone's life, that, after breaking up with your partner, wallowing in your own sorrow for an extended period of time, you finally conquer and shut off your inner demons, and exorcise that nasty motherfucker out of your system. You get up, get dressed, leave your room, go out, cigarette lit, and walk off into the night, eager to start your next adventure. Upon hearing Darwin scream and sing his songs with that tad bit of pain and the wounded, struggling fighter in him slowly surfacing amongst the strain of his voice, you know The Skeleton Years have traveled their pieces of recovery fully well.  

Another stellar effort for The Skeleton Years. And If you are looking for honest music from a hardworking band who have soldiered on in their own little way, sans the glam of hipster magnet, corporate sponsored, chopsuey-arena rock shows, (TSY has played only DIY shows if my memory serves me right..) raising the Sucat "Mabangong Punks" flag defiantly. I declare this a must for any self-respecting post punkers, new wavers, goths, and plain old romantic fools. Call it genre-bender if you will, but this is a must for my collection. 

Because Charles, Sharen, Ebong, Mavic, and Darwin.

Now go tell your friends to get this.

They launch this new EP on Saturday 10/11 at BKB, West Avenue, Quezon City, and Saturday, 10/18 at IDB Bar, Sucat, Parañaque. You have to go.

The Skeleton Years on Facebook:
The Skeleton Years on Bandcamp:

Sister Bastard x Tinimbang Ka, Ngunit Kulang

It was mid-June/July 2014 when punk artist England Hidalgo brought up the idea of doing a release show launching his current band, Diliman-based Tinimbang Ka, Ngunit Kulang's split cassette tape output with Rizal locals Sister Bastard. Initial plan was set for August 30th (It was a royal pain in the butt cancelling a work-approved leave that I took great lengths to obtain, well, fuck that.), but there was a catch: England wanted the set to be a face-off kinda thing where both bands will play alternately, resembling somewhat a cage-match showdown of sorts. This presented a minor obstacle as the Pojax Kvlt muddrafukas ain't rich trust-fund brats who leisurely use momma's credit card on whim: It was gonna cost more than our pockets could allow to hire 2 sets of equipment to pull off this show. But determined to go get shit done OUR WAY, we presented this plan to fellow skull-worshippers Dead Scene and Delusion Of Terror, who, from the get-go got our fat behinds covered. Because, in reality, that's how our scene works. With one crew lending a hand to another, no ifs, no buts. 

Engineer Oca took care of the venue and equipment rentals, (Mad thanks to uncle Sharen, IDB all-around bossy motherfucker), England and Pig Champ lined up artists friends willing to front the show, Cristo Mamaw coordinating tactical SWAT expenses between the organizers, and Dead Scene, Delusion Of Terror, and Nine Iron (Bad Omen's Albert Sy's cassette tape label, who is known for his minimalist-run releases, yeah, some of his tapes have a total run of ONLY 20 copies being pressed, ever.) lending backbone support for the show.

England (Pinoy Raymond Pettibon, yes.) was able to put to good use the poster of 70's iconic action/comedy film "Ang Hari At Ang Alas", the Ramon Zamora-Rey Malonzo starrer, by doing his own take on our show's poster. See for yourself:

Prior to the show, a day ahead, on Friday, the Philippine government, in conjunction with their crime boss the US of A unleashed another tropical HAARP typhoon, affectionately named "Mario" by their puppy weather agency that devastated major parts of the Luzon region, causing massive floods brought about by the Ondoy-scale "rain" showers. We almost thought of cancelling the show due to the literal shitstorm that plowed Manila's ass heavily. Lo and behold, the very next day on our gig night, the HAARP went away. This reminded me of another Pojax-initiated show we had last year "Disharmonic Ritual" where prior to our gig date, another shitstorm HAARP was thrown our way by our lovely 2-digit IQ government. Well, no fucking shitstorm gets in our way, ever. Didn't you clowns get our memo?

This face-off theme (yeah, I've read some idiots' comment on how this show was "flip-top" styled, yung rap-rap showdown ng mga gangsta...sheeeeezas.). My brown lazy-ass homey, these brothas don't spew ill rhymes like yo momma exchanges nasty dimes, froot. This is straight up PINOY FLAVA FUCKIN POWERVIOLENCE DOUBLE-PENETRATION ASSAULT, full stop. 

And hey, my man JCS-Uno, stop referring to Drastic fuckin bubblegum Noise as POWERVIOLENCE, when they clearly aren't, mmmkay? Skull love. my meth-od man.

See the vid taken by Crapsalad above. Play it. Repeat that shit when it's done. And stencil the fuck up your skull worship at your local parak outpost. In broad daylight. Preferably along Edsa.

This is Sister Bastard slugging it out Pojax-stylee with their contemporary Tinimbang Ka, Ngunit Kulang. Remember their names. It has NEVER been done before. But we fuckin pulled that shit off. Now you know.

Oh, all 50 first-run tapes have now sold out. If you didn't make it to the show and did not bother irritating both bands enough to secure your copy, tough luck, you tourists. 

The fuckin poster served it best. "BE THERE, OR BE SQUARE".

The NINE IRON charity-stream can be heard HERE:

On the left corner: Sister Bastard

Jiar Castillo/Colin Farrell - drums

Romualdo Susaya, Jr./Brad Pitt - guitars

Rommel "Pastor" Liberato/Johnny Depp - bass, Pojax high priest, tigas tite

Israel "Indoy" Cabanlig/Matt Damon - vocals

On the right corner: Tinimbang Ka, Ngunit Kulang

England "Pettibon" Hidalgo/Kalbong Kulang - bass, vocals

Roman James Soleño/Don Romantiko Kulang - drums, vocals

Miguel Puyat/Luis Kulang - guitars, vocals

Go nuts!

The Skeleton Years - Between Lunacy And You

REVIEW: The Skeleton Years - Between Lunacy And You 

With today's bombardment of mediocre, sub-par, unengaging punk rock bands ruling the social media worldwide, It comes as a refreshing breath of fresh air when one is served with the perfect execution of what a good band sounds like. The Skeleton Years launches its debut offering in the form of a 7-song EP. I was lucky that after countless months of pestering the band members, they finally gave in and gave me an advance copy of this release.

It's no secret that I'm a sucker for New Wave and Punk Rock, and worship both genres with unscaled fervor. and these are equally encompassed by the music The Skeleton Years play. They pull it off amazingly without any hints of trying too hard (or without really trying at all, as I see it).

The cd cover sets the mood for TSY's music, having that dark red & black theme. Kicking off with their first track "Abandon", replete with their trademark fuzzy guitars guitar sound. I guess this version is a wee bit slower than their first demo recording. "Through" starts off with a playful drum-guitar alternate that takes you to their punk rock chorus. I'm not entirely sure that "Control" was a nod to Joy Division and was done on purpose but I'd love to think it was. The tune even starts with an intro that leans heavily on their JD influence. I can picture "Dead Night" being an anthem for young kids everywhere, the tune is catchy, but still with that dark haunting flavor that is inherently TSY's. I love how the two guitars sound like they are fucking flirting with each other. I gotta admit, without knowing TSY, I would've thought I was hearing "Simple" straight out of a Matt Skiba record. Or it could just be that I'm still unfamiliar with this track at all, as this was never released prior to this EP. Hands down, "Fade" has become my favorite on this EP. It has all the qualities of the band shining bright against the darkness of this release. This Ep treats us too with a demo version of "Abandon" added for good measure.

I don't even know how relevant the member's former bands were (I'd say not at all), but I do not care that some smart-ass babies throw accusations that TSY sounds like what their individual former bands sounded like. Just a thought, If you put Chris Cornell in Temple Of The Dog, Soundgarden, Audioslave, and whatever else band he used to front, he sure as hell sounds a lot like how Chris Cornell sounds, doesn't he?!?! It is not rocket science, fellas. This is an entirely new entity, and as such, they are called The Skeleton Years. 

Let me wrap it up by stating for a fact that "Between Lunacy And You" should be one (if not the only one) of the best EPs to come out this year, and is a perfect example of what new bands ought to prioritize first, because, frankly, you start a band to play music for the love of it and not to have your own clothing line of band name merchandise, yes? The only gripe I have on this release is that seven songs left me wanting more, and this early, I am already expecting a fuckin' full length from TSY. Do the right thing and get this EP from the band, support independent recordings. Be a part of your favorite band's life.. Because I said so.

Release show happening here:

contact the band @: The Skeleton Years