The Local Outsider #36: Intertwined, Them Bloody Royals and Sabu

In case you missed our announcement earlier in the weekearthings! will be closing down on 11 April. That means you’re reading the last ever edition of the Local Outsider, that column we started three years (and thirty-five installments) ago to better keep tabs on all the good music coming out of the Philippines, only to constantly cram it the day before publication. Turns out, yes, it is difficult to keep tabs when you’ve got a lot of other things to do.

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The Local Outsider #35: Ena Mori, Our Inflatable Friends and Aly Remulla

So, Dicta License released another single a few days back. At this rate, I won’t be surprised if there’s an album in the offing. We need them back, God knows we need them back: a group who’s not afraid to be political, in times like these when musicians would rather play it safe to please everybody. But then, I’ve been thinking about how their popularity came at a time when we were generally more receptive to local alternative. I mean, we are still that now, but we’re fragmented, and we pay attention to our niches, and also, whether we admit it or not, we shut out anyone whose opinions diverge from ours. If ever they release an album, I feel it won’t make the impact I hope it would. But does it matter?

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The Local Outsider #34: The Bed Bites, Jellie and Kremesoda

It’s become clear to me that this column is badly timed. I arbitrarily scheduled it for the last Thursday of the month, not really thinking much about it, but in the past few months there’s always a flurry of new single releases – from acts I would’ve otherwise missed – happening at around this time of the month. Well, it’s good that more are starting to toot their horns about local independent acts, but is it too much to wish that they get scattered across the month? Yeah, because who am I anyway? Just a so-called music blogger who’s always late. But then, that is the point of this column. I have to remind myself that.

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earthings! 2018: My ten favorites of the year

It’s our very last post for 2018, which means it’s time to reveal my ten favorite songs of the year – although chances are, if you’ve been reading this blog more religiously than most, or have a good idea of what I am into, then you’d have guessed some of the songs on this list. For this year, I decided not to have a massive reckoning some time from the beginning of December (too much pressure, that) but instead made up this list as the year went along. It didn’t make it easier: the tenth song (again, this list is in alphabetical order) was added just a few days ago, and that was a song I actually took off the list. I won’t tell you what that is… [NB]

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How to collect pop music from down under, part seven: the country course

We tend to think of country music as a domain of the Americans. The imagery it evokes – the vast landscapes you see, the families you come home to, the beliefs you hold dear – seem to be distinctly American. It was a bit of a surprise to me, then, to realize that the Australians also have a very strong country scene, and one that isn’t exactly a beat-for-beat copy of what their neighbors an ocean away do. Unlike with most of the country’s pop music, country music down under has developed on a track of its own. While music from other parts of the world also served as an inspiration, the country’s idyllic landscapes – and sometimes harsh conditions – informed and developed the movement as much.

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