Photo by Brucher Owens of GYHTS
So here I am, last June 6th, 2015. I took a very short break from fatherhood to play in a musician friend’s birthday gig.
It was great to be back, and it was more than exhilarating to see old and new friends and acquaintances. It seemed like it was only yesterday when we were all in our twenties, with big ideas on how to make our small part of the world more creative, more free, more to our liking. Suddenly a lot of us are venturing into more ‘mature’ pursuits. It’s a good reason to celebrate life and its momentary pleasures.
I’m done recording my vocal parts and doing the basic arrangements for the new album, but now here comes the blood-and-guts part: post-production and editing. The extended Manila summer isn’t helping much, and I’m covered in heat rashes daily. As I keep telling my wife, I may be as strong as an ox, but I’m a bunch of allergies waiting to happen anytime.
After hurdling previous tests of patience, here comes a new challenge: dealing with the complex emotions of a 12-year-old son and the explosive temper of a 1-year-old toddler. Good luck, says the career-minded, supportive and patient wife who leaves early every weekday morning to travel to work.
Each day is a reminder about how to appreciate what one has, despite the existential discontent and the temptation to give in to envy and resentment. I’m reminded that I should be thankful to live in a country where I can speak freely and do subversive art without being arrested (to some extent), but I also feel arrested by the fact that it is a country that can do so much more but wouldn’t, a country of complacency, where manicured mansions coexist with shanties within meters of each other, where the ‘have’s’ pass by the ‘have not’s’ with no bother in the world.
That environment, combined with the constant humidity, pollution, horrible traffic jams, commonplace crime, and sleeper subdivisions on the verge of becoming barbaric ghettos, contribute to the art and the music. It’s a world of extremes, both the stunning countryside beauty and the debilitating poverty, that I draw inspiration from.
Having said that, it’s a bitch re-learning Ableton Live after relying for more than five years on hardware samplers. My Roland SP808’s zip drive has breathed its last. Nevertheless, I am back, with a vengeance, with scores to settle, a new musical direction, and plans to make more art than I can possibly handle.
There is a tiny part of me that wishes to relegate what I love to do to being a mere hobby, to make my life easier and less complicated, but I never really saw it as a hobby. It has always been a personal mission.
I make electronic music to make people nervous, as each snippet of melody is always threatening to explode any moment, volatile, potentially dislikable, especially when the local music scene teems with trendy/hip types who have embraced the irony like a badge of honor. It won’t make for more fans, but I’d rather be honest at this point in my life, even if it means offending sensibilities.
At best, I’m trying to exercise mindfulness, to savor each moment, to appreciate every effort by anyone who give their time to engage me in lovely conversations, and to those who take me as I am, a mass of contradictions, angry onstage but calm and awkward offstage. Thank you for bearing up with me and having me for drinks and company. You know who you are and I really appreciate your effort at going out of your way.
If you’re reading this far, thank you, thank you so much from the bottom of my heart. I’ve been doing this since September 2006, and I have no regrets. The quarter-life crisis just makes me hell-bent in doing more to fuck up the status quo in my part of the world. There’s no more looking back, and it’s time to trudge on, mistakes and all, because I’ve survived the worst of times.
(Special thanks to Nono of Names Are For Tombstones for the awesome birthday gig, Glenn Dilanco for the video, Claire for seeing the show and giving me a ride home, and all the friends and bands who made this an enjoyable show. You all rock.)