"I didn't like the name but it doesn't matter. They played great band music." - Nina Araknida Sunstar, Flip / September 15, 2002
"Few rock bands in town could stand at the crossroads of a dynamic and evolving music scene and knock down the high walls that divide music genres and audiences with as much success as Sheila and the Insects. " - Ronald P. Villavelez Yup!, Issue 1.03 / November 2001
"Sheila & The Insects’ music is new wave-influenced post-punk rock music that is considerably heavy yet still melodic " - Cris O. Ramos Jr. The Manila Times / May 31, 2003
"What does an indie band do with the oft-maligned mix of rock and new wave? In the case of Cebu-based Sheila and the Insects, plenty." - Ganns Deen PULP , PulpReviews / Issue 13, March 2001
The music industry is dying. Okay, I exaggerate again. Maybe not in it’s death throes but definitely sick and suffering. Not music, mind you, but the industry in its present form. Music per se can survive revolutions and world wars, even flourish. But the industry, mainly the record companies, if it doesn’t smart up pretty soon, will soon follow in the footsteps and sudden demise of the cinema industry in the Philippines, now extremely emaciated and probably permanently so.
The record labels like to blame music piracy for their woes. Quite naturally. It’s all too easy to stick an accusing and dirty finger at the shameless pirates who sell CD’s at absurdly low prices and at lowly places. But who would want to buy the real deal when you get the exact same sound from a sidewalk hawker for one-tenth the price?
Labels, I surmise, are either too proud or too dumb to admit that their own downfall is mainly their own doing. I mean what business would survive long selling crappy overpriced products. The way I see it, piracy had to happen. Karma for all the years the labels had been duping artists with cheap contracts and cheating the buying public with too expensive CD’s.
I mean how expensive can a thin disc of plastic be? It’s the cheapest material invented on the planet, right? P450 for a thin plastic wafer? I think not. The likely argument would then be that the labels do shoulder the production cost of the music. Baloney! Let’s not get too technical and serious and keep this thing candid. I don’t have the patience for that today. So lets not even begin to discuss the pet pop artists of the big labels and how much their music is worth because they’re certainly not worth listening to if you ask me.
Crappy stuff sold far too expensive for far too long. That’s some serious negative karma accumulating for many long years. It’s amazing how they’ve managed to dupe everyone this long. So now it’s all coming back to haunt them. Revenge in the form of unfair competition. No wonder when pirated CDs started coming out, many bought frantically and proudly. Everyone wanted to get back at the labels for their exploitative pricing.
Speaking of exploitative pricing, the local oil companies could learn a thing or two from this. With the way they’ve run their businesses, the national government, and the national economy for that matter, the day a viable fuel alternative comes will be a day of revenge for everyone. Just like Microsoft and every other exploitative monopoly. Their time will come as surely as death and taxes. And just like logs, the bigger they are the harder they’ll fall. But enough about the pump powers and Bill Gates for now.
Like the cassette tape, which had its time, so too will the CD, as a format, live out its usefulness, and reach the end of its life cycle. And near its end it definitely is. The signs are present. In the United States, a most telling statistic is slowing sales: as formats age, overall revenue has declined 13 percent since 1999. Not helping is the fact that the cost of a CD has risen 16 percent since 1997. In terms of CD titles, new releases have gone down 14 percent since 1999. A few factoids I shamelessly copied off a year-old issue of Wired.
Anyway, many are predicting MP3s will be the next big winner. I-Pod’s success certainly is telling. Or maybe peer-to-peer distribution, legal or illegal. If record labels are slow to recognize the wave of the future, and if they’re slow to catch up, they’ll be left behind and lose their usefulness. In business, if you can’t offer anything, you’re dead.
So what’s the future for the ‘old school’ record labels? Well, it ain’t over till the fat lady sings, or maybe until her song finds its way in Quiapo or Kazaa. When that happens, my dear friends, we’ve got ourselves a whole new opera.
Why Flowerfish? People will eventually ask without doubt. But like any other album title or band name for that matter, that is just it. It’s just a name. Nothing more and nothing less. No hidden meaning or underlying profound kernel of wisdom hidden at the end of a labyrinth of lexicology. It’s just an invented word. I offer no apologies if some of you find that disappointing.
Truth is I just came up with the name from out of nowhere. Two random words that may as well have been picked out from a book of first words for growing babies. Fished out from a sea of ordinary terms representing very ordinary, er, stuff. Joined together to form a wholly different word and hopefully define a wholly different world.
A collection of songs as pretty as a flower yet as elusive as a fish, half hidden in a forest of colorful rocks. Okay, I may have overdone it that time but truth be told, I’d rather that the listener build their own meaning of the word from listening to the album.
Emotions, after all are hard to define and given that each of our songs in this collection evokes a different mood or mix of moods, to pool them all in a collection, it helps to give them a name that hopefully embodies the meaning that should filter out from the sonic experience proffered.
The name had come first before the imagery. I had suggested the album name many months before we even started recording. The band seemed to like it and we all eventually came to adopt it. It was by sheer chance that the album photograph surfaced.
It was from a collection of photos taken during a photo shoot I had done as part of my day job. I was taking pictures to represent the pool facility for a school that was a client of our ad agency. I had experimented with underwater shots using a small, handheld, waterproof digital camera. After I had taken enough photos for my satisfaction, I lent the camera to one of the kids who promptly played around with it.
Weeks after the shoot, I unintentionally browsed through the pictures that the kids had taken. This one photo stood out. An accidental shot evoking an eerie mysterious mood. Those glassy expressionless eyes told stories as varied as could be imagined by anyone. I had found our album cover.
It took me almost a month to trace the boy in the self-portrait and just as long to get a written authorization from the boy’s mother, Robin Aboitiz, who was very kind and accommodating enough to allow us to use the shot.
This is without doubt our best album cover yet. Hopefully, the printers will do the picture justice. Come August, we’ll know.
Fantastic! Other than a few very minor tweaks that need, um, tweaking, ‘Flowerfish’ sounds really good. We we’re listening to the first study mix that Mikmik had burned for us to evaluate and comment on. We all wrote down our concerns but basically, they were all very minute details we thought could be corrected easily enough.
Mikmik had done another brilliant job and to think this mix was done in so short a time. Ideally, a couple of weeks would have been standard but because of our tight production schedules, we could only give him a few days. Still, he came through with a brilliantly flattering sound for Sheila and the Insects.
The album layout was already sent ahead to Boom last week together with the poster layouts and the press kits. Even our music video for ‘Quick to panic’ is shaping up rather well. As a preview of sorts, I’m posting a few of the images that were provided by Alan Parma of the Madbanana team who are even now hard at work. I should say the stills look fantastic. Can’t wait to see the moving animation clips. The video should be done by August also.
It’s all coming together and things are finally looking up. I still can’t post details though on our album launch until the date and venue firms up. The target is still August 5 but a lot of things can happen before that: production delays, venue problems, etc. Still, we’re hopeful we can meet the targets.
The audience had me entertained more than the other way around I surmise. This is probably an exaggeration or another oversimplification. In any case, what happened during our gig last weekend warrants describing if only to explain a point on what I’ve always thought SATI’s music meant for me and maybe for our audiences.
We we’re playing as part of the evening’s entertainment for an extreme games contest being held at a mall parking lot in Cebu. It was a huge corporate sponsored event that saw in-line skaters, skateboarders, and BMX riders competing against each other. Naturally, our audience that night consisted mostly of extreme games enthusiasts and like-minded teenagers. And as a natural consequence of the demographics of the crowd that night, their obvious affinity to loud and fast music came to the fore.
The bands playing ahead of us employed roaring vocals and screaming guitars played to stomping motions and frantic drumbeats. Unsurprisingly, they were a hit with the crowd who responded in like fashion with mob-like gusto. The faster the band played, the wilder the crowd became. Never mind that most of the time, I couldn’t figure out the lyrics. It was like a soundtrack to their unbridled lifestyle.
We climbed the stage at 9pm to take our turn and without fanfare, played our set of six new, unreleased songs. The effect of our music was not unlike a mass sedative. The crowd kept their ground but fell silent. A few began to adopt squatting positions where the mosh pit used to be to take in our music in a more comfortable position.
I wouldn’t know if we were entertaining the crowd or just lulling them to passive observation but it felt good to be playing and actually be listened to. There was none of the boos or catty remarks that would not have surprised me given the situation. And we even earned polite applause.
Scanning the crowd, I couldn’t help but be entertained by the looks on their faces showing most of them couldn’t decide what to make of our music. Which brings me to say what I’ve always thought SATI’s music is: more thought provoking than mosh-inducing, more insightful than incendiary, and more cerebral than hormonal.
So we may not start riots but I say there’s more than one way to start revolutions.
A refreshing change it was to practice without having to lock horns with each other and argue on song arrangement. Last night, our studio time was spent just reviewing our songs - our finished songs. We had finally agreed to a final arrangement to ‘Maude’ the song that took us the longest to finish. It was the first song we started work on for ‘Flowerfish’ but it still came in last. From April 28 2004 to July 7, 2005. That’s more than a year and two months.
Now that the song arrangements are behind us, at least for Flowerfish, we can now concentrate on recording the rest of the album. Tonight, barring any hitches, we’ll be recording the drum and bass tracks to the last three songs. After that, it should all be downhill for us.
Like almost everybody else, the biggest problem SATI faces now is money – actually lack of it. For this album, we’ve got a record label helping in the distribution so that takes care of that. But we still have to record the album and pay for the studio time ourselves, with money that is not exactly in quick and easy supply. But we should be ok. Somehow, when in dire straits, money usually just comes our way.
Still our biggest hurdle is seeing the whole thing through to the end. I’ll breath a lot easier when I finally see the CD on store shelves. That’ll really make my day. After all these past odd years, SATI will finally have something new out in the market.
Two of my bandmates hold day jobs in the same company that I won’t name. Everyone there knows they play in a band, quite naturally, since it’s not that big an organization. One time recently, their officers decided to organize a company party of sorts to celebrate a coming holiday. As part of the planned program, I imagine someone must have suggested putting up some entertainment. As it happened, everyone in their workforce that played in a band or some act was requested to ‘contribute their talent’. Nothing wrong with that except that the way the request was relayed was like it was expected of them, them being employees.
Now I have nothing against playing for free. We once played as the wedding band for a friend as our ‘wedding gift’, and we’ve done countless gigs in gratis if we felt like the exposure and the opportunity was worth it. But to play in a company-sponsored party just because half our band was under their employ seemed really comical in its warped logic except to me it wasn’t at all funny.
Some people just don’t appreciate that playing in a band is not about showing off on stage in front of a crowd. We don’t jump at the opportunity every chance we get. Well for some, maybe. But for most, it is a passion, and a job. In our band, such is definitely the case. We all share a passion for making music and to sustain that passion we have to make money on the side.
Like all professions, playing in a band requires very real investment in terms of money, time, and talent. There are the hours and hours of rehearsals, late night recording sessions, instrument upkeep and countless more details that most people don’t get to see at all. You don’t just show up for a gig, slap on your guitars, do the count and play songs.
This pervasive lack of appreciation of the actual work that goes behind every band performance is not unique to corporate officers. It’s as common as the flu only worse since unlike the malady, it is not seasonal.
At parties, I always dread being introduced as a vocalist for a band. Someone almost always has the audacity to demand that I sample him or her my singing voice. If I obliged them, I’d feel like a “show-off”, and if I didn’t, I’d be labeled an “arrogant prick”. You can never win in these situations.
Other times, I’m always amazed at how easy it is for some people to ask for a free CD sample. Worse, some people even have the temerity to ask if they can borrow a CD so they can burn for themselves a copy. Talk about someone asking permission to steal your stuff. That’s almost as bad as a burglar asking you to hold the door open while he carts away your home entertainment system.
Or how about people who shamelessly ask for free tickets to gigs. If they don’t value enough our band’s music to want to pay for it, why would I want to give them a free pass? I’ve done that before many times, and often, they still don’t show up.
So on the scale of playing for a large audience, like the corporate party I mentioned at the start, why do it for free if the organizers don’t value enough our band and our music to even acknowledge that we should be paid for our time if not our talent. I’d rather be somewhere else where my presence is infinitely more appreciated, like with my family. I couldn’t care less if that makes me an “arrogant prick”.
We’re targeting to record the remaining tracks by this week. Wednesday, if we can, we’ll lay in the drum and bass tracks for the last two songs for inclusion in the album. ‘Clever as you’ and ‘Maude’, the songs that took the longest to arrange.
We still need to lay in guitars and vocal tracks for some songs but we hope to do that this week too. Hopefully by next week, mixing will be in full swing. We’re still delayed by a few days but we’ll leave it to Boom to decide if we can launch by the middle of July. As for us, we’ll just stick to our schedules as best as we can.
Our biggest hurdle is that Backyard Project Studio is fully booked for the next two months at least. Menaya, the band from Manila that Gabby is producing, just finished their sessions, so we’ve got a small window of opportunity.
The option that we are exercising now is that we ask Mikmik to set-up the studio just before he leaves at 4pm every afternoon so that we can just record without him. Heinrich, the studio assistant will be around to help us out. We’ve been able to do it a couple of times already. This way, we won’t have to wait for a free schedule before we can record. And recording late afternoons works for me what with my day job. Ian can even come in earlier since he’s free afternoons.
Finally, the last few hurdles. Even my album designs are coming along ok now. Just doing a few minor tweaking and stuff although I really can’t finish the designs until we decide the song order for the album. Now that’s another thing that really needs serious thought.
There is no pleasing everybody. No matter what you do or how you do things, you will always have detractors. And I’m not even talking about politics.
One thing I’ve noticed is that as your music gets exposed to more people, more criticism comes your way. Not entirely a bad thing if criticisms were meant to be constructive only I have this nagging suspicion that 99.9% of the time, these supposedly self-assured critics just want to say something about your music so they can be show-offs. A dead giveaway of this is when they deliver their monologues, they usually make mention of names of obscure bands they probably only read about from some obscure magazine.
And they expect me to enjoy the conversation with them? How can I enjoy talking to some stranger about how closely my band’s music resembles the sound of some foreign band whose name, much less their songs, I’ve never even heard of?
I’ve always hated musical elitists. People who will never admit to liking a band that has achieved substantial radio airplay. It’s like if a band they like gets big, they’re automatically a sellout, and then they’ll begin to refer to these bands with lines like, “you know, their earlier material was really better and more honest”. Like they could talk about honesty.
I wish they’d just form their own band and play their own music instead of loudly labeling everybody else’s as unoriginal. It would be infinitely more entertaining to find out how much worse they could sound.
The crowd really played us more than we played for them. Even with the blinding lights, I could glimpse the silhouetted forms that made up the undulating sea of people massed in front of the alternative stage in Fete de la Musique. We played “Quick to Panic” as an opener, a song we haven’t released yet, yet surprisingly, it got the crowd going. And what a huge crowd it was tonight.
Nothing like the first time we got to play for the annual Fete de la Musique which was five years ago in 2000 at the Fort Bonifacio. Back then, the stage was much smaller, indoors in a bar in fact, and the band list, at least for our stage, shorter.
This year, the shows start early in the afternoon with the crowd swelling to as much as the open parking areas could accommodate, which was a lot. And now as we played our number, the crowd grew wild. Too bad we only got to play 2 songs. It’s always a good thing to leave the audience wanting more only in this case, it wasn’t a choice we could make. The stagehands had flashed the ‘5 minute’ card at us after our first song meaning we had to wrap it up. There was a tight schedule that had to be followed.
We closed with “Lemerson” and it felt good to play our song to a crowd of truly appreciative listeners. It’s been said that the alternative stage in every Fete is where the audience is mostly people who actually come to listen to the bands and not to just mosh the pit. Tonight we all felt their appreciativeness. I mean how could we not?