Illustrado LIVE at Tower Sessions Tomorrow + Album Review (Part 1 of 2)
Illustrado LIVE at Tower Sessions (Tomorrow)
7:00PM, March 5, 2021
https://www.facebook.com/TowerSessions/
ILLUSTRADO - HANGGANG KAMATAYAN (2020)
DOUBLE ALBUM REVIEW (Part 1, Long Read)
By Kevin Rayneman
Picture this: it’s the end of 2020 and you’ve grown emotionally exhausted from nine months of quarantine and all the fuckery that occurred in-between. You do your best to dabble into things you’re passionate about, explore other money-making ventures, and just do anything productive so you can tell yourself that you’ve made the most of being stuck at home. But somewhere in the back of your mind, you know that all of it is a mere distraction, and there’s no way around the truth: 2020 fucking sucks! Right before it ends, you remember that one of your favourite rap groups is releasing a new album and there’s going to be an online listening party to commemorate the occasion. Little do you know, this would be the most reinvigorating thing you’ll experience all year round.
Illustrado has always been a favourite as their first album launch in 2017 was a critical success. In their self-titled debut album, "Illustrado", the emcee trio of Batas, Sayadd, and Goriong Talas (formerly known as Spade) had a special chemistry because of their unique rap personas and approach to lyricism; on top of a shared vision of delivering the most artistic hardcore rap album possible, with producer Apo Lerma (also known as Moki Mcfly) being the glue that bound them together through his distinctly Filipino-sounding beats that gave the group’s music an air of mystique.
It was a no-brainer that their second album was going to be another hit! While I’ve personally been looking forward to it, a lot has happened in three years (with 2020 feeling like another three years all on its own), and the pandemic blues and the childishness of the rampant rap beef (which Smugglaz had attributed mostly to the toxicity of the fans, and the prevalence of herd mentality within rival factions rather than letting members duke it out as individuals) seemed to have left a sour taste in some of us hiphop fans’ mouths. During this time, most of FlipTop’s emcees were constantly grinding despite the constraints which served as an inspiration for many, especially Batas who had two battle performances in a quarantine setting, several original segments in his new YouTube channel BATASISMO, and two album releases (Teknika Brutal’s 2nd EP “Puro”, and produced for aero. in “3rd World Uprising”), but it was ultimately Illustrado’s online album launch that had jolted us back to life. It definitely felt like three years’ worth of hard work. Illustrado symbolized something greatly missed from hiphop: artists that really pour their heart out with each project; a group of unruly mavericks who end up being a voice of reason despite their vulgarity; anti-heroes who simply don’t care how the masses viewed them.
Album Launch Poster
- OVERVIEW -
Illustrado’s second release, “Hanggang Kamatayan”, is a whopping 29-track double LP split into two discs: “Ngayon” and “Bukas”. It once again features the four-man team of Batas, Gorio, Sayadd, and Apo Lerma. There are only eight features in this project (five emcees and three DJs) compared to the first album’s ten, and when distributed within the two discs feels like a really small number. What that means is this is completely Illustrado's show, and no one is going to steal it from them.
The album art is an elegant rendition of their trademark logo in wrinkled gold, with a black background for “Ngayon”, and a white one for “Bukas”. The minimalist cover conceals any artistic impact from the project for until you actually start hearing it, conveying that they need only let the tracks themselves do the talking. It also reminds me of Run The Jewels, which is fitting because the jump in quality from “Illustrado” to “Hanggang Kamatayan” also mirrors the evolution from RTJ1 to RTJ2.
All four members display their individual growths throughout the project. The three emcees have greatly improved as rappers and writers, and I will attempt to break down their improvements as the review proceeds. Moki’s production throughout the project is also stellar, making highly flavorful beats without overwhelming the main highlight of the album: the emcees’ bars.
Hanggang Kamatayan: Ngayon
- DISC 1: NGAYON - TRACK REVIEW -
The first track, paradoxically titled “Wakas”, is an instrumental track that serves to set the tone of the album. Opening up with forebodingly dramatic horns and vocal samples of revolutionary call-to-arms from what I’m pretty sure is a Rizal movie (I wish I was more pinoy film-savvy to confirm this), the highly cinematic intro heralds the return of the Four Ministers of Sound.
This is a very well thought-out opening that ties into the first album in two ways. First, the title and the narrative of the samples directly contrast the first track of “Illustrado”: if “Unang Putok” was the first shot, then “Wakas” is boiling point and the beginning of the end. Second, the remixing of the hooks from their self-titled album’s last two tracks (“Mano Po” and “Di Sunog”) reminds us where we ended last time, as the group confidently re-declares their presence in the scene and makes good on Batas’s promise that they will keep making music as long as their embers haven’t burnt out.
This is a much more exhilarating opening than in the previous album, funked up by Apo Lerma’s chops and Supreme Fist’s supreme scratches. From the intro alone, you can tell that this is going to be wild ride.
--
The second track, “Kapalaran”, is a bombastic re-introduction to the new and evolved Illustrado. Opening up with Goriong Talas rapping to the sound of kulintang chimes, the bass gradually builds up until the full trap beat punches in and Gorio also goes full throttle with his flow. When Uprising does trap, they have a tendency use very analog sounding percussions rather than the typical hi-hats you commonly hear. Moki’s use of traditional drum rolls, horns, and the kulintang's subtle chimes in the background gives the track a very ethnic, militant feel.
The emcees' pen games are sharp as can be, exactly like how we missed them but with even more to their arsenal that we'll be seeing more of. The three are perfectly positioned where they need to be in the track, where their verses will most effectively dictate the energy of the song: Gorio gives the song a calm and suave beginning then suddenly kicks it into high gear; Batas slows down the tempo to make the listeners pay closer attention to all the bars he’s unloading; then Sayadd goes in for the kill with his gripping cadence and nihilistic storytelling. Lines from the first album are again remixed for this track’s second hook (because who else best to sample for your projects but yourself?), and when sped up and paired with DJ Nicko's scratching, gives the song a big adrenaline boost.
This was a slow, delicious tease towards a different sound that the group has never displayed before, and the energy doesn't let up until the end. It’s a damn good opening, one that completely warranted this lengthy review solely dedicated for it, because for me, the first two or three tracks are the most important part of an album and may well be its make or break decider. And two tracks in, the album already nailed the landing.
--
The third track, “Di Na Iinom” (again featuring DJ Nicko), is an unexpected swerve towards a much more tame subject matter: drinking. Nevertheless, their execution of this track is unmistakably Illustrado, and they actually end up displaying a bit of their human sides through the stories they tell, adding depth and humor to the album.
Batas name-drops the track in his opening line, sarcastically promising not to drink again, telling of his walwal escapades with a clear lack of remorse, before admitting in the end that he was mocking the concept all along. Gorio approaches his verse with a sense of mystery, sticking with his problematic character as he tells the story of a drunken sexual encounter gone horribly wrong. Sayadd tells a simple but poetic story of how he barged into some complete strangers’ drinking session and ended up becoming good friends with all of them, ironically having the most harmless outcome out of all three verses.
The three approached the topic through completely different angles and perspectives, as they’ve shown they liked to do back in the first album. Usually, approaching a posse track like that leads to incoherency in the song’s narrative (not like that had ever mattered in the free-flowing genre of hiphop though); but over time, you learn to appreciate this clashing of independent thought processes, how it serves to heighten each of them up, and how it keeps you guessing how one emcee will attack the subject matter.
Despite being more laid back and story-oriented than the rest of the track list, “Di Na Iinom” ended up as one of my favourite tracks because of how it stands out thematically and musically. The instrumental has to be one of the grooviest beats Apo Lerma has ever made, and the singy-songy flow that Sayadd did in his last eight bars is the most memorable flow in the whole album.
--
Another cool new addition in the album is that after “Di Na Iinom”, each Illustrado emcee gets their own solo track to fully display their unique styles of writing and rapping.
Starting this off at Track 4 is “Sabakal”, a Sayadd solo track (something many fans have been wishing for for a very long time). The track is just pure bliss: three full verses of nonstop punchlines and tight-knit rhymes as Sayadd demonstrates his supremacy over foes and hindrances that he considers as weak, soft, and whiny.
This track demonstrates what makes Sayadd’s brand of lyricism so distinct and effective. His penchant for subverting idioms, heavy usage of oxymoronic and ironic statements, and endless supply of metaphors make every line rife with concepts and multiple possible interpretations, while making sure the surface level statements themselves sound dope regardless of all the deeper context. Every verse is a rabbit hole of constantly-alternating insanity and profoundness that best represents his murderous multiple personas; every line is quotable and it is near impossible to choose one favourite.
After the exhilarating sounds of the first three tracks, the instrumentals in “Sabakal” are very subdued and completely takes a backseat, giving Sayadd center stage with his storytelling. The mystic vibe and humming female samples make you feel lost in limbo, stuck with the worst possible person to serve as your guide and voice of reason.
--
Next is Track 5, “Relihiyon”, Goriong Talas’ solo track. This is my first time hearing a Gorio solo, and it’s a good display of what he’s capable of doing on his own. He glides through the trap beat with his improved, more suave delivery and sense of rhythm.
Here, he professes his love for hiphop, which has transcended culture and become his personal religion. He practices his faith by devoting his life to dishing out grim lyricism; brandishing a bible made entirely out of it. He portrays himself as a dark messenger wreaking destruction upon the world. Apocalyptic as his message may be, the chillness of Apo Lerma’s trap beat makes this an inspiring song to play through, also a fitting way to describe Gorio’s own journey as an emcee faithful to the art of hardcore rap.
--
Last of the solo triplet is Track 6, “Sasabihin Ko”, where Batas takes a stand against sellouts, half-assers, and the general treachery within the music scene. He expresses his frustrations towards those who would compromise their artistry for the sake of money; those who, in that pursuit, would let themselves be made fools of by the music industry; those who would throw their own peers under the bus for personal gain. In the end, he proudly boasts that he will stay true to himself amidst all this, comfortable in being a heel figure who speaks of harsh truths that most would rather avoid; and he will stick with his brand of lyricism and necessary negativity whether or not it leads him to riches.
While Batas is generally known to speak exactly what’s on his mind, this track feels different because the angles he tackled in the song felt like heartfelt sentiments that were unmasked by his usual bravado. Like it would be nice if things were different, but since this is the reality of things, he needs to be his unflinching and unfiltered self in order to survive in this concrete jungle. Thus, it’s fitting that he ends the track by blocking out all doubts and going back to delivering bar after bar in the last verse.
Among my favourites from the album, “Sasabihin Ko” had made the most impact on me; something I really needed to hear to uplift me from feeling stifled by an overwhelmingly cancerous environment that seemed futile to try and go against. Batas once talked about his preference for negative themes in “Itanong mo sa Batas Ep. 1”, finding it a more inspiring approach for which to discuss the realities of the world, and that philosophy likely resonates with some in these circumstances. Batas is the anti-hero we need in these times of toxic positivity.
- DISC 2: BUKAS TRACK REVIEW -
The first track of Disc 2, "Hapis", is a serene instrumental that lets us take a moment of rest from that truth bomb that was dropped on us earlier. This must have been a fun beat for Apo Lerma to make because of how well all the layers blend together to create the soundscape. The very chill funk induced by the bassline and samples is a welcome change of tune before we head right back to that hardcore shit, which we’re about to do in dramatic fashion.
--
In Track 2, "Ano Kayo Ngayon", the group finally throws its gauntlets in the hiphop warzone, taunting every single foe that would question their legitimacy despite being lyrically beneath them. They address all the opportunists who’ve only come out of the woodworks because the scene is lucrative now; those who would gatekeep and claim ownership of the culture; those who would use views and profits and mainstream appeal and whatever else as metrics of your skill as a rapper, all having nothing to do with actually having good content. For Illustrado, passion and thought is everything, and they demonstrate this as they tear the circus down with their relentless punchlines and us-against-the-world attitude.
The track is pretty high octane throughout, with Sayadd kicking it off with his most fast-paced verse in the album (with some delicious screamo growls in the middle), and Gorio and Batas following up to that energetic intro excellently. You can tell the track is new material not just because of the old school vs new school beef and coronavirus references, but also because they sound very recharged energy and writing wise when compared to the end parts of Disc 1. Overall, a great opening counterpart to "Kapalaran".
--
Track 3, “Kupal”, is the other single that Illustrado released from this album back in March 21, 2020. Directly mirroring “Di Na Iinom” in its track placement, this is its fun song counterpart in Disc 2. Here, the trio flaunts how big of a scumbag each of them are. That’s literally the point of the song.
Their actions here, ranging from heinous deeds to petty inconveniences, are so unbelievably mean that it’s actually funny to listen to; the mood being complemented by the stark dissonance between the upbeat instrumentals and their sheer arrogance and assholery. Gorio’s verse here in particular is the most hilarious verse in the album, and it’s also hysterical how hard Batas emphasizes the word ‘kupal’ in the hook. Sayadd ends the song on a serious note by spitting straight fire. Rich in Illustrado style black comedy while still being a barfest, “Kupal” is the perfect song to play in a family reunion with all your aunts and grannies.
--
After “Kupal”, we get another three solo tracks from each Illustrado emcee. It seems they’ve decided to use the same album structure for both “Ngayon” and “Bukas”.
Track 4, “Di Biro”, is Goriong Talas’ second solo where he again demonstrates his serious dedication to hiphop by showcasing three verses jam-packed with clever punchlines. He also acknowledges his beginnings, namely, his verse in "Tatlong Dragon" (alongside Apekz and Shehyee), and his being a hiphop meme for several years because of his infamous "palaman sa sabon" line against Dello (which he turns into a punchline to show he's well past it now). It's only two simple lines, but as someone who's been watching Gorio for a long time, this contextualizes just how much he’s improved since the days he was considered lyrically hit-or-miss. Now, in a group with two of the most infamous underground lyricists, he’s been able to stand out with his own unique persona touting a mix of subversiveness, blatant disregard for humanity, and apocalyptic deliverance. Despite the total abrasiveness of his verses, the triumphant-sounding beat and the knowledge of Gorio’s growth makes this one of the most uplifting songs in the album.
--
Next at Track 5 is a Batas solo, “Makata sa Pinas”. If you know Batas’ views and his numerous call-outs in the first album, you already know what’s coming and that it’s going to be good. The beat is also right up both of his alleys, sampling old school pinoy rock & roll riffs and high-pitched stabs reminiscent of Cypress Hill, playing over that classic boombap tempo.
In the song, Batas makes playful commentaries about what it’s like to be a rapper in a country where the majority neither cares about nor respects your artform; and the bastardization involved with becoming mainstream famous. He criticizes the fickleness and ignorance of the mainstream audience, that only ever listens to rap if: the rapper can spit really fast, is a goody two-shoes, has that polished Fil-Am english accent, is either extremely attractive or funny-looking (using as an example Zaito and how the masses have come to know him for his comedic face rather than his heavily underrated artistic skill), or is a showbiz celebrity; if the rap style follows whatever’s trending abroad; if the rap content is watered-down, easily digestable, and safely palatable for the common pinoy household with (often hypocritical) conservative Christian / liberal disente values, who never want to hear anything offensive and controversial ever, even if that said offensive/controversial thing contains meaningful truths we should be talking about.
Batas makes it known throughout the song that he does not like rappers who play this game, whether they’re getting played by it, or actually like playing it at the cost of artistic freedom. Granted that there are many sensible reasons for a musician to prioritize financial stability over artistry; and trying to remain pure and uncompromising in a chaotic genre often preyed upon by capitalism and large egos is a lonely endeavor; but still Batas chooses to stand by his philosophy, saying that it will be his greatest joy if he can still rap this sharply until the age of 80. And he will always refuse to play this game of money equals power and camaraderie over truthfulness.
I didn’t expect coming to this album that Batas’ highlights would be his social commentaries, or that those would be my favourite things out of it, but here we are. These brief two lines perfectly encapsulates the very essence of Illustrado and their movement:
“Maging makata lang, ‘di ako makukuntento
Bawat obra ko kasi, kaluluwa ko instrumento”
--
Track 6, “Bumalik na ang Bulong”, is Sayadd’s second solo track. This track was one of Uprising’s submissions for the LIVE ASEAN Music Showcase Festival 2020, and fans’ve been eagerly waiting to hear the fully mixed studio version. Surprisingly, they replaced the beat with a completely different-sounding new one. Honestly, I still prefer the original beat due to how perfectly Sayadd-like it sounds, but I recognize that that particular beat would have been out of place at this part of the album in terms of sound progression, necessitating a beat change. The good thing is that this new jazzy beat is also pretty good and plenty more polished; and the different flavor it gives to the song is a welcome one.
In the track, Sayadd foretells of his fated return as a force of chaos and insanity, as he gives foreboding warnings to certain complacent individuals; striking fear into their hearts before passing his grim judgement upon them. Alternatively, you can take the song as a declaration that hiphop’s favourite lunatic is back with more mindblowing music.
Sayadd’s writing is as poetic as always. The imageries presented are very impactful; you can glean a vague idea of what he’s trying to say before you even sit down and go over the lyrics carefully. The song contains some of the most unique and impressive rhyme schemes I’ve ever heard, even in this day and age where multisyllabic rhyming is a highly competitive field. His highly unconventional choices of words and expressions put him in a very different lane than the rest. One of the most noteworthy ones is from the last 8 bars in Verse 2:
“At nag-ugat lang ang binhi noong sa liwanag humindi
Kaya nakakapagbunyi lang ay mga walang malay
Pamamahagi ng hapdi, pagbabalik lang ng sukli
Pagkat sapat ang kaunti sa sinarili mong hanay
Nagawa mong magtimpi sa panahong pinaikli
Maglalakbay ka bang muli kapag giniba ang 'yong bahay
Ang lahat sayo'y munti sa paitiman ng budhi
Sige nga pakigulat mo kami sa susunod mong alay”
This track is an absolute writing masterclass. I suspect, without shame, that there’s a lot more depth to be unearthed than what I can decipher, but again. that’s exactly the appeal of Sayadd’s style: it doesn’t matter if you can understand one or many or even none of the layers, it still sounds really damn good. And one might think that being deep like this is easy to fake, but achieving this sense of balance with such an approach is extremely difficult, and one of the reasons I’ve come to better enjoy left-field styles like this over the years.
- OVERALL REVIEW -
After more than 7,000 words of insights, and several days binging the album and transcribing each track, I think anyone would run out of ways to describe “Hanggang Kamatayan” as other than fucking amazing! Every single track is filled with meaning and layers of technicality, and every member has outdone themselves with the level of artistry they displayed throughout.
Batas has moved out of his comfort zone and added some social commentary to his cut-throat lyricism. This could be found as his weakness back in the first album, but here, he’s improved it to such a great extent that his commentary verses were slightly more enjoyable than his pure punchline-oriented verses, and he’s at his best when he combines the two worlds. He’s also shown a lot more mastery over his gruff delivery, being able to relax it and be playful with it when the tracks deem necessary. I cannot gauge for sure how much personal growth he’s undergone, but the Batas in his Illustrado persona feels a lot more energized and human. In his fearless attitude in calling out what needs to be called out, it’s easy to see why most have considered him the face of Kampo and Illustrado over the years.
Goriong Talas has shown great improvements to his already-versatile pen game as well, upping his rhyming ability (by utilizing more uncommon Filipino words that would have you constantly Googling), relying less on double entendres and more on imagery-based bars, and showcasing his own expertise with rhetorical statements and blunt commentaries. His growing penchant for evangelical bars has allowed him to craft a different lane than his groupmates where he can stand out. His delivery is a lot more suave and varied per song. Overall, he has the aura of a wiser man about him with the way he raps and the perspectives he’s chosen. Strangely enough, that has had the (possibly unintended) effect of making him feel like the wholesome and inspiring one in the group.
Sayadd has broken through what was already a high ceiling he set for himself lyrically; displaying so much more depth to his writing that could take years for listeners and other emcees to catch up with. The imagery he paints are as crystal-clear and striking as ever, but here, it feels like he’s able to condense more points in each verse than he was previously capable of. He’s shown a lot more range with his delivery and flow. At times, bringing out really catchy melodies without compromising the lyrics one bit, which is extremely hard to do. His rhyming has improved by a ton, stringing together lengthy schemes and complex multis that use words and expressions seldom heard from other rappers. Best of all, he’s taken his insane persona to new directions: whether the track is supposed to be fun, thought-provoking, abrasive, or humorous, he manages to make his insanity the punchline in the end without it being played out.
Apo Lerma is already such a prolific producer in the hiphop scene. The sound he’s brought to “Hanggang Kamatayan” is a lot more flavorful and varied than his work from “Illustrado”. While his sampling of classic Filipino music and movie sounds is on point as ever, he’s added funkier basslines and much more experimental sounds like trap beats, traditional folk instruments, and moodier samples that break away from the group’s norms. In every single track, the instrumentals set exactly the right tone for the track’s concept, and are easy enough for the emcees to ride on; never overshadowing them with too much flair while also still having a lot of subtleties working underneath. Apo Lerma and his synergy with the three emcees has come to define the sound of Illustrado, one that is unlike any other, even in hiphop’s diverse undergound.
To be Continued!
Listen to Illustrado - Hanggang Kamatayan: Ngayon at Bukas on
https://www.illustrado.bandcamp.com
https://open.spotify.com/artist/1nSimtmn2BcWySymd0bBFJ
and all streaming platforms!