Present Sense started life as a germ of an idea earlier this year. I put together a rough lineup of songs written in the last couple of years and as I did so, I noticed that there was a story unfolding before my eyes. Which is why Present Sense ended up being a loose concept album of sorts. I don’t want to explain the story too much but it is imperative that you listen to the album in its entirety to get the full impact. Suffice to say that there are certain auto-biographical aspects but at its core it’s fiction.
I was very fortunate to be able to benefit from the contributions of Joshua Tan (The Fire Fight, A Vacant Affair) on electric guitars, Nelson Tan (In Each Hand a Cutlass) on bass and my old friend Ray Aziz (too many bands to mention!) on drums. In addition, Eileen Chai also provided gorgeous violins on two songs. To embellish the storytelling, I also managed to add voiceovers from Esther Low, James Khoo and X’Ho to the mix as well. But the biggest credit must go to my partner-in-crime Patrick Chng (That Locked Door studio) who co-produced, recorded, mixed and mastered the album brilliantly. In addition, special thanks must go out to Daniel Sassoon and Leonard Soosay (Snakeweed Studios) for making the drums recording possible. Last but not least, an appreciation to film maker Tzang Merwyn Tong for his assistance with the lettering design seen on the album cover.
So we are here. Present Sense is now available for pre-orders at iTunes with a download of “Vancouver Gurls”. The album itself will be released digitally worldwide by KAMCO Music on 11th September. I will support the release (with The Groovy People) with two shows in September viz. at Artistry Cafe on 18th September (tickets available from Peatix) and at Barbershop by Timbre on 23rd September (free admission).
British indie-rock band, CIRCA WAVES headlines the first South East Asia edition of the Stand For Something Tour 2015 – touring Jakarta, Manila, and Singapore – with support from home-city respective band acts, soon to be announced.
Dr. Martens Stand For Something 2015 presents Circa Waves tour dates and venues:
22nd October – Jakarta: Foundry No. 8
23rd October – Singapore: 72-13
24th October – Manila: 12 Monkeys
Tickets to Circa Waves are complimentary. Free ticket release date and homegrown guest bands to be announced soon.
There is a dream-like quality about the opening songs on Irish pop-rock evangelists Pugwash’s new album, Play This Intimately (As If Among Friends). The first six tracks have a pleasing and enveloping mellifluence that functions as an effective panacea for the ills of the modern (pop) world. Mid-tempo numbers like “Kicking and Screaming” and “Lucky In Every Way” will bear the familiar hallmarks of the Pugwah oeuvre – a comfortable rhythm, note-perfect harmonies, sympathetic guitar patterns and memorable singalong tunes. “Feed His Heart With Coal” has a clever train motif running through the track which recalls the work of XTC whilst “Just So You Know” is a brilliant ballad laced with spy movie themes.
The rockabilly ditty “You Could Always Cry” is the one concession to a heightened tempo and “Hung Myself Out To Dry” possesses a feisty McCartney-esque music hall jaunt (with a chorus melody Macca himself would be proud to call his own!).
But when “Silly Love” slows down the pace once more, it feels… right. There is a sense of ease that is hypnotic and mesmerising.“All the Way From Love” will no doubt entrance Roy Orbison lovers with its wondrous channeling of the Big O and “We Are Everywhere” is a slow burning Beatlesque psychedelic pop ballad that delivers an appropriate ending.
Recorded at The Kink’s Konk studios, this new album is everything Pugwash fans would expect from their heroes and much more. With the band’s own heroes Ray Davies (The Kinks), Andy Partridge (XTC) and ELO’s Jeff Lynne guesting on a couple tracks — not to mention The Divine Comedy’s Neil Hannon on keyboards — there is a genuine feeling that all is right with the world.
It all makes sense – this is as close as you can get to pop perfection in 2015.
I will be honest (when am I not?) – I first noticed Gayle Nerva in a tour video of I Hate This Place in Japan sometime ago and was struck by her effervescent personality. Then, it was her lovely voice and then her heartfelt ballads that got my firm attention. I have always believe that given a chance, her music would appeal to a mainstream pop audience home and abroad.
Well, glad to say that her new single “Pretend” is out – it’s a dark electro-pop number produced by Trick’s Marc Lian – and Gayle will be performing at the Esplanade Recital Studio on Saturday, September 5th. Tickets available from SISTIC. Check out the music video below.
Comic book legend Jack Kirby would have been 98 on 28th August 2015. He passed away in 1994 at the age of 76 and at that time, his work was not recognised by the company that had benefited most from his creativity viz. Marvel Comics. It’s certainly fair to say that Jack Kirby (and not Stan Lee) is the father of the Marvel Universe. Even without getting into the arguments about who created what, there’s no denying that Kirby is the originator of the visuals that proved so popular initially with comic book fans, and ultimately moviegoers worldwide. So let’s take a look at what Kirby had done in the 60s/70s, that now form the foundation of the billion dollar Marvel Cinematic Universe franchise. Long live the King!
The Walking Dead is one of the most successful shows currently on television and with good reason. It is a smart, character-driven drama that has captivated audiences by constantly developing their characters and letting us become invested in their stories as they journey through the zombie apocalypse. It seems that AMC is hoping to make lightning strike twice by creating a companion series for the popular show entitled Fear the Walking Dead.
Instead of in the south, Fear the Walking Dead takes place in Los Angeles in the several-week period that Rick Grimes was in a coma and is unable to witness the slowly descending horror. We are able to watch how things fall apart in a major metropolitan area as it crumbles under the weight of the hordes of the undead.
Identical twins Wyatt and Fletcher Shears make up eccentric garage punk duo The Garden. The pair specialises in micro-songs that seldom to never reach the two minute mark. In fact, their last album – The Life and Times of a Paperclip – had a duration of 19 minutes. That said, the hauntingly jaunty new single “All Smiles Over Here” is almost three minutes! Whoa! New direction!
Kudos to Other Sounds for promoting these quirky and unique sounding little bands. Sleepwalker, is a brand new series of shows Other Sounds is organising in Singapore to bring a fresh and challenging new band to our shores every month this year from October to December. Sounds like fun!
Sleepwalker: THE GARDEN (USA) live in Singapore
with supports TBA
50 Lorong 17 Geylang
Sunday, 11 October 2015
Doors open: 8pm
$35 pre-sale / $40 door / $100 series bundle
I have always been passionate about having more female artists/musicians in our local scene. Certainly, one of the signs of a progressive music scene would be the number of talented and creative women operating within the same. Well, in very recent times, you basically cannot keep the women out of the local music scene even if you tried and the rise to prominence of Eugenia Yip (a.k.a. Ginny Bloop) is one significant milestone, for sure.
The enigmatic vocalist is making a name for herself fronting TWO critically acclaimed acts viz. The Steve McQueens and Riot !n Magenta, and whilst there is no denying the strong musicianship of the men behind her in both bands – there is also little doubt that Ginny is the star of the show whenever she steps up on stage. Fresh from a triumphant Japanese tour with The Steve McQueens, Ginny lit up the proceedings at the Ignite Music Festival 2015 with her idiosyncratic stylings. With her aviator shades and tie-dyed top, Ginny looked (and sounded) like a rock star – the consummate stage performer holding court. Considering how Singaporean musicians are generally awkward on stage, Ginny is a rarity and utterly mesmerising in performance – once you are hypnotised by the Ginny Bloop experience, it’s never enough. Seriously, folks.
Has been a while since I have seen The Good Life Project in action and the presence of three ladies in the septet (singer Pamela, bassist Stasha and violinist Kim) has always spiced things up. Not that the guys are slouches in the instrumental department with Sano, Naz, Intriguant (Lewis) and Ritz (subbing for Boey) more than able to pull their own weight. Considering the sheer amount of talent that resides in this group, I am still mystified at the fact that they remain somewhat obscure in the scheme of things in the local scene. Their pleasing blend of sophisticated jazz-funk-R&B-pop-rock is a recipe for mainstream success, with as much as potential for overseas acceptance as that currently received by The Steve McQueens. At Ignite last evening, they owned the stage, oozing class and dynamism from start to finish – they deserve so much more! Here’s hoping we will see and hear more from the band in the months ahead.
The late Ian Macdonald, one of most influential rock critics of all time, wrote in 2003 that “the essentials of modern popular music were laid down during a period of less than ten years and that, but for some technical innovations leading to various musical diversions (such as reggae, rap/hip hop and sequenced dance music), nothing intrinsically new has appeared since then, all musical mini-revolutions in the last twenty years being prefaced in the products of the sixties, the foundation decade for all that’s followed.”
There’s no denying that the origins of blues-rock, garage, pop-rock, R&B, avant rock. metal, folk-rock and punk rock lie in the sixties but it can also be argued that the seventies were even more influential (especially in relation to the origins of rap/hip hop) or even the nineties (as electronic music became more pervasive). These discussions about the origins of the diverse music genres that make up the landscape of modern popular music will be at the heart of my WRITING ABOUT ROCK MUSIC course to be conducted in two weeks!
So The Little Giant (aka Hilary Yang) was one of my last NAC Noise mentees last year and the problem with listening to a song in its embryonic form is sometimes it’s hard to accept a radically different version. Thus it’s the case with “You Got Some” which in typical Hilary fashion has something to do with the male obsession with sex. This first single from Hilary’s debut EP – “Let’s Just Be Honest” is now a bit of a rockabilly number which I have an issue with – Hilary’s vocal delivery becomes quite garbled with the increased tempo and God knows it’s all about her lyrics. But the saving grace is this wonderful lyric video (by Annie Hung – well done with the male sexual metaphors!) which sets out the lyrics before your very eyes whilst you hear the song and voila! Problem solved.
The Little Giant “Let’s Just be Honest” EP Launch
Friday, 4th September 7pm
BluJaz Cafe (3rd Floor) 11 Bali Lane, Historic Kampong Glam, Singapore 189848
(With special guests, The MadHatter Project & Anise SG!)
$15 advanced tickets available at : thelittlegiantEP.peatix.com
$20 tickets at the door (subject to availability)
$30 ticket + EP at the door (subject to availability)
People sometimes ask why this website isn’t called Power of Rock when my musical tastes seem to gravitate towards rock rather than pop music. But this betrays a somewhat myopic understanding of what pop music actually is, and falls prey to the common misconception of pop.
Strictly speaking, popular music as a ‘genre’ is utilised to differentiate from other known generic forms of music – for example, classical music, traditional/ethnic music and art/avant garde music.
Traditional/ethnic music (in this case, Chinese)
Art/Avant-garde music (in this case, minimalism)
In this context, it is easy to see that popular music is ‘different’ in that it appeals to the masses and is more universally inclusive, compared to the above ‘genres’. This means that popular music includes country, folk, blues, soul, jazz, rock and pop, also combinations amongst the aforementioned and cross-pollinations with the other generic forms as well.
But of course, understanding the diverse ‘genres’ within the broad popular music category is really important if you are trying to describe a certain type of music. Perhaps less so in today’s environment where music can be heard over the internet on demand but for marketing and promotional purposes, this understanding still plays a crucial role.
Which brings me, inevitably, to my WRITING ON ROCK MUSIC course, which I will be conducting over 4 Saturdays in September and I will going over this issue of popular music genres. The fee is $300 and registration is still open till 4th September. Sign up at firstname.lastname@example.org
Nothing wrong with going all retrodelic like (as someone once described the music of Robyn Hitchcock and the Egyptians) if the music is as good as Perth band The High Leary’s new single “Letters to Alice”. Evoking the glorious mid-60s psych-rock majesty of bands like Pink Floyd, The Doors and Deep Purple, “Letters to Alice” will appeal to fans of modern day psych-rock revivalists like Temples and Tame Impala. “Letters to Alice” will be released on 4th September but you can preview the track now streaming at Soundcloud.
If nothing else, the Fantastic Four reboot has gotten us thinking about the worst superhero movies out there – of which there is an abundance, sadly.
Well, first up, of course, the obvious ones from DC’s World’s Finest, no less.
SUPERMAN IV: THE QUEST FOR PEACE (1987)
How did this franchise go from highly acclaimed (the first two instalments) to an absolute dud?
BATMAN AND ROBIN (1997)
Tim Burton revived the Bat-franchise with two well-received dark movies before Joel Schumacher decided to have some campy fun with the character. George Clooney famously said that he almost single-handedly killed the Caped Crusader! A nadir for the superhero genre.
X-MEN: THE LAST STAND (2006)
Again, two hit movies in the franchise somehow led to a turkey. Bryan Singer abandoned this 2nd X-Men sequel to helm Superman Returns (more of that later) leaving Bret Ratner to pick up the pieces. What he assemble was a travesty that subsequent X-Men movies have barely acknowledged. Favourite line? “I’m the Juggernaut, bitch!”
X-MEN ORIGINS: WOLVERINE (2009)
Now, Fox had a huge hit with The Last Stand (based on the goodwill generated by the first two X-movies) so they probably thought, let’s take the most popular X-Man and make an origin movie that is just as bad. Here’s how awful this was – they sowed up Deadpool’s mouth! Seriously WTF!
SUPERMAN RETURNS (2006)
Not content in being an indirect cause for X-Men: The Last Stand sucking so bad, Bryan Singer had to foist on us all this ill-judged sequel to Superman II. C’mon! It was obvious from the beginning that this was the wrong approach for Superman in 2006.
Yes I do realise that there are still many more out there but the ones highlighted above were serious tentpole movies that spent a fair amount of money but failed as creative endeavours (some of them actually made big bucks). Thus, I ignored the likes of Daredevil, Thor: The Dark World, Iron Man 3, Green Lantern, Amazing Spider-Man 2 etc. Considering the only superhero characters at risk now are solely in the hands of 20th Century Fox (Daredevil and Punisher have thankfully reverted to Marvel and SONY is working with Marvel on Spider-Man), there is still scope for bad superhero films with the upcoming Deadpool, Gambit and upcoming X-movies. Fingers crossed, everyone!
Is it the government? Is it the natural aristocracy? Or is it the people that live within its boundaries, whether citizens or not? I don’t really know, to be honest. And I don’t really care. Singapore (or Singapura) is a country that has existed for centuries – named and founded by Sang Nila Utama in 1299! Yes boys and girls, more than 50 years ago. Well, of course, Singapore is more than 50 years old, I will be 55 next February and my birth certificate clearly states my birthplace as Singapore….
Well, we are often told during National Day Parades that Singapore is ‘home’ as that simplistic Dick Lee propaganda piece goes and 50 years of social engineering has basically made us believe that Singapore is whatever the ruling party wants us to believe. AND those of us who do our utmost best to keep our minds clean from this indoctrination year in year out are fully aware of the implications of not towing the line – the paranoia ingrained in every fibre of our being to shy away from any enterprise that involves a modicum of risk.
Even in conversations with my dear late Dad, he would admonish me whenever I started ranting about politics – “be careful what you say in public” – he would always warn. Of course, my father – part of the so-called pioneer generation – could never understand the relative freedom of the internet and could only respond based on his observations of the 60s and the 70s, when the ruling party tightened their grip on every aspect of Singaporean life.
But it’s not the 60s or 70s anymore is it? Surely, the passing of 50 years should mean that it is time for Singapore to change – and not just superficially, in terms of infrastructure and buildings – but the very social contract that has been obediently complied with. It’s a vastly different world in 2015 from that in which Singapore split from Malaysia, and as a people, Singapore must rise up to the ideals stated in our pledge – “one united people”, “democratic society”, “justice and equality” and “happiness, prosperity and
progress” – not mere aspirations but concrete reality.
That to me, is what Singapore must become. Time for a change, my brothers and sisters…
(Note: This review is filled with spoilers. Mainly because I find it hard to believe that after reading this, you would be insane enough to still want to watch this turkey!)
This Fantastic Four reboot never had a chance. From the get-go, geeks hated it. From director Josh Trank boasting about how his version would be a ‘game-changer’ to the controversial casting, this reboot has had a troubled journey. Sadly, the finished movie justifies the hate and then some.
In an attempt to ‘modernise’ the origins of the Fantastic Four – and borrowing from the Ultimate Fantastic Four series – the movie gutted out everything that made Fantastic Four so special in the first place. That sense of connection. One never got that sense from this movie.
In the comic book origin, scientist Reed Richards and pilot Ben Grimm were best friends; Susan Storm was Richards’ girlfriend and Johnny Storm was Susan’s brother. Without the pre-existing relationship between Reed and Susan, their link is tenuous. Also, in the movie, Susan and Johnny are adopted siblings and of different races as well. This made any connections between them rather hard to swallow.
From that poor foundation, it becomes impossible for Trank to build up an effective story with too many plot holes to fill. For example, Reed is recruited by the Baxter Institute by way of a science fair experiment? Ludicrous. Susan gets her power without even being part of the inter-dimensional jaunt? Illogical. After the accident, Reed disappears for a year – a plot point that fails to serve the story at all!
The movie takes ridiculous short-cuts throughout, without any explanation. We never see how the characters develop their powers – we are given the finished product instead. The battle scenes are incredibly lame and do not get me started how Fox utterly fucked up Doctor Doom yet again!
Firstly, how did Victor Von Doom survive for a year in Planet Zero (not the Negative Zone, as it should have been). Secondly, why are there no security precautions to deal with Doom when everyone who returned from Planet Zero has some incredible powers. Finally, why is it so easy for the Fantastic Four to dispatch Doom when earlier he was shown to kill people by merely looking at them?
Suffice to say that this is one of the worst superhero movies in recent memory and will take its rightful place alongside X-Men: The Last Stand, X-Men Origins: Wolverine, Superman Returns and Spider-Man 3.
DO NOT WATCH THIS MOVIE AND HOPEFULLY IT WILL BE ENOUGH OF A FAILURE SO THAT FOX WILL GIVE UP AND RETURN THE FANTASTIC FOUR TO MARVEL.
The Merc with the Mouth gets his own movie! And it certainly looks like Ryan Reynolds was born to play Deadpool – though am not sure if that’s much of a compliment. And judging from the red band trailer, it’s everything you expected a Deadpool movie to be. Not quite sure if that’s a good thing though.
MUSICComments Off on THE UNEXPECTED BUT WELCOME RETURN OF ALLURA!
Wow! This happened! Quite out of the blue and somewhat under the radar, Allura has dropped a new EP after disappearing for SIX years!
I won’t lie – listening to the 1832 EP is akin to a religious experience! The musical sophistication displayed in these new recordings is a wonder to behold certainly.
“Rain” is an interesting amalgam of pop with experimental musicality, “Loose Change” is an intensely emotional diatribe and “Cold*Player” is an intriguing piece that deserves a couple of plays to fully soak in.
Kudos to Aaron, Mark John, Inch, Matt and HQ for putting this wonderful gift together – it’s been too fucking long!
And that’s not all, Allura reunites for a live performance at this weekend’s 100bands festival on 8th August at 8pm!
Why a course on writing about rock music? Can’t folks simply find out online? Well, by the same token, why go to school then? Might as well learn everything online! Well, of course, I am being facetious but believe me, I have heard these arguments before… To be honest, apart from wanting to act entrepreneurial-like (and hopefully make some money), I really wanted to be able to share the knowledge and experience I have amassed from almost 40 years of listening to music (and over 20 years of writing about it!). Cuz the fact is that most music writers in Singapore don’t really know that much about what they are writing about so, I have felt the pressing need to do this. The challenge, of course, is to convince folks that they need to spend $300 to improve their writing when most of their readers might not have any clue about what good and effective music writing even looks like! In any case, I think ultimately it will be a fun time for everyone involved and so why not spend 4 Saturday afternoons with yours truly? Write in to email@example.com to sign up!
Will we ever see a band like Nirvana again? It’s hard to believe that the Nevermind album – which changed the face of the music industry in the early 90s – is now 24 years old! And since the decline of rock ‘n’ roll music in the late 90s, no other rock band has come remotely close to replicating the impact of Nirvana. Yes, we have had successful rock bands since viz. Nickelback, The Strokes, The Killers, Arctic Monkeys, Coldplay et al BUT relatively speaking, these have been minor successes when compared to the seismic pop culture impact of Lady Gaga, Katy Perry, Beyonce and the like. Artistically as well, most of these aforementioned bands have failed to deliver.
Curiously enough, the last time critics declared the demise of rock ‘n’ roll was in the late 80s, when Michael Jackson, Mariah Carey and Whitney Houston ruled the roost, but as the wheel turned rock bands like R.E.M., Nirvana and the Seattle grunge scene ascended to the top of the charts. Well, it’s almost 25 years now and there appears to be no sign of rock ‘n’ roll ever returning to those levels of influence in the mainstream pop industry.
Still, that does not mean that good rock ‘n’ roll music (whether in the guise of pop-rock, indie pop, hard rock, electro-pop, blues rock, garage or punk) wasn’t being made in the last 15 odd years, it’s just that the environment of the music industry has been altered so drastically that it is virtually impossible for what happened in the early 90s to occur once again. The decline in record sales, the rise of singing contests (American Idol, X-Factor etc) and the ubiquity of Youtube, has meant that the major labels have had to hedge their bets and cynically control the musical output and fan appreciation thereof.
This has resulted in the most basic pop formulas viz. hip-hop/R&B accounting for the lion’s share of the chart action. These are 3 of the top 5 singles on Billboard’s Hot 100 right now.
The one main thing connecting all three singles is a highly designed discipline to present the melody/rhythms as simplistically and repetitively as possible so that the hooks are very easy to remember. A deliberate lack of musical sophistication that dumbs down to the lowest common denominator creating an audience that is not able to appreciate anything that does not sound like what it hears on a non-stop basis on the radio. The perfect marketing tactic.
In fact, guitar rock is totally absent for the Top 20, with the nearest example being Maroon 5, and even though the music video for “Sugar” shows the band with guitars, it does not sound like there are any guitars on the song itself! In fact, it adheres greatly to the hip-hop/R&B formula with Adam Levine’s vocals heavily auto-tuned. Talk about soul-less! Going down the rest of the chart will depress any fan of rock ‘n’ roll with the genre’s utter lack of representation.
So, are the rumours true? Is rock ‘n’ roll dead? Well, not at the grass roots level of course, as both in the USA and the UK, there continues to be scores of bands who create great rock ‘n’ roll music, it’s just that even with the oft assumed ability of the internet to connect bands and fans, it’s the major labels leveraging on radio stations, streaming services and Youtube (again!) who will have the attention of mainstream music fans.
There’s the rub. If the major labels feel that the new rock ‘n’ roll have the fan base to make them sit up and notice, then they might feel the need to throw money that way. The question is — will the youth of today ever get tired of the formulaic pop stars being paraded before them? Will they ever hunger for something different enough to alter their listening habits? The signs have not been encouraging. The irony is that whilst the internet is always being trumpeted as the champion of free and alternative choices, the harsh reality is that the internet is still ultimately the tool of our corporate masters to dictate what food we should eat, what clothes we should wear and of course, what music we should listen to.
However, for those of us who are able to think critically for ourselves, the internet provides a means of escaping these corporate shackles and we can only do this by supporting the bands that do not conform to the grand masterplan of our overlords. Then, these bands might have the opportunity and liberty to create the kind of music we desire and love. So, is rock ‘n’ roll in a crisis? Not if rock ‘n’ roll fans continue to support the right bands and be evangelistic about the music they love.
Yes, PoP visitors, the ball is in YOUR court…
In the meantime, check out the Power of Pop playlist at Spotify highlighting 30-odd British guitar rock bands you should be supporting! Please FOLLOW!
MUSICComments Off on 2015 – THE YEAR SINGAPORE ENGLISH POP RECLAIMED MAINSTREAM STATUS?
There were three emails from major labels that I received in this past week that indicates that Singapore English pop may just be turning a significant corner. Three releases from Singapore bands that have already made an impact on a pop fan base in Singapore. That is something that has not happened since… the 1960s and the 1990s?
Granted, there is not much rock ‘n’ roll evident from the new batch of popstars-in-waiting but perhaps that is a reflection of the audience’s taste more than anything else. In any case, what we have are three singles viz. “Sixty Five” by Gentle Bones, “Take Heart” from The Sam Willows and Trick’s “Some Girls” with their obligatory accompanying videos. So let’s take a look, shall we?
First off, Gentle Bones’ “Sixty Five” is a musical tie-in to the upcoming 1965 movie and is rather downbeat and dramatic amidst its lush orchestration. The video matches the somewhat sombre mood showcasing obtuse dancing and moody lighting, capturing the tone well. Look out for a cameo from producer Leonard Soosay (with cat).
Next, The Sam Willows’ “Take Heart” emphasises all the manifest strengths of this lively quartet with the video deftly highlighting energetic dancers as the song’s hybrid hipster folk/EDM hedges all bets well enough. With its bright rainbow colours, it’s seems to provide an interesting counterpoint to the Gentle Bones’ video. Coincidence or design? Mm??
Finally, “Some Girls” finds Trick hoping to emulate their American hip-hop cousins with some T&A and risque lyrics. Somewhat daring by staid Singapore standards, at least one cannot accuse Trick of not trying to provide a visual representation of the song itself. Considering how popular hip-hop is worldwide, it’s a commendable effort.
Taken in the context of mainstream pop, these singles can stand up to anything out there and hopefully with a certain amount of marketing muscle from the major labels involved, these pop star hopefuls will become household names in Singapore and beyond!