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Datu's Tribe
Lakambini Bottom (cholesterol overdose version)
uploaded on
01/27/08 @ 02:11 PM     post a comment
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15,632 times
duration
03:51
category
Music
description
Our 1ST OFFICIAL MUSIC VIDEO (which doesn't really represent the kind of socio-political content we usually put out, haha. Our music is serious, but that doesn't mean we don't know FUN.) \m/XD\m/
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play lo-fi play hi-fi  Para Que, Elsa?
play lo-fi play hi-fi  Para Saan, Para Kanino
play lo-fi play hi-fi  Whoa! Pilipinas!
play lo-fi play hi-fi  Apiculture
play lo-fi play hi-fi  Kabataan Partylist Theme
play lo-fi play hi-fi  Karne
play lo-fi play hi-fi  Death Metal
play lo-fi play hi-fi  Lakambini Bottom (low fat version)
play lo-fi play hi-fi  Nakakalitong Mga Tao
play lo-fi play hi-fi  Kwento Ni Del
"The Artist cannot afford to isolate himself in the theory of art for art's sake, in the pursuit of his muse, in the pursuit of fleeting inspiration. No. Now our inspiration must come from the struggles of the people around us. More, we must be part of those struggles."

- Philippine National Artist for Film, Lino Brocka
Why this name?
Luck of the draw. The name was fielded in by Cabring, the band's frontman.
Do you play live?
LIVE is where it's at, and we play mostly in the Metro Manila area. We've been able to hold on to a 15-yr old reputation that's given us critical acclaim but no significant material rewards, haha.

Every gig has its special moments, but our more significant ones happen during large concert-rallies in support of social and political advocacies.
How, do you think, does the internet (or mp3) change the music industry?
It empowers artists, especially the independents. Global distribution is now possible for the industry marginalized players even on just a home studio production budget.

Piracy and rampant filesharing is a downside, of course, when one considers the fact that not all independent players can afford to just put out material for free. But then it's largely a matter of education and the need to mature in terms of social and cultural sensibilities.
Would you sign a record contract with a major label?
No. Been there, done that. We did it for our debut back in 1995. At the time, they controlled the primary distribution and promotions networks in the country. Now that the label industry is on the decline, especially with the advent of alternative distribution and production systems that are more artist-friendly, why bother? The major labels never really looked out for anyone's interests except their own, so they're just getting their long overdue comeuppance.
Band History:
"Overcoming the crippling handicap of a lame band name that sounds like it belongs to a race horse, these earnest young rockers somehow managed to come up with (1995’s) wittiest debut..."

Eric Caruncho gave us the above...umm, accolade when he named us Best New Group of 1995 in his year-end feature (1995 Playback: The Year in Pinoy Rock’n’Roll) for the Sunday Inquirer Magazine. After twelve years, we still carry the same "lame" name, but the music, proud to say, has only gotten better and the wit is even more acid than ever. What hasn’t changed, though, is the rate of financial returns for our kind of music, but then, that was part of a naiveté we learned to discard early down the road trip.

There Was No Spoon...

Most of what we did from 1989-1992 might best be summed up as the juvenile masturbations of a fledgling band still in the process of defining itself. It wasn’t until 1993 when the initiative to record demo tracks at Audio Captain Studios (with the help of the late and legendary Jun Reyes) and submit the cut Praning to LA105.9 FM (the only radio station at the time that expressed and manifested all-out support for Pinoy Rock) finally transformed our amateur musings into deliberate professional cravings.

With the invaluable help of LA105 deejays like Mon "The Doctor" Zialcita (and here we categorically state for the record that there was absolutely no payola involved and neither was anyone in the station related to anyone in the band - they were just truly f***ing sincere, I guess) Praning shot up the station’s charts and held the number one spot for six consecutive weeks. The consequent buzz paved the way for auditions at Club DREDD, where we made it to the roster of regulars after making enough of an impression on Pat Reidenbach. Things were already peachy as far as we were concerned, so we didn’t really expect that we were also going to play a part in the musical revolution that was about to take place the following year.

...Just Major Ladles

1994: The Eraserheads, Yano, and The Youth collectively rocked the corporate foundations of status quo music and chagrined the sanctimonious guardians of public morality by proving alternative Pinoy rock commercially viable (read: profitable) on an unprecedented nationwide scale. Although the major labels were initially caught off-guard, they soon launched into a frenzied corporate muscle-backed band-signing blitz after they picked up the scent of the emerging cash cow.

And that’s how we came to be with Universal Records. After the release of our debut album, Galit Kami Sa Baboy, in August 1995 (in the Year of the Pig, no less), the label’s marketing juggernaut did not disappoint us as we found ourselves getting featured nationwide on print and radio, as well as doling-out perfunctory "performances" for brain-dead noontime variety shows.

A few months later, the album was officially awarded Gold Status by PARI. By that time, we were already in the thick of touring cities and venues across the islands and became sought after performers in almost every major commercial or cause-oriented concert production in the National Capital Region. Increased market presence subsequently helped us establish a reputation for dishing out our brand of acid socio-political commentary set to gut-wrenching, ear-splitting, right-wing conservative- bashing music.

Daft Punks

But the irony of major label support soon showed its crass exploitative business side to those who rode the bandwagon as the alternative music cash cow was not only milked - it was bled to death. By 1997, there was no more point in labeling the music "alternative" as commodification had already transformed it into staple fare. The music that had threatened to revolutionize the cultural sensibilities of an entire country simply succumbed to the projected profit margins of the music industry’s next flavor-of-the-month genre. But in spite of its fall from conditional grace, what is now known as the "old school 90s" did succeed in establishing a healthier breeding ground for the next crop of dysfunctional young musicians.

As major concerts continued to dwindle, a lot of bands simply went back to playing the usual club gigs. Some, like us, ended up as major casualties. With half the band still based in UP Los Baños, the cost of playing mostly lower-paying gigs in Metro Manila became prohibitive. By mid-1998, we were already M.I.A.

Jurassic Pork

Six years passed before Delvis and I got to talk about bringing the band out of its hyper-extended sabbatical. We figured that both name and reputation were intact, so a comeback would be relatively easy to pull off despite a new millennium band scene that had since expanded from the inroads left by the "old school 90s."

In April 2005, we came out with an independently released bogus live performance EP entitled Fat Burner. One of the trippier cuts, Lakambini Bottom, revived the cult buzz and became largely responsible for getting us featured on shows like MYX, MTV, Textube, Wazzup!, Breakfast Supersize, as well as inspiring an animated short on Studio 23’s Barkada Trip; Karne, another new song (not in the EP) was tapped for 2005’s Musicians Against the WTO album; lately, we seem to have been inspiring the creation of some (unauthorized) music videos on YouTube as well.

Back to School Youth

And finally! Just last August, exactly twelve years after the release of our debut album in yet another Year of the Pig, our long overdue full-length "sophomore" effort, Whoa! Pilipinas! came out.

Work on this album actually started as far back as 1996 as half of the songs in the album trace their beginnings from the years that immediately followed our debut. Luckily, the "old" songs in this project have remained relevant. From a practical standpoint, this was a plus factor for the band as there was less pressure to come up with new material. The downside, of course, has heavier implications: the continued relevance of the old songs vis-à-vis the social and political issues they touched on simply highlight how no real meaningful social and political changes have taken place in this country over the last ten years.

So, this album should be particularly useful to those who’ve either been comatose or living as mindless exploited zombies for the past four centuries (and counting). For those in touch with the "now," not much is probably going to be new here, but we are hoping that whatever "new" this project does provide will help stir anger (since it’s more useful than despair) and inspire more Filipinos to kick the crap out of those who’ve been using power and influence to enrich themselves at the people’s expense. If not, well...hopefully we’ll be able to earn just enough to keep on bashing heads with a smile.

(From the "Whoa! Pilipinas!" album launch press release, October 2007)
Favorite spot?
Baguio
Anything else...?
More on the band's gig scheds, music industry issues, and other weird sh*t, go to the following:

http://www.new.facebook.com/pages/Datus-Tribe/14347669901 (Our official Facebook Page)

http://lupitnicabring.wordpress.com/ (Cabring's official blogsite)
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