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Traumaligno
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play hi-fi  Quemadura de Sol
play hi-fi  Puro I
play hi-fi  Latigo
play hi-fi  shrimppaste soda
play hi-fi  Diyosa ng Bugbog

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While it's natural for us to feel, we are prone to forget as well. Utmost irrelevance dismisses those things that we cant or wont remember and what are left are things that we keep in the realm of recall.

A shindig and the mo(u)rning after.
Scars, leftovers, things lingering still.
Experience.
Memory.
Trauma.

Why this name?
Every experience, whether it be in sorrow or jubilation, comes and goes. Some do linger and remain as immortal as long as it is shared.


haunting memory embedded in word and sound
Band History:
It began, de facto, with Boom Dizon, Lek Pamintuan (Blazing Bulalakaws) and Pit Bato (playing guitars, bass and drums respectively). Original material and alternative covers were rehearsed. Shrimppaste Soda is recorded live @ Zeigeist and Latigo is done acoustic @ Orange Segment D&P, and Milkshake Demos is produced and distributed.

Discography: They land their first show at UP Manila Sept. 16, 2005. They will then front for Cookie Chua, Gary Granada and Hourglass @ 70’s Bistro (Sept. 29, 2005) for a benefit show for GSIS employees; And again for the farewell show of Hourglass at the same venue in mid-October. They will also guest at the Terno Au Gogo leg of Motorolla’s 2005 promotional tour @ Freedom Bar to play with Radioactive Sago Project, the hilarious Giniling Festival, and the Blazing Bulalakaws.
Under the management of Debbie Gaite, gigs were booked in mostly in Quezon City.
They will front for Dong Abay (formerly of Yano and Pan) at Mag:Net Café Katipunan (October 22, 2005) and appear at various venues such Kolumn Bar (with Dale Ibay and Best Kept Secret), Party Avenue, 6 Underground Makati (the Speaks and Pumping Pluto) among others. The group will take in guitar afficionado Poch Belmonte (also an excellent arranger, formerly of Switch) and bassist Anna Ragot (Switch and Previous) and continue to do shows.
Boom Dizon, being an open supporter of Artists for the Removal of Gloria (arrest Gloria), ‘troma’ will play at Conspiracy for the Araw ng mga Puso Exhibit Opening with Bobby Balingit and Alfred Guevara of the Wuds (November 15) and at UPLB on Bonifacio Day with other arrestgloria artists including Cynthia Alexander, RSP, Agaw Agimat, 420, and the Brockas, in support of the collective.
Today, Pit Bato, unsullied as drummer, and Boom Dizon, who maintains post as frontman on guitars and throat duties, is joined by Pol Faustino, Boom’s longtime friend who he musically and socially grew up with, playing bass. All seasoned musicians, the group now tries to re-invent the sound that has been intended to mean punksuey – a meld of a little jazz, some funk, alternative, taints of world (yes, you read right) and considerable amounts of grunge coagulated into a pot of punk – while maintaining the angst and straightforward tradition of the original crash.

The past year has been productive and vibrant for the band. A number of productions have made Troma a constant offering in their tickets. Troma has been sweeping through Makati, Manila and Quezon City with a fresh line up of originals and out-of-the-box renditions. Among the venues the group has graced in the past year are Kolumn Bar (Timog), Club Halo (Makati), Wilfredo’s Bar (Fairveiw), Mayrics (Espana), Bridgeway (Cainta), Conia’z (San Pedro, Laguna) and PurpleHaze (Tomas Morato). Traumaligno has also had the pleasure to open for the Saturday event of the 2007 UP Fair held last February 17.

Recognition from the audience of their promising material, and more importantly of their fellow artists, has gained steadily with each performance. The group understands it must work hard as it has never done before.

Traumaligno is circulating copies of Baon (now on its 3rd Edition), an expanded collection of original material gathered from live, acoustic and homemade recordings.

Media Exposure: The group made its debut television appearance with Studio 23, March 29, 2007, playing for the morning show Breakfast @ Studio23. It has also been recently featured on RJ TV with coverage of a live performance of the cut called Latigo.

Troma hit the airwaves thru NU 107 August 2007. In the span of 2 weeks, their single, Shrimppaste Soda (BAON EP) became In the Raw Standout Track (August 26 – September 1). They were interviewed live, on the air, by no less than Francis Reyes for the unveiling of the BAON EP on September 9, 2007. On November 9, 2007, they again hit a broadcast with NU 107, this time as part of the In the Flesh Series, allowing their live act nationwide exposure.

Traumaligno has been a constant attraction for the AfterShiftJam Series (Adobo Productions) and has graced all of its three event legs. AfterShiftJam holds its events during every payday Saturday and caters its stage and venue for people who have to go to work at night (graveyard shift people). Everything happens come 9AM and does not cease until late afternoon.

Recognition from the audience of their promising material, and more importantly of their fellow artists, has gained steadily with each performance. The group understands it must work hard as it has never done before.

After three editions of Baon Demo CD (an expanded collection of original material gathered from live, acoustic and homemade recordings), Traumaligno finally comes out with a 7-track EP of the same name, which is currently available wherever the group plays live. The Baon EP catches the group's effort inside the studio environment. It contains four studio tracks (Latigo, Quemadura de Sol, Puro I and Shrimppaste Soda), one live studio recording (Hangga't May Tulad Mo), and two homemade cuts (one home made track (Diyosa ng Bugbog - full version and the original version of Latigo on raw acoustic guitar).

They are now cocked for another shot at the studios for a series of concept song collections.

On poetry and musicality: The original material comes a long and diverse line of influences. Grunge is a main factor in the shaping. While new-school alternative and punk greatly affects chorus melodies as well as interludes. Blues tinges are evident specifically in the rare guitar solos. With respect to poetry, each line boasts ripe expression of real life and of fearless social view and criticism. The crafting is careful; revision and rearrangement rigorous. Each track is a peephole into a tale of a past that was meaningful enough to make it into song; the experience of each is fresh and promises to be evocative.



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