A dozen years ago four brilliant but then underrated musicians cast rocjs into a pond. Then lo and behold! Instead causing of ripples, it created a tsunami that swallowed everything in sight. They were The Eraserheads. The pone was original Pilipino Music. And the tsunami? Pop alternative- proudly pinoy, made flesh then and has dwelt among us since. The end. not. Years after Ely Buendia, Raymund Marasigan, Buddy Zabala and Marcus Adoro aka Eraserheads have parted ways, the music of the acknowledged flag bearer of Pinoy pop alternative music continues to course through the veins of the generation they left defined. It’s all because they made nine groundbreaking studio albums that collectively sold more than a million copies; churned out, oh, only more than two dozen hit singles that composed the collective soundtrack of a nation and won every imaginable award the industry could give them. “The Beatles of the Philippines”,
The Eraserheads still serves as shining example for today’s new artists, whether they admit it or not.
They mostly admit-hence “ultraelectromagneticjam.”
Slated to become the biggest OPM album of 2005, the 17 track album produced by Jam 88.3 and distributed by Sony BMG Music Entertainment is composed of refurbished Eraserheads tunes done by an all-star roster tapped from diverse genres in the current OPM umbrella.
The album was launched Nov 29, 2005 in UP Theater in UP Diliman, their Alma Mater.
In 1989, two college bands from the University of the Philippines, Diliman were both in search of new members for a new group. Curfew, which consisted of Buddy Zabala on bass and Marcus Adoro on guitars, met up with Sunday School, which consisted of Ely Buendia on vocals and Raimund Marasigan on drums, in December of the same year. The four decided to form a new group, calling themselves The Eraserheads. The band took their name from the movie “Eraserhead” by surrealist director David Lynch, which they picked up while reading a magazine. They did mostly covers, playing at every gig in their school that they’ve managed to get into. Eventually, they did the rounds of Manila’s rock club circuit, achieving little success.’Eraserheads Database’.
The band found that they weren’t good at covering other people’s hits, so they concentrated on writing their own materials instead. “After all, if we committed a mistake, no one would recognize it since they don’t know the song, right?” Buendia explained.
Their original songs live soon earned them a cult following in their school, which gradually spread outside the campus. One of the songs, a pop song entitled, “Pare Ko,” became very popular, partly because of its lyrics that included a few obscenities.
The band recorded a cheap, nine-song demo tape in Marasigan’s garage on January 6, 1991. Eraserheads Database, n.d. Accessed last February 25, 2007. They then shopped the demo around record labels, clubs and radio stations, hoping to have their songs reach the public. However, they were rejected at every turn, with a recording studio deeming that their demo was “not pop enough. In May 1991, a friend professor from their school, Humanities professor Robin Rivera, helped them record and mix a better version of the demo on a four-track recorder.The demo was named Pop-U!, in response to those who turned them down.
Meanwhile, Buendia was employed as a student copywriter by BMG Records Pilipinas (now part of Sony BMG Music Entertainment). He worked with BMG during the day and wrote songs with the band during the night. Eventually, the songs of Buendia and the band caught the attention of BMG A&R Director Vic Valenciano. Valenciano listened to the songs and then commented that they were very raw technically, but that there was something promising in them. Subsequently, BMG gave the Eraserheads’ songs a try. In 1992, BMG signed up the Eraserheads for a three-year record deal.
via hot n cool and wikipedia
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