The Late Isabel at the 5th Backdoor Ventures Arts and Music

Sing India at the 5th Backdoor Ventures Arts and Music Festival

THE CAMERAWALLS @ the 5th Backdoor Ventures ARTS & MUSIC FESTIVAL

The Camerawalls is a three-man indie-pop band
based in Manila, Philippines. Formed by its
songwriter/vocalist/guitarist Clementine (Clem Castro),
The Camerawalls rises from the ashes of Orange
& Lemons – which disbanded in September 2007
after skyrocketing to popularity on the merit of three
distinct albums that found favor in a discriminating
musical audience.
Now with drummer Ian Sarabia and bassist Law Santiago,
Clementine continues to wield his prolific
songwriter’s pen and further showcases mastery in
indie pop visions. Clementine’s indie heritage finds
fulfilment through in a DIY ethos. He self-produced
The Camerawalls debut album "Pocket Guide To The
Otherworld," released in July 2008 via Clementine’s
own Lilystars Records label.
The music of The Camerawalls creates ripples of nostalgia
and pop – manifesting an eclectic array of influences
ranging from ‘60s-era Beatles, to The Jam, to
the ‘80s guitar pop sound of The Smiths, XTC, Terry
Hall, The Stone Roses, and The Pale Fountains, to
name a few.
Lead-off singles “Markers of Beautiful Memories” and
“Clinically Dead For 16 Hours” exemplify the rich
and meticulously clean sound of The Camerawalls,
inviting the listener to continue the audio adventure.
The Camerawalls further adds a distinct stamp to music
by using indigenous rondalla instruments (octavina
and banduria) in some tracks such as the Spanish
“Canto De Maria Clara” (an original Jose Rizal poem)
and “Lizards Hiding Under Rocks.” The result is a
true marriage of eastern and western flavors.
While being comfortable in their niche of sound, The
Camerawalls wants to reach out to a wider listenership
across the globe. To this end, Clementine and
company are relying on the Internet and the word-ofmouth
fame they are generating whenever and wherever
they play.
“Pocket Guide To The Otherwold” is available in selected
record stores in Manila; by mail order through
Lilystars Records’ website and digitally through
iTunes and Amazon MP3.
BAND MEMBERS
Clementine - vox/guitars
Law Santiago - bass
Ian Sarabia - drums

THE CHONGKEYS @ the 5th Backdoor Ventures ARTS & MUSIC FESTIVAL

THE CHONGKEYS A band with mix genre, through our music of rock alternative, reggae with a little bit of ,funk, rap, dub and few surprises that are recepies for a whole lot of fun into a good sound trip.



THE CHONGKEYS was formed in 2003 and today still consist of the four members, namely BENJIE P. ESTANISLAO (voice), JOHAN S. LUGTU (guitar/voice) PEPITO TRINIDAD (bass) and MARK MARQUEZ (drums). We started in a simple jamming session place in Marikina called “Groove Shop” (an indie skate store). Benjie who was one of the owners of Groove Shop; Johan was a vocalist of a hardcore CAKEWALK band, Pepito from BEEWINGS band and Mark a former drummer of CHERRY CORNFLAKES who replaced the former drummer Judas of ILL ADVICE. After several jamming sessions and being together we decided to make more songs and get serious about it. Few months after, we had EP launched, 10 tracks of our original songs at the rock and roll Purple Haze Bar. THE CHONGKEYS had the honor of playing in many venues in metro manila (Bars: Mayrics, Xymaca, Club Dreeds, Purple Haze Bar, Freedom Bar, Dayo Bar, Kolumn Bar, Magnet Bar, Ride and Roll Diners, 9Mile bar, 70’s Bistro, One Love Bar, 6 Underground, Wills Attic and more). Also played in some parties like birthday’s, company’s christmas parties and our out of town gigs with some of the top performers in the Philippine Music Industry. We also played in most of the big events within Metro Manila like Pulp Summer Slam, Fete de la Musique Malate, Rakista 7, 9 & 10, Skateboard Demo and Competition, Tabak, Urge Magazine Tour, UP Fair, Dutdutan Festival 2008, Give A Damn for Rizal 2008, The First Clark Rock Festival, Arts Music Festival (I,II,III and IV) and several guesting and judging for Battle of the Bands. Had the opportunities to play on TV Sows like Breakfast Show with Studio23 and Jojo A of QTV Channel and Live Radio Interviews with NU107 FM, Jam88.3 live session and YesFM Boracay. We believed, supported, promoted and respected different genre. Because of our respect and faith in music we had given a chance to be managed by Ann Angala-Shy (a former band manager of Eraserheads and POT). During her guidance and supervision we


promoted one of our songs title “DIKSYONARYO” and luckily had been chosen to be one of the tracks for Doobie Nights Album produced by Jam 88.3 under Galaxy Records, also this song has been placed in your regular videoke selection around metro and “TIGNAN MO” (one of our song) was nominated Song of the Year in 2007 NU107 Rock Awards. THE CHONGKEYS had earned so much respect from both underground and mainstream scenes. Known band artists like Rivermaya, Kamikaze and Radio Active Sago Project just to name a few gave us their appreciation to our music. In August 2008 Ann Angala-Shy appointed our Road Manager Ann Constantino (a member of AMA Sound of Nativity Music Society and production manager of UProductions Manila) to take her position as a Band manager. On the other hand, Ann Angala-Shy is now our band consultant. February 4, 2009 we had launched our first music video for “DIKSYONARYO”.

KENYO @ The 5th Backdoor Ventures ARTS & MUSIC FESTIVAL

Smooth and composed yet coarse and frenzied, sophisticated yet vulgar, safe but dangerous, familiar but somehow different - this is the kind of music generated by the band KENYO.

KENYO is a crossover act that would appeal to both rock and pop audiences alike with influences ranging from vintage rock, British pop and folk music to the Philippine's own Manila sound and "kundiman" or traditional songs of love.

Members of the band all hail from Bulacan (a province just a few miles north of Manila, Philippines). Kenyo is short for "Bulakenyo," which is what people from Bulacan are called.

Formed in 2008, KENYO's potential was immediately recognized that it was soon signed under major label Universal Records, Philippines. They released a trippy-musical scrapbook of sorts in their first project album called RADIOSURFING that spawned the hit songs "Sana" and "Ayoko Na Sa 'Yo". This project also led the group to a successful tour of the United States, in the state of California, on September of 2008.

KENYO is releasing a new album called MAHARLIKA. This time, the group writes and dishes out original music filled with zest, their own special sound and poetry.

KENYO's affinity towards the sweet sound of the past, pop sensibilities, honest lyricism and edgy musical approach makes the band a thrilling experience on its own.

SOFIA @ The 5th Backdoor Ventures ARTS & MUSIC FESTIVAL

SOFIA 蘇菲亞
Singer-Songwriter

Sofia is a singer-songwriter whose ability to sing an eclectic mixture of English, Tagalog, Japanese and Portuguese has commanded a solid following and respect across various groups and ages in and out of Asia. Sofia’s open-mindedness to a wide spectrum of music has led to her own music often likened to a cup of fusion tea – an expression of the wild, the sensitive, and the lonely. Her lyrics explore her own experiences and the experiences that the common man can relate to.

In 2009, she was signed by S2S to be groomed for the international market. Her first international album by S2S was first released in Japan last October 2009, and thereafter in Asia.

From Japan, Singapore, other parts of Asia and soon in the Philippines...

Sofia’s International album, “I Believe” will hit record stores in the Philippines by February 2010 under Vicor Music. The album will feature Sofia’s naturally sophisticated rendition of songs like, “Out of the Blue”, “Moon River” and so much more.

Working with Sofia for this brand new album is well respected and known bossa nova samba music producer, guitarist and musical genius from Japan, Mr. Jun Kagami. The two hit it off right from the start of recording perfecting every piece they put together for this world class album.

MAGUINDANAON KULINTANGAN GROUP @ the 5th Backdoor Ventures ARTS & MUSIC FESTIVAL

Kulintang is a musical instrument which is a set of eight bronze (or brass) gongs, graduated in size and in tuning, and suspended horizontally on a wooden stand. It’s a time immemorial practice by people in Mindanao particularly the Moros. Sagayan, Tidto, Tagungo and Binalig

A kulintang ensemble being used for purpose of entertainment.

Kulintang music generally could be found as the social entertainment at a host of different occasions. It is used during large feasts, festive/harvest gatherings, for entertainment of visiting friends and relatives, and at parades. Kulintang music also accompanies ceremonies marking significant life events, such as weddings and annual pilgrimages returning to and from Mecca.Kulintang music also plays a significant role during state functions, used during official celebrations, entertaining of foreign dignitaries and important visitors of distant lands, court ceremonies of either the sultanate or village chieftains, enthroning/coronations of a new leader and the transferral of a sultanate from one family to another.

Kulintang ensembles accompanying a healing ritual.

Kulintang music is prohibited from being played inside mosques and during Islamic rites/observances/holidays, such as the fasting month (Ramadhan), where playing is only allowed at night during the time when they are allowed to eat. They also prohibit it during the mourning period of the death of important person, during funerals, and during the peak times of the planting and harvest season

Kulintang music has uses other than public performances. It also is used to accompany healing ceremonies/rituals (pagipat)/animistic religious ceremonies. Though this practice has died out among the Maranao due to its non-Islamic nature, some areas in Mindanao, Sabah and Malaku still practice this ancient tradition.

Kulintang music can be used for communicating long distance messages from one village or longhouse to another. Called apad, these renditions could be used to mimic the Maguindanao language, creating a private language or a form of social commentary that only those who know the music would understand. However, apad is coming to disuse due to the fact, times are changing — apad with its once special meanings are no longer relevant in larger, mixed populations. Instead, anun, music without a message used to express one’s sentiments/feelings, has come more and more into use due to the fact it works well with the musical elaborations and idiosyncratic styles of the times.

Kulintang music was also crucial in relation to courtships due to the very nature of Islamic custom, which did not allow for unmarried men and women to intermingle. Traditionally, unmarried daughter were kept in a special chamber in the attic called a lamin, off-limit to visitors and suitors. It was only when she was allowed to play during kulintang performances were suitors allowed to examine her. It’s because of this kulintang music was traditionally seen as one of the rare socially approved vehicles for interaction among the sexes


Our performers of kulintangan called themselves “Maguindanaon Kulintangan Group” each one from the group started playing kulintang at a very young ages, they can perform almost all musics of kulintang like sinulog (exhibition), tidto that can be accompanied by sagayan commonly played in wedding and baptism, tangungo exclusive for healing rituals and the binalig, a kulintang with dances. They are Hadja Rahma Machmood, Hadja Sapia Lucas, Bai Dido Ayao, Hadja Salam and LucasNoroddin Lucas together with their dancer Bai Sirikit.

These people are internally displaced persons (IDP’s), their originally from Maguindanao but because of the continuous existence of war in Mindanao and poverty they decided to situate themselves here in Metro Manila particularly in the muslim village in Taguig City called Maharlika. The existence of kulintang symbolizes and speaks peace and serenity. But because of threat and existence of unpeace situation in areas in Mindanao, the people decided to keep their musical instrument and hold and take up arms to protect themselves. In this present situation, its not just the influence of the western culture that droves away the people to forget their cultures and traditions but instead its the situation that forces them to do so. How do you think could you still play the instrument where any moment there’s danger? Bombs may fall.