Entertainment, Music

ALBUM REVIEW: Love, BoybandPH

Two years after winning ABS-CBN’s Pinoy Boyband Superstar, quintet BoybandPH has released its second album under Star Music called Love, BoybandPH. A listening party was also held, weeks prior to its launch.

It is composed of nine tracks, namely, Kaligayahan (Happiness) Interlude which has two parts, “Kung Di Mo Natatanong” (If You Haven’t Asked), “Hanggang Kailan Kaya” (Until When) – the album’s carrier single, “Please Lang Naman” (Please), “D’Tyo” (Not Us), “Drive”, “Tagahanga” (Fan), and “Pa’no Ba” (How). “Tagahanga” was penned by pop-rock singer Yeng Constantino while “Please Lang Naman” was written by Moira dela Torre. “Pa’no Ba” was created by Tawag ng Tanghalan’s Songsmith Froilan Canlas, the group’s vocal coach.

The Kaligayahan Interlude (both parts) channels the best of the group’s vocal harmony, in terms of balance. The voices are even at the start of the song while the melody is clearly heard during the stanza parts. The bass part is also distinct.

Kung Di Mo Natatanong is reminiscent of 1990s Bubblegum Pop Boyband Ballads commonly played during Junior-Senior Prom dances. Counterpoints may have existed in the chorus part but they are seamlessly done, along with the song’s main melody.

Hanggang Kailan Kaya, the album’s carrier single is a mix of boyband harmonies and electronic pop. Some parts may be modified through music technology or “auto-tuned” but the vocal parts remain distinct and not overly artificial. Overall, this song is danceable.

 

Dela Torre’s Please Lang Naman has a sound fit for television commercials. Along with its guitar patterns commonly used in sway-worthy music, the song’s character is light and easy. It focuses more on the BoybandPH’s member’s individual vocal prowess. However, the “woooh” parts could have sounded better if they are sung with a bit of swing feel.

Both “D’Tyo” and “Drive” have a danceable feel. Drive’s recurring instrumental pattern is distinct, as well as its bass lines and sawtooth riffs. However, the boys’ voices are more remarkable in D’Tyo than in “Drive.”

Constantino takes a little break from her usual pop-rock songwriting practice in “Tagahanga.” Compared to her previous works, “Tagahanga” has more of a pop sound, which is peppered with electronic beats yet the boys’ vocals remain unadulterated.

“Pa’no Ba”, penned by Canlas, is an R&B ballad, which is reminiscent of Boyz II Men’s and 98 Degrees’s ballads that existed in the 1990s. The song’s melody is not only remarkable. The background vocal parts are also even, especially in the chorus part. In fact, nobody from the quintet sticks out in the chordal parts. Russell Reyes’s and Niel Murillo’s ad lib parts are distinct yet sung seamlessly.

Of the tracks mentioned, BoybandPH’s vocal harmonies are best channeled in “Kaligayahan Interlude” (both Parts 1 and 2), “Kung Di Mo Natatanong”, and Pa’no Ba. My only suggestion for “Pa’no Ba” is to have an acoustic version released soon to make the song’s meaning come out better.

Overall, this album deserves a rave, not only because the entire album sounds current. With Canlas’s and Kiko Salazar’s guidance, the quintet’s vocal harmony is “eargasmic” because of its balance and seamlessness. Looking forward to more purely a cappella songs from BoybandPH.

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