YR 47 Issue 1 2011
Letters
Music Review
Dicta License's Paghilom
Possessing the license to speak
By PATRISHA VANESSA Q. SANTOS
IT HAS been four years since Dicta License disbanded, yet their music still reverberates through time and connects to the public. This rings true for Paghilom (2003), the band’s debut album that features songs explicitly addressed to the Filipino youth, as it tackles socio-political concerns and issues of nationalism in the modern period.
As the society and most of its elders have judged the youth as an indifferent and apathetic breed, Dicta License voices out the latter’s unheard response and says that this young breed of Filipinos have not totally lost their sense of nationalism.
Dicta License, which literally means “License to Speak”, has effectively given the younger generation the chance to redeem and voice out their response from the negative judgment of society.
Voicing out nationalism sets Dicta License apart from its contemporaries who have mostly crooned about love and heartbreak. The band’s front man, Pochoy Labog, wrote meaningful lyrics about the country, society, politics, and other insightful themes wherein today’s youth could easily relate.
Completing the line-up of this four-man band are Boogie Romero (guitar), Kelley Mangahas (bass), and Bryan Makasiar (drums). The band used their music as a method to reach out to the youth before completely drowning themselves into colonial mentality. Though the band’s powerful lyrics were one of its major feats,
Dicta License would not have been as appealing without the catchy guitar riffs and drum beats featured in their songs.
Dicta License’s musical quality made their songs so emotionally striking to the point that listeners would be encouraged to join the movement pushing for change and reform. By combining Labog’s lyrics with the rest of the band member’s talents, they produced the result they wanted to get—eye-opening musical art that would leave a remarkable impact to its listeners.
The band’s flexibility to cover several genres in one album was another commendable character. While the song Complex was a bit alternative, Ang Ating Araw infused rap in a rock beat. They also exuded a hint of reggae in Falling Earth.
The album has ten songs and it is hard for the listeners to pick favorites due to the great musicality of each. Nonetheless, their Demockracy, The Enemy and Alay sa mga Nagkamalay Noong Dekada Nobenta could top anybody’s playlist.
The entire album experience that lasts for 37 minutes leaves listeners wanting for more. Although they had already disbanded last 2007, the message of the album transcends through time. Dicta License still proves to be a breath of fresh air compared to the local and foreign albums that are dominating the music scene. The infusion of perceptive lyrics and good musicality in their songs make them unique.
Up to the present time, Dicta License’s music still incites its listeners to accept the challenge of being part of the movement clamoring for societal change and reform. F
Possessing the license to speak
By PATRISHA VANESSA Q. SANTOS
IT HAS been four years since Dicta License disbanded, yet their music still reverberates through time and connects to the public. This rings true for Paghilom (2003), the band’s debut album that features songs explicitly addressed to the Filipino youth, as it tackles socio-political concerns and issues of nationalism in the modern period.
As the society and most of its elders have judged the youth as an indifferent and apathetic breed, Dicta License voices out the latter’s unheard response and says that this young breed of Filipinos have not totally lost their sense of nationalism.
Dicta License, which literally means “License to Speak”, has effectively given the younger generation the chance to redeem and voice out their response from the negative judgment of society.
Voicing out nationalism sets Dicta License apart from its contemporaries who have mostly crooned about love and heartbreak. The band’s front man, Pochoy Labog, wrote meaningful lyrics about the country, society, politics, and other insightful themes wherein today’s youth could easily relate.
Completing the line-up of this four-man band are Boogie Romero (guitar), Kelley Mangahas (bass), and Bryan Makasiar (drums). The band used their music as a method to reach out to the youth before completely drowning themselves into colonial mentality. Though the band’s powerful lyrics were one of its major feats,
Dicta License would not have been as appealing without the catchy guitar riffs and drum beats featured in their songs.
Dicta License’s musical quality made their songs so emotionally striking to the point that listeners would be encouraged to join the movement pushing for change and reform. By combining Labog’s lyrics with the rest of the band member’s talents, they produced the result they wanted to get—eye-opening musical art that would leave a remarkable impact to its listeners.
The band’s flexibility to cover several genres in one album was another commendable character. While the song Complex was a bit alternative, Ang Ating Araw infused rap in a rock beat. They also exuded a hint of reggae in Falling Earth.
The album has ten songs and it is hard for the listeners to pick favorites due to the great musicality of each. Nonetheless, their Demockracy, The Enemy and Alay sa mga Nagkamalay Noong Dekada Nobenta could top anybody’s playlist.
The entire album experience that lasts for 37 minutes leaves listeners wanting for more. Although they had already disbanded last 2007, the message of the album transcends through time. Dicta License still proves to be a breath of fresh air compared to the local and foreign albums that are dominating the music scene. The infusion of perceptive lyrics and good musicality in their songs make them unique.
Up to the present time, Dicta License’s music still incites its listeners to accept the challenge of being part of the movement clamoring for societal change and reform. F
Year 47 | Issue 3 | 2011
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