Great stuff from this southside band. BTW, for those who aren't initiated with PCK's sound, here's a written review that i've made some months ago..
In a spin or two, you could right away accuse Point Click Kill of cloning Skindred's debut album, Babylon. The centerpiece of both lies on their fine brand of hooky reggae-metal soaked in militant beats, uncanny arrangements, monolithic guitars that sound like speedy, steering helicopters, and System of a Down-esque heavy rock grooves. But after incessant playing over a busy weekend overhaul, claiming that Point Click Kill is derivative of Skindred seems to be an overstatement. After the affair that I had with Point Click Kill's self-titled CD, the impression has changed. I noticed that while Skindred boasts epic-hood on most songs, PCK focuses on dynamism, rhythmic patterns and complexities. Also, the lyrics (though some are of Visayan dialect) on the PCK album are bald, straightforward and less pretentious as to compare with the ones in Babylon, since PCK attests to the personal level e.g. anger, life and death.
Dusting off ruthless comparisons with Skindred, Point Click Kill has established a name in the Southside of the country; earning a slot at this year's biggest rock music festival, The Pulp Summer Slam, being named by FHM-Philippines as one of the 30 soon-to-be big local indie acts and getting blog-stoked of praise, curiosity and ehem, scrutiny from critics and music fans. Should Skindred's Babylon be glued to their flourishing name, PCK need not to worry. Their latest, self-titled debut offering is worthy of songs that stand on their own stronghold.
From the jokey, insurgent numbers of "Jingle Kill" and "Bayli" to the wounding wrath of "Poser Jala," every tumult and noise sounds cleanly arranged to chock-full of catchy, rock music variety sweeping between different approaches, styles and techniques. It's an amazing feeling plucking all the assortments and pace-changes song by song. 1st minute you'd hear some cool, tropical riddim then you'd hear some spirits of Skindred or Soul fly even Beastie boys catching its breath until flux of rock, hiphop, metal, reggae and ska pivot all-over the insane backdrop of uncanny but fun melodies.
One particular treatment of the tropical jumbled frost hooted by Southside's coolest band is the summery "S'ka Linti," whose time signature shifts are dizzying to full extremity. The said song also offers organized mayhem and diverse melodic patterns that's subtle, puzzling or just mental illness. You hear raga-metal, hardcore and dub, then after some shuffle comes the swingy and Sublime-ish punk-ska and even boogie-woogie. Even the vocal back-ups are rare treats muddling on the dins of hilarious and twitchy verses. It didn't go off-guard the mathematical, but its predictability has taken much of the backseat than what I thought. Same goes with other songs like "Vato mofo" and the misleading "Gig tripping" whose carefree intros go berserk, furious and madly-driven to power chorus and insane arrangements while still trying to get a grip off the smooth, rasta-flavor every hipsters are bound to hook and get used to loving.
"Mentality [gooey brown stuff]" is a pleasing ode that pedestals from the abstract to drum n' bass-y metal. Its celtic, Gregorian Chant-relievers at some point in time are hackneyed, yet its unrigged complexity on riffs, chord progressions and montages on the over-all rhythm is one enjoyable head-bopping experience. But the main entrée of Point Click Kill's eleven-track record is the samba-derived metal madness of "Arriba." Fiesta never sounded as hip and as entertaining as this, with all percussion entangling the barrio with lively and bouncy beats and a celebrated, colorful march of doom metallers, goths, punks, street dancers, vendors, children, child-alike and variety of people living under the peaceful, rural areas.
For offering fun, variety and skill – Point Click Kill is a must listen. There's too much noise surrounding the band's name, yet it is through an enjoyable spin of two or three that you'd realize how they gained respect from the Southside indie community and from people who managed to access their fresh, new music. Count me in for the respect and adoration.
