FOR THOSE WHO CAN’TReview of Fidel De Jesus’ SUSMARYOSEP! PAKIKINGGAN MO?!?
Six tracks of private jokes, Manny Pacquiao riffs and chops later, you realize that Fidel de Jesus grabbed you by the collar until he jolts the heavens out of you. Like a dog that won’t let go of the bone, the album pounds, then shreds (pun intended) us mere mortals. Suddenly we find ourselves posting on threads like “I Can’t Shred” or “Pa’no po bang mag Sweep Pick?” Worse, we scroll down to find refuge at the Guitar Classifieds Forum and look for a second hand pedal called “Auto-Yngiwiezer + Sweeper + Arpeggiator + Evil Riff Generator, etc.”... of course, you get the drift.
Susmaryosep! Pakkikinggan Mo?!? is the tongue-in-cheek title of the album from solo artist Fidel de Jesus. The album is filled with heavier-than-bulldozer riffs straddling between Tom Morello’s jagged funk to Alexi Laiho’s yard of churns and growls.
Kusinerong Kalabaw features strong parts any heavy screaming vocalist would die for. Oracion del Muerte (Tormenting the Innocents) and Birth of Demise come straight from the current power metal songbook, with dropped tuning and wicked harmonics.
Fairy Tales Never End and Bittersweet Affection capture the emotional side of de Jesus, a common occurrence which almost every guitarist guiltily indulges in. Satriani always has one in his albums, more so with Vai and Petrucci. Fairy Tales’ melodic take is reminiscent of the instrumental track from Pinoy Rock icon Sampaguita (Sampaguita’s Theme). The harmonized lead lines add more weight to the theme, while Bittersweet creatively arranged with an intensifying end.
De Jesus turns around for more humor while taking a stroll along the fusion highway with Ang Lolo Kong Hiphop. Here, he approaches from a much loose vibe as clean, chorused chords ring throughout, jumping from one section to the other effortlessly. The solo bass figure will surely turn ears, ingeniously inserted in the middle just in time for De Jesus to unleash again in full force.
Writing about Fidel De Jesus’ single string playing however, is like holding water with your bare hands. His versatility impresses various influences rolled into his own unique language. His shredding prowess is unquestionable. Clean arpeggios are replete in the album, invoking the ghosts of Rusty Cooley and Herman Li. When he starts to burn, De Jesus knows how to veer away from the rut of turning cold speed for speed’s sake. He can grip you by the collar by shredding top speed, yet interestingly, end the phrase with a bluesy lick and wide vibrato. This has been, and still is, a craft that most shredders struggle with. Yet, De Jesus knows when to run, and walk when needed. At the most interesting stops, he channels lines reminiscent of Blues Saraceno, or even Steve Stevens – a feat which is never easy. Another notable twist is his creative use of effects, mainly the harmonized patch, keeping thing interesting.
His rhythm playing is a treat on its own. It gets a 10/10 for the Chug Chug factor (for non guitar players, it’s the guitarspeak for the modern driven guitar sound with lowered mid frequencies used by current metal players, which sounds like, exactly – chug – chug - chug), the sound that makes us want to jump into a mosh pit and slam away. Yet he mixes the same clearly that the notes ring despite its high gain setting.
How can you keep a shred album of one bazillion notes aurally bearable and musical? De Jesus knows. His arrangements are well done that he can achieve his ends: highlight his playing, drive the message home, and have fun. Like, tons of fun. He inserts a montuno –like figure in the midst of Kusinerong Kalabaw, recalling the Mambo Kings track from the album Guitar Battles. Bittersweet is creatively arranged in a restrained manner. The rhythm section kicks in at the right moment during the end, taking the song into another level. The same song form worked for Jamie Rivera’s Awit Para sa ‘Yo, or the Noel Mendez - fueled I Dream of You from The HAYP. It sure does for Fidel.
After listening to Susmaryosep! Pakkikinggan Mo?!?, we are prone to grab either two things. One, our guitars and hurt ourselves trying to play what we hear. Or, a cold glass of what-have-we, recline, enjoy the hyperdrive ride with De Jesus.
After all, those who can’t, write.
Bito Tiano
