WICKERMOSS
by: Eric Salta
If you think their debut album Falling Leaves is breathtaking, wait till you see them perform live. This quartet whimsically known as Wickermoss embodies energy and spirit to the fullest, with songs speaking of love like a trip to wonderland, bringing full bodied possibilities on stage. As soon as the disc starts spinning, one gets to realize that despite the superficiality sprinting all over the mainstream industry, some major labels do sign up talented artists. Wickermoss is one of them.
Wickermoss has undoubtedly released one of the strongest albums of the year. It's pop without sounding shabby, oftentimes verging on alternative. Led by Deo Advincula's soaring vocals, the band effectively accentuates each member's strengths without sacrificing the cohesive quality of Wickermoss.
The album opens with the naughty but nice Asking For More, setting the tone for the rest of the tracks with that distinct lighthearted tune. The lyrics are playful, narrating mature innuendos behind upbeat melodies. Raising the tempo and oomph is the album's second single Buwan, blessed with the most charming hook ever and closely hints images of The Cranberries and Imago. It presents incredibly enchanting lines drenched in powerful drums, refreshing guitars, and exceptional bass lines. “Sa bawat ihip, at bulong ng hangin ay mundo'y iikot lang sa iyo,” sings Deo, cleverly expressing love through earthly beauties. Truly, the band's crowning moment.
First single Falling Leaves moves on forward from where Buwan left off. Constructed with a pop foundation, Falling Leaves absolutely makes you sit up and take notice. Reiman Gesmundo's crisp guitars layer beautifully on top of Roger Alcantara's bass lines. And although sounding pleasant, the words are serious and plaintive: “In one flash we were up in the air/ But he lost his grip and went astray.”
Lumbay demonstrates a different facet of love, one of pure desperation. Deo drones with such longing while the song catches you off guard when it reaches its sultry saxophone solo. Nasaan Na tenderly opens with acoustic strums then unexpectedly jumps off to big upbeat sounds especially Leo Barrite's drums giving this song an almost ethnic vibe. Surprisingly, the second half of the disc slows down. However, unlike most bands, this revolution does not hamper Wickermoss' progress. Never There and Somebody Else signal the new direction with more interesting harmonies, seemingly stamping their individuality with a foreign flair.
Then there's Di Na Makita . Probably the most developed track, Di Na Makita treats listeners to a dark, haunting moment splattered all over. It fuses elements of old-school drama and new-age artistry, delivering the lyrical groundwork over and over again. Deo repettively laments “Sa piling mo hindi na makita,” in chilling despair. Letters, on the other hand, is a complete contrast. This is anything but dark; it's adorable, sweet, and lovely. Letters set up an array of lush, soft arrangements beautifully emphasizing the simple need for genuine love. Showcasing genre wanderlust, Kulang Pa depicts a jazzy gothic display. It's the only track with an obvious peculiarity but nevertheless remains a token gem as Kulang Pa flaunts Deo's vocal ability.
This album draws out the musical greatness of Wickermoss in nearly every aspect. It is an end product that symbolizes the search for sophistication and class not often seen in the mainstream musical industry. Throughout Falling Leaves, Wickermoss manages to sound unlike any other local band. They have brought something new to the industry: a sense of musical integrity that keep them grounded and maintain their music real and authentic.
