UGAT, by similarobjects

UGAT

by similarobjects

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kabakism a.k.a. Sarai Takemoto thumbnail

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1.	Hudhud ni Aliguyon 03:36	buy track
2.	Ga Dang 03:39	buy track
3.	La Bebe, La Lomi, T_mefeles, at La Kagef 04:17	buy track
4.	Hiya Hng 02:16	buy track

about

similarobjects (aka Jorge Wieneke) is a producer, laptop musician,
experimental artist, and musical educator that has become a figure
synonymous with esoteric and quality musicianship in the Philippines. So it comes as no surprise that his newest release is an ode to forgotten and lost instruments, rhythms, cultures and practices of the Philippine Indigenous Tribes and Ancient Ancestors.

An attempt to showcase to the world his ancestry and heritage through creative interpretation marks the birth of his latest release, “UGAT”. Derived from the Tagalog word meaning "Roots", it carries with it a sense of reconnection with his roots as a Filipino. “UGAT” adroitly explores the intricacies of ethnomusicology and anthropology, connecting culture with identity through music.

It is a vault of historical samples all expertly strung together - the first track starts off strong and enigmatic - “Hudhud Ni Aliguyon”, features chants sung by tribal poets, while “Ga Dang” samples different traditional instruments, such as gongs and sticks. “La Bebe, La Lomi, T’mefeles, at La Kagef”borrowed the sounds of one of the oldest and widely-distributed music instruments in the world, the jaw’s harp, followed by an epic Clap! Clap!-esque finisher “Hiya Hng”.

credits

released December 29, 2017

All tracks by Jorge Wieneke
Mastering by John Pope (JP del Mundo)
Artwork by Kansado

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about

Darker Than Wax Singapore

Darker Than Wax is an assertion on the pervasiveness of the underground. Present yet deeply rooted in history, we connect through the musical depth of diverse rhythms and cultures; a nod to the solid foundations of Jazz, Soul, Blues and all their offshoots, while simultaneously embracing electronic sounds of the modern dancefloor.

Expression and uninhibited creativity is the key. ... more

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