Wink makes ‘Wholehearted’ debut with GMA Records

With so many bands topping the music charts on a consistent basis, it is no question that a signature sound is a contributing factor to each band’s success. Variety and versatility sets the great bands apart from those equally good yet incapable of bringing something new. The same sentiments can be said of promising groups.

Case in point, on Wink’s smooth "Wholehearted" debut, the foursome re-creates the acoustic genre with ambient-like atmospheric goodness but naturally evades predictable formulas and complete imitation. At first listen, Wink may be thrown into the bygone bandwagon of tranquil guitars and female vocals but the whole album gives off more than just what the eyes can see, or more appropriately, more than what the ears can hear.

Thus, the newest release from AltG Records, "Wholehearted" by Wink would certainly be an alternative for picky listeners as it contains ten fine, well-crafted tracks that resonates the essence of acoustic in symphonic fashion.

The album walks on the right track with "My Love" coined by vocalist Adrienne Sarmiento, her stunningly steady voice mixing well with the midtempo plush instrumentation. This upfront pop song about the joys of falling in love is a prologue of what people can expect from them. Ironically, unrequited love is the theme of "Makita Ka Lang, Ok Na ‘ko". The pace is slow but the song maintains that noticeable pleasant tune organization evident from the opening track.

Surfacing next is the suave rendition of "Sweet Baby". It’s a fairly simple version, suggesting Wink’s intention of keeping their music organic and appetizing. Surprisingly, a male voice croons first courtesy of Adamson Cesante before Adrienne injects herself back into the song, which is styled in a conversational approach. Then, the band takes off into higher territories, confronting a crumbling relationship in the impressively ingenious and bright "Half-hearted". The images presented by the captivating track are enhanced even more with sensible musical backdrop. It’s dark and emotive beneath harmonious layers of invigorating bass, pleasant guitars, and complementary percussions. Easily one of the most memorable tracks on the record.

Another rendition is the Wilson Phillips hit "Hold On". In core, Wink’s version is stripped-down and groovy, expectedly based on the acoustic boom that crashed into the scene a few years back. Interestingly, Adrienne flaunts an equally compelling performance matching the original trio note for note without sounding dull or contrived. Ethereal "Miss Kita" moves forward with the solitary, orchestra-sounding bass heightening the song’s emotional quality. This sad confessional is as moving as a destructive hurricane but the method of devastation is silent and ghostlike; Adrienne takes over your mind as she gloomily laments "Nakahiga, umiiyak/Magang-maga na ang mata/Kailan ko ba matatanggap/Sa buhay ko’y wala ka na?"

Evidently, Wink is lured to melodrama with their version of "Someone"; the sound of which is centered yet again on soothing guitars but Wink makes it work with a compact arrangement, notable bass work and percussion, and delectable vocal layering. "Somewhere Out There" provides a similar supply of sweet acoustic elements, which also falls back on the delicate and unorthodox emphasis on bass for poignant effect.

Two bonus tracks complete the collection: eclectic mixes of "Half-hearted" (with Filipino lyrics) and "My Love".

The novelty of artists venturing into the unplugged branch of music could be argued by most critics as a random act of following the trend and milking the public’s hunger for coffee-shop ditties. But despite all odds, Wink manages to tie the strings together with an interesting penchant for symphony-influenced music in "Wholehearted" that shows exactly why they’re different from the pack. Critics could bicker all day long but they cannot deny that Wink is not without character and talent.