Slapshock with some hardworking rap-metal

* Slapshock, Project 11-41

* EMI-Virgin, 2002

For all the angst and bad-boy persona that local rap-metal act Slapshock purveys, its members display an unassailable ethic. They are among the most hardworking in the industry. They’re a jumping, pumping bundle of tattooed/hair-dyed energy on stage; and even more when conjuring up songs. Jamir Garcia (vocals), Lee Nadela (bass), Lean Ansing (guitar), Jerry Basco (guitar) and Chi Evora (drums) are so into their music that they cloister themselves in various "Slap Houses" where they would do nothing but churn out song after song when preparing for an album. So any success coming the boys’ way is certainly well-deserved.

Formed in 1996, Slapshock promptly took the scene by storm with the monster hit Agent Orange. Here was a new band to ease out the old order bannered by the E-Heads. With Korn-mania going full tilt, Slapshock hit the spot just right — soon to be followed by a slew of like-minded musicians who make up the youngsters of RP’s rap metal.

The debut album, Fourth Degree Burn, has hit platinum, while the follow-up, Head Trip, has sold more than 36,000 to date. These figures would be more impressive if it weren’t for our country’s thriving bootleg industry.

At any rate, after two years, Slapshock is back with another compilation to keep their legions of fans happy. Couple the release of Project 11-41 with an equally aggressive nationwide promo tour, and it’s easy to see the boys staying on top.

The 14-track album alternately seethes and grooves with more of the stuff that you have grown to love and expect from the band. Whether you speak of Jamir’s rapping/shouting or the grating, palm-muted syncopations, Slapshock has certainly carved (or rather, hammered) its niche in the music scene — the same way Wolfgang wields its longevity.

If you’re sold to the Helmet/Prong/Tool paradigm (to say nothing about Korn), Slapshock should be your cup of tea. This third album is your third cup. And how should you find this serving? Well, the opening track Wake Up is the much-needed dose of regulation Slapshock — a jolt of caffeine to the brain. But one must remember that this band also enjoys its hip-hop. Satellite Kid opens with a synthesized rhythm which mutates into a heavy barrage of chainsaw guitar riffs and Chinese cymbal-accented drum beats. The same opening scheme occurs in Countdown. "One, two... all I got is a semi-automatic..." raps Jamir, "Throw your hands in the air." You may question the context of his lyrics (are we in the ghetto, perchance?), and its seemingly warped version of black rapping. And just when you think you have it all figured out, you will get thrown off again with a mantra of "Señorita, como se llama?"

Que pasa, Jamir?

Numb, the first single, is an epic of a song with its moments of quiet and full-throttle guttural abandon — all in a controlled environment. You can never fault this band’s playing, that’s for sure. Credit, too, goes Rivermaya’s Rico Blanco who produced the album. It’s easy to go overboard and overproduce, yet he keeps the band’s sound under tight rein. This ensures that the aggression is preserved.

But you don’t need to think about all that. Just pop this f***er in your CD player. You don’t need to get too cerebral when you’re having this much raw rage and fun at the same time.