Reggae rock from Isla Era

There is a lot of buzz going around about the growing popularity of reggaeton, which is predicted to be the next big thing in dance music. This is a combination of reggae with Latin, pop, rap and hip-hop and whatever other forms the artist desires. It is said to have originated from Central America and is distinct from the quasi reggae or hip-hop music done by artists from other countries. For example, those are merely Koreans rapping in Korean or Latinos doing reggae. Not very original.

Reggaeton is different though, because it evolved naturally from the basic music forms and easily adapts itself to other influences. This enables musicians from all over the world to take it and make it their own without ending up as poor copies of the originals. Truth to tell, there are now reggaeton artists in the US, Europe, Japan, Singapore and even the Philippines. In fact, I believe that the multi-faceted but reggae-based music of Brownman Revival is reggaeton. Likewise that of the exciting new group Isla Era. This is not as danceable but is also a fluid mix of reggae with other types of music.

Isla Era comes from Davao and is made up of Romeo Catedrilla on lead vocals, Dencio Cebellos, who I must say plays a mean guitar, Marcus Resma on bass and Toto Sumagaysay on drums. They started out playing covers of foreign rock tunes but soon began to experiment with their own songs. Out of these efforts arose a blend of reggae, rock, pop and interestingly also native Filipino music. Strange mix, you say? Not at all. This is because the songs of Isla Era have that most basic ingredient required by reggaeton. The music has to happen naturally. And it does.

Check this out in Barkada Ko, the debut album that took Isla Era out of Davao into the music mainstream of Metro Manila. The title track is also the first single release. It is one of the group’s original compositions and extols the friendship they have developed after lots of years together in the band. The other new works also take on universal themes like love of country and family and friends, plain having fun and falling in love. These are the anthemic future classic Aking Ama (Super Ama), Makuntento, Kayumanggi, Hangin, Bughaw Pula’t Dilaw, Bayan Ko, Azucena and Gusto Kita Pero Di Kita Mahal, which I believe should make a very strong second single.

Classic Pinoy rock and pop songs done the Isla Era way also make an appearance in the album. While commendable because those songs should not be forgotten and can certainly use new, preferably innovative versions, not all of their choices work well with the band’s style. This is true of Maria Capra’s Kumusta Mga Kaibigan and of Rey Valera’s Ako si Superman which stick out like sore thumbs in the line-up. The Apo Hiking Society’s Mahirap Magmahal ng Syota ng Iba comes off very well though and gives the album a good ending.

Daddy Yankee’s Barrio Fino

Incidentally, the hottest reggaeton artist in the US today is Puerto Rican sensation Daddy Yankee. I am sure many of you out there have already heard his very infectious Gasolina, one of the cuts in his latest album Barrio Fino. The whole thing is in Spanish but it seems as though nobody cares about the language as far as his music is concerned. Daddy Yankee sends arenas dancing and I am very sure the trendy Pinoy will soon join the line.

Daddy Yankee offers 21 cuts in Barrio Fino and he gives listeners a fine example of what reggaeton is all about. It is pop as in the love song Like You. It is dance as in No Me Dejes Solo. It is rap as in Salud y Vida. Why, there are even hints of sweet soul in Sabor a Melao. Daddy Yankee also has lots to say about life and love in the barrio and other things. But take note that all these forms and influences do not in any way make chop suey out of the album. The thread holding the whole production together is the danceable beat, part reggae, part Latin, part everything, adding up to a savory whole, just like the way reggaeton should be.