I saw Tarsius score an experimental short film at a UP Cineastes Studio event a few weeks ago, along with other bands like Radioactive Sago Project, The Strangeness, Archaster, etc. Taken by Cars even went post-rock.
Miguel Cortez Hernandez
Wilderness
Sessionist for Twin Lobster, Beeeyes
70’s Ludwig Supraphonic
This is the snare of the Gods. John Bonham used it. It’s from the 70’s with this distinct, dry fat sound. It came out of nowhere, really.
The Holy Grail
I found it by chance. You could say that it was cosmic. Two years ago, I came across an ad for it on sulit.com for just P6,000. At the time, I was working for Mang Inasal, and I just got my first paycheck. It seemed too cheap to be true, so bought it right away. It turns out that a tailor was selling it because he was trying to dispose of his father’s drum kit. He didn’t even know its true value. You can’t find this in shops, and you can spend P6,000 on a brand new snare, but all you’d get is crap. A decent snare costs around P11,000 upwards, after all. I never had this appraised, but I’d say it’s priceless.
When I started looking for new gear, I wanted was an aluminium snare, but I came across the holy grail. It took me an entire year just to restore it. When I got it, it was in such bad condition, I thought it was almost beyond repair! I had to take it out of this ugly vinyl wrap and scrape off the double-sided tape on it carefully. There were so many missing parts that I had to find one-by-one, but I restored it it all by myself. And I’m proud of it. I never lend it to anyone, not even Chiko (his brother and the percussionist of Wilderness). [laughs] This snare is my baby.
Starting Out
I’ve been drumming since my sophomore year in high school. Back then, I wanted to play guitar, but everyone played guitar, and nobody played the drums. That’s when I thought, “I want to play the fucking drums!” I started out just imagining how the drums would sound in my head. I got sticks and I’d pretend that my computer desk was a drum kit. The first song that I ever learned was “Californication” by Red Hot Chili Peppers. Travis Barker of blink-182 was also one of my heroes. He was the connection between me and Pat Sarabia (the percussionist of Wilderness).
The band started out as a three-piece. Allan and I were classmates, but we weren’t that close. We decided to jam one day, and he brought along this very peculiar guy – Mau. I was really weirded out by him but that’s what I liked about him. We had one jam – It was magic. Nothing was rehearsed or prepared, but it just clicked. And we just continued. Then one time, Mau, Allan, and I were having burgers at a joint tear our place. I was munching while thinking about the sound we created during one of our jams. “Wilderness” was the first word that entered my head, and it stuck.
At our first gig, the overall vibe of the bar was boredom. It seemed like we gave them a jolt after we played. The jitters hit us hard right before we hit the stage, but everything fell into place when we started playing. Pat saw us there and decided to manage us that night, and she eventually joined in on the fun onstage with percs.
And things just continued from there. Chiko started out trying to sing until Pat lent him some percs, and he never stopped practicing his craft since then. Enzo was the first friend I made in class. Since Mau’s busy with his law studies, Enzo would fill it. But it’s so much better when they both play. Nikki caught our gigs and asked if he could jam for a gig. He started playing magic, and never stopped since then. And Aman has always been a peculiar character in school. He walked alone. I liked that about him, and I knew he’d be a perfect fit.
Since then, I’ve also jammed with a lot of other bands. I’m sessioning for Twin Lobster’s gigs right now. Beeeyes, too. Once I played with Kwago, and on the very last beat of the last song, the vocalist jumped up on the bass drum, jumped, and crashed into me. We fell to the floor spent a bit catching our breaths, and we just smiled. It‘s one those moments about playing music live.
When it comes to Wilderness, I exercise to every day to keep up my game. I do 100 jumping jacks to build my body for functional aesthetic purposes. After all, you need stamina to express what you need to express, and bring it up to your performance. It helps you bring complete honesty in you what to play. The really good drummers like Bobby Padilla, Luis Guttierez, Wendell Garcia, Reli de Vera, and of course Pat Sarabia, spill their guts and who they are into their playing. It’s not about technicality, but attitude and technique — or rather, technique fueled by attitude.
All apologies for the inactivity
I’ve been on an involuntary hiatus because I’ve been too busy with academics. I’m still looking for people to interview though. If you’re interested in sharing a story, message me!
Fernandes Telecaster
Marco Harder of The PurplechickensLook. A Telecaster is the first mass-produced guitar, and it’s basically a slab of wood with a stick as a neck. It’s a guitar’s fundamental design, and to this day, it still holds strong. It’s true that skill and talent make a good player, but the technology of an instrument is also very crucial. After all, the whole of rock and roll was based on the electrification of the guitar. It’s about time that people paid more attention to the machines, but it’s good to strike the right balance between being a gearhead and playing music. I used to spend hours on Philmusic, but I weaned myself off it when I realized that instead of longing for something I wanted, it was better to work within the limits of what was available to me. I could tweak a guitar all I want, but how well it fits is left up to whoever uses it.
It’s funny, really. I had this one friend who went to a guitar store and saw a guitar that he thought was perfect for him, but couldn’t buy it because it was too expensive. Soon after, he saw the same model in a pawnshop with around seventy-five percent of the price slashed off. Some guitars just find you despite time, space, or financial constraints. [Here’s a more accurate account: the real story was I wanted the guitar for myself, but it wasn’t within my budget. I mentioned the guitar to that friend and to my surprise, the price went down by a significant amount, which I took as a sign that that the guitar really wasn’t meant for me].When I recorded the first album of The Purplechickens back in 2003, I spent ages looking for just the right tone that I wanted. Got to borrow a Telecaster which was just perfect for me, but I had to give it back and I spent years trying to find a guitar that sounded just like it in futility. However, one day, I saw this on Philmusic and when I met up with the owner and tried it out, it felt just right. It had the same wood and tone, although one of the pickups was different. I don’t have any proof – and I’m hardly superstitious, — but I have a feeling that it’s the exact same guitar.
Even if my hypothesis is proven wrong, I’d say that this guitar is still something. I never use a guitar for a show unless I’ve rehearsed with it before, and even then a guitar can disappoint. At the first gig I used it for, it just came out and had the right sound. It worked like a charm throughout. Ever since, it has been my main guitar for gigging. I’d call it a lifer, because this is something I see keeping and playing for good.
Write-up based on an interview of Marco Harder, edited by Marco Harder
Special thanks to Mr. Carlo Reyes who let me shoot and interview inside Vinyl on Vinyl!
RJ Jazzmaster
Joe de Jesus of Identikit
Meet Jazzmaster Kim. I bought her secondhand through Philmusic, and had her refinished by Max Rufo. Gustong-gusto ko ang Jazzmaster, eh. I look up to Thurston Moore and Lee Ranaldo of Sonic Youth a lot. The day I bought this, I broke up with my girlfriend – but that’s a story I’d rather not tell.
Anyway, there was this one time when Identikit opened for a certain jock rock band. I’m not going to mention the band name, but the crowd wasn’t exactly our crowd. I heard some guy say “baduy ng gitara” during our set. I guess it was because it was yellow? But hell, who cares? I like yellow.
I also brought this along with me to Identikit’s show in Paoway, Ilocos. It was a summer farewell gig which took us twelve hours by to get to by bus, but it was pretty great because we had a talent fee, a hotel, and free food! The stage was pretty big, too. That’s not something that happens often for local independent bands. We played alongside Wolfgang, Up dharma Down, Sleepwalk Circus, Hidden Nikki, and some other acts.
I remember walking along the beach to get on the stage for that show. I was carrying my guitar and my pedalboard, which were all pretty heavy, and I ended up sinking in the sand! I managed to get onstage unscathed, though, and we played a pretty great gig. I even saw [name redacted]* dancing to our set in the crowd.
Write-up based on an interview of Joe de Jesus
*Hint: He’s a commercial model who has been in photoshoots with models like Georgina Wilson.
Even if I haven’t been able to post frequently because I’m rather busy, I’m really glad that a lot of people appreciate this blog. I’m not much of a gearhead, actually! Stories are at the heart of this project, and those are what I’m trying to document so that other can hear about them, too.
Messages like this one keep Limguhit going. Thank you so much!
- M
Pat Sarabia: El Toro El Matador
At the Ciudad album launch, I talked to Pat Sarabia, the percussionist of Wilderness and sessionist drummer of Twin Lobster about how she got into drumming, her recent tour with Wilderness and Twin Lobster in Indonesia and her gear, among other things. By the way, El Toro El Matador is one of the songs of Wilderness’ Pyesta EP, which you should definitely check out.
My current setup. I like to change or add parts to keep me creative. I have a bunch of toms lying around in case I feel like using them. - Pat
Limguhit: Tell us about why you love playing the drums.
Pat: I love playing the drums because masarap siya. It’s very innate, unlike piano or guitar, where you have to really sit down and study them. I know people think that drumming is complicated because you use so many limbs at the same time, but when it comes down to it, it’s natural. Anyone can relate to a beat. When babies learn to walk, they follow a rhythm. Your own heartbeat’s a rhythm. Drumming is an extension of that, but it’s still very human.
Limguhit: How did you start playing the drums?
Pat: Dream ko talaga mag-gitara, pero andaming kailangan i-memorize. Hassle! Before, when I’d listen to music on NU, yung drums ang pinakamalakas sa tenga ko. When I was eleven, I ended up air-drumming a lot to songs like Don’t Leave Me by blink-182 and Generator by Foo Fighters. I started drumming for real when I was thirteen. I took classes at Yamaha for around three years with Roy Secillano, who is Miguel Escueta’s drummer now. Actually, I wasn’t really consistent with practicing during high school. I never really had a drumkit until last year, so I’d just use a practice pad or borrow gear from my friends. Listening, visualizing, and air-drumming helped a lot, too.
In high school, I’d play at parties here and there where we’d cover songs and stuff. Yun lang. I was also in this band called Wagyu for around two years in college. It was a rock band, I guess. (Click here for Wagyu’s page on Reverb Nation.) I quit because I didn’t really like that kind of sound anymore.
I only got my first kit last year. I bought it from Ryan Peralta, the new drummer of Rivermaya. I took lessons from him for two years when I got into college, actually. I think he’s one of my biggest influences in terms of my philosophy behind drumming. He isn’t that “geeky” but he approaches drums as a language instead of a way to show off.
I found this weird UFO-like cymbal while I was in Texas. It was on sale, and I just had to buy it. I’m not a gearhead but I like things that people wouldn’t normally use. I also buy gear based on if I think it’s interesting or not. This one sounds like hitting a trash can. As for this stack, these are all cymbals my friends let me. There’s a big crash cymbal, then a broken hi-hat, then an 8” splash. I really like the sound of this stack I put together. Trashy, yet controlled. It sounds like a big dark trashy ride cymbal. - Pat
Limguhit: Other musicians in the independent music scene lament that a lot of technically skilled drummers go off to play genres where complicated rhythms and unusual time signatures are more common. As a result, drummers get asked to play for a lot of bands.
Pat: I’ve been asked to play for a lot of bands all in a short span of time before, but I don’t find it overwhelming. If people recognize your versatility and ask you to play for them, then why not? It’s always a chance for me to learn, and it’s always worth giving things a shot. It’s a constant learning process. That’s another thing that keeps me going when it comes to drumming.
Don’t get me wrong, though. Being skilled in a technical way is a plus, but when it comes to independent music, you aren’t pressured by a major label to sound a certain way. After all, major labels have a certain sound in mind for bands, don’t they? When you’re independent, you’re allowed to express yourself more creatively. As a result, instead of a battle of chops, it’s a battle of ideas. Because of that, a lot of talent gets to flourish.
I got this cheap 10” snare at Lyric. I used to use it as an auxiliary snare, but I really like its sound. I added the jingle wedge because I found it really interesting. - Pat
Limguhit: In Wilderness, instead of playing the drums, you play a lot of varied percussion instruments. How did that come about?
Pat: Wilderness started as a three-piece between my friends. One day in 2010, Mau (the guitarist), played a demo on his phone. I thought, “hey, this is really fucking cool” and I really wanted them to be heard. I asked some other people I know to join, and it all grew from there. I’m more of a drummer than a percussionist, but Wilderness became a family.
Limguhit: I’ve seen you play with this weird tube thing once. What is it?
Pat: Oh, the Thundertube? We just saw that at JB. You can make one out of a Pringles can. Just look it up online, it’s really easy man!
Fuck snare bags, bayongs are the way to go! - Pat
Limguhit: Wilderness is incredibly energetic when they perform live, too! Wasn’t there this one blogger who called your performance demonic recently?
Pat: Yeah, when I saw that post, I was all “…uh, okay.” I don’t go into a gig with the intention of being wild or anything. During live performances, there’s this incredible surge of energy. It’s hard to explain. I mean, when we rehearse, we know how things go, but when we’re performing in front of a crowd, we approach things in a new way all of a sudden. I only realize how things have gone after. It just happens, I guess.
Limguhit: You got to tour Indonesia with Twin Lobster too, right? How was it over there?
Pat: Wasak! The people there are really into hard rock and grunge. Pearl Jam stuff. Wilderness isn’t exactly like that, but we’re similar enough to click. It’s really nice in Bandung, too. The art community’s tight and everyone’s really supportive. You could live there as an artist lang. They even made Wilderness and Twin Lobster shirts when we got there.
Limguhit: Ultimately, how can drumming be a language for you?
Pat: Drumming really is just an expression of one’s self, like interpretive dance, maybe? Sometimes I find myself at this level of comfort where I can just release what I feel. Comfort in terms of skill, I mean. I don’t care about being the best. I don’t care about chops. Of course creativity and chops are 50/50 in a way, since I have to practice and keep on learning, but I play drums not with the intention of being the best. I find that I can express myself with drums better than I can with words, honestly.
Pictures provided by Pat Sarabia
What’s in store for Limguhit?
Limguhit’s not dead. I’ve just been busy with responsibilities and other life things, but I have another batch of interviews lined up.
Just a fun fact: The notebook on the left is what I take notes on when I interview people. I also made a bunch of flyers which I’m going to hand out at gigs. And on the left are the limited-edition postcards that came along with a copy of Follow the Leader from Ciudad’s album launch last night. Route 196 was so packed, the airconditioners felt nonexistent, so the doors were left open. Congrats, Ciudad!
- M
