The E-Heads, of course, are the old big thing: they practically single-handedly ushered in the local pop-rock explosion in the mid-90s with their cult hit, Pare Ko, a fever that swept the whole of Diliman and the rest of the country thereafter.
From Diliman dorm boys, unassuming but with a wicked riff or two up their collective sleeves, they soon traveled and performed on the world stage, even winning an MTV award in New York.
More hits followed, such as Ang Huling El Bimbo, Overdrive, Maselang Bahaghari as well as Alapaap that triggered a congressional investigation because of its "suggestive" drug-induced lyrics, and even a Christmas album, Fruitcake, that came in tandem with a book by their erstwhile manager, Jessica Zafra. There was an EP –Bananatype –and soon enough a greatest hits compilation called Aloha Milky Way for international release.
But along with the spoils of success and bursts of sustained creativity, coupled with the likely adage that familiarity breeds contempt, the band members eventually became restless and wanted some space to grow on their own.
Drummer Raymond Marasigan wanted to play guitar and helped found Sandwich, a band that reaped both critical and commercial success. Bassist Buddy Zabala produced young and upcoming bands to help keep the edge as sharp as ever. And while everyone was wondering what guitarist Marcus Adoro was doing with himself, lead songwriter and vocalist Ely Buendia got bored, fathered a child, and released his solo album, Wanted: Bedspacer, to mixed reviews.
Now comes Carbonstereoxide, their first studio effort since May 1999’s Natin-99. As expected of the E-Heads, the band dishes out its usual fare of straight-ahead rockers, melodic but never maudlin pop gems, and playful synthesizer-based fillers.
After the vacation from each other, the four show a renewed energy and enthusiasm, as the boys sound like they enjoy playing in the same band again.
Buendia’s songwriting, in particular, has a different, driven quality to it –more mature and sure of himself, probably having to do with his new role as padre de familia. Even his vocals have settled down –he’s less of the whiny, pimply, post-adolescent.
Marasigan, whose work with Sandwich got many wondering why he doesn’t play guitar with the E-Heads, keeps ample time on drums, and indulges in his quirky aural vignettes.
Zabala’s bass playing is consistently muscular, and Adoro remains a guitar wizard who can baffle casual listeners.
Overall, the songs are at par with the best they’ve done, although admittedly, Cutterpillow is still the benchmark.
The CD starts with Ultrasound, that begins with a sharp report perhaps amplifying that heard on the pre-natal machine.
Adoro’s Wala has his patent humor ("Wala nang sabon ... wala nang papel...), while Buendia’s Paintstripper has the band in rousing metal mode as befits a tune about a latero.
The potential hits are never lacking –not the least of which is the music video song Maskara, which could be a tribute to the Juan dela Cruz Band’s album of the same name.
They don’t come up shorthanded with the irresistible melodies and hooks, as evidenced by How Far Will U Go, Palamig, Outside and Playground.
The band members, who I suspect to be in their early 30s, already sound like the elder statesmen of Pinoy rock. As Carbonstereoxide proves, the sabbatical was well-deserved and much-needed, and now they are ready to take the local scene up to the next level.