Review: Screams From The Underground & Screaming Mob - Screams From The Underground II
These two albums, Screams From The Underground (1992) and Screaming Mob - Screams From The Underground II (1995), are a raw, unfiltered snapshot of the Filipino underground music scene in the early '90s. Released by indie labels, they serve as a testament to the creativity and passion of DIY punk, hardcore, death metal, and everything in between. The diverse mix of genres—hardcore, punk, and death metal—captures the restless energy of a time when underground music was thriving on the fringes.
Rating: 4.5/5
This album kicks off with Kabaong Ni Kamatayan's "Eve of Pain" and "Let Flesh Decay," two death metal tracks that set a brutal tone with guttural vocals and chaotic instrumentation. Their sound is the epitome of early '90s death metal: fast, relentless, and drenched in visceral aggression. It's not just music; it's a violent release of emotion.
Then, you get a change of pace with Psychotic Change's "Into the Void," blending heavy death metal with hints of doom and sludge. The slow, crushing riffs invoke a feeling of being lost in an infinite abyss, making this one of the standout tracks of the album.
As the record shifts into The Next, you’re hit with hardcore punk in "Strict and Parents Ko" and "Iwasan Mo." These tracks are snappy, with infectious, fast-paced rhythms and rebellious lyrics, representing the youth’s dissatisfaction with societal norms and authority. It's raw, unpolished, and powerful—everything hardcore should be.
Askals brings a bit of a punk edge with "Children in the Street" and "Kapitbahay," combining catchy hooks with a street-smart attitude. Their tracks are full of energy, showing a more melodic side of punk that still doesn't shy away from hard-hitting messages.
Then, Bad Omen brings in that classic '80s hardcore punk sound. "Maling Sistema" and "Pera" are quick blasts of frustration, laying bare critiques of social and economic systems in a brutally straightforward way. The hardcore influence here is clear, but with a raw, early punk aesthetic.
Philippine Violators, another heavy hitter in the punk scene, offers a more melodic, yet no less defiant, approach with "Lost," "Sick Boy," and "I Against I." Their tracks are direct, straightforward, and leave a lasting impact, bridging the gap between hardcore and traditional punk.
Rating: 4.5/5
The sequel picks up where the first left off but expands the landscape further. H.I.V.'s "Cocc" and "Ikaw At Ako" open the album with blistering punk energy and strong socio-political messages, pushing boundaries with their fast tempos and gritty vocals.
Warlock continues the hardcore journey with "Asidong Bato" and "Pulitikong Abusado," weaving in sharp critiques of corrupt political systems with frantic, adrenaline-charged beats. These tracks have that urgent sense of anarchy that hardcore fans love, and it doesn't let up for a second.
Death After Birth delivers a more intense, metal-infused sound with "Deception" and "Into the Pit." These tracks are heavy on atmosphere and brutality, leaning towards a death metal edge with slower, more punishing riffs that build tension and aggression.
Pulpito brings a bit of quirky, almost humorous energy with "Sapatos Ni Svon" and "Ang Babait Nila." Their punk sound has a bouncy, almost metaltrash-like vibe, yet they manage to slip in some commentary on social behavior, making it one of the more unique acts on the album.
Once again, Philippine Violators stand out with tracks like "Isa (Para Kay Jimmy)" and "Me & You." Their punk sound is as vibrant and potent as ever, hitting all the right emotional notes with heartfelt and politically aware lyrics.
Finally, Deceased with "Chonggoloids" and "Six Hundred Sixty Six Zone" shows the death metal scene in its prime. These tracks lean heavily into the death metal aesthetic—dark, aggressive, and full of intricate riffing and guttural vocals. Deceased’s contributions are just as violent as the bands that came before them, but with a sense of technical precision that adds layers to the brutality.
Final Thoughts:
Both albums offer a snapshot of the Philippine underground scene and are essential for anyone interested in the development of local punk, hardcore, and metal music. There’s a lot of grit here—songs are unapologetically raw, with a rebellious spirit that dominates the sound. The genres mix in a way that feels organic, without any pretension. Hardcore bands like Warlock, Pulpito, and Askals add energy and passion, while death metal acts like Kabaong Ni Kamatayan and Deceased inject darkness and brutality. And then there are the punk bands—Philippine Violators, H.I.V., and Bad Omen—whose infectious hooks and social commentary make these albums stand out.
The only reason I wouldn't give it a perfect score is that not every track will appeal to every listener—some songs can feel a bit too raw or unpolished. But the raw energy and diverse mix of genres make these albums a must-listen for anyone into underground music from the early '90s.
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