'anak ko' reforms jay som's path
Words by Sophia Denison, photos by Amelia Zollner
Returning to her cozy realm of bedroom pop, Melina Duterte, better known as Jay Som, released her third album titled Anak Ko on August 23, 2019. This exploratory collection collides themes of self-love and tender heartache to form gentle yet achy musical environments. Two years after her latest album release, 2017’s Everybody Works, Anak Ko continues to reform Duterte's path through the vast world of her genre.
Meaning “My Child” in Tagalog, Anak Ko celebrates Duterte’s Flipino heritage and culture. She is not what one would picture as a ‘typical’ artist in the generally male-dominated field; she doesn’t shy away from challenging standards of bedroom pop and continually comes out on top. This self-made, nonconformist record dances on the outskirts of her comfort zone while still further defining her identity as an artist.
Teased with a sharp guitar riff, “If You Want It” opens the gate with woven bass lines complimenting occasional lower-register vocals. Hazy but flowing, this first track lays it all out on the table for what this album has to offer. The repetitive riff that begins the song appears consistently though the piece, keeping the listener just grounded enough to not let themselves float away entirely. The almost whispered lyric “inflamed intention” during the second verse has enough grip to captivate and lift the audience up to the fiery ending.
An upbeat rupture of sunshine, “Superbike”, quickly follows. Continuing the trend of echoey background vocals, the words “Somebody tell me” rise from the ends of foggy phrases. Crisp consonants balance and settle the otherwise dreamy landscape. These short-lived vocals build up to the climax of this track, which is strictly instrumental. Not something to be skipped, this dramatic and encapsulating build up resolves with a wonderfully deserved guitar solo.
Unlike the previous tracks, “Peace Out” and “Devotion” take more of a lyrical lead. The lyrics “Want me to say the right words, make you feel incredible / I’m selling myself short, pulling teeth to make it work” in “Peace Out” begin the song's steadily increasing intensity. “Devotion” takes a more tender approach, wrestling with the proposition of change. As one of the more lyrically connective tracks on the album, Duterte uses the phrases “I changed my mind / It’s only change / I wanna change” in a familiar attempt to juggle her worries surrounding change. Conflicted on whether to fear or look forward to inevitable change, she sonically conveys herself dancing around her uncertain emotions. A misty interlude pulls the track into slow motion before ending similarly to how it started, questioning the understanding of the lyrical substance.
Taking it down a notch, “Nighttime Drive” drifts through delicate memories. Spacy but definitely not snooze-worthy, this breath of fresh air lets the mind float in every direction in classic bedroom pop style. Warm and lighthearted phrases slow down to reveal yet another minute-long interlude. The consistency and swift flow linger as the song softly floats away resonating on bittersweetness. “Tenderness” follows, showcasing faded, vintage-sounding vocals. The chorus is a rush of butterflies fluttering with a perky drum beat.
The title track, “Anak Ko”, reaches a new, more experimental sound from Duterte. It moves from a slow maraca beat and blended, shaky vocals to an eerie instrumental break between verses. The production on this track is unlike anything else on the album, including clearly broken up sections that keep the listener always guessing. “Crown” resolves the uneasiness and dark tones of “Anak Ko” with Duterte's signature floaty, melodic execution. She includes another classic instrumental outro seen many times on this album, going hand and hand with the melodic rising and falling of this track. While instrumentally magnificent, the lyrics that accompany these tracks are confusing and make it difficult to pinpoint a clear message.
At last, the tearful finishing track “Get Well” is presented as a whimsical reflection. The lyrics “I’ve been sick like you, I’ve had my share / Don’t wanna find you on the other end” tie up vague loose ends with acceptance and coming to terms. Glimmering with hope, this last song leaves the listener with sturdy fulfillment.
Duterte’s “Anak Ko” is simply a feeling, not a straightforward album. Leaving her songs short lyrically makes for unique melodic craftsmanship and guides the listener to pay attention to the fine, emotion-rich details. The environment she engineers with each of her pieces and the inclusion of many instrumental interludes generates a gateway into her world. Few lyrics can sometimes cause a song to lose sentimental connection, but she proves that the mood she builds using her incredible musicianship has meaning that would get lost with the addition of lyrics.
Although some songs that carry similar tones started to blend together and get repetitive, a few distinct standouts, such as “Superbike” and “Tenderness”, help break it up. Toward the beginning of the album, she does a beautiful job keeping her songs dreamy but still grounded; however, in the end, the excessive fogginess and unclear lyrics made it difficult to fully connect with. Be that as it may, Duterte makes it clear that she makes music for herself first, not an audience.
Essential songs: "Superbike," "Tenderness," and "Nighttime Drive"