So Long, Wolfmann

I guess you could call me one of the old farts of Electronica Manila and I guess an even older fart when it comes to the Pinoy Electronica Scene. I've been involved in this scene one way or another since 1995. I've seen my share of acts come and go. I've also seen this once eclectic umbrella genre get acculturated into the mainstream, thanks to acts like Fatboy Slim, The Chemical Brothers, and, in good ol' Manila, Wolfmann (two Ns, please).

I don't know how Wolfmann would feel about being called a crossover artist, but that's how I see him. By force of stubborn will, he braved derision from the rockers and criticism from electronic purists and emerged victorious. Whether he liked it or not he was a hybrid, a hyperactive compromise that worked and, slowly but inexorably, clicked with Filipino music lovers.

Professionally, he was one of the few people I could trust my gear with. As a fellow child of the 'Tribe, he could easily perform a kicking jam using my equipment, allowing me to sit back and enjoy a beer and the Wolfmann take on my patterns. I'd listen to him twiddling and tweaking my gear and I'd think, "why don't I do that?" Then of course, he'd find a pair of old drum sticks lying around and he'd pound out a backing rhythm on beat up stage drums and we wouldn't mind.

Recently I relayed to the list that one of my long-time unrealized musical goals was an industrial project a la Nine Inch Nails. Industrial was my entry point into electronic music, having been a staunch death-to-disco in my younger days. Wolfmann was the first to volunteer, offering to play sawtooth guitar over my thunder. Sadly, we'll never know how that would have turned out.

So, I lift up a beer to the Wolfmann, and with the volume cranked up to eleven I press play on my Electribe, squelching sonic-hell out of it and scaring all the birds away. Happy howling in the hereafter, Wolfmann. May your signal never decay.

Bye,

One
Lone
Clone

And if anyone can give me samples of Wilf on guitar, I would be very grateful.