Album lore

Barkada Ko, issued in 2006 on Ivory Music & Video, Inc., stands as a modest artifact of mid-2000s Pinoy indie and bisrock currents. Isla Era’s twelve tracks—among them “Kumusta Mga Kaibigan” and “Ako Si Superman”—navigate familiar terrain in Pinoy alternative and reggae-tinged rock, delivered with an unvarnished earnestness. The album’s palette includes a blend of local vernacular and straightforward arrangements, evoking a particular resonance within the Pinoy rock lineage.Though not widely scrobbled beyond its 2,269 Last.fm plays, Barkada Ko retains a certain rough-hewn charm for those tracing OPM’s evolving face in the early 21st century. The presence of tracks like “Bughaw, Pula't Dilaw” and “Mahirap Magmahal Ng Syota Ng Iba” hints at both personal and social concerns, framed in familiar melodic structures. This record occupies a quiet corner of the Filipino independent scene, worthy of a careful listen for collectors seeking the contours of regional rock’s less heralded signals.

Album lore

Barkada Ko, issued in 2006 on Ivory Music & Video, Inc., stands as a modest artifact of mid-2000s Pinoy indie and bisrock currents. Isla Era’s twelve tracks—among them “Kumusta Mga Kaibigan” and “Ako Si Superman”—navigate familiar terrain in Pinoy alternative and reggae-tinged rock, delivered with an unvarnished earnestness. The album’s palette includes a blend of local vernacular and straightforward arrangements, evoking a particular resonance within the Pinoy rock lineage.Though not widely scrobbled beyond its 2,269 Last.fm plays, Barkada Ko retains a certain rough-hewn charm for those tracing OPM’s evolving face in the early 21st century. The presence of tracks like “Bughaw, Pula't Dilaw” and “Mahirap Magmahal Ng Syota Ng Iba” hints at both personal and social concerns, framed in familiar melodic structures. This record occupies a quiet corner of the Filipino independent scene, worthy of a careful listen for collectors seeking the contours of regional rock’s less heralded signals.