Burn it to memory. This will likely be the last time we see this version of Zild
“I will never be the same. Every record and interview is a snapshot of who I was at the time.”
From the first instance I caught him live at our 2018 high school prom to watching him again as a soloist, Zild has never been the same artist twice.
At ease with his long-standing fans during his exclusive listening party for his latest album “Superpower,” quiet and reserved (though undoubtedly easy to talk to) during the Scout cover shoot—there are many sides to Zild we’ve yet to see and part and parcel of that is his ever-changing artistry.
READ: In ‘Huminga,’ Zild conjures a dreamer in a world of loss
There’s no one clear definition of Zild the artist. In 2020 and on the heels of the highly successful “ClapClapClap!,” he burst onto the scene as a solo artist with the alternative/indie “Homework Machine” where songs such as “Dila” and “Habulan” introduced us to a Zild sans the band.
In 2021, he followed his debut with the more retrospective “Huminga,” which featured the likes of “Kyusi” and “Bungantulog.” The next year, he donned the eyeliner and owned the look (and sounded the part) of a 2000s pop rock band member for “Medisina.”
Frankly, Zild is an artist unrestrained by concepts and two years later, his newest album would continue the trend of difference and serve as a testament to his boundless musicality.
“Superpower,” his fourth full-length project, is a guitar-heavy exploration of love: falling in, falling out, romantic, platonic, and all the embarrassing stages of infatuation in between. The album was written during his string of performances for “Medisina,” which, according to him, influenced the project’s noticeably happier and hopeful sound. “The subconscious effort of this album being much ‘brighter’ and ‘colorful’ may be a result of playing songs live of ‘Medisina’ with its heavy emotional weight and darkness,” shares Zild.
“[The album] has a different approach compared to my previous works,” he explains. “I tried [tackling the] songwriting in a ‘humorous’ way and I emphasized specific storytelling to form imagery in our heads while listening to it.”
“Lia,” a ’90s OPM rock-styled single released ahead of the entire album, exhibits this shift in storytelling. With lyrics such as “Hawak mo / pulang gitara sa studio ko / at narinig kang kumanta / nabighani nga bigla” and “Ang sabi mo / ‘pangarap ko ang makapunta diyan / magbakasyon diyan sa Japan / ang swerte swerte mo naman’”—Zild vividly recalls specific moments with his “beloved” and places us, the listener, at the scene as if it were us reliving the memory ourselves.
But outside genres and themes, “Superpower” is an album of firsts for the 27-year-old singer-songwriter.
“It is also my first time trying to write a verse with no melody, or in other words, ‘rap’ -inspired,” adds Zild, referring to the highly experimental ”I.N.A.S. (I’m Not A Superman),” which explores the feelings and apprehensions of someone who isn’t ready for a relationship.
“Matalino Street” is also apparently new ground for Zild—being the first time he uses (albeit unwillingly at first) words belonging to cheesy love songs. He also refers to the track as the song he didn’t like at first but ended up loving.
“I used to think that it’s so cliche and generic, but I think it’s the song that really aged well with me after the release. The lyrics may be a little bit corny, but I think that’s the edge and the beauty of the song.”
With lyrics like “Nakaraan ay ‘di na babalikan / magbubuo ng bagong karanasan / na ako ang nag-iisa mong leading man / ang buhay ay parang pelikula at ikaw ang bida,” it’s no wonder Zild was unsure of the track—either way, it slaps.
When asked about what he learned about himself during the making of “Superpower,” Zild says, “I learned that I wanna write more songs again.”
Redundancy and stagnation signal the death of the artist. Sure, success on the charts can be guaranteed by the combination of sure-hit melodies, harmonies, and arrangements but without the freedom to create, music is reduced to a science geared at identifying the model for the next big hit.
Zild could have simply made more songs akin to “Kyusi” and “Medisina”—two of highest-performing tracks to date—but had he done so, then we wouldn’t have had “Superpower.” We likely wouldn’t even have a reinvigorated Zild excited to put out more new music.
Topping the charts is nothing to sneer at but part of the beauty of artistry is the presence of songs only a select few can appreciate. Despite all this, having a different sound per album release is not the most efficient road to musical success. Zild himself agrees with the sentiment and describes himself as having an “inconsistent sound discography.”
“I always see genres as moods or as clothes. Fashion may change over time, but the person stays the same. I have accepted the fact that I will be one of those artists that has an inconsistent sound discography.”
We often ask for authentic stars—artists who don’t wear masks and are genuine in how they portray themselves. In Zild’s case, he is no longer the same artist whose fans first fell in love with when they initially discovered him. His brand of authenticity shines through in the music he creates that isn’t dictated by anyone but himself. Zild will never be the same artist again. That is his unyielding artistry.
Creative direction by Nimu Muallam-Mirano
Photography by Shaira Luna, assisted by Albert Calaguas
Written and produced by Carl Martin Agustin
Makeup by Mabeth Concepcion
Video by Michael Yabut, assisted by Ella Lambio
Shot at AKAI
Special thanks to UMG Philippines, Island Records Philippines, and Balcony Entertainment
