MANILA, Philippines—Near the end of the MTV Asia Awards show in Genting Highlands, Malaysia, a band composed of six acts from five Asian countries took the side stage.

Calling itself Project E.A.R. (East Asian Revolution), the super-group performed an adrenaline-pumping song called “Marabahaya” (“Dangerous”). Taking off on the quirky, anime-inspired rhythms of J-rock (Japanese rock) and infused with the disparate, yet wildly embraced, genres of rap and metal, the music sounded charming and assertive at the same time.

The song—whose basic structure was anchored by members of Malaysia’s Pop Shuvit, with Thailand’s Thaitanium and Silksounds, Indonesia’s Saint Loco and Singapore’s Alih Fiquir playing along—also featured the Philippines’ Jamir Garcia and Lean Ansing, vocalist and guitarist, respectively, of Slapshock.

Jamir’s turn at the mic was swift but compelling, as he spewed lines in Tagalog that spoke of breaking out of the mold and asserting one’s free will.

The novel aspect of mixing Bahasa and Tagalog in the track was interesting because of similarities in the two languages. But the highly charged music was attention-grabbing in itself.

After the show, there was very interesting news. MTV executives were won over and pledged to support Project E.A.R.

Next stop

Next stop is a slot in a big hip hop festival on Oct. 11 in Thailand, which will reportedly have the American rap superstar Nas as one of the acts. Another gig is scheduled in November in Indonesia. A New Year’s Eve show in Malaysia is likewise being planned.

“The vision is quite simple,” Jamir explains during a visit, with Lean, to Inquirer last week. “We want to show that bands can have productive coexistence in Southeast Asia. Because of [proximity], we get to visit each other more often and exchange ideas.”

The idea to play together onstage was hatched in 2001, six years after Pop Shuvit and Slapshock first collaborated on a demo track, which ended up in a Pop Shuvit album.

“We didn’t get to meet in person. We just communicated via e-mail, and when Slapshock finished its part, we also sent it online,” Jamir relates. “Last year we finally met. Pop Shuvit invited Slapshock to Malaysia for a series of gigs. There we also met Thaitanium.”

When Pop Shuvit came to the Philippines to front-act at the My Chemical Romance concert in November last year, Jamir jammed on vocals. Slapshock also took Pop Shuvit along in its own shows in Manila and the provinces.

The two bands discovered a shared passion for doing things out of the box. “We became very good friends,” Jamir says.

It’s been 12 years since friendship and a common love for the music of Red Hot Chili Peppers and Rage Against the Machine gave birth to Slapshock.

Two of the future members met in school. “I was taking up Applied Physics in UP Diliman and Lee Nadela was majoring in History,” Lean recalls. Lee was still playing bass with his brother Renmin’s band, Agaw Agimat, but apparently wanted to explore his own musical interests.

Jamir, who grew up in the US and came home to the Philippines for college, had simple dreams. He wanted to be a mechanic and had actually started working at Toyota in Cubao when he heard from cousin Jerry Basco about a new band being formed.

With Lean and Jerry on guitars, Lee on bass, Chi Evora on drums and Jamir on vocals, the still unnamed group set out to jam and the sound that emerged, as Jamir described it, was “aggressive music.”

How Slapshock became a rap-metal or rapcore band, Jamir can’t explain. “It was just what came out, very naturally.”

In the mid-’90s, record label execs in Manila were either wary, or too timid to take note, of local fans’ growing fondness for the hybrid sound that grew out of the punk/alternative/grunge/hard rock branch of contemporary music. “All the major labels turned us down,” Jamir recounts the days when Slapshock knocked on doors for a record deal.

Turning point

The turning point came when “Evil Clown,” the band’s demo song, was played on FM radio station NU 107 and topped its “Midnight Countdown” chart. “We were swamped with offers from the labels that rejected us,” Jamir says. “It was our turn to snub them; we signed up with a label that gave us a free hand.”

Slapshock’s debut album with EMI Philippines, 1999’s “4th Degree Burn,” followed by 2000’s “Headtrip” and 2001’s “Project 11-41,” were certified platinum-sellers. The band released three more—2003’s “Back to the 2-Inch” (remix), 2004’s “Novena” and 2006’s “Silence” —before its major-label contract ended.

Hearing the band’s 16-track greatest-hits compilation, “Recollection,” which EMI released last year, the first-time listener may find the anger that abounds in the songs amusing, disturbing, or plain shocking. (Maybe this is how the name fits: the unsuspecting undergoes a “slap” and “shock” treatment.)

It’s impressive how Jamir’s voice transforms from that of a guy-next-door contemplating depression to someone flipping, screaming his guts out. Yet one can altogether ignore the rants and focus on the music that packs a solid, rhythm-tight groove. Taken as a whole, Slapshock is about energy and emotional release.

It may not be as visible as other local rock groups, but it happens to be the first Asian band to have been invited to the 5th Dubai Desert Rock Fest held in March this year. Slapshock performed alongside major international acts Korn, Muse and Velvet Revolver, among others.

Loyal fan base

“We’re proud to have remained under the radar and still enjoy a loyal fan base,” Jamir declares, grinning. “We don’t have to be seen on TV or do outrageous things just to get noticed.”

It also has the generous support of two corporate sponsors—an alcoholic drink and a clothing brand.

The template for Slapshock’s low-key yet self-sufficient existence should be a source of inspiration for other local bands. “It’s nothing special,” Jamir says, “but it’s still out-of-the-box in the sense that we do things our way. It’s like...I wanted to be a mechanic because I didn’t want anyone minding my hair.”

Yes, the hair—it best symbolizes the band’s attitude: proudly disheveled, highlighted with red dreadlocks, and reminiscent of George Clinton, the musician who turned funk upside down with his outrageous stage act.

“Funk, yeah,” Jamir says, as he and Lean step out on the street outside the Inquirer building, drawing curious stares from jeepney riders.