FEATURE: Charice’s rebel soul

MANILA, Philippines - As far as the history of pop music is concerned, reinventions have become essential for artists to stay relevant. Madonna’s success can be attributed to her ability to shift music personas and styles from album to album, sometimes pushing sexual and political boundaries to stay ahead of the curve. In a similar way, her successors Lady Gaga, Rihanna and Beyoncé have never been comfortable sticking to one character in the course of their Top 40 residency.

There is reinvention in every pop star’s DNA. Yes, some artists are just happy to adapt to the ever-changing trends of the music industry as a calculated marketing plot. But for others, reinvention comes naturally. Take Miley Cyrus, who celebrated her newfound freedom on Wayne Coyne-produced fifth album, the independently released “Miley Cyrus and Her Dead Petz.” And, yes, take Sarah Geronimo, whose latest release, “The Great Unknown,” finds her collaborating with fresh indie talent like Bojam, Thyro and Nica del Rosario, helping her embrace a sound that pushes the outer edges of her personality.

Traversing this same path is Charice.

* * *

Landed At The Bottom, Now We’re Here

“Every pop star must, at some point, confront career mortality. For some, the end comes suddenly and without warning,” wrote Pitchfork music critic Jordan Sargent in his review of Mariah Carey’s 2014 album, “Me. I Am Mariah... the Elusive Chanteuse.” For some observers, this seemed to be the fate of Charice last year, when he bravely decided to open up about his sexuality and come out as a trans man. With the world so unforgiving, offers in both local and international show business began to dry up, while several fans left his side.

But Charice never lost that swan of a voice that landed him a duet with Celine Dion and Andrea Bocelli. His singing has vastly improved over time, knowing when to use his upper register at the right peaks and moments, and learning when to strip things down to showcase the ethereal quality of his vocals.

At the risk of losing the approval of “Chasters” — his supportive fan club since day one — Charice began looking outside the world of pop. He got into Kurt Cobain, then David Bowie and Janis Joplin. He also ventured into writing songs — confessional anthems that document the changes in his personal and romantic life, and observations about people he knew and met in passing. “It was easy because it’s me,” Charice tells us.  “I didn’t have to think if it fits the mainstream mold because it’s something personal, it’s something that I wrote and cared for.”

On ‘Catharsis’

With the help of Mayonnaise’s front man and acclaimed producer Monty Macalino and Starmusic’s Jonathan Manalo, these songs evolved into the polished studio recordings that make up Charice’s fifth release, “Catharsis.” Unlike his previous albums, “Catharsis” is the first time Charice was given an opportunity to steer the wheels his way — from songwriting to production, from track selection to mixing. “I was blown away by the talent of this person because 80 to 90 percent of the songs were written and mixed by Charice,” Macalino says.

Charice’s team has been adamant about promoting the album as a rock record of some sort, citing Charice’s newfound appreciation for grunge, classic rock ‘n’ roll and ‘90s alternative as the major force behind the album’s drastic shift to an edgier, more guitar-driven affair. While you can hear a smattering of power chords in the mix, “Catharsis” is first and foremost a pop record in the Pink/Ashlee Simpson/Kelly Clarkson territory: a punchy, in-your-face release that fights emotional intensity with fire.

Dramatic Turns

His big, amazing pipes are used as a weapon here, knocking the roof off with dramatic turns and cutting runs. Haunt is perhaps the best among the bunch, a bluesy show-stopper that makes explicit references to making love. It has that Janis Joplin-meets-Christina Aguilera circa “Back To Basics” vibe to it, minus the over-the-top kitsch. How Much I Love You delivers the most heartfelt moment in the record. It borrows a few elements from gospel and ‘60s soul, punctuated with retro-modern production touches to complement Charice’s tasteful singing. Happy feels like the record’s coming-out anthem, but instead of recreating the disco diva pastiche of Gloria Gaynor or Diana Ross, Charice sings over infectious pop hooks and breezy guitar strums with lines such as “I’m happy being free” repeated to gleeful infinity. At least for once, he takes us to a place of captivating sunshine warmth, where people don’t need to wrap their heads around any form of negativity.

While Charice deserves some credit for setting his sight on a more rock-leaning direction, songs like Epitome of Beauty don’t seem to capture his strength as a vocalist capable of turning maudlin lines into some form of transcendence. The pop-punk shtick doesn’t give him much room to explore. It’s fun and easy to sing along to, but lacks the magnetic grace of the standout cuts in the record. The controversially titled Killing Myself To Sleep is the better rock-infused tune, in my opinion. His vocal firepower has always been his trump card, and when infused with bile-fueled chords and emotionally naked chorus, it leaves us with a rewarding listen.

“Catharsis” is far from being an ideal showcase for standard pop gold, but it’s a compelling effort that conveniently marks Charice’s transition from a young power belter to a budding singer-songwriter. The reinvention is now televised, and Charice is now ready to share his story with the world, unfiltered and devoid of gloss.

* * *

Tweet the author @IanUrrutia.