A Christmas Song on Good Friday

In a quiet room on Good Friday, something out of place began to take shape.

One night, Lit Magcale, Vice President of Ivory Records, called me. She said they were already preparing early for a Christmas album, which, looking back, was probably how things were done. She asked if I could submit a demo. I said yes.

April 5, 1996. Good Friday.

I started writing. I was in my bedroom with a 4-track recorder, working on that demo.

The timing did not make sense. It was Good Friday. The house was quiet. Everything felt slow and solemn. But what I was working on was the opposite—a Christmas song.

I had my headphones on while recording, so from outside, there were no instruments. Just my voice, singing alone. “Paskong-pasko… la la lo la la…” My mom heard it and thought something was off. A Christmas song, on Good Friday, sung acapella inside a room—it did not sound normal.

But inside the headphones, it made sense. The arrangement was there. The direction was clear.

That demo became “Pass Ako,” part of the compilation album AkustiKrismas.

Around the same time, I pushed my friends’ band, Jellybeans, to join the project. They already had a song, “Santa and Me,” so they did not need to write a new one. They said yes. That became their entry point into a major label.

I even ended up doing a small voice part in their track—a simple “Ho Ho.”

Looking back, none of it lined up the way it was supposed to. Wrong season. Wrong timing. Unusual setup. But the work moved forward anyway.

The song got written. The demo got recorded. The project got filled.

The album was released in Christmas 1996.

I only thought about it now. Today is the Annunciation of the Lord, when Mary was asked and she said yes.

My yes, and my friends’ yes, did not wait for the right moment. They came before the situation made sense.

It feels close to that kind of moment when a yes is given. A call came. A response was given.

And from those yes moments, things began to move.

So it was not The End after all.

From the compilation album “AkustiKrismas”
Performed by The End

© 1996 (Tone Def) Ivory Records

Gene Pabalan: drums, triangle, lyre, tambourine, back-up vocals
Chay Sapida: piano, back-up vocals
Darem Placer: acoustic guitar, lead vocals

Additional vocals:
Apostles of Christ Through Service (ACTS) choir of Mary Immaculate Parish Nature Church
Jigs Cataluña † (In memory) “la la la lo la”

⌨ ᴛʸᵖⁱⁿᵍ ᴏᵘᵗ ᵒᶠ ᵗʰᵉ ʙˡᵘᵉ ᵈᵃʳᵉᵐ ᵐᵘˢⁱᶜ ᵇˡᵒᵍ

The End•Istorya

The Orchestra Is Quietly Coming Back

People once said orchestral music was fading away. The latest numbers tell a very different story.

For those who’d rather listen.

For many years, people kept saying that orchestral music was dying.

Concert halls were seen as places for older audiences. Streaming platforms were filled with pop, rap, and electronic music. For a while, it looked like orchestral music had become a small corner of the music world.

But recent research suggests something interesting is happening.

A survey connected with the Royal Philharmonic Orchestra in the United Kingdom found that interest in orchestral music has reached its highest level in six years. About 35% of UK adults say they want to learn more about orchestral music. In 2021, that number was only 11%.

Even more surprising is where the growth is coming from.

Among people under 25, interest jumped from 11% to around 30% in a single year. That means younger listeners are becoming curious about orchestral sound again.

The reason may not be what many people expect.

Most young listeners are not discovering orchestras inside concert halls. They are discovering them through everyday media.

Film scores 
Video game soundtracks 
Study playlists 
Streaming recommendations

Many modern movies and games use full orchestras. When people enjoy those soundtracks, they are already listening to orchestral music without realizing it.

Streaming platforms also play a role. Algorithms often recommend orchestral pieces to listeners who enjoy cinematic, ambient, or instrumental music. Over time, those recommendations slowly introduce people to a wider orchestral world.

Another factor is the role of music in daily life.

Surveys show that many listeners now hear orchestral music while commuting, studying, or working. It has become part of focus playlists and background listening, not just something reserved for formal concerts.

This does not mean orchestral music has suddenly become mainstream like pop music.

But it does show that curiosity is growing again.

New listeners are discovering a sound that has existed for centuries. Some will listen once and move on. Others may stay and explore deeper.

The orchestra has not changed much.

But the ears discovering it are new.

⌨ ᴛʸᵖⁱⁿᵍ ᴏᵘᵗ ᵒᶠ ᵗʰᵉ ʙˡᵘᵉ ᵈᵃʳᵉᵐ ᵐᵘˢⁱᶜ ᵇˡᵒᵍ

There Was a Time • Darem Placer