The year had no shortage of spectacular tracks, may it be coming from a sprawling piece of ambient or a quick rage session with a posse. The releases keep coming as if bands or artists in general are to take back the two years of lockdown. Compared to what it was pre-pandemic, these tracks come out stronger and more effective than ever. Coming from a culture where lone recordings made the most imprints than an actual full length release, listeners would rather leave no track left behind. Covering the depths of internet post-punk from Bulacan to the trenches of drill in Pasay, here are the 25 best Filipino tracks of 2022.
25.) tidal – calcium
The standout single from their debut album, the quartet paint a story of kindred spirits finding solace in the cracks of each other’s brokenness as the blasting drums of Tan Flojo and the bright guitar work of Keith and AJ lend the stage for Clarence’s ruminating vocals to deliver a heartfelt performance. -Janlor Encarnacion
24.) neytan & areli – FAR
Out of all that Neytan has put out this year, he struck gold with this track. Bringing along Areli to put a shuffling beat and spiraling vocal touches to eventually create their Brockhampton-inspired cut is a sweet treat from start to finish. It has an anxious sentiment that these two exudes perfectly, a reserved attitude towards whether it is best to stay with her or keep some distance away from her. The track is quite the whirlwind, where even if that anxiety stays in your head, you’ll keep on pushing forward somehow. -Louis Pelingen
23.) Cowboy Country Club – Squirrel on the Line
Amidst the journey of reflecting through connections and relationships, ‘Squirrel On The Line’ reveals a layer of that reflection in a prickly fashion. Within the cycling acoustic strums, waves of violins, and subtle synth layering comes this stressful set of emotional struggles that persists in one’s entire life. It’s a catharsis delivered in a simple yet moving passage, in the poignant way that Cowboy Country Club does well. -Louis Pelingen
22.) Turncoats – Future Fossil
Baguio’s very own indie/dreampop trio shine in their latest offering of 2022 that is “Future Fossil”. With the mix of garage rock-inspired instrumentals and dreampop-tinged vocals, Turncoats yearn about self-doubt and self-worth thrown in the midst of the whirlwind of sound. The upbeat pace and reverb-drenched vocals mask the song’s relatable theme of acceptance and discovery in a world where trying to fit in and living up to expectations dictate an individual’s value to society. And in today’s society, devoted listeners need bands like Turncoats -Janlor Encarnacion
21.) Spacedog Spacecat – Jay Muscis
Spacedog Spacecat, the indie crossover the entire Manila scene was not ready for, pushes their fuzz pedals to their limits on ‘Jay Muscis’. With a bright intro riffage, a dense rhythm section, polarizing dream pop vocals, and playful yet subtle counter melodies, ‘Jay Muscis’ is proof of the many utilities of the fuzz sound (get it?). And who wouldn’t say no to hearing Megumi Acorda in 2022? -Nikolai Dineros
20.) kindred – Switch On U!
“Can’t stay at mad at you” says the boyband as they sing in the chorus.“Show me something new” says the boyband sing in the outro. Kindred strives for patience and virtue in their craft, and even greater – notably louder – energies in your nearest party. There’s a throng of voices clashing against the bleeps and boops of their producers and there are pointpersons to every punchline. This formula that is “the boyband” defines their camaraderie during the pandemic and “Switch On U!” is evidence of their growth and fervor in the game. -Elijah P.
19.) Armi Millare/Munro – Take Me
Stepping away from a project and returning to an old one, Take Me is the next step forward for Armi Millare. It’s the first shard for what will be a different side of her artistry, taking spare amount of instrumentation to fill in and elevate her impassioned voice. It’s baroque in its spare, atmospheric, and yearning form, with love displayed to be given even when the partner is out of reach. -Louis Pelingen
18.) Identikit – Dust Collector
Identikit solidifies their unique sound with Dust Collector – filled with quirky synth hooks, a groovy bass, and Esber’s unpredictable guitar sound supporting James’ haunting vocals. As the band talks more about an android collection that is kept for show and is untouched by strangers, the lounge-y vibe of the song round out the mystery in the lyrics and is a great representation of the uniqueness of the band. -Janlor Encarnacion
17.) Cheats – Morning After ft. Johnoy Danao
“Morning After” is like watching a balancing act from the alternative-rock favorite Cheats. The tonal balance of the three vocalists – Sab, Candy, and Jim, accompanied with Johnoy Danao’s delicate vocals brought this track to a home run. Fuzzed-out guitars ringing in the back, commanding percussion leading the way and most importantly, the audio separation towards the end made the song a breath of fresh air. The lyrical abstraction of the “Morning After” is a chase towards self-reflection and unexpected realizations which exhibit the band’s progress towards shaping their trademark sound. Cheats honed a consistent sound across their discography. However, “Morning After” operates in its own defined space and introduces a new side of the band collaborating with other artists – which we are looking forward to in the future. “Morning After” is a clear promise of what Cheats can establish in the scene. -Sab Aguirre
16.) Noah Alejandre – di man tinadhana
In this industry full of male har-har and industry falsetto giants, only one artist was able to make it out of the dreaded rabbit hole: Ormoc, Leyte’s very own Noah Alejandre. Straight from the pop duo that is Reon, Alejandre tries his hand out in the formula, slowly but steadily throwing in his rendition of the style. And the result: a smoother, catchier and captivating vocal performance. “Di man Tinadhana” was a formula perfected to the very bone of its predecessors, to an extent that it made better results compared to his contemporaries. -Elijah P.
15.) Joy Fiction – will i ever be myself again?
“Will I ever be myself again?” sails the coast and rides the waves of the current bedroom post-punk revival. It’s hypnotic from start to finish, eerie and soft yet uncomfortably intimate. The foundational drum machine, indistinguishable drawls, and an atmospheric guitar riff unveils a yearning for Joy Fiction’s theme. -Sab Aguirre
14.) Hey June! – Panahon
“Panahon” has left us a bittersweet feeling – whether or not we’ll see the sunrise shining through the window panes of our classroom or the door creaking in the halls of your favorite noontime class – Hey June! has perfectly captured the feeling of nostalgia and longing, tailor fit in the life and times of a Filipino highschool student. -Elijah P.
13.) Eros Rhodes ft. RB SLATT – Lasing Nanaman
Sometimes, the most heartfelt people can also be the most heartbroken people in the world, and so does Eros Rhodes in this song. Jumping on a splashy digicore beat with hints of acoustics, he brings along a vocal intensity that is a swerve from his usual chilled-out emotions. He along with RB SLATT charge and trip their way as they shout heaps of exhausted, pent-up anger towards a partner that has been cheating behind the scenes. It’s volatile and crushing, with a chorus that makes you want to shout along with them.
12.) Blaster and The Celestial Klowns – Huwag Mabahala
‘HUWAG MABAHALA’ is a prime example of the 23-year-old singer-songwriter’s musical prowess— and going by personal bias, it is my favorite Kosmik Island song. Though not as popular as his two singles ‘NARARARARAMDAMAN’ and ‘O KAY GANDA’, the fifth track to Blaster’s debut album is a well-structured melodic rock banger with excellent pacing. If you’ve been following Blaster‘s career trajectory and are excited about his artistic vision going forward, then it is likely that you’re going to enjoy this track from front to back.
11.) ena mori – VIVID
The easiest way to describe “VIVID” is that it sounds like being constantly lucid. Fleeting between powerful verses and an enthusiastic chorus, this addictive track doesn’t let up, not for the tiniest of moments, with every single second adding up to create an unpredictably thrilling journey.”VIVID” is the apex of her sound so far – rich with powerful bass drops and scaling synth riffs, the ena mori’s signature fractured approach highlights her idiosyncratic approach to music. -Sab Aguirre
10.) dwta – Santigwar
This was a year for Southern Tagalog music and what better way to kick off the year than dwta’s stellar narrative of their history in “Santigwar”. The track embodies the sensibilities of Bicolano folklore in the most intriguing ways; From performance to actual aesthetics, dwta has reached the apex of storytelling that is highlighting not just the language you speak, but also the cultural background of where everything – from the beasts of the mountains to the fairies of the forests- are coming from. -Elijah P.
9.) Sliz – Droga ang Pag-Ibig
Popping away from her viral breakthrough last year with Sige, she takes her faintly affectionate presence with a dose of romance. Droga Ang Pag-Ibig essentially drops her familiar tone into a hypnotic swirl, especially with the organic loops of relaxed drums and bass, and tasteful acoustic guitar that fits SLIZ’s vocal tune pleasantly well as she muses just how love itself changes her world with positive drapes. It’s a potion filled with romantic pleasantries that end up as a brief, yet sweetly intoxicating addiction. -Louis Pelingen
8.) Megumi Acorda – feverfew
Megumi Acorda might be one of the few artists who have achieved cult status with releasing only one EP and a live session of the same EP over the course of 4 years under her dream pop project. To what might have seen her as the second of Hope Sandoval for others due to her quiet yet entrancing vocal performance, “feverfew” does the complete opposite in the Acorda Dream Pop playbook. Flipping the script in providing less of the blissful soundscapes and offering more of the cathartic, almost-boulder crushing wall of sound. Who knows when the official recording of “feverfew” will officially come out but only time will tell as the 2020s favorite local act gears for a new album slated to release very soon. -Elijah P.
7.) O $IDE MAFIA – 20 DEEP
Malate’s O $ide Mafia are turning the game on its head with “20 DEEP” – a raging hot single about not giving a rat’s ass about the game, but rather a crash course on dominating the game themselves. Cashman’s unbothered presence gives the track its well deserved virality and Gee and Madman the much needed sturdy disses in the track. There’s no turning back by the time the first two lines hit you like a brick wall at full speed. There’s much more to decipher in here but listeners would rather let themselves sink in the moment and lose their shit in the moshpit -Elijah P.
6.) Andrea Obscura – Can I Try Again?
If there are late millennial woes, then Andrea Obscura made a song for this generation’s crisis of what have you’s. Laced with the feelings of doubt and indie folk’s earnest backbone, Andrea shows what it means to become an aging adult, balancing gleeful melodies and tuneful melancholy. Andrea Obscura made it more effective for 20-somethings to achieve greater and more potent songs with “Can I Try Again?”. -Elijah P.
5.) Goon Lagoon – Machine Gun
One of Elv8 Me L8r’s alt-rock cornerstones has blessed us this year with probably their most off-kilter song yet, ‘Machine Gun’. A progressively explosive track that starts off laid-back— almost like a slacker rock anthem with lo-fi textures— before abruptly transitioning into a cacophony of grunge riffs and harsh vocals, and going full circle with the outro as the dust settles. For how well ‘Machine Gun’ mimics such a chaotic scenario, ‘Ticking Time Bomb’ would have been another apt name for it. -Nikolai Dineros
4.) MATOKI – Strawberry Girl
In Matoki’s cloudy sphere of wafting dream pop feedback and melodies, ‘Strawberry Girl’ brings a smear of sweetness into the air. It takes you into that breeze, allowing the mind to be swept away from the driving grooves of the bass and drums, the glinting synths, and the vocals that emphasize the curious need for connection towards the girl and her knowledge of the obscure and the melancholy. It encapsulates the glow of those who bring a unique sight to one’s own eye, and in that essence, MATOKI definitely presents it on their own bright scope. -Louis Pelingen
3.) One Click Straight – MRT
Evoking the sound of whispered melodies and crisp drum production, “MRT” is an honest and sentimental track bringing unorthodox guitar playing and warm vocals. The track subverted people’s expectations of One Click Straight’s music, showcasing the band’s sympathetic lyricism making it a ‘down to the core type’ communal experience. -Sab Aguirre
2.) Nateman x CK YG x Realest Cram – Akala Mo Ata
It goes without saying, “Akala Mo Ata” is the track that started a massive wave in the hip-hop scene. They’ve created earth-shattering headlines and discussion about the current state of hip-hop, but rather engaging in “discourse”, Nateman, CK YG and Realest Cram have no time for it, but rather they’d talk smack and walk the walk on whoever challenges them, and it is effective at all fronts no matter which angle you look at it.
It is undeniable how Nateman, CK YG and Realest Cram went on to make a career of themselves after this collaboration. A highlight of the year and an influential track in the near future, “Akala Mo Ata” shook the scene in more ways than one. From its drill roots to the posse music video, the track is a true blue definition of a complete package. -Elijah P.
- Zild – Dekada ‘70
Zild proved time and time again that he’s an artist in the truest form. Exploring themes outside personal stories and love, “Dekada 70” is an exhibition of dipping into social commentary and translating them into a 4-minute rhythmic anthem. The melody throughout the song complements the powerful guitar riffs accompanied by staggering synth mixes making the whole track cohesive with the storytelling.
But there’s more to storytelling than what “Dekada 70” shows in terms of pondering the fear and violence of the 70s. There’s also re-entering the current year where the singer-songwriter finds himself in: a repeat of the violence and impunity in the election of Marcos Jr.
Wrapped in Zild’s distinguishable sound, the experiments have spelled a necessary evolutionary trajectory across the board and what he’s displayed on “Dekada 70” is important to mention throughout culture and history. -Sab Aguirre