Flying cars, anime transitions, a jersey club drum pattern and a melody ripped from a Kid Laroi track, Caloocan’s very own RB Slatt is building a world never heard before in the Northside in EIGHTEEN’s most outstanding offerings titled “TAHLA”. As close followers and homeboys claim their sound to be “hyperpop”, it’s almost unfair to box them right in the umbrella term. As RB Slatt covers a wide array of multi-fx and cross-dimensional beat switches, they surprisingly come out more cohesive than opting for a hodgepodge of digicore nonsense. Previously enabling the emo-rap of the late 2010s, RB Slatt smoothly transitions to the bitcrushed, rock-n-rolla of the internet age of the 2020s with aesthetics that call for a futuristic and almost self-destructive sonic direction in both production and vocal delivery.
“TAHLA” rallies behind RB Slatt’s newly found musical identity, supporting a grander, more possible pathway for rappers to partake in this untapped, almost idle landscape of production style. But with the existence of the emotive rap acting as a precursor to RB Slatt’s chosen subgenre, he effectively capitalizes on the delivery as if to complement its salted wounds of a nasty breakup. There’s potency to vocal prowess in louder, much more chaotic instrumental, and RB Slatt slightly masters that skill in “TAHLA”.
The Geeks hit their stride with their latest release – Sitcom Theme Songs! While their last EP “Weirdly! Relatable! Content!” explored the use of warmth by using tapes to re-record the EP, this album sees the band embrace contrast by singing about lost people and places brought about by the pandemic while having a trumpet section in the unofficial pandemic anthem “All My Favorite Songs”. Who else can talk about impending doom while using a cowboy aesthetic – complete with gallop foley – in the aptly named “Tragic Cowboy Theme Song” not to mention the eerie tunes found in “Mags’ Existential Crisis”.
The band still touches upon topics consistent with their previous releases – self-doubt, lost romance, nihilism, existential crisis – but this time with more life in the instrumentation. Slow songs are less frequent now and replaced by more danceable pieces. These are also more singable but beware the despair of singing lyrics like “I’m dead all over again” or “Annabell, I think that you are going to hell”.
There were also some interesting choices in the album. Aside from the cowboy-esque song, the use of a guitar slide in some songs jump out and add more fun to songs in a move that is not regularly seen outside of the blues. Also prominent in this release is the use of more vocal features such as Jillian of Formerly Maryknoll in “The Song of Yesteryear” who adds a bit more depth in the storytelling – providing the perspective of a partner. Multiple guests were also featured in “The Score” to emphasize the collective and ubiquitous experience of having doubt in a relationship.
It’s been hard to put into words how great this album is – it’s the Geeks at what I think are their peak form. As a fan of happy and upbeat music, It’s funny to hear songs that talk about finding excuses for failure and self-sabotage but with instrumentals that make me want to bop my head. If you are a fan of the band, you’ll love this release and if you are not familiar, give it a listen and get lost in the happy-sounding sad songs.
Apart from their covers with star-studded Pangilinan relatives and siblings from well-known pop-folk adjacent bands, Kai Buizon is looking forward to coming out of that musical shell of hers in her debut single titled “The Meadow”. Released under the Sony Music label in the Philippines and repping the Ateneo Musicians’ Pool, this isn’t the first time Buizon has put this single out in the open; The first version of the track still exists somewhere in YouTube at Buizon’s personal channel and it sounds far from the finished product: enabling a more subdued albeit a slightly unremarkable touchup of the more orchestra-fronted and almost-cinematic rendition that exists in streaming platforms today, venturing into almost dreamlike territory.
Buizon’s biography online is as flowery as their actual presence online is minimal all around their socials; credits citing that they’ve released “musical works” in Hollywood films. The mere musical presence of Buizon is proactively acknowledged up until the point “ The Meadow” exists in the ether. With production credits by Gabba Santiago and Tim Marquez, the delicate strings, intimidating distortion, the thumping kicks, the chapel-like backup vocals reverberating in between, it melds together seamlessly. As they all say, you can’t judge a book by its cover, and Buizon is an example of an artist with a knack of instrumentation selection and an existing music studies background as far as talent is concerned. There still exists merit in “The Meadow” – partly because of its impressive song structure, emphasizing on its epic instrumentation and emotional depth in Buizon’s songwriting. Kai Buizon is slightly a mystery online and “The Meadow” is showing promise of a songwriter whose actual talent speaks more in the work than it is face value.
For a track like “Lumang Litrato” to micro-trend in a niche part of Twitter, it’s impressive to see how much lore has been built prior to the release of the track. From Yiyi’s ultimate hatred of the city of Dasmarinas to sending letters of a dearly departed loved one ala the intro of Silent Hill 2, there’s so much to unpack with 00s loverap revival alongside the unexpected backstory to YiYi’s sleeper hit. With emphasis on YiYi’s high pitched hook-writing to Piel’s bellowing rapping, it’s giving what Repablikan gave us back in the day, but in the case of YiYi, it doesn’t suffer from novelty either.
The track released before it titled “SINTA TELL ME”, YiYi and Piel are serious about building the lore of their relationship alongside the visual aesthetic that comes along with their pastiche of Friendster-era emoticons and YouTube karaoke cues. “Lumang Litrato” took a couple of listens to grasp the gravity of the situation even if its obscured by foggy Baguio-esque aesthetics and digicam shots of YiYi walking across a field all the while longing for their lover to come back from the grave. There’s beats to savor in both tracks and the production is laudable enough to give justice to the lore that both YiYi and Piel are building for themselves.
Historically, the blues and folk rock music have always had this communal, almost spiritual connection to listeners all over the world. A genre that’s embedded in the African-American community in 19th century Civil War-era America and eventually imported by foreign distributors in the early-mid 20th century by vinyl or other sorts of cassette suppliers in the country. With bands like Juan Dela Cruz, Maria Cafra and Anak Bayan paving the way for the genre’s lyrical content and technical prowess, the power of blues and rock music have always had an effective collective effort in songwriting and craftmaking. Ever since the 70s, the blues and rock n’ roll has been well documented to a point where songs of the past and present are performed in various cultural nights and mobs all over the country.
Be it from The Jerks’ “Rage”, “Giyera ng Bulag” by Kolateral or Ericson Acosta’s recorded poetry echoed in public areas in protests – later on in the years as the internet opened the floodgates for more genres to be incorporated by practitioners in the revolutionary music sector – sound palettes from different collectives like ARPAK’s “Walang Panginoon ang Lupa” and its assisting hardcore punk or experimental soundscapes or Tambisan Sa Sining’s “HINDI KO PRESIDENTE” and their selection of electronic and abrasive gabber production, both the former and latter expressed specific initiatives and emphasized on fringe genres in the 2010s. However, Blues rock five-piece The General Strike completes a trifecta of important releases, except it does not take the form of a compilation. Instead, it’s a full-length album that follows through different themes and calls from the peasant struggle, circling back to the roots of where revolutionary music has found its footing locally.
An album that is 7-8 years in the making, The General Strike’s self-titled album was released last year in December at the UP University Hotel. The General Strike’s 9-track oeuvre covers important demands of the peasant struggle: anti-feudalism, imperialism and fascism, wage increase, justice for farmers who were unrightfully treated by the armed forces and the likes. Each of these calls have been asserted powerfully by the band’s vocalist alongside the lead guitarist and their harmonica player; “Sumpa” and the chant “Itigil Ang Pamamaslang, Katarungan Ipaglaban” became the album’s centerpiece; “Lakbayan” and its raging, electric guitar-thrashing outro is a moment to see live; “Pugon” and “Kawayanan” are examples of effective songwriting with melodies tied with national democracy calls and heavy emphasis on hooks for justice for the fallen Kentex workers tied together.
Other tracks like “Awit ng Mendiola” and “Hacienda” underline the more intimate playing and highlight the vocalist’s descriptions of rural life and the agricultural industry all over the Philippines. Both tracks are essential in lyric-writing in contrast to the aforementioned tracks’ more noteworthy sections of raw sonics and technical prowess. Overall, all tracks never hampered one another nor did they overshadow the performances of each other. In terms of accessibility, the album’s streaming platforms will effectively reach many of its listeners all over. The General Strike’s self-titled debut is an important listen. The self-titled album is essential in terms of learning from mass organizations and it should be championed for its longevity after 7-8 years of performing live.
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 Afterft. 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
https://www.youtube.com/watch?v=8gfPuBLik88
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 sphereof 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
This year was full of surprises: whether you look at it from the perspective of an audience member lurking in the underground or a casual music fan who happens to stumble upon alternative music in the mainstream. The year 2022 was the year where we met all different kinds of folks from all walks of music life, the ecosystem that is the Philippine music; we experienced a lot of crossovers and other unexpected turns that would change the trajectory of the listener and the artist.
From the sudden reunions of a high-profile 4-piece to the sudden rise of 2010s indie-sleaze affiliate genres to the co-optimization of genres from larger than life platforms like Tiktok and Facebook. There was an emergence of grunge and goth culture, thriving on the image of Robert Pattinson lurking over Gotham City and makeshift house venues in The South turning into a crying session. The folks of TFL are more than honored to present to you releases that define the year that is 2022.
20.) Basalt Shrine – From Fiery Tongues
Shortly after one successful and groundbreaking hardcore project, it’s almost hard to believe the Vivo Brothers could top their ABANGLUPA debut with a new venture. Enter Basalt Shrine, a doom metal quintet with a knack for the abstract that has quickly taken the metal scene aghast since its recent inception. Largely black metal inspired, their debut album From Fiery Tongues also incorporates stoner, sludge and drone elements in their dirge — and does so pretty damn well! The band has toured quite a few times this year, and you might have already seen their names pop up in underground venues. In any case, you should check them out! -Nikolai Dineros
19.) O.I Research Partners– Speed Milk
“Speed Milk” is one of the more gratifying releases to be released exclusively via physical merch by way of tricky YouTube search (if you look hard enough). What caught my surprise is the mere fact that this is more than a project, it more likely transcends the need of a streaming site. Its a living breathing project that consists of cowboys from outer space, the Wild Wild North-North of Nueva Ecija and many more interstellar worldbuilding. O.I Research Partners’ penchant for borderline desert psychedelia and tin can folk comes in waves in every soundbite and plugin pedal. -Elijah P.
18.) Nullification – Kingdoms to Hovel
This Laguna death metal outfit takes a lot of notes from its forefathers and applies all the right pointers into a full-length album. To say this album is formulaic OSDM would be a discredit to the effort in crafting a visceral record akin to the 1990s DM sound that manages to stay fresh by today’s standards. Tracks like ‘Negated Fields’, Sledgehammer’, and ‘Inside the Surreal’ are as gut-punching as any metal song should be yet so elegant in their presentation that you’d feel the destruction coming your way. -Nikolai Dineros
17.) Chimera Mix – My Pet Rat
Patorikku’s musical project is a thaumaturge, releasing projects with songs that are folded and squeezed with enough spark of creative experimentation within vintage, lo-fi, and psychedelic pop that it’s quite a marvel that he has put this enough projects already. He only blitzes through yet again with My Pet Rat, an EP with four tracks that continues to push himself even further to something incredible. Psychedelic pop with nuggets of lyrical eccentricities now dipped further into compositions that get even more ballistic and unhinged on every turn. His albums already ooze with dizzying compositions and instrumentation, but with this EP, it just shows that even the smallest doses can create a mind-dazzling splash. -Louis Pelingen
16.) Mazerboy – Edge of the Bleak
Guagua is a province that shouldn’t go unnoticed, especially for younger acts like Mazerboy who shuns every doubter of post-punk, psychedelic rock and alternative rock within imperial Manila. “Edge of the Bleak” is agitatingly catchy than it is dystopic – the project lingers in the mind of their listener – catapulting meteoric solos and textures, pummeling every indie band in the mainland today. -Elijah P.
15.) <S>andwich – No Goodbyes
On the surface, ‘No Goodbyes’ presented a spotlight on the social challenges brought by the pandemic, some were in the same dilemma during the pre-pandemic from biking around the Metro to the state of working from home. Tracks such as ‘Buhol Buhol’ and ‘Negatives’ are standouts that proved to be a self-fulfilling prophecy for the veteran band. It’s stacked with excellent guitar work and rhythm that will automatically remind you of Sandwich. The juxtaposition of the whole EP was delightful and ridiculous, leaving any listener wanting to bite for more. -Sab Aguirre
14.) Polyphonic Vision – Sudden Pictures
The otherwordly synth textures of Michaela Benedicto and Mario Consunji create a beautiful, blissful and groovy whirlwind of electronica. Polyphonic Vision’s first ever EP is, at parts dreamy and at other times, complex. The stems of “Sudden Pictures” are mosaic to the point where production create an unfolding image. The more these movements create itself, the more Polyphonic Vision’s music becomes a dancing image. Thus, conceiving one of the best electronica releases of the year -Elijah P.
13.) Ligaya Escueta – Laughing in Milk
15-year old indie rock prodigy Ligaya Escueta comes in many forms and eras in her debut full length album “Laughing in Milk”. In fact, the album continually rises in momentum and it finishes in a mush of feedback and fuzz, eventually manifesting her growth in this kind of songcraft in the long run. Even mentor Mikey Amistoso of Ciudad couldn’t resist in sessioning for her in live sets. That alone should be a testament as to how much everyone in her age should go out and check out adjacent acts everywhere. -Elijah P.
12.) Party Pace – Nauseous
The veteran quartet of Party Pace released a stellar introductory album with Nauseous featuring a slew of instrumental tracks that are easily the most enjoyable music to pair with work or play. The tracks are also a joy to watch live with the band members’ cohesive interplay on full effect. -Janlor Encarnacion
11.) (N)onentities – Autonimbus
From their profound way of capturing the human spirit through their lyrics to their way around punk music, NONENTITIES doesn’t beat around the bush. Their sophomore project Autonimbus takes a lot of philosophical turns, but one should not worry about being lost in the fray as the listening experience is as straightforward as it gets. A highly introspective and headbanging record critical of the realities of late-stage capitalism and its toll on people but never a cynical one. -Nikolai Dineros
10.) TNG – gad
This debut record was a long time coming for this Bulacan screamo band that has kept their presence known in circles outstretching their hometown’s scene, which is a testament to how powerful the internet and word of mouth can be — if utilized correctly — in bringing in new listeners until there’s a whole community of them waiting in anticipation for a full-length release. ‘gad’ is a love letter to the emo sound and philosophy — a rough, melancholic opus to the emotions running wild piercing through your speakers. Unapologetically screamo, much like the lyrics’ painfully raw feelings. In that same vein, ‘gad’ is also a love letter to TNG’s fans — the emos at the peripheries of the sad boy/sad girl music fans in this new age. Every live performance of TNG is a gathering of (pre-)Tumblr scene kids who are, to this day, waiting to feel that same high. -Nikolai Dineros
9.) Spacedog Spacecat – Fuzz Sounds
The brainchild of RJ Mabilin and Jam Lorenzo has given birth to a group of respected indie musicians culminating in an album and vinyl with a collection of songs paying homage to the fuzz-driven music they listen to sprinkled with boy-girl vocals that cut through the noise as well as an exploration of sound distinctly different from all the bands they have come from.
8.) BINI – Feel Good
Nation’s girl group BINI has been introducing fresh sounds to the cutthroat rise of P-Pop. Coming from the success of their debut album ‘Born To Win’, ‘Feel Good’ is a 5-track vocal wonder highlighting the colors of BINI. The love song ‘Lagi’ is undeniably unforgettable and was written perfectly for the group. The whole EP translates into a journey to new experiences delivering the slickest bubble pop songs around. -Sab Aguirre
7.) SHNTI – ELMNT
Confidence can come a long way, and yet SHNTI comes off fully formed in her debut EP. Her growth as an artist manifested through with ELMNT, where her vocal and writing talents shone brightly as she maneuvers through the hazy and bouncy production with to her liquid presence on the microphone and her keen sense of playful enthusiasm. This release also showcases a balancing point for SHNTI, where she may come off flashy and charmed in a relatable oddball manner, but she doesn’t let go of her introspection towards herself and towards other people along the way. ELMNT puts her in a place where her role as an artist continues to gleam with great aplomb, and it’s just only the beginning for whatever her light will take her to greater heights. -Louis Pelingen
6.) SUPAFLY – BAKASAKALI
Armed with wit, double-time flows, high grade melodicism and a heart for the game, Supafly shows their virtuosity through rap and vivid storytelling. The album/EP format in hip-hop today is making a comeback. With Shanti Dope’s mini-album and SHNTI’s debut EP making waves for their uncompromising pattern in beat switches and agile workload of demos, loosies, singles and music videos. Greenhouse Records’ very own Supafl,y amplifies the experience, putting this giant foot of the culture forward for full length material. -Elijah P.
5.) (formerly Maryknoll) – It Sounds Just Like You
Internet darlings (formerly Maryknoll) formally stamp their IRL existence in streaming platforms with It Sounds Just Like You! featuring all their previously released singles for your everyone’s year-end Wrapped enjoyment. -Janlor Encarnacion
4.) JRLDM – Mood Swings
The local hip-hop scene is facing yet another enlightenment period, both at a braggadacio and at a mental physique “renaissance” sense as well. In JRLDM’s astonishing debut label full length record, you’re bound to take a nose dive more on the latter; traveling through his psyche, defying expectations with amazing beat selection and the neat production palette that compliments’ the main star’s husky, smooth and sinister voice, all at once. -Elijah P.
3.) Ruru – Glorious Miscellanea
Fragments of memory are difficult to parse through, but Ruru seems to flip through those fragments just fine. This album is a collage of fleeting moments of life that goes through numbness, disconnection, and somber solace in whatever Ruru is going through at the time. She brushes through these moments with polish and lushness that only makes those memories less painful and more calming to look into as the buoyant array of woodwinds and synths amidst palpable grooves create such a warm embrace in her indie pop zone. It’s a leap that Ruru falls on greatly, merging separate memories into one holistic picture. -Louis Pelingen
2.) Blaster & The Celestial Klowns – My Kosmik Island Disk
As excited as we already were for the release of Blaster Silonga’s solo debut album, we were still surprised by how exceptional it turned out to be. This melting pot of retrofuturistic OPM odyssey is the brainchild of this young singer-songwriter with a chip on his shoulder. From the production quality of each song to how catchy the melodies are, My Kosmik Island Disk checks every mark in making a successful project. But even with the leverage of success on his hands, this wasn’t the only thing he has got going for on his debut album. Blaster continuously sets new ambitions after each successful take, thus making for an exciting listen even after several repeats. For one, we don’t think we’d have a track with as much bombast as HUWAG MABAHALA if they just came up with a catchy synth riff and one infectious bass line and called it a day. It’d still be a great track, no doubt, but they knew they had to go all the way with the sick outro, complete with a long and glitzy synth passage and a fiery guitar solo to boot. There are a lot of instances where Blaster goes full sensory overload with the mix in the album. But that is a good thing because Blaster has mastered in this album the art of maximalism. -Nikolai Dineros
1.) ena mori – “DON’T BLAME THE WILD ONE!”
“DON’T BLAME THE WILD ONE!” is a winning row on a ‘best of 2022 releases’ bingo card. Vocal gallops over crushed mallets of kick drums and time reversed-ocean-wave synths; lyrical phrases calculated over every left turn in the production and lyrics exploring the mysticism of love? All accounted for in the 10-track album. “DON’T BLAME THE WILD ONE!” is a no-skips selection of singles and an impactful listen from start to finish. ‘VIVID’ and ‘SOS’ are some of the best-produced recordings this year and electronic pop artist Ena Mori is setting the standard by asserting pop dominance against the post-Sarah G’s Tala pop-sphere. If I were to bet on any artist, I’d put my money on Ena Mori. -Corgi Aguirre
