Written by Gabriel Bagahansol Love makes you look for extremes in the mundane. The moment you realize the person beside you is the one you want to be with for life, you will do anything and everything to make sure the rest of the world exists for just the two of you. Love is a delightfully selfish thing, and if it means gladly cutting people up to turn them into stew at a dinner for two, then so be it. fitterkarma starts off their latest single sounding like a quintessential OPM ballad band from the 2000s; the potent blend of acoustic guitars and powerful snare drums, along with such a forward, in-your-face vocal performance, captures the sentimentality still craved by all two decades on. It’s perfect. In fact, it’s a little too perfect. Give this song a different set of lyrics and this would’ve been a drop in a sea of other senti hits. But fitterkarma has chosen not to float gently over love’s comforting waves. Instead, they’re diving down a trench, going against deep-sea pressure to explore something more overwhelming within the dark depths of love’s waters. Consider the idea of sharing blood-drenched kisses after a night of devouring tons of unsuspecting people. Death and destruction invoke euphoria, fueling a utopian paradise that washes away each other’s sorrows. You wouldn’t need drugs for that: that’ll get you in trouble anyway. These unhinged desires are the heart and soul of “Pag-Ibig ay Kanibalismo II”. Beneath the comfort of the music is a captivating void willing you to feed into the most morbid of romantic impulses; from sharing warm adobo made with love and somebody’s heart, to letting each other’s blood become one through the lips. These images, and the musical performance that carry them, form an irresistibly gory metaphor for love. fitterkarma’s embrace of folk horror to define romance is a stunning defiance over the usual idea that purity in love is only clean. After all, one of the strongest expressions of love is the unconditional acceptance of the one in front of you. And sometimes, that means consuming each other and shutting down all there is around you until all that is left is a quiet, tranquil bliss. Support the Art and the Artist:
Category: TRACKS
TRACK REVIEW: zayALLCAPS – MTV’s Pimp My Ride
Written by Elijah P. It isn’t blatant nostalgia. In fact, it’s the opposite – almost a parody of it. But who’s counting? zayALLCAPS leans hard in between the College Dropout-era “Slow Jamz” and XXYYXX debut territory with his infectious single, “MTV’s Pimp My Ride.” The LA-to-Sacramento Fil-Am crooner-rapper hybrid dropped what could be part of a larger, era-defining compilation tape, but here, R&B gets stripped down to its barest parts. And in this standalone track, somehow it’s also his most cohesive single to date. This isn’t the smooth, synth-led sound of one-dimensional R&B. Instead, zayALLCAPS pulls from the raw textures of the early 2010s LA beat scene, delivering a jagged, off-kilter love letter to the genre. The track stacks harmony over harmony, layering falsetto and grit against pounding 808s that bend the shape of the song. It’s disorienting in the best way, warping the flow just enough to keep you leaning forward. But even as the production threatens to unravel, zayALLCAPS stays locked in vocally, anchoring every moment. “MTV’s Pimp My Ride” sticks. There’s a reason West Coast melodicism has lasted this long, and zayALLCAPS makes it clear he’s not letting go anytime soon. SUPPORT THE ART & THE ARTIST:
TRACK REVIEW: Tatz Maven – Handang Malunod Sa’yo
Written by Louis Pelingen The years since Tatz Maven’s debut album have seen him explore more of his range as an artist. Still sharp in terms of his production work, but his attempt to sing more and emphasize a melodic direction on his compositions has been fascinating to listen to. An attempt that has clearly shown its strides, releasing more songs since 2020 in a slow yet steady approach that allows more time to bring out the best of his artistic growth. And with the recent release of “Handang Malunod Sa’yo”, this song only reinforces the fact that Tatz Maven is on his A-game as a producer right now. The sharp drum lines playing amidst strong bass lines and guitar swerves are produced impeccably, with Tatz Maven’s vocal lines showing a lot of coursing melody and emotional zest. Remarkably, bringing out the complicated feeling of traversing through a partner’s melancholy, where even if it can be emotionally suffocating, the willingness to stand beside them despite it all only strengthens their connection. While it may still take a while before Tatz Maven is ready to turn that past crop of singles into a project, “Handang Malunod Sa’yo” is a sheer force of will punching through one of his staggering songs to date. Compelling from so many angles, where even the vastness of the sea can’t pull it down. It’s worth the dive. Support the art and the artist:
TRACK REVIEW: SHANNi – SSS (stuck song)
Written by Adrian Jade Francisco Marikina’s up-and-coming pop artist SHANNi decides to elevate the groove in her latest single. In “SSS (stuck song),” her soft Manila sound explores a funky city-pop environment, a dreamy but exuberant track that tackles the narrative of a push-pull dynamic in a relationship. “SSS (stuck song)” is a stark contrast from the past three singles in the area of her sound elements. The lush texture, infectious guitar, boogie-worthy synth, and piano layers revisit the era of retro-fueled rhythms. It is irresistibly catchy, pulling the listener into a repetitive whirl, much like the endless loop of a vinyl, right from the first listen. “SSS (stuck song)” and its lyrical construction does not stray away from her previous releases; Instead, the production takes the spotlight. While her ‘70s-esque torch ballad inspirations led her to venture into nostalgia-driven hits, it does not reinvent the homage it is leaning on. It lacks the innovative approach to the funk-rock and city-pop genre. Although SHANNi did not opt to introduce something fresh in the soundscape of the aforementioned genre, her ability to widen her palette may be a positive sign. SHANNi’s talent and skill are undeniable when she puts out replayable jams like “SSS (stuck song)” as she continues to explore her artistic facade. If she consistently maintains this momentum, she’s likely to produce more bangers that stick like gum, replaying over and over like this one. SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: kyleaux – NOTICE ME
Written by Louis Pelingen Stepping outside the dense smoke of his past releases, “NOTICE ME” acts as the next progression for kyleaux’s creative prowess. Replacing rapid warbles with sleeker R&B cadences that compliment his desire for romantic attention, one that requires a level of inviting charisma that Kyleaux proves to handle in potent strides. Paired with the nimble bass groove, shimmering synths, and textured boom-bap percussion, it coalesces to Kyleaux’s melodic arsenal, instantly pulling the attention of the listener into the song. It may be a little bit quaint mixing-wise – especially around kyleaux’s vocals – yet the overall melody coming through his vocals and his instrumental is silk as butter. This results in said quaint mixing becoming a feature rather than a weakness of this whole song, a deceptive magic under kyleaux’s growing bag of tricks. One that’s worth noticing further as he constructs more of these low-key yet delightful songs. SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: Paprikka – Itataya
Written by JK Caray Starting out by covering beloved City pop tracks, Manila-based singer-songwriter Paprikka releases her debut track “Itataya” as the next step to the career she’s been building. In a burst of creative inspiration, Paprikka decides to gamble to make it big—and sure enough, she hits it on her first try. From the get-go, Paprikka’s determined to make the city pop genre her own. Belting in straight Filipino, she channels that ‘kikay’ attitude of the Manila sound—think the whimsical, carefree fun in Rachel Alejandro’s Mr. Kupido and you get the gist. Her performance on the track playfully tethers between a cheerful schoolgirl on a first date and yearning alongside a high school crush. It’s warm and fuzzy, charming, and corny yet you giggle every time the memory crosses your mind. Overall, “Itataya” shows a lot of promise for Paprikka’s career, signifying she has an ear for producing memorable hits. At times, however, it becomes too similar to the whistles of the Japanese City pop tune, down to its clichéd bass groove and bells. As common as this pitfall may be for anyone starting in the genre, there’s no doubt that she’ll cultivate her style along the way if she truly wants to reinvent the genre. In the meantime, “Itataya” is a gamble worth taking if it leads to being a one-of-a-kind pop star like Paprikka. SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: KAIA – Tanga
Written By Lex Celera Leading up to its music video release, KAIA released a number of one-minute “concept films” on their social media accounts, featuring each member depicting potentially romantic moments gone awry. And while the promotional videos are just long enough to capture the feeling, KAIA’s “Tanga” unpacks this romantic type of love with nuance without losing the sheen of its pop structure. Within the highly engineered lens of pop is a fantastical but relatable world built through image and sound, cultivated during and in between music releases, “Tanga” checks all the boxes of what is serviceable and “radio-friendly.” The single is catchy, it has earworm-worthy chorus and showcases upbeat rhythms. For KAIA, “Tanga” is a boon to its music catalog, sitting pretty beside “Walang Biruan.” While the latter pushed KAIA sonically, “Tanga” remains decisive in fine-tuning their sound. Zack Tabudlo’s mastery of examining expressions and receptions of love and putting them into words without sounding preachy leads to a satisfying pop track. More than lyrics, the harmonies are satisfyingly layered and the adlibs are discreet but playful. It’s safe to assume that these additions to KAIA’s repertoire are a result of close collaboration with the more experienced Tabudlo. What’s most compelling in “Tanga” is the levity created between the twee lightheartedness of its melodies and the abject sadness presented by its lyrics. Why do we carry on with unrequited love or romance beyond red flags? In “Tanga,” anger at the act and love for the other can happen at the same time. These themes are explored but never really go anywhere. And that’s fine. What matters for KAIA is one-minute moments and three-minute odes to these moments, portraying a feeling that can be sustained upon multiple listens. KAIA’s charm shines bright in “Tanga,” and while admittedly safer than their past releases, forms a full-bodied discography thanks to its well-considered lyricism and composition. SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: Ame – Ipagpatawad Mo
Written by Louis Pelingen In treading back towards the nostalgic 60s rock ‘n roll, Ame manages to fit themselves well, as their musical prowess shows how well-equipped they are in approaching this sound on“Ipagpatawad Mo.” From Zarviel’s hollering vocal presence that firmly cries his call for affection, the blustering blues rock progression and wild guitar solos, stomping drum rhythms, as well as the occasional bright piano lines and vibraslap rattles. They all check out the boxes of what makes that era of rock ‘n roll quite compelling and runs with an all-killer, no-filler direction. The other part of what allows the tune to punch through is the production. Having Max Cinco and Paulo Agudelo doing most of the production duties alongside Sam Marquez handling the mixing and mastering duties means that most of the instrumentation lets their vibrant melodies shine through without overlapping with one another. The emphasis is on “most” however, where despite the already colorful mix, the dynamics could’ve been just a bit more spaced out, as the bright piano lines do get trampled over with the low-end and various guitar sections being so flashy and excessive. “Ipagpatawad Mo” is the kind of nostalgic callback where it’s clear that the band knows enough of the sound to recreate it with good intentions. It’s a straightforward attempt for sure, yet it allows Ame to flex more of their musicianship as they stray away from the mild pop soundscapes that they’ve started with. That shift to explore more melodic intricacies is, at the very least, a kind of forgiveness worth accepting. SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: sumther – forget
Written by Elijah P. sumther’s latest track “forget” sounds like the best kind of house party—the one that spills from a cramped Tomas Morato club into school hallways and basketball courts, chasing sunrise with reckless abandon. Known for his intimate plugg experiments, the artist sheds his bedroom producer skin here, embracing a bigger, brasher sound that crackles with the energy of someone discovering their voice at just the right moment. Where his earlier Soundcloud loosies reveled in microgenre nuances, “forget” plays like a manifesto. sumther was trading pluggnb’s melancholy for a swaggering, synth-drenched anthem about moving on (but only after one last dance). The genius lies in its duality: it’s a breakup song disguised as a party starter, with lyrics that sting even as the 808s and the piano lines dare you not to move. The production expands his world beyond sub-bass corners. Snares and synths ricochet like sneakers on gym floors, melodies shimmer like spilled vodka under strobe lights, and sumther’s delivery—part-sung, part-rapped—carries the giddy exhaustion of someone who’s stayed up too late feeling everything at once. It’s a coming-of-age moment bottled in two-and-a-half minutes: proof that his knack for earworm hooks (that chorus lingers like next-day confetti in your hair) could propel him from niche favorite to undeniable mainstay. If this is sumther unchained, imagine what’s next. SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: .foollstop – L
Written by Adrian Jade Francisco Fallen angels—once held in the heavens, now cast down, wandering in the aftermath of their descent. .foollstop’s “L” is shaped in a similar sentiment, an anthem of loss, reflection, lost in the reverie of ill-fated romances. San Pablo’s .foollstop has released their initial shoegaze track, a year elapsing since their live debut at Mow’s. The euphonious mix of the instruments, Huwakin’s and Ice’s vocals are cascading rivers of tears that transcend into sound, echoing throughout the song. A touch of rap alongside shoegaze is featured in the second verse, which is not something you hear in the genre every day; The monologue section before the breakdown of “L” is a bursting bottle loaded with emotions that erupts in the ending, drowning in tremolo-picked guitars and layers of vocals. Taking a glimpse at their “L” demo in Sining Shelter’s compilation “tunes for a true home,” the band slid the key into the right lock in the final version by incorporating more audio tracks in the mix. “L” weaves biblical metaphors into its narrative, portraying the perspective of a fallen angel caught in a fleeting situationship. Just as the fallen angel once knew the embrace of heaven, the narrator reflects on the short-lived moments of a love that couldn’t last. You may interpret various words from “L” such as “loss,” “ love,” or “limbo” but you can not associate the band’s debut with “loss.” Unlike the fallen angels, .foollstop’s wings chose to soar and may further introduce something of substance in an uncertain future. Support the art & the artist: