Written by Louis Pelingen & Elijah P. When it comes to looking further into the hip-hop that rumbles in eclectic and queer stripes, Pette Shabu follows through with pure, uncompromised ethos. From the multiple tracks she has released so far, she never dumbs down her brand of transgressive hip-hop tapestries as she nimbly steps into boom-bap production and stomps roughly into bruising experimental production, all while she knits and staples her eccentric bars with an upfront delivery that’s all deft and bold. Working in the realms of surrealist lyricism and absurd rhyme schemes, Pette Shabu operates at a level of a beast walking the runway. ‘Bulbulin ka na’ shows Pette Shabu working in horseboyy’s shambling soundscape — not to put her targets into a roasting, but rather into an explosion. There are incendiary lyrics hiding behind her writings, and Pette’s unabashed presence shines in Phoenix-like proportions. It starts off with an introduction that may come off as a snarky warning, but it then follows through with Pette entering the fray with a whip, lashing away against those who dare try to fuck with her. There is a little bit of Arca’s trans-assertiveness that is embodied here, albeit Pette’s neck-cracking wordplay and rhyme patterns allow her snappy delivery and her bars to sting deeper, spinning you around with bruises all around you. With horseboyy’s buzzing production amplifying Pette Shabu’s lyrical and vocal ferventness, Pette Shabu cuts above and delivers a whiplash of a song. It’s sassy and pointed, with clever bars arranged around her unabashedly queer language that topples down her targets with a flick, never backing down without a fight. You may want to listen to what she has to say, or else you might be caught slipping under her radar. Support the art & the artist:
Category: TRACKS
TRACK REVIEW: Hev Abi – WELCOME2DTQ
When it comes to a territorial takeover, Hev Abi does it in the most sinister way by inviting you to 1103 aka South Triangle, Quezon City. Beginning in the Memphis Rap influenced production to the modern-day ominous trap house presence, Hev Abi is looking forward to taking the entire region by storm this year. “WELCOME2DTQ” is documentation of a city that has a long and rich history in hip-hop, and Hev Abi successfully captured the essence of Kyusi via baseball bat-wielding charisma and flawless flows. Say what you want about the A$AP Rocky comparisons, but no one would ever dare to reduce Hev’s uncompromising presence and initiative. He possesses an aura of coolness to the place to the point you’d actually be proud of repping your hometown. Whether it would be a posse backing him up along the Tomas Morato avenue or the overall crew love you receive in “WELCOME2DTQ”, the up-and-coming rapper is largely responsible for being the phantom in the dark, slowly but surely tagging his nearest vicinities with an all-encompassing rap skill. Backed by C.R.E.A.M callbacks by the bridge and demonic pitches placed by the outro, Hev Abi’s at the come up and QC is the launching pad he needs at this time in the hip-hop scene.
TRACK REVIEW: Pikunin – ★·.·´¯`·.·★ Tadhana ★·.·´¯`·.·★
Written by Louis Pelingen Scrolling through Soundcloud, Youtube, and Bandcamp to discover a song that interpolates or adds a twist on a sample underneath always gives you a different kind of feeling. Sometimes it will leave you bewildered that it ends up clicking (or not), sometimes overjoyed with a hint of nostalgia, or sometimes spiraling down to a screech, wondering how adding just the quaintest of beats and vocal takes can bring you to a certain kind of special tug. Pikunin, formerly known as AHJU$$I, flips up Tadhana by Up Dharma Down and puts his own spice into it. A hint of nostalgia slid in – now glazed, full of twinkling sparkles, and a low-key charm – pitching up Tadhana and chopping it down to the chorus and to the signature cooing of Armi Millare as a starter, tugged along with Pikunin’s softer vocal takes (“Please pick up your phone and don’t leave me alone / Cause I can’t be by myself, I don’t want somebody else”). All along while Pikunin drums up a jersey club-style beat with that signature squeak sound that blends well with the rest of the song, and makes the song twinkle more brightly than before. It’s a song that brings up nostalgia, carving up a spin that makes it refreshing, and allows everyone to appreciate the source material even more. Tadhana is already a heartfelt song for anyone reeling from their 2010s nostalgia, and now Pikunin’s quaint yet charming flip of the song does not take away the pathos of the song but rather adds a different kind of tug.
TRACK REVIEW: ABY – paasa vibes
Written by Louis Pelingen It’s a tough situation to be led into false hopes of someone falling in love with you, only to reveal that they’re using you as a reserve, not as a definite showcase of authenticity when it comes to how they’re leading you into that romance. The common quote of “pinaasa mo lang ako” rings like an orbit in these situations, penning itself into the songs that have been local mainstream staples for a good while now. Writing about it can be either devastatingly real, or it can be tepid, where the details burrow themselves into surface-level ‘paasa’ topicality that doesn’t stand out whatsoever. And with all of that musing, Davao R&B artist ABY shoulders the former with a tight control of melody and a punch in her writing and delivery. A song titled ‘paasa vibes’ might be a corny title to start with, but don’t judge it for its title. Listen closely and there’s a lot to be impressed about. ABY’s measured vocal melodies loop and swivel through the choppy beat filled with skittering trap percussion, rubbery bass grooves, and splashy arrays of synthesizers. ABY’s writing (alongside her slicker vocal delivery) has this Dua Lipa influence into it as she blows through a guy that keeps falling in love with her even if she knows that he treats her as a reserve while he keeps finding other women elsewhere. There’s an assured maturity in the complicated ‘paasa’ topic on display especially when ABY herself is close to reciprocating, but wise enough to be on the right path to not be led into the guy’s false romanticism towards her. While the production can be a little mushy, the end result still sticks regardless. It’s splashy, catchy, and also layered once you dig into it. Again, don’t let the song title make you wince, because this packs a lot of punch and a lot of insight that breaks through the ‘paasa’ situations that so many people have found themselves into.
TRACK REVIEW: Sunkissed Lola – White Toyota
Written by Elijah P. Olongapo’s sole funky, alternative rock troupe Sunkissed Lola are to watch out for in the new batch of bands in the 2020s. From being introduced by Kiyo in more intimate gigs to being one of Wish 107.5’s most sought-after artists in terms of virality, Sunkissed Lola are aiming to get out of their hometown to hit the big leagues. But with their latest arsenal consisting of an impeccable drummer and backup vocalist in the stable, the problem in Sunkissed Lola still lies in the style of their direction and their vocal performances. If the listener were to open their ears again, looking for another infectious hook in their material, the process of realization would stem from hometown heroes with nothing to lose to hometown big leagues with generic taste in hand. After the hit viral single that is “Pasilyo”, Sunkissed Lola are to double down in the genericness of it by opening the year with “White Toyota”. In their new single, Sunkissed Lola personifies the breezy summer afternoons and a knack for guitar licks that takes the funk outside by the shore. Still, the sore thumb in all of this isn’t just their current sonic palette (even their contemporaries like The Ridleys, Over October or even Lola Amour could make slightly more tolerable commercial music). Sunkissed Lola launches an all-out attack on the funkrock genre, only to be sacrificed by sounding like a car sponsorship out of nowhere – minus all the fun and the glamor of it all. “White Toyota” doesn’t just scream mid but rather: Sunkissed Lola and “White Toyota” work together as a humid product of pop that’s barely reached the surface of memorability in terms of catchy songwriting. “White Toyota” has all the potential to be Sunkissed Lola’s second breakout, but the single only works if your uncle would test out the radio if the brand new Toyota Vios works for background music. Support the art & the artist:
TRACK REVIEW: P4blo – baka magalit boyfriend mo
Written by Elijah P. The concept of “girlbestfriends” or “boybestfriends” in the year 2023 might be a ludicrous rap theme for older listeners. For those out of the loop, think of it as a zoomer litmus test of infidelity – an archaic concept that traces back to the time when infidelity is still pretty much a playful yet haphazard theme to rap around. Think of SZA’s “The Weekend” except it’s executed on a less deeply personal level. In the decade that is the 2020s, you’re pretty much in the clear to goof around with the exception of earworms and infectious hooks. Rapper and singer P4blo does it effortlessly. In “baka magalit boyfriend mo”, the up-and-coming rapper melodically prances around the concept of being a sideboyfriend or the proud rebound to the protagonist’s girlbestfriend in cloudrap form – sped-up piano notes, reversed synth pads and sliders, and vocal harmonies melding together. P4BLO knew for sure what he was writing about yet the undeniable hook writing shouldn’t work out, but its inescapable melodies make it an anthem for all sidechicks or sidebffs all over. Not that the casual clueless listener is to acknowledge the existence of such culture, but rather this substitute for the typical Valentine’s playlist should be highly considered for all. Support the art & the artist:
TRACK REVIEW: Kiyo ft. Yung Peso – Puyat
Written by Elijah P. Pampanga-based rapper Kiyo never really forgot his roots since moving from the ports of Navotas to the north side of Angeles not too long ago. His latest track “Puyat” offers introspection rather than the nostalgia trip of their previous material. Time seemed to run out for the young rapper. It wasn’t too long ago either when he released haranasa – a 15-track debut that overstayed its welcome. The debut showed more filler than a 4-verse solo track. However in “Puyat”, it was more likely that he’s been keeping these verses loaded with more impact. The compactness of these 16-bars are rich with food for thought compared to the aimless reminiscing thoughts of haranasa. Although, the listener would rather frame it this way: “Puyat” is an entry of a more mature Kiyo. The borderline boombap production and hazy pianos ride over Kiyo’s gliding melodies seamlessly. You have the flows of Kiyo complimenting the guest feature Yung Peso in the monochromatic music video; hustling in the skinny alleyways and living the life by skydiving freely. Kiyo didn’t join the rap game for fun; he joined because it made him live life more carefully. “Puyat” has all the breaks for kiyo to showcase his more melodic and lyrical sides. Support the art & the artist:
TRACK REVIEW: Peej – Islands
Written by Elijah P. Paulo Alampay also known as Peej, is a singer/songwriter and collaborator of many downtempo/pop folk artists. He’s had his fair share of exposure and delightful releases on streaming platforms as well. After several singles and an abundant number of collaborations here and there, he’s released a New Year present for fans and casual listeners alike. After the comedown that is “These Walls” and “Don’t Carry”, Peej merges together all of his ecstatic energy in a form of “Islands”. The single came out on Spotify as well as a lyric video featuring the singer-songwriter strutting behind the sunset horizon with headphones and sunglasses equipped. The composition is built like a cherry-topped sunday – sterile in the middle of the subdued soundscapes. The track works and feels like a morning jog, it gets better at first but it tires you out in the end knowing that a 8km run is an equivalent of a 4-minute and 20-second song. Peej’s vocals have definitely improved over time, only to apply it over an instrumental that barely does anything throughout the duration of its time. You have luscious guitarwork and a promising drum program that’s circuit-treated to give you serotonin, but that only works on Opposite Day; Underworked plucks of electric guitar, the drum machine pinpointing a filler and loops between loops that are already way past waking hours. “Islands” comes off as a fruitless fruit hanging by the tropical tree of its island. SUPPORT THE ART & THE ARTIST:
RACK REVIEW: Gre! – Staywme
Written by Elijah P. Once you hear the sound cues of ice bouncing on the glass and the keys bouncing a millisecond after the producer tag, you know that you’re in for a plugg showdown. Gre! – QC-based and aiming for Metro Manila’s best kept secrets – released “Staywme”, produced by dopamine, a little over a week ago in the time of this writing, and since then, it hasn’t left my mind how the rapper-slash-resident-growler-of-a-metalcore-band has an impressive streak of writing the best melodies known to the post-lockdown crowd (examples: Majica and VOID). The surprise doesn’t come from the fact that it’s a Plugg track – a formula that might be nearing its end after a shelf life two years of gig freeze alongside several Soundcloud anons trying and testing the template effectively – but rather Grei embodies the Plugg with infectious verses, executing a chorus-free single and armed with loads of melodic syllables and lines that call for “bebe time” during autotuned croons and trap hijinks, ultimately extending the possibilities of plugg once more in the latest single. “Staywme” is target practice for Grei, maybe even a no-sweat affair or rather a genre hopping test drive, either way he fits the bill in both genres. An ear for genres could mean a master scheming their way to success and “Staywme” feels like a swaggering flex of Plugg-ian proportions. Support the art & the artist:
TRACK REVIEW: RB Slatt – TAHLA
Written by Elijah P. 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”. SUPPORT THE ART & THE ARTIST: