Category: YEAR-ENDER LISTS

For over the past 25 years, Filipino music has stretched its sonic possibilities tenfold with the rise of radio, television programming, and eventually, the almighty internet. It’s impossible to narrow it down from the 500,000-plus and counting songs that have appeared, disappeared, and reappeared on everyone’s feed, whether born out of street culture and technological limitations (budots), sheer magnitude and boundary-pushing releases (hip-hop), embarrassingly charming testosterone (pogi rock), or the kitsch of being “kikay” (P-pop). Filipino music has no boundaries, and it’s secretly injected every living being’s DNA with swagapino energy, an undying pride in hair gel and adobo, and a die-hard campaign to keep whatever’s left of “OPM” alive. The formula sometimes writes the future before it happens, only to be accelerated by present-day makers from a particular scene, beat group, or collective. But as the years go by, we all know how that “OPM” umbrella term begins to wither, with every corner of it blown out by Disco Moro bass or gabber-influenced rap music from SoundCloud.

The list was able to see the burgeoning Laguna hardcore scenes (Richard Collier, Typecast), poptimist favorites (Sarah Geronimo, Sexbomb Girls, MNL48), the netlabels of yore (Ulzzang Pistol, Zaniel), yearning anthems from cult classic divebar shows (Ourselves the Elves), soundsystem culture heroes from the South (Junior Kilat), and many, many more.

We at The Flying Lugaw present to you “200 Filipino Songs in the Last 25 Years.” Be warned: this list is highly subjective. What you think is top tier might be your very last choice, and whatever is missing from these 200 songs may not be your taste. But then again, we do not beg for authority, nor do we capitalize on the “end-all, be-all” tone that this list would most likely mistake itself for. If we seize counting down from 200 to 1, then this list wouldn’t be as exciting as readers would take a literal deep dive of this web page.

The editorial team has sought to avoid duplication by not featuring more than one of the same artists twice in collaborations or if they mainly headline the song. The process of polling across different genre specialists, organizers, writers, artists, audience, discussing between the editorial team, listening, arguing, placing (not “ranking,” mind you), and discussing again the inclusion of every single song is based on our collective memory, the data, the numbers, the amount of research based on Archive.org pages, and most importantly, its impact, both public and obscure, from rave heads to rock purists alike.

We care less of the ranking-like structure as all of these 200 songs are equally great and it should exist within and beyond a list this ‘ambitious.’ This is a result of one year in the making; balancing time to write several blurbs after our day jobs and school tasks, however, we still strive to achieve the balance that lists like these would attain for the benefit of both the writers, editors, reading audience .

What matters most here is how we treat this list as a form of documentation: a roadmap designed to trace back the origins of a genre or how it was successfully mutated within the Philippine Islands. These 200 Filipino songs are at the dawn of this golden sun, and we are seeing it rise above the Pearl of the Orient Sea. Filipino music has talent, and you don’t have an excuse for sleeping on every single song on this list.

Feast your eyes and ears on the 200 wonders of the 7,107 islands.

---

200. Gimme 5 – Ikaw Na Na Na Na (2014)

Gimme 5 was Star Magic’s answer at the height of the global boyband revival led by One Direction. They were five boys, one of whom the entire country had watched grow up on Goin’ Bulilit. Their carrier single “Hatid Sundo” had the full rollout. Yet the song that lingered was “Ikaw Na Na,” an album track that got its break in the OST of KathNiel’s Got to Believe. With no music video, therefore no feature on Myx, it still became the best Gimme 5 song. It was a dizzyingly simple confession of attraction, so straightforward and nervous that it sounds of someone who can’t even finish their sentence, repeating “ikaw na na na na.” – Jax Figarola

199. cheeky things – korean blackout curtains 7ft (1 pc, not set) (2023)

Entering a new decade brings in new bands with fresher takes on the shoegaze-emo-alternative sound, but only a few of them can pull off singing Tagalog lyrics over noisy distortions. Upon the release of their demo in 2023, cheeky things carved their own niche in the scene with “korean blackout curtains 7 ft. (1 pc, not set),” a song set on being a yearning anthem you can mosh to. The title alone is quirky enough, but the way it’s catchy, grungy, and twee at times makes it an instant classic among the alternative crowd. – Aly Maaño

198. Breezy Boys, Breezy Girls – Langit Lang (2011)

In “Langit Lang”, the beats aren’t that flashy, with the obvious flaws of lo-fi production despite it, but it didn’t matter to the Jejemon youths as the track struck a chord with their first taste of romance and heartbreak. Its oomph factor came from the rawness and emotionality that oozes out of each verse, a trait that compelled listeners due to how it spoke true to their experiences of love. 

Comparing it now, the “nonchalant” youngins of today have a thing or two to learn about showing vulnerability to love and hurt in a way that “Langit Lang” showcases. – JK Caray

197. Denise Julia – B.A.D. (2023)

“B.A.D.” channels the smooth charisma and flirtatious swagger of 2000s R&B through sleek production, confident delivery, and teasing lyrics that are seductively playful. Despite being released in an internet-driven pop landscape, the track still captures the effortless ‘cool’ of the genre’s pioneers. On top of that, “B.A.D.” fully capitalized on Denise Julia’s rising social media stardom, transforming her magnetic online presence into a song that felt tailor-made for repeat listens, TikTok edits, and virality — proof that charisma is still music’s most valuable currency, regardless of whether it’s discovered through radio, streaming, or a For You page. – Paolo Elwick

196. Polar Lows – Verses (2019)

A cold loneliness with a center and a fleeting atmospheric depression are just two of the many more meanings of an actual polar low. Shoegaze often operates like this, like Polar Lows, spiraling in ways of hazy verges in shimmering textures of crestfallen infinitude. “Verses” within its walls of systems and guitars sparsely snap misty images of grit as it simultaneously injects itself with Megumie Alcala’s siren song, luring you inward to your own undoing. – Julia Harumi Kudo

195. Emelette – Brave (2022)

Hailing from Naval, Biliran, Emelette has released only a single track since her debut, but the sentiments that “Brave” touches on give it a memorable place in our list. 

“Brave” stood out amongst post-pandemic indie songs for its hopefulness without being overwhelmingly bright. It skips the synthetic grandiosity some love songs try to evoke and instead goes for honesty, like a hand holding yours gently. In retrospect, “Brave” was a song about daring to love as much as it was about encouraging us to keep going, even after the lingering fears we had from the pandemic. – JK Caray

194. Chillitees – Sama Na (2007)

Chillitees infuse the creative scenery of Filipino soul with millennial cool, as heard in “Sama Na.” Playing with the power of repetitiveness and sampling, the crunch of the song’s bouncy riffs meld with Uela Basco’s smooth voice in a way that is utterly captivating. There is an initial hesitance in the track’s push and pull; a clever back and forth that manifests through the use of the looper. They ease this tension with their laidback lyrics, including a sudden spoken verse that seems to float through the clouds. Before indie sleaze was even conceived, Chillitees already started flirting with its youthful hedonism. – Noelle Alarcon

193. Cup Of Joe – Multo (2024)

From being a high school band from the north, Cup of Joe quickly cemented their place in OPM history by selling out arenas and dominating music charts. Garnering millions of streams, the track “Multo” from their debut album Silakbo was hailed Song of the Year in last year’s Filipino Music Awards (FMA). Poetically haunting, this synth-pop ballad captures the emotional collapse of reckoning with the past. From covers to cinematic edits, the song’s virality and success led it to become the OST for the romantic drama film ‘The Loved One’. In a heartbeat, “Multo” was able to move a whole nation and leave a lasting impression on listeners far beyond the small corners of their hometown. – Aly Maaño

192. Techy Romantics – Out Of My Mind (2010)

Every thud is a heartbeat, every fluttering of the hypnotic legato riff a whiff of ecstasy pulling you close. Techy Romantics’ indietronic classic “Out Of My Mind” always manages to turn our busy lives into slow afternoons of contemplation whenever it plays on the speaker. The tune reminds us to stop and smell the roses, and capture the present moment in its most intoxicating allure, even when our dissonant thoughts sing loudly of constant distractions. – Nikolai Dineros

191. Zaniel – C2 NA RED! (2025)

A definitive “post-internet” artifact, Zaniel’s track transcends its origins as a viral meme to a frequency of raw, lo-fi honesty, capturing the hyper-specific Filipino suburban aesthetic.  It serves as a time capsule of the sari-sari store culture that proves apple flavored digital sincerity can define the modern OPM zeitgeist.  “C2 NA RED!” is a song that is as much about the medium of the internet as it is about the music itself. – Adrian Jade Francisco

190. Cutie Uyyy – Soulthrll (2020)

Circa 2020, we had no direction or connection, but we had music. And somehow we also had “CUTIE UYYY”. You could be stuck in lockdown, stuck in love, stuck inside your own personal veneers of stagnancy, and still dance. The laidback melody of Soulthrll’s voice didn’t heal or prove us a lifeline, but it gave us a way to move while things were not fine. Without the actual intent of being political, the song was able to instill immunity through hope, because the world was scared, but people decided, however briefly, to be happy together. And if love is complicated and all-encompassing; ever-changing but radical—unfailingly, in all the ways, then maybe that was it: dancing a banger Bisayan lovestruck song in a box because that screen was all we had. Finding another person through a screen, to feel connected; to feel human. “CUTIE UYYY” helped us refuse to simply let one moment be the whole story. We were stuck. But we danced anyway. – Julia Harumi Kudo

189. Hazylazy – Juxtapose (2020)

Born in the restless and experimental spirit of the early 2020s, “Juxtapose” functions as a critical “lockdown anthem,” a cerebral autopsy of the modern ego. Hazylazy’s track creates a powerful juxtaposition of physical isolation versus digital explosion. Its self-produced internal conflict is transformed into an expansive, atmospheric masterpiece that resonates far beyond the bedroom walls where it was conceived. Encapsulating that the most cerebral indie rock doesn’t need a stadium — it just needs a restless mind. — Adrian Jade Francisco

188. Janno Gibbs – Pinakamagandang Lalaki (2004)

Janno Gibbs is sexy, and he knows it. In this classic OPM hit, Janno envisions himself as the perfect male specimen, donning a polo suit of the finest weaves of fabric to hide a body of pure muscle and high-grade testosterone, on a frame sculpted by Hephaestus himself. He struts freely in pointy, Marikina-grade shoes with his iconic goatee-moustache look (freshly trimmed), and a pair of aviator glasses of a warm tint to signal his uncontainable sex appeal. But beyond the veil of grandstanding and delusion, Janno, the romantic crooner that he is, sings only out of the pure joy of being loved by his woman the way he deserves. – Nikolai Dineros

187. dwta – Santigwar (2022)

At first, “Santigwar” sounds familiar to fans of folksy provincial pop. Its chord progressions resemble tunes like “Balay Ni Mayang.” Although such songs are beautiful, “Santigwar” is more ambitious. Singer dwta’s airy-fairy soprano makes the Bicolano lyrics seem unequivocally kilig to non-speakers. In fact, they paint romance as an agonizing, confusing process. The narrator seeks a santigwar (faith-healer) to cure the mysterious symptoms of love. Subtly darker musical cues, particularly in the guitar, highlight the mystical themes. “Santigwar” plunges into the shadowy depths of love, with Bicolano culture laying the groundwork for its enchanting tale. – Julienne Loreto

186. Dilaw – Uhaw (2022)

Dilaw’s initial beginnings are steeped in their theatrical showmanship, a characteristic that allowed them to rise to the eventual spotlight. Yet, “Uhaw” offers a restraint that broadens their overall musicianship. Plopping them straight into this glistening piano ballad that eventually opens up more, bringing in a shuffling groove and a synth solo section that reinforces Leonard Obero’s thirst for that evocative love. One that’s on the cusp of getting closer.

This song eventually emphasizes Dilaw as a band worth observing six hours away from the Metro, where sincerity has always been cherished from the start, but they’re now willing to carve out dimensions around it. – Louis Pelingen

185. 1:43 – Sa Isang Sulyap Mo (2011)

Outside of its television exposure, “Sa Isang Sulyap Mo” by 1:43 struck the balance between its boy-band outfit with an accessible, emotionally direct sound that dominated the “kilig pop” soundscape of the early 2010s. The infectious simplicity of the production made it treasured mainstay in the DNA of the OPM youth ballad catalogue, frequently serving as the quintessential soundtrack for your JS proms and an essential on the playlist of every Filipino who owned a Samsung Galaxy S3. — Adrian Jade Francisco

184. Honeydrop – The Place (2013)

Honeydrop’s “The Place” is the warm, dreamy standout track from 2013 debut Prelude. With a soft vocal performance that seemingly floats over a delicate instrumental, it showcases Cebu’s indie scene at its best by painting the image of paradise where time stands still and love never grows old.

The track’s optimism is simple and infectious, helping establish Honeydrop as one of Cebu’s most prominent indie acts of the 2010s. Years later, “The Place” continues to endure with the band’s September Fever 2025 reunion bringing together longtime fans and younger generations to prove that Cebu’s indie scene continues to thrive more than a decade later. – Paolo Elwick

183. stab. – watchyoudie (2025)

The song starts with an audio clip from Ozark. “If you want to stop me, you’re gonna have to fuckin’ KILL MEEEE!” yells Ruth (Julia Garner), about to embark on the classic eye-for-an-eye rampage. Cebuano band stab. taps into this sheer vengeful rage in “watchyoudie,” the highlight of their debut album ‘wounds of fury’ (2025). Thunderous guitar riffs and drums batter the listener’s ear as frontwoman Irish Alcano declares “I’ll live to watch you die” again and again. Few others in the scene can growl like she does, her control over her voice evident even as “watchyoudie” lets bloody wrath erupt. – Julienne Loreto

182. ALAMAT – LuzViMinda (2025)

P-Pop boy band ALAMAT has always pushed the limits of the wider OPM scene, blending high-gloss pop with traditional instruments. In the innovative “LuzViMinda,” the six members blaze through rap verses each written in their languages: Bicolano, Cebuano (Bisaya), Ilocano, Kapampangan, Tagalog, and Waray. Engineered by ALAMAT’s Alas, its densely layered sonics keep up with every bar. The rapper also embeds his Tausūg heritage within “LuzViMinda”’s relentlessly paced beat via gabbang (Mindanao idiophone) flourishes heard throughout the song. Distorted synths and springy kubing (jaw harp) notes tie it all together. Patriotism has never sounded so goddamn cool. – Julienne Loreto

181. Nateman ft. Lucky – IMMA FLIRT (2025)

Nateman and Lucky’s “IMMA FLIRT” shows younger Filipino artists that it’s possible to turn influences into something that’s our own. By interpolating R. Kelly’s “I’m a Flirt,” they tap into the energy and swagger of mid-2000s hip-hop and R&B for a playful and bouncy track built on conversational flows, effortless chemistry, humor, charm, and personality. In doing so, they recreate the simple, lighthearted, and somewhat awkward thrill of flirting to create a track that never outgrows the fun of simply shooting (and hopefully making) your shot. – Paolo Elwick

180. Lazy Suzan – Ayaw Ha (2007)

Waray people are known for their fierceness and the certainty that resides in their tone. Hailing all the way from Tacloban, “Ayaw Ha” by Lazy Suzan is proof of this expressiveness, so full of emotion it’s as if the instruments are crying out fountains of tears themselves. The song ebbs and flows like the ocean’s tides; snare-driven verses of melancholy, and impactful, vigorous wails from the chorus until the end. An anthem of betrayal and holding onto love so much that it leaves indents on your skin, its Waray lyrics are a clever example of the Filipino languages’ ability to describe feelings down to their very core. Lines like “Nasiring ka nga hi ako la / diri na ak matuod ha imo” (“You say I’m the only one / I don’t believe in you anymore”) are powerful and straight to the point.  – Noelle Alarcon

179. Cheats – Talk (2017) 

For a time in the mid-2010’s, alternative rock outfit Cheats occupied a specific space in the scene: that of spirited, unbridled, millennial coming-of-age jams rendered best experienced live. Their second album, ‘Before The Babies,’ is a nexus point for this sort of feeling. The album’s standout single “Talk” is more mellow than the other tracks they’re known for; yet it carries a profound sense of sincere optimism only a band like Cheats can eke out without any hint of self-aware loathing. In between the anthemic group vocals and the sprightly drums, the track ebbs and flows, invoking all of the feels at just the right moments. – Lex Celera 

178. Sinosikat? – So Blue (2007)

SinoSikat? was Kat Agarrado’s solution to a problem: she listened to so much music that she couldn’t belong to just one. “At some point gumagawa ako ng mga bands. I had a blues band, I had a jazz band, I have SinoSikat?”, moving between bands and sounds until the only category that made sense was something both personal and local: Pinoy Soul. “So Blue” is that spirit in motion; it’s happiness from knowing that happiness is coming despite the despair. It’s coloring outside the lines, and seeing life be not just blue, maybe, even more than blue; it could be life endlessly opening. – Julia Harumi Kudo

177. Such – Run (2011)

One of the utmost knockout successes on ‘Forward To Hastings’, “Run” takes an unfailingly recognizable story—being exhausted by a relationship that no longer works. Built around the cyclical command of its title, the song turns post-ironic ruin into motion: when there’s nothing left to explain, you leave. ‘Run’ paces and faces places where panic and relief can occupy the same sentence. It may not reinvent the breakup song, but it understands why the form keeps returning. – Julia Harumi Kudo

176. Plane Divides the Sky – Like A Machine Made for Spinning (2003)

Elder millennials who grew up on Myspace and frequented iconic music venues like B-Side and Route 196 would definitely know about Plane Divides the Sky (PDTS). From their debut album, Panic in the Skies, “Like A Machine Made for Spinning” is the seminal track that sealed their name in the post-hardcore scene. Its official music video, which once aired on MTV and UNTV, is already considered lost media. But earlier this year, the MV was reuploaded on the band’s Facebook page, unlocking a core memory for many listeners who were once teenagers banging their heads as they discovered the song for the first time. – Aly Maaño

175. 8 Ballin’ – KNOW ME (2021)

Despite the side-eyes that “KNOW ME” was put under at the time, one thing’s for sure: 8 Ballin’ knows how to turn sleaze sound intoxicatingly addicting. They certainly provide enough melody and attitude that rides upon a woozy beat, complimenting each member’s distinct delivery before it leads to R!S’ instantaneously catchy hook as they get high and allure the women that they find fancy.

It’s those qualities from 8 Ballin’s skillset that cement “KNOW ME” as a song that works as an immediate party jam, one that easily pulls you in every time you hear it. – Louis Pelingen

174. Reese Lansangan – Home (2016)

If you’ve ever had an indie phase in the 2010s, Reese Lansangan is a household name you can’t forget. Originally written as a wedding song, her single “Home” became the OST for Boys’ Lockdown, a Philippine BL web series that aired in 2020. Honest and sincere, it eventually became the soundtrack for ordinary listeners who held their own interpretation of the song. As an artist who pays attention to lyrics, Reese indeed has her way of getting into your head through words that hit close to home. – Aly Maaño

173. Floetics – Patawarin Mo (2008)

Formed in 2002, California-based Floetics combines the trappings of the hip-hop genre of their time in their respective sleeves: melodic rapping that’s rhythmically dense and heavily syllabicated, laid over simple piano beats. Floetics’ most memorable effort comes in “Patawarin Mo,” rife with apology-driven lyrics. “Patawarin Mo,” and Floetics whole body of work, underpins Philippine hip-hop’s longstanding connection to its global roots by way of seamless codeswitching, drawing deep from the well started by Francis M. – Lex Celera

172. Sleep Alley – Di Naging (Tayo) (2019)

When Sleep Alley released “Di Naging (Tayo)” in 2019, the band was already looking back on a familiar chapter of OPM. Built around guitar riffs, driving basslines, and soaring vocals, it tells the painful story of loving someone who doesn’t feel the same way—with the refrain “hindi ako ang pinili mo” capturing that frustration perfectly.

Yet the song is about more than just rejection. Its nostalgic sound allows the band to explore acceptance and self-reflection through a genre that many listeners already know. After Aly’s death led to the band’s disbandment in 2026, “Di Naging (Tayo)” remains a poignant snapshot of what Sleep Alley brought to modern OPM. – Paolo Elwick

171. Gasulina – Fueled (2012)

If Gasulina had one job, it was to keep the tank running—and “Fueled” makes a pretty good case for why they did. One of Cagayan de Oro’s best-known rock exports, the band turned late-2000s gigs into long-haul mileage, taking their sound from CDO to stages in Manila and Cebu, including UP Fair and Sonic Boom Sinulog Blast-Off. “Fueled” captures that momentum at full throttle: emotional, restless, and built to hit hardest when the amps are turned up. — Adrian Jade Francisco

170. The Line Divides – Day Dream Dance (2009)

The Line Divides’ “Day Dream Dance” carries the restless charisma of pop-punk, driven by a distinctively scratchy, earnest teenage tenor that makes every lyric feel like a monologue entry from a coming of age movie shouted from the back of a crowded gig. Hailing from Lapu-Lapu City, the band captures the youthful urgency of Cebuano indie music without losing the messy sweetness of adolescence. – Faye Allego

169. Morissette – Akin Ka Na Lang (2014)

Even the likes of Ariana Grande are impressed by the nonpareil caliber of Filipino singers. While talented vocalists are dime a dozen in our country, many of them are stuck doing covers. Morissette’s “Akin Ka Na Lang” is one of the 21st-century’s defining Tagalog ballads. The mellow tempo and dramatic strings hearken back to classic diva traditions, but the song is truly hers alone. Switching between her mid-range, upper belts, and whistles with ease, Morissette proved with “Akin Ka Na Lang” that the public is still hungry for original birit songs. – Julienne Loreto

168. Richard Collier – Reclaim The Night (2008)

Laguna’s hardcore scenes have birthed branches of post-hardcore and emo bands ever since the dawn of the 2000s. Arguably, the cataclyst that set of a nationwide movement just so happens to be Richard Collier, a quartet that has now transferred to the world of post-punk called The Skeleton Years. But back then, with the help of takefour collective and Counterflow shows, Richard Collier’s everlasting influence in the emo scene can be heard in “Reclaim the Night.”

As our forefathers of the ’emo’ such as Typecast, Walk Me Home, and Effinboiche told their stories of angst and aching pain, Richard Collier prompted themes of self-doubt and mortality. Unlike their contemporaries, their take in the genre was evergreen because their songs never seem to show any doses of juvenility nor peter pan syndrome. They just so happen to become themselves, a timeless showcase of what and how emo came to be in the future. – Elijah Pareño

167. OJ River ft. Ives Presko – Gusto Ko Pa (2017)

Before all the Bawal Clans and the solo careers that pivoted both of their paths post‑pandemic, it’s worth talking about the direction OJ River and Ives Presko chose to delve into through their one‑of‑one collaboration “Gusto Ko Pa.” Backed by a nocturnal instrumental — a menacing trap hi‑hat and kick, OJ River’s swaggering timbre, and Ives Presko’s  very  2010s  fuccboi  attitude — the song kicked off a generation that would later be unintentionally copied by countless imitators wishing to replicate that same authentic swagger. – Elijah Pareño

166. Ice Seguerra – Pagdating ng Panahon (2001)

Few ballads from the 2000s embody longing as accurately as Ice Seguerra’s “Pagdating ng Panahon.” Built on a tender acoustic arrangement and an emotional vocal performance, the track transforms waiting into an act of devotion, perfectly capturing the devastating hope of loving someone despite uncertainty. 

Its emotional pull, however, comes from how familiar that feeling is within Filipino culture, where love is often portrayed alongside patience, sacrifice, and unwavering commitment. But rather than just romanticizing heartbreak, the song sincerely embraces vulnerability — stressing that sometimes the deepest expressions of love happen not in being loved back, but in choosing to keep hoping anyway. – Paolo Elwick

165. Outerhope – Twenty Years From Now (2009)

There’s only one thing certain about the future: It’s a mystery, but instead of mentally spiraling into the unknown, Dreampop brother and sister duo, Outerhope, quells the dread with their 2009 track “Twenty Years From Now”. The track is exemplary for the duo’s unique soundscape: deftly playing with a double-helix of dissonant harmonies being appeased by ear catching melodies, instilling into the listener a sense of hope for whatever may come. Although Outerhope’s releases have been few and far between over the years, listeners have always made their way back to this song, whenever a reminder that the future doesn’t have to be so bad is needed. – Rory Marshall

164. Rusty Machines – Can’t Hardly Wait (2014)

The strain of local indie rock enters the 2010s with a blinding spark and sentimental sheen, and Rusty Machines embodies such qualities on “Can’t Hardly Wait”, one of the four tracks from their debut EP, ‘City Lights’. Iggy San Pablo expresses that romantic yearning so tenderly, vocally cycling “with you” as the guitar riffs and garage rock grooves ramp up into a blistering tempo.

While the band has been on hiatus since 2022, the sentimentality still remains. Even if time and distance become yearning’s enemy, the need to be with someone you love will always prevail.  – Louis Pelingen

163. Undercover Grasshoppers – Let Go (2012)

Serving as the closing track to their only official studio album, ‘Crop Circles’, “Let Go” by Undercover Grasshoppers is a testament to the band’s unique sound. Experimenting with genres like new wave and classic rock, songs like “Let Go” shook up the early 2010’s Cebu scene, creating a soundscape that is both accessible yet transformative. Fitted with dramatic imagery in the song writing, a passionate vocal delivery from lead Cilee Kuizon, and the sonic guitar riff that plays throughout the track, this track is a shining example of the innovative approach that they had with their music. – Rory Marshall

162. Gibraltar – Gibraltar (2023)

Hailing from Zambales, Malaysia, and Metro Manila, dark hardcore band Gibraltar emerged from the underground DIY scene to become a vital voice against state corruption. Frequently one of the most awaited acts at solidarity gigs and other adjacent hardcore shows from either Still Ill Records, Counterflow, or Pojax Kult, they channel the very values of hardcore that their culture is fighting for. In their self-titled anthem “Gibraltar,” the band blends chaotic, metallic crust punk with a staunchly anti-fascist, socially conscious manifesto. By demanding that physical fury in the mosh pit be matched by mental sharpness, Gibraltar galvanizes the local youth—proving that the most immovable art is forged when raw anger meets profound political reflection. — Adrian Jade Francisco

161. Peachfuzz – Communication Breakdown (2006)

Though “Communication Breakdown” by Peachfuzz became a local favorite on CDO radio, it captures the flip-phone youth culture in the mid aughts due to the opaque nostalgia the listener feels in their catchy whines and guitar chimes mimicking that of pogi-rock era soundscapes, showing that their confessional discography speaks from the heart. Peachfuzz never broke into Manila’s broader scene, however, their songs stayed in the top 10 of local stations for months on end, and to this day listeners from the era can still look back fondly and fluently on their enduring local imprint. – Faye Allego

160. Noa Mal – Isolation (2021)

Released in 2021 as part of ‘Impostor Syndrome’, Noa Mal’s “Isolation” highlights the potential of a computer, a microphone, and the confidence to share music online. Reflecting her fascination at the time with rough and raw recordings, the song’s unpolished character complements its themes of loneliness and longing.

That DIY approach eventually took Noa beyond her bedroom in Lucena, where she built a cult following online and caught the attention of independent Japanese label Galaxy Train—who now releases physical editions of her albums. “Isolation,” then,  is a reminder that today, an OPM artist can start with a bedroom and still find an audience halfway around the world. – Paolo Elwick

159. Daniel Padilla – Simpleng Tulad Mo (2014)

Look, there’s actual merit to be analyzed here: Daniel Padilla had the chops to translate MJ Magno’s ABS‑CBN‑penned hugot into something charmingly his own. At the time when #KathNiel was selling faster than hotcakes, this was the turning point — actually the point of no return — for many artista‑sung ditties, where rock‑backed instrumentation became the main template for male artistas following suit. If Daniel could do it, everyone else could, but nobody could ever imitate his  2010s swagger — not even in a mall show near your barangay. – Elijah Pareño

158. The Gory Orgies – Stalking Ely Buendia (2015)

The Gory Orgies’ “Stalking Ely Buendia” thrives on abrasion by embracing a messiness built on distortion, grating guitars, and an unhinged title that’s sure to raise a few eyebrows. Emerging from the Mow’s underground scene that shaped generations of local acts, they became regular fixtures in community-driven productions like Salad Days, Alternatrip, Stay Useless PH, and Higad Productions because of noisy, unpredictable, and unfiltered performances. That energy bleeds into the track, where feedback, rough riffs, and bursts of electronic noise bury vocals under layers of chaos. In the process, “Stalking Ely Buendia” proves that, much like the underground gigs that embraced it, sometimes the most exciting music comes from letting things get a little out of hand. – Paolo Elwick

157. Tabularaza – Shewowah (2007)

Cagayan De Oro’s Tabularaza more than echoes the sound of their contemporaries in 2000’s OPM rock; they’ve run the gamut of the national circuit, playing alongside fellow hometown hero Gasulina. “Shewowah” is a well-loved gem of a track, especially in their locality: riveting anthem-worthy hooks uplift the song’s already energetic pace to greater heights. It’s one of those tracks that when heard live, at a particular time of your life, that will stay with you. – Lex Celera

156. Jireh Lim – Buko (2011)

“Buko” became one of those instances of how independent internet-based music and mainstream radio closed the gap in 2011. By tapping into a deep-seated cultural nostalgia for the”boy-next-door” harana, Jireh Lim turned a Youtube breakthrough into an inescapable staple of the acoustic pop genre. The single was then included in his debut album in 2013. Its stripped-down charm and the presence of Lim’s tracks on teleseryes established its familiarity in the landscape of the 2010s era of local music. – Adrian Jade Francisco

155. Geiko – Sol at Luna (2018)

“Sol at Luna” is a star example of the magic that can come from scenes outside of Manila. The indie singer-songwriter from Pangasinan, Geiko, was able to somehow convey desperation for your beloved so beautifully, all from their bedroom. The song is effervescent in its charm. Geiko’s lyrics shimmer with beautiful imagery and the production’s DIY approach adds to its authenticity and comes off as nothing other than endearing and genuine. The track was a breakout moment for geiko, as their following quickly grew, wanting more of geiko’s honeyed lyrics and enchanting dream-like melodies. – Rory Marshall

154. Foc Fashion – Vega vs Dhalsim (2018)

Guitar-driven and fast-paced, with roaring vocals to boot, “Vega vs. Dhalsim” carries characteristics that have driven many garage bands over the past two decades. And while the track was released as part of the band’s self-titled EP in 2018, vestiges of the track – jam sessions and live performances – remain on the internet as far back as 2011. Fifteen years later, the band is seeing itself anew under different circumstances (the original three-piece are “poetically scattered around Southeast Asia”) and a different, more electronic-forward sound, but Foc Fashion’s indie rock roots are more than worth looking into, beginning with “Vega vs Dhalsim.” – Lex Celera 

153. Tether – Sikretong Darating (2015)

Picture this: you just asked out your blockmate crush tonight. This is it, you’re in love for the first time. A dense wall of sound hits you and transports you back to your college years; back to Tomatokick and their iconic music nights, back to the hangout place you used to eat Liempo at as you gather the courage to confess, back to dive bars resided by amateur musicians with ambitions of “making it”. 

“Sikretong Darating” rings reminiscent of these sensations. The track didn’t catch much steam outside their respective bubble prior to the hiatus, but the band started to earn a cult following a decade later within a new generation of gig goers. As it turns out, Tether’s work influenced a couple of newer bands in embracing a more chaotic sound, specifically with “Sikretong Darating” expressing Noise Music in a way that local audiences have never heard of before; tender, youthful and affectionate. – JK Caray

152. Ciudad – My Emptiness (2008)

Way back to their inception in the early 2000s, Ciudad’s brand of easygoing pop rock stood out from the rest of the local music scene’s fixation with alt rock. The band’s long-lasting presence in the OPM canon shows their commitment to their identity that gets more admirable as the years go by.

Their song, “My Emptiness”, is a prime example of this. In the track, they mindfully tackle complex, mature problems without sacrificing the whimsical, bubblegum personality of their works. With the feat of creating a seemingly paradoxical track like “My Emptiness” work, Ciudad showcases the extent of their creativity that has contributed to the recurring prominence of the band even until today. – JK Caray

151. Juana – Reyna ng Quezon City (2005)

Every gimik or night out should sound like “Reyna ng Quezon City” by aughts darling Juana. It makes you want to cast out any worry and seize the night, because after all, you’re the queen of QC. It’s whimsical, it’s invigorating in its care-free attitude, and has a chorus worthy enough to raise your hands and shout after a night in Cubao. Juana was able to capture the freedom of youth in song, with its sentiment proving timeless as Gen Z blows it up on social media, instilling us with nostalgia for a kinder time. – Rory Marshall

150. Just Hush – Shinobi (2017)

Tondo-based 187 Mobstaz affiliate Just Hush operates on a language of his own for the bulk of his musical career: that of early morning trysts – or at the very least, the idea of it. “Shinobi” came at a time when fuckboy was still part of the normal parlance, electrifying the air with its hiding-in-plain-sight lyrics spoken in an affable, awkward cadence. It’s an instant mood changer in the car, and when performed live, a sonic panacea to quell any rage when played right after a moshpit-inducing track. – Lex Celera

149. Sliz – Droga Ang Pag-Ibig (2022)

If love comes in many forms, then love songs are no different. And Sliz, an artist from Dasmariñas, Cavite, just naturally seems to know this. “Droga Ang Pag-Ibig”, a high-pitched swag hymn about addicting super love, is just what we had to hear to remember all of devotion’s super cuts. When you’re into someone, the world doesn’t always just slow down in classical score; sometimes the air just sways differently as you walk home, birds chirping and all. As the song moved into mazes, “Nasa’n na ba ako? ‘Di ko din alam. Ganda naman ng mundo, sumasayaw, gumagalaw,” the person no longer recognizes where they were. The only thing they knew was that they felt alive, moved. – Julia Harumi Kudo

148. Deanery – What’s Better Than Never (2011)

“Love comes unexpectedly / let’s cross the sea together” are quotes plenty of authors wish they could have come up with. Vulnerability comes easy for Cebu’s Deanery, whose disclosures of the heart are capable of pulling from all the clever components of alternative music from the last decade. They blend these sounds into a cocktail, turning their influences’ notes into the band’s own unique flavor of sound. “What’s Better Than Never” is led by vocals that are undeniably post-punk; a tone that borders between the lines of cynicism and sarcasm, layered in between floors of reverb. The instrumentals that paint its canvas, on the other hand, take from the 2010s’ approach to pop punk—light and airy, with the tiniest hint of tension. For a band that promises to “make music whether or not people will get it or respond to it,”  their heartfelt creativity is truly worthy of response and attention. – Noelle Alarcon

147. Peryodiko – Tayo Lang Ang May Alam (2014)

“Tayo Lang Ang May Alam,” released in 2014, is a sturdy branch in the Philippine alternative rock family tree. Formed by frontman Vin Dancel, Peryodiko brought together established musicians from across OPM, including Rivermaya’s Kakoy Legaspi and Lampano Alley’s Simon Tan. Later members like Autotelic’s Josh Villena further extended that lineage, connecting different chapters of the local music scene.

Its somber verses and riveting climax make it an affecting track on its own, while its connection to Up Dharma Down’s “Indak” adds another layer of lore. “Tayo Lang Ang May Alam” ultimately captures Peryodiko’s role as a bridge between different generations of Filipino music. – Paolo Elwick

146. Nuncyspungen – Goa (2001)

Out of Cagayan de Oro, Nuncyspungen composed a distinct sound in the Philippine underground rock scene with the dark, atmospheric track, “Goa,” first released on their 2001 self-titled EP and later featured on their 2004 full-length, captures the band at its most hypnotic—layering heavy guitar grooves and brooding melodies. More than a signature track, “Goa” stands as a reminder that the 2000s rock landscape extended far beyond Manila, with CDO’s independent scene producing some of the era’s most compelling and enduring sounds. –  Adrian Jade Francisco

145. Cat Boy Jeepney Drivers – UNSINT A MESSAGE (2024)

Laguna- and Pampanga-based electronic duo Cat Boy Jeepney Drivers channels youthful romance captured in the digital age, where whimsy is pixelated, where intent is expressed through emojis and quirky keyboard habits. “UNSINT A MESSAGE” is filled with multiple samples stacked on top of each other in a gentle caress, symbolizing one’s passionate feelings for another person. Behind the intensity of its production, however, there is a level of restraint that can be found, a kind of regret felt over things left unsaid. – Nikolai Dineros

144. saki!, bixby, luvlxckdown – swagapino (2021)

Pinoy pride can come in many different forms. For FilAm cloud rapper saki!, it involves snapbacks, polo shirts, and swag, as seen in his early 2020s soundcloud gem “swagapino”. In collaboration with fellow soundcloud artists bixby, luvlxckdown, and producer Greentop, saki! made a flex-heavy, Drain gang-esque anthem through in-your-face synths driving the melody, Vine-era memes serving as adlibs, and trap hi-hats scattered throughout the track. . The song serves as a reminder: the portmanteau goes beyond the tumblr-era meme of thick-rimmed glasses and Js on your feet, it’s a bonafide identity for pinoy youth in and out of the diaspora. –  Rory Marshall

143. The Purplechickens – Dayami (2014)

The Purplechickens’ sonically emotive and lyrically-loaded track “Dayami” is written in a that tickles that untapped part of the music scene that bands, from then and now, rarely commit to. 

No other band has been as close to the controlled, poignant chaos The Purplechickens bring to the table. “Dayami” embodies this aspect to a tee; a poetic fiery track that occasionally combusts with raging empowerment and hopefulness. If you listen hard enough, you can still hear the titos of the underground music scene raving about it till this day. – JK Caray

142. James Reid – Randomantic (2016)

“Randomantic” ticks all the boxes for a pop hit: kilig-worthy lyrics, smooth R&B vocals, and a melody that never seems to leave your ears once you hear it. Tie all that with a teen heartthrob like James Reid and you have a smash record that will stand the test of time. Cheesy? Maybe, but that’s why we love it. Aptly released on Valentine’s Day of 2016, couples throughout the nation found an anthem for their romance, becoming the theme song for Valentine’s day every year after its release. – Rory Marshall

141. Owfuck – Gin at Marijuana (2016)

Beneath the deceptively catchy hook lies the underlying message penned in “Gin at Marijuana”. The rattling trap percussion captures a bombastic tone that Owfuck uses to their advantage, with their staccato flow delivered with an edge, all to highlight the contradictions of hip-hop street life being illegal, whilst corrupt government systems let the powerful figures do similar things and run away unscathed.

Its overall lean and low-key approach allows Owfuck to slither with an approachable chorus, and then strike when their verses capture the brunt of their words. It invites you to acknowledge the flames wafting amidst all that smoke. – Louis Pelingen

140. Material Support – Bougie Ass White Girl (2016)

Queens, New York punk quartet Material Support made an anthem for the lactose-intolerant, yet it really isn’t about milk; the best punk songs rarely are. “Soy latte tastes like democracy” hooks absurdly and devastatingly in unison and in mayhem, spurring a new ethos of bourgeois resistance by a Filipina-fronted political hardcore punk band. “Bougie Ass White Girl” ferociously understood anger as their punk political lexicon. This is what pop sometimes forgets because people don’t just want art that reflects who they are; they want it to defy the odds—fight alongside them. After all, music is at its best when it dares to be raw, gritty, and defiantly itself. – Julia Harumi Kudo

139. CLR – Rest Day (2018)

Many rappers flaunt, but not all of them tell a story. CLR is Chester Lalinjaman Romo, also known as Cebu’s lyrical rapper—an artist who blends his unique style, reflective lyricism, and atmospheric production. One of his most influential songs “Rest Day,” is an ode to a time when all his creative energy can only be poured out during his day off from work. With a penchant for psychedelic visuals, the song reveals CLR’s world through an introspective lens, earning him a rightful seat at the table with contemporaries in the game. – Aly Maaño

138. The Labrats – Dance Away (2015)

Envisioning what feels like an explosion of brilliant colors between chilled-out verses, Cilee Kuizon’s quirky vocals holds elements of gospel music, complete with the clapping of percussion and neo-folk bright steel- string resonance in the guitar by Jad Bantug is the epitome of 2015 indie pop. The track entrances the listener to do exactly what the title suggests, to dance away to the kaleidoscope of sound, where each rhythm feels like a burst of colour and every verse carries the carefree spirit of youth. – Faye Allego

137. RB Slatt – Pahna (2023)

In the realm of post-T-Pain autotune trap music, the pandemic gave everyone with a DAW the leeway to become boundary-pushing. Artists all over the internet tested the absolute limit of how to stretch their vocal capabilities, may it be the soul-crushing redlining attitude of Sematary or the teenage angst of Jane Remover. Locally in the Philippines, artists like RB Slatt felt like a godsend — an answer to how Filipinos can excel in literally everything, even if it takes a lot of melodic acrobatics to make this song memed to death. However, with it being a joke to most rappers who couldn’t even croon to their significant others, RB Slatt does in “Pahna” what most of his contemporaries couldn’t execute: serenading in broken, stuttering feelings. A glitch yearning to belong. – Elijah Pareño

136. Sandara Park – In Or Out (2004)

While most novelty songs remain artifacts of their time, Sandara Park achieves the impossible with “In Or Out,” her 2004 hit right after rising to national fame in Filipino reality TV show “Star Circle Quest.” What once was a parody of her reality TV experiences could very well have become a stain in what has grown to be a stellar career in South Korea and beyond. It’s Park’s wholehearted acceptance of it that allows it to continue to resonate. 

“In Or Out” is simple, catchy, and is definitely not Sandara Park’s magnum opus. But for a millions-strong audience that has witnessed her growth from novelty pop belter to second-wave K-pop legend. – Lex Celera

135. KINDRED ft. Kiyo – Lambing (2023)

For over a decade now, “idol” boy bands have been dominating worldwide. KINDRED, on the other hand, eschews the synchronized choreography and earworm hooks. In “Lambing,” they bring their signature Boyz II Men-inspired angelic harmonies alongside fellow Filipino R&B and soul powerhouse Kiyo. In lieu of the standard R&B/soul musical grandeur, however, “Lambing” opts for sophisti-pop gauziness a la mid-’80s Bryan Ferry. Amorous Tagalog lyrics sit atop lush synth-heavy production, tinged with bossa nova by way of loungey keyboard notes and jazzy programmed horns. “Lambing” takes us to a more elegant electronic paradise that we rarely hear from such acts today. – Julienne Loreto

134. BP Valenzuela – Steady (2015)

With “Steady” from her Debut Album, The Neon Hour, electronic pop artist BP Valenzuela’s ability to take full autonomy over how her chosen genre translates innocent reveries about coming-of-age and love is unmistakable. “Steady” is colored in with dreamy synths and percussion-driven computerised beats that appeal like clockwork to the heartbroken. At its core, the song became a catalyst for angsty romantics and was able to transcend into a timeless tune that speaks for anyone experiencing love. – Faye Allego

133. Hambog ng Sagpro Krew – Ala-ala Nalang (2012)

Within the local hip-hop context, nothing screams nostalgia like what Hambog Ng Sagpo Krew provided in their heyday, with “Ala-ala Nalang” representing it fully. Hambog sharply raps over a hip-hop remix of Yiruma’s “The River Flows in You”, with LUN handling the hook. Based on Hambog’s experience of moving away from the Philippines, that context echoes the sentiment of a relationship separated through distance that’s imbued with genuine pathos.

This embodies the captivating, homespun quality sprinkled over these songs. Their emotive experiences still resonate through performances alone, allowing acts like Hambog ng Sagpro Krew to become more than just memories. – Louis Pelingen

132. Sponge Cola – Jeepney (2004)

In the mid-2000s, the term “Pogi Rock” was coined to describe bands whose appeal came from their “attractiveness”. Sponge Cola was lumped into this category, reigning on MYX charts despite being dismissed due to their looks. 

Yet years later, overall reception of the band has skewed towards the positive. Within their catalog, “Jeepney” is the track that truly embodies their hugot romanticism that resonated with a lot of Filipinos. Aside from the band’s outstanding performance, the track becomes oh-so-palpable, you start to conjure up memories and emotions that never existed; creating a hit that stayed with the public conscious due to how real it felt like. – JK Caray

131. Brownman Revival – Lintik (2005)

Reggae had been in the Philippines for thirty years before it finally found a song the country could claim. From Cocojam in the late ‘70s to Tropical Depression’s breakthrough in the ‘90s, the genre lived mostly in bars and Boracay beaches, beloved in the south by way of Junior Kilat and largely overlooked by Luzon. Brownman Revival, who was primarily a reggae “covers band,” helped change that. Their 2005 debut “Steady Lang” reached national radio, and “Lintik,” an original in a catalog full of covers, became the one that stuck. Their brass-soaked groove made falling in love feel like a damn lightning strike! Decades on, the thunder still rolls. – Jax Figarola

130. KZ Tandingan – Mahal ko O Mahal Ako (2017)

“Hugot” culture peaked in the 2010s, when millennials got into spoken-word poetry, religiously watched AlDub, and shared hugot lines on social media as if their lives depended on it. Of course, “hugot” was also prominent in OPM. Pop songs spoke of romantic love and heartache, themes that were very personal, mostly cheesy, but always relatable. Among these anthems was KZ Tandingan’s “Mahal Ko o Mahal Ako,” which narrates the dilemma of choosing between someone you love and the person who loves you. Even if you’ve never been in a similar situation, the song instantly puts you in the narrator’s shoes and lets you express untold emotions as you sing along [mapapahugot ka na lang]. – Aly Maaño

129. Sigaw Ng Tondo, Hukbalahap – “Buhay Ng Gangsta” feat. O.G. Sacred, Bruduzz (2008)

The year was 2008. Jim Libiran’s ‘Tribu’ won several awards in Cinemalaya the year prior, including the Best Actor award for O.G. Sacred as Makoy. The gritty verisimilitude of ‘Tribu’ was in part thanks to its close consultation with the community it aimed to portray. “Buhay Ng Gangsta” carried the same effect by association: an almost elegiac retelling of gang culture in the Philippines, shy of 5 minutes. While ‘Tribu’ made the international circuit, it was the burgeoning computer shop culture and the early days of YouTube that propelled “Buhay Ng Gangsta” into widespread recognition up to this day, creating space for Filipino hip-hop to proliferate at a time when rock ruled the charts. – Lex Celera

128. Irrevocable – I Wish I Did More For You (2018)

Irrevocable’s fearlessness of intimacy and irate-lovelorn expression brought “I wish I did more for you” to its peak visceral promise. Harboring the inner turmoil of kinship or the lack thereof, Lenian Gaspar tenderly sneers out what we continuously and willingly fail to say to our parents; it’s regret and frustration, it’s sincerity and hope, it’s pop punk. While rocking out with the riff, it tugs your heartstrings in symphony, albeit being rigorously guttural nevertheless, turning this painfully ordinary urge to say I love you but ultimately not knowing how. It’s a pure pop-punk nudge because what is rebellion without universality? What is rebellion without love? – Julia Harumi Kudo

127. Viva Hotbabes – Bulaklak (2004)

Viva Hotbabes were playful mischiefs that celebrated sexual liberation during the softcore era at the turn of the millennium. “Bulaklak” showcases the use of figurative language that is common among Pinoy humor– the track wields a double entendre that contains multiple sexual innuendos tall while masking as a children’s tune sung by a girl group who wears femininity boldly, allowing the track to reach all demographics– it’s so catchy that it’s nearly impossible to not conquer every arrow mark on Dance Dance Revolution in Timezone. Though controversial, its danceability along with flared humor and provocation prove that OPM can be flirtatious and entertaining without intense ballads. – Faye Allego

126. Repablikan – Paglisan (2005) 

Whether under bass-boosted jeepney speakers that you can feel underneath your seat or in next-door computer shops while playing with webcams that barely crack 480 pixels, Repablikan is an essential artist of every Filipino’s childhood. They’re experts of the old-school Pinoy hiphop sound, where moderate, bass-drum-ridden beats and melancholy piano chords artistically frame confessions dug up from one’s heart. Their 2005 release “Paglisan” is proof that their charm still sticks after all these years. “Nadama ko na may kulang pa sa aking pagtayo; ‘yun ay di ko maabot dahil sayong paglayo” is one hell of a heartfelt bar. – Noelle Alarcon

125. Chicosci – Chicosci Vampire Social Club (2006)

Coming from nu-metal and hardcore origins, Chicosci’s sound shifted to a poppier, more melodic direction with their 2006 single “Chicosci Vampire Social Club.” Its anthemic approach and expressions of solidarity captivated the Filipino youth plugged into their MP3 players across the country. While self-serving, adolescent soliloquies seemed to be the trend for a lot of third wave emo, “Chicosci Vampire Social Club” was three minutes and two seconds of explosive drums and tenderhearted belonging. Punk-influenced riffs punctuate the promises Miggy Chavez pronounces with his signature whine—”I’ll raise my glass to you!” became the hard-hitting embrace sought by those outside of the status quo, even to this day. – Noelle Alarcon

124. Missing Filemon – Sine-Sine (2005)

Released in 2005 during the rise of Bisrock, Missing Filemon’s “Sine-Sine” uses the imagery of nostalgic shadow plays as a metaphor for life’s various joy-, pain-, love-, and uncertainty-filled scenes. Its Cebuano lyrics and imagery give the song a distinct Bisaya character while keeping the nostalgic experience of growing up universal and relatable. 

More importantly, it’s songs like this that helped pioneer Bisrock—with the term itself reportedly coined in 2002 by Cebuano writer Januar Yap. “Sine-Sine” therefore stands as both a beloved Cebuano rock song and a reminder of how Missing Filemon helped establish regional music as an important part of the growing OPM landscape. – Paolo Elwick

123. Halina – Kwarto Waltz (2019)

What Halina does to mix pop conventions with traditional Filipino instrumentation is still a rare occurrence done perfectly. Through “Kwarto Waltz”, he weaves in the echoing shimmers of the rondalla across a lilting, psychedelic soundscape. Accompanied further by playful basslines and stomping drums, Halina’s soft-spoken singing imparts a pensive reflection of love that has been lost in time.

Nothing has encapsulated the magnificence that this song still carries, not even in the slightest attempt of executing modern day chamber pop in the local music context. To synthesize the past and the contemporary to craft an unforgettable melody. A waltz cycling through its own melancholic loneliness.  – Louis Pelingen

122. Michael V – Hindi Ako Bakla (2006)

Michael V is undisputed when it comes towards musical comedy, and “Hindi Ako Bakla” is a great embodiment of why. In circling a 90s house beat that’s full of zany flourishes, Michael V’s vocal game and comedic chops are top-notch, singing with showmanship as he plays a character who’s cool enough to convince the audience that he doesn’t identify as gay, only to drop the facade and embrace that queer spirit wholeheartedly.

It’s a tricky tone to walk, but Michael V’s charisma as a performer dodges the rough path and allows the song to become fun in its colorful, queerest way possible.  – Louis Pelingen

121. The Beauty of Doubt – Ampaonarchist (2005)

Throughout time, hardcore punk has acted as a vessel for some of the most important messages that humanity needs to hear. The Beauty of Doubt’s “Ampaonarchist” is another one of these urgent scrolls of wisdom, yelled through a microphone and uttered with a middle finger pointed towards hypocrisy. In all its brash glory, it finds the opportunity to play with irony and sarcasm; this is heard in the first few seconds of the song itself, when we are instructed to observe. “Lo and behold, the high and mighty, Ampaonarchist!” Clever wordplay aside, “Ampaonarchist” weeds out those who are showponies of activism and advocacy. The band’s commitment to the truth is easily summarized in five words they constantly repeat: actions speak louder than words. – Noelle Alarcon

120. Rjay Ty ft. June Marieezy – Catch You (2012)

Lyrically Deranged Poet’s Rjay Ty and pre-Island soul-era June Marieezy used to work together once upon a time. “Catch You” was a collaboration for the ages, not only for how two completely talented individuals gelled together perfectly, but for how a jagged amen break was able to get away with all of this. The clinic on the drum patterns helps patternize the complex relationship both Ty and Marieezy try to conjure up in the story, but for all that it’s worth, amen breaks, quite ironically, keep those worlds together. For all the boy-girl collaborators in R&B, I think it’s best to take notes from this song in particular. – Elijah Pareño

119. Sam Concepcion, Tippy Dos Santos, Quest – Dati (2013)

“Dati” boomed at the exact moment Filipino pop was being reshaped by Wattpad romance and loveteam nostalgia. The Wattpad-to-film pipeline was just about to explode, and young voices were singing about feelings that are too big for them. Winning the PhilPop Music Festival 2013 grand prize, the song helped lock in a very specific mid-2010s sonic mood in Philippine pop. Maybe, we can even call that era “Wattpad Pop,” because “Dati” sketches the subgenre’s architectural blueprint so clearly: young, unabashedly jejemon, and devastatingly precise about what it means to love someone you have known since childhood, in a way that felt uncannily personal to both Millennials and Gen Z. – Jax Figarola

118. Al James – Pahinga (2016)

Inside your bedroom, neon fairy lights flickering, everything giving off the mood of 2016. Al James’ signature baritone delivery hums in the background, telling you to literally rest in “Pahinga.” At a time when rap collective Baryo Berde was reigning with melodic sensibilities, Al James was among the artists who thrived in sensual, atmospheric production. No one quite knew where trap music in the Future–Migos–mumble rap trifecta would end up, especially with Al James’ trademark laidback but effective vocal tone. When his breakout single “Pahinga” glossed over machismo, it wasn’t expected to blow up overnight. Instead, it defined his run and shaped a corner of the local hip-hop scene — pre-stunna, pre-opium, and post-machismo trap music. Sometimes, it’s fine to lie down and literally chill out. – Elijah Pareño

117. KARTELL’EM – No WIFI in Hell (2017)

At the very eve of their comeuppance as one of Metro Manila’s most diverse rosters of rappers, Kartell’em samples a paranoid individual who has seemingly experienced hell in her dreams. The group then lets the listener know that there’s actually no other way for you to get off this lava in hell. Armed and protected with verses and bars that would literally make every other Makatizen start a chaotic moshpit, “No WIFI in Hell” breeds the eclecticism from Pasay–Makati’s very own rap avengers in the underground. Whether you dig their current iteration or not, this was the indicator that, even in their rookie days, they had the potential to break out of the underground and eventually push the envelope of presentation in the hip-hop scene. – Elijah Pareño

116. Yeng Constantino – Chinito (2013)

Before the short-haired Chinita girl with glasses craze 3 years ago, there was “Chinito” 13 years prior. But it wasn’t built on algorithmic crush culture; it was made an anthem because we needed it. OPM was never lacking in love songs, but Yeng Constantino’s playful persuasion mattered; her forwardness, together with her charmingly uncalculated voice, meant that it was fine to be a girl and be in control of your feelings, thus allowing yourself to enjoy them. “Chinito” simply understood that liking someone does not need complexity, that maybe guitars chording together, like the butterflies in your stomach when you like someone, is enough to sound like a possibility. – Julia Harumi Kudo

115. Mike Kosa – My Game (2005)

Before hip-hop, battle rap, or Dos Talentos in 187 Mobsta, Mike Kosa had the street with him. He had Tondo, and that bled through the exacting cut of who he became, not just as an artist but as a defiant figure of literal lyrical poetry. 20 years ago, “My Game” emerged as a parallel manifestation of the Filipino ethos: critical yet forgiving. And just last year, Mike Kosa re-released the song as a reminder that it was his game before it was anyone else’s. – Julia Harumi Kudo

114. Flowtek – Ground Zero (2012) 

Abstract hip-hop courtesy of rap duo Flexx and Labjaxx under the Cosche Collective drew a lot of heads to the literal concepts of Flowtek in “Ground Zero.” In their watershed album Flowtek Concepts, the highlights feature both emcees snapping their fingers in front of the listener’s face, commanding attention to every single iota of knowledge and thought aimed at the subconscious. Whatever happened to Deltron 3030 and Aesop Rock? This was the answer that nearly everyone needed at the time. When other rap groups in the alternative scene delved into murderous bars such as Murder Death Kill, or the lingering intellectual word salad of Amplified Messages Personified Over Noise, Flowtek sat right in the zeitgeist with so much food for thought. They were pretty much way ahead of the line in terms of presenting concepts under the hip-hop umbrella. – Elijah Pareño

113. The Spirals – This is not the Spoliarium (2019)

“This is not the Spoliarium” harnesses the droning restlessness of post-punk and intermingles it with the vengeful writing of late frontman Louell Armas-Lopez. The result: a grim and desolatory way to approach protest music. Within the context of its release, the track mirrors the social anxieties of the era as FPRRD continued his reign of terror and corruption.

Despite this, The Spirals are clear in their resolve even with the track’s opening. “This is not the Spoliarium” may have started with an 11-word Bisaya monologue, yet that’s all it needs to sell the legacy of a band that sparked flames within revolutionaries of Cebu.  – JK Caray

112. Queso – Insekta (2006)

Philippine nu-metal pioneer Queso (FKA Cheese) belongs in the annals of Philippine rock and roll history, alongside their contemporaries Greyhoundz and Slapshock. Fresh off being released from Warner Music, the band had the freedom to explore their sound in full with their self-titled album. “Insekta” carries a lot of the band’s cross-genre idiosyncrasies, which the band has become known for. There are small moments to love in this track: the crackle of the record before the energy swells with the drums, “TheMokhamiyasaymokameh,” to name a few. “Insekta” holds up more than well, 20 years on. – Lex Celera

111. Bamboo – Hallelujah (2005)

Released in 2005 during Bamboo’s rise as one of the country’s biggest rock acts, “Hallelujah” stands out for transforming frustration into a call to speak one’s truth by br

eaking out of apathy. Driven by a pressing instrumental that ramps up and down with urgency and Bamboo Mañalac’s commanding lead vocals, the song channels these feelings into something cathartic and communal. It balances accessibility with conviction to deliver emotionally charged themes through a sound capable of filling stadiums. More than just a rock anthem, “Hallelujah” channels the enduring idea that music can be both a refuge and a form of resistance. – Paolo Elwick

110. Regine Velasquez – Pangarap ko Ang Ibigin Ka (2003)

Seventeen years into a career built on Mariah and Whitney reverence, Regine Velasquez delivered what many consider as her magnum opus. “Pangarap ko Ang Ibigin Ka” — written by then-secret admirer and singer-songwriter Ogie Alcasid, now her husband, for the 2003 romcom film of the same title — sealed her place as the ultimate Asia’s Songbird. That she sang his secret love letter to the world, unknowingly, is the most romantic spectacle in the 2000s. Every escalating note of longing feels like something the Filipino language carries better than English ever could. And at a time when American music dominated local taste, Regine made belting feel Filipino for the first time. – Jax Figarola

109. Thyro & Yumi – Kiss (Never Let Me Go) (2011)

R&B duo Thyro and Yumi channels all our fond memories of the genre when it was in its most funky and saccharine; when singers indulge themselves with the most powerful display of their vocal prowess, when the brass section ebbs and flows with full command of the entire ensemble, and when the crescendo hits the highest highs at the final stretch. It was a fun time to be in love. “Kiss (Never Let Me Go)” has all these attributes in spades, with Thyro and Yumi’s duet performance never letting up with their intent to serenade you with much conviction. – Nikolai Dineros

108. Ruby Ibarra – Someday (2017)

FilAm rapper Ruby Ibarra put into song the everyday struggle and heartache the Pinoy diaspora is subject to with her 2017 track “Someday”. Through her 90s inspired hiphop style, Ruby details her arduous journey. Bar after bar showing off her lyrical prowess and the pride she has for her roots, which later earns her the winner of NPR’s 2025 Tiny Desk Concert competition in which she performs this song. The track is a declaration of resilience against a world stacked against her, and resonating with millions of other immigrant pinoys across the globe facing the same battle. – Rory Marshall

107. Faspitch – All Under Heaven (2006)

Unapologetically massive and relentless, “All Under Heaven” stands as a definitive anthem of 2000s Philippine post-hardcore. Packing soaring, arena-ready melodies alongside crushing Cebuano riffage, Faspitch crafted an emotional powerhouse that proved Visayan heavy rock could dominate the national conversation on its own absolute terms. — Adrian Jade Francisco

106. Skusta Clee – Dyosa (2016)

Skusta Clee has always loved writing about women, but rarely does he seem to be interested in understanding them. The 30-year-old rapper usually spews macho misogynistic musings, but “Dyosa” felt different. Released in 2016, the genius of “Dyosa” lies in its silvery sincerity, and the lyrical loyalty of its “la-la-la-las” to the girl that he’s fawning over. This is left-field for an artist with a playboy persona, but the audience immediately understood that. For once, Skusta Clee sounds like he actually meant it. Nevertheless, what really locks “Dyosa” into place is Bullet D’s dizzying flow; you can’t help but bob your head. The mellow progression of the melody is undeniably smooth, and the lyricism on this one is equal parts pure bars and punchy birdsweet; ridiculously witty and infectious. – Julia Harumi Kudo

105. Donnalyn – Kakaibabe (2014)

At the young age of 20, Donnalyn’s debut single “Kakaibabe” helped define a period of Pinoy bubblegum pop: litanies inscribed with references to 2010s culture and unabashed girlishness. Released during a time when hiphop was crowding the MYX rankings and trending YouTube videos, the added edge of rap verses mixed in with lighthearted airy instrumentals secured a hit that would be quotable for generations to come. Driven by a bassline that is as bouncy as its keys and accented by Donnalyn’s soprano adlibs, “Kakaibabe” is a masterclass on camp executed perfectly. Minsan nga lang naman makahanap ng isang Kakaibabe. – Noelle Alarcon

104. Urbandub – First of Summer (2005)

“First of Summer” was a breakout moment for Cebu-based rock outfit Urbandub. The pop rock track defined the summer of 2005, literally. With crunchy guitars and scream-worthy lyrics, Urbandub’s invigorating and in-your-face sound resonated with teens across the country, finding its place in underground and mainstream circles alike. “First of Summer” is a memory tinted with the recklessness of youth: impulsiveness, bad decisions, and ultimately, no regrets, and no matter how many years pass by, their song plays on. – Rory Marshall

103. Callalily – Magbalik (2006)

“Magbalik” understands heartbreak in the most familiar way possible: through pleading, persistence, and the endless hoping for love to someday return. Released at the height of the pogi rock wave, it helped define a subgenre built on emotional love songs, radio-friendly rock, and bands whose heartthrob appeal was just as recognizable as their music. Callalily embraces these by pairing soaring guitar lines with lyricism that doesn’t hide desperation. Rather than resisting melodrama, “Magbalik” leans into it with sincerity, cementing the song as one of the era’s most bittersweet breakup anthems — one that’s still revisited through karaoke, covers, and bittersweet memories. – Paolo Elwick

102. NoPetsAllowed – Bundak sa Letra (2012)

Dipolog-based rap group NoPetsAllowed has held it down for the region for the longest time. Wearing their g-funk and American Southern rap influences on their sleeves from the get-go, the group’s staying power is reflected most viscerally in “Bundak Sa Letra,” from their ‘The Real Shit Mixtape’ in 2012: a barrage of battle rap-esque bars traded among members Hero, Winston Lee Brogoy, and Arsiemonn. To brag about your achievements without the bite can only come so far in the world of rap; more than a decade in and “Bundak sa Letra” still rocks the boat in its triumph. – Lex Celera 

101. Kamikazee & Kyla – Huling Sayaw (2012)

“Huling Sayaw” is, inarguably, the quintessential power ballad that cannot be beaten. Acting as the closing song from their 2014 album, ‘Romantico’, Kamikazee teams up with Kyla and delivers a performance crafted from the heavens. They paint a charged romantic tale that’s coming to a close, where they recognize that the cosmos does have an end. It’s all amplified with impassioned vocals and rock melodies that impressively hit their crescendos.

There’s a great reason why this song remains a standout, encapsulating the romance that’s on its last stretch, but is willing to give its final hurrah at the end. – Louis Pelingen

100. Curse One, Smugglaz, Dello, Flict G – Nakakamiss (2014)

“Nakakamiss” brought together the different “worlds” of Filipino Hip-Hop through a monumental supergroup crossover. Seeing the distinct styles of Curse One, Smugglaz, Dello, and Flict-G on one track was a landmark event for fans of FlipTop and the JE Beats era. Beyond its underground roots, it achieved a mainstream breakthrough, present from computer shops to jeepney speakers nationwide, cementing its status as one of the definitive anthems of the 2010s. – Adrian Jade Francisco

99. Turbo Goth – Venus Flytrap (2012)

The electronic duo of Paolo Peralta and Sarah Gaugler felt like a match made in heaven, predating the wave of spooky electronic vocals and haunting riffs that would later dominate the scene. Turbo Goth danced through deserts, ran across forests, and paired seizure-inducing visuals with fever-dream song structures that felt ahead of their time. “Venus Flytrap,” by nature, is a product of instinct and excess. Turbo Goth embodied a kind of yin and yang in electronic music — a duo misunderstood in their moment, a symptom of a scene that didn’t catch up fast enough. In hindsight, they feel like a band waiting to be rediscovered, revisited, and recontextualized for an inevitable cult audience. – Elijah Pareño

98. The Buildings – Different Shades Of Blue (2016)

If Manila Fuzz Rock had a national anthem, all would cross their hearts and rise for “Different Shades of Blue”. With this track, The Buildings hit every note for a great alt-rock song: Fuzzy guitars, a scream-worthy chorus, and pining laced in every line and lyric. The charm that the Buildings’ deliver with their DIY rock sound creates a sincerity that keeps you coming back. “Different Shades of Blue” is a testament to this, cementing themselves as one of the genre-defining local bands of the 2010s. – Rory Marshall

97. Imago- Sundo (2006)

There’s no better feeling than pagsundo—being fetched from work, from all the streets of sadness, or from a celebration of a goal achieved—and to be loved unconditionally. There is an assured comfort in knowing someone will always be there for you. Imago’s “Sundo” shaped how we intensely express our love through assurances and acts of service, and its lyrics ground many of our relationships in ease and care. The song’s popularity even coincided with the rise of many OFWs leaving their loved ones in the 2000s, which gave the word ‘sundo’ a deeper weight, turning it into a song about distance and the promise of home anywhere in the world. – Jax Figarola

96. Drip – Morning After (2008)

The electronica swirls of Drip in the 2000s still reverberate up to this day, carrying an astute character that felt like nothing had heard of before. “Morning After” fully encapsulates their sheer magnitude. The strident combination of breakbeats and guitars becomes an immense cavalcade, building a storm that firmly sweeps everything in its path. – Louis Pelingen

95. crwn & Jess Connelly – Under Blankets (2014)

What happens when you bring together two artists finding their own identity? In late 2014, the drummer of a band in a state of flux and a former reality TV contestant emerging as a singer-songwriter would meet at the intersection of EDM and R&B with “Under Blankets”.

crwn’s hypnotic samples and synth wobbles merge with Jess Connelly’s soulful melodies and seductive lyrics to bring a track that hypes up the club without shaking its walls down, forming the shape of things to come in dance music – and kickstarting the careers of two artists whose work defines “smooth”. – Gabriel Bagahansol

94. Bugoy Na Koykoy – Araw Araw Sunday (2012)

One day in 2012, Bugoy Na Koykoy laid down on a cloud of weed smoke to talk about the finer things in life on “Araw Araw Sunday”. On this track, he and Ives Presko rap about enjoying the fruits of the hustle, at a time when dedication to the grind was somehow more grounded than what it is now. Bugoy Na Koykoy may have since embodied the ugliest sides of hustle culture and patriarchy, but at the very least, you can always come back to when his words of motivation felt just as good as the grass he tokes. – Gabriel Bagahansol

93. Ben&Ben – Pagtingin (2019)

Ben&Ben’s breakout song “Pagtingin” in 2019 marked a significant change in the industry. Mainstream OPM back then was fractioned into Silent Sanctuary clones, biriteras, and already-famous celebrities. It wasn’t until “Pagtingin” that audiences realized how much they craved the breath of fresh air the hit brought.

Technically, “Pagtingin” did borrow the same pop formula that guaranteed hits, but with an added folksy flair that only they, at the time, achieved mainstream success with. Following that, it’s only fair to acknowledge its contribution to the indie music boom of the late 2010s to early 2020s. – JK Caray

92. The Ambassadors – Senseless Song (2014)

The Ambassadors’ “Senseless Song” captures the youthful, DIY spirit of Cebu’s mid-2000s punk scene with energetic guitars, melodies that are easy to sing along to, and an earnest story about being hopelessly in love. But it’s not just a catchy punk song.

At a time when much of the country’s music revolved around Manila, The Ambassadors were part of a Cebuano music community trying to build a punk scene of their own. “Senseless Song” reflects that spirit by being a product of local acts who created their own spaces, audiences, and sound in an attempt to show that Cebu had its own voice in Filipino rock. – Paolo Elwick

91. SunKissed Lola – Pasilyo (2022)

Pasilyo is your run-of-the-mill OPM pop rock song, in the best possible way. Catchy and fun while being warm and earnest. Call it cliche, call it cheesy – it’s heartfelt and sincere, and let’s be honest, you’re still going to sing along when it plays. The song takes place in the seconds you see your future other half walk down the aisle; capturing the anticipation. SunKissed Lola made a wedding anthem that will play for generations, welcoming newly weds to the journey of a lifetime with their smooth guitar riffs, heartstring-tugging lyrics, and a melody that makes you hum along without realizing. – Rory Marshall

90. Sed – Pinagtapo’t Pinagsama (2020)

Overlooked yet deeply revered in post-pandemic spaces, Sed’s “Pinagtapo’t Pinagsama” is a Lo-Fi late-night confession laced with smooth melodies and lyrics that combine infatuation with intoxication. Sed’s enigmatic presence in the SoundCloud underground crafted a space where listeners to this day are able to meet vulnerability and casual intimacy through a soft wavy rhythm. The track’s raw and colloquial lyrics mirror the digital-age-romance that younger listeners are familiar with and in the era of texting culture, the lyrics are able to bring emphasis to obsession and attachment in such a way that resonates whether its light-hearted and deeply cut throat. – Faye Allego

89. Sandwich – Sugod (2006)

What happens when you strip rock n’ roll of the fluff, leaving only the raw, primal vigor emanating from within, waiting to burst into a moshpit breakout? You get one of the most iconic choruses in all of OPM in “Sugod”. At its exterior, the song is a call-to-action that demands nothing from you but your energy, making for a versatile tool to amplify any message. But in its most bare, it’s just pure, unadulterated fun. – Nikolai Dineros

88. Parokya Ni Edgar – Bagsakan (2005)

Not only does “Bagsakan” paint a portrait of Pinoy culture and is definitely a top contender for turning listeners into air-guitarists, the track thrives in its own excess as Parokya Ni Edgar along with Gloc-9 and Francis Magalona collide into unapologetic chaos as they merge cypher verses with classic rock, creating an unforgettable moment in a landscape dominated by yearning in the 21st century. It’s worth noting that Chito Miranda’s first verse still stands out decades later: “at astig baka sakaling marinig ng libo libo na Pilipinong nakikinig sa mga pabibo ko” – Faye Allego

87. Munimuni – Bawat Piyesa (2019)

“Bawat Piyesa” is one of those songs that you get scared to listen to, but eventually do so. Only because Munimuni are masters at striking where it hurts. “Bawat Piyesa” is a plea to a loved one for them to stay, the build-up of bereavement crashing down if they left. A mortifying thought, because what would you do when they’re in everything you see? A prospect so devastating, it leaves us wondering how they were able to make anticipatory grief sound so beautiful, showcasing the sincerity and passion the local folk scene delivers on. – Rory Marshall

86. MATOKI – Sarado Na Ang Makiling Trail (At Wala Na Kaming Mapuntahan)(2023)

“Sarado Na Ang Makiling Trail (At Wala Na Kaming Mapuntahan)” is the track that hits you hard when you’re 17, wondering how life keeps going after getting your heart broken.

MATOKI’s approach here can be seen as unconventional; little words hushed with more emphasis on the dense, ethereal soundscapes they’ve carefully built over the years. The result is an epic tale of loss and anguish told through instruments alone. When played live, a few pairs of eyes get shiny from the wave of memories it brings up. 

Suddenly, you’re not 17 anymore. Congrats, you made it through. – JK Caray

85. KRNA – Dream Again (2017)

When all seems lost and hopeless in one’s pursuit of reciprocity, does passion alone overcome the odds? “Dream Again” captures the sinking feeling of heavy devotion when the circumstances lead most with a sense of rational thought to conclude that such a pursuit for anything beyond a one-sided affair is to be in vain. Cagayan de Oro-based dream pop act KRNA understands this disposition very well, enveloping the soundscape with the swelling sound of desperation in a state of lethargy and inertia, hoping to blossom at the perfect moment — one that may never happen. – Nikolai Dineros

84. Loop – Lite (2014)

“Lite” is a gentle, uptempo alternative rock anthem from the 2010s — it’s a trance that lasts for a little over four minutes, led by Kim Trinidad’s saccharine vocals and equally sugary riffs that get you lost in its own world. It’s a confession that is as brazen as the explosive drums that decorate its verses, exhibited through lyrics like “But then my life colored / and everything changed / since you came.” As strongly as “Lite” embodies the decade’s approach to rock, it is also a transformative step for Loop and fellow musicians in Northern Mindanao. Through Loop’s impact, other bands from the region were connected with the nearby Cebu music scene, further uniting the Filipino underground and breaking away from metro-centric barriers. – Noelle Alarcon

83. Hale – Blue Sky (2005)

When darkness haunts unceasingly from dusk until dawn, Hale’s “Blue Sky” grounds the listener, urging them to find the light. Since then, the track has become an anthem of reassurance long before “hopecore” posts filled algorithms. Its iconic introductory fingerstyle guitar imprints a permanent etch that remains a constant spark in Filipino music. As it swells into its crescendo and the chorus breaks through, tunnel vision about those uncertainties dissolve, and maybe, for a fleeting moment, everything is weightless. This weightlessness felt by millions is a reminder of why “Blue Sky” endures as one of OPM’s most timeless songs. – Faye Allego

82. Cueshe – Ulan (2005)

OPM’s cataclysmic “pogi rock” movement left the Philippines at a shortage of hair gel and aviator glasses, when they were as much a prerequisite for rising pop rock bands as cheesy lyrics and melodic hooks. Cueshé stood at the top of the “pogi rock” tower, causing destruction upon generations of romantically inebriated Filipinos with their seminal heartbreaker power ballad “Ulan”. Cueshé and “pogi rock” is long past the zeitgeist. But take just one step outside, and immediately, you’ll hear your neighbor’s uncle’s uncle belching the powerful chorus of “Ulan”. – Nikolai Dineros

81. Identikit – Peach (2013)

A cult favorite in the Philippine indie landscape, “Peach” stands as one of the earliest locally embraced shoegaze and jangle-pop moments before that sound gained wider prominence. Its shimmering synth textures, the curious Japanese-spoken intro sampled from a supposed adult film, and that “wall of sound,” helped it stick in the ears of the 2010s gig crowds, prompting locals to explore hazy, dream-inflected soundscapes well before the broader shoegaze and dream-pop revival took hold in the underground music scene. – Adrian Jade Francisco

80. Salbakuta – S2pid Luv (2001)

Originally penned by Andrew E, “S2pid Luv’s” mix of old school sampled beats and its edgy, diss-like nature made it a crowd favorite at its peak. You used to hear this song everywhere: on the radio, in karaoke, and even in the cinemas. 

For the Batang 90’s, “S2pid Luv” represented a time in their youth where their lives revolved around their high school romance communicated through ‘Jejemon’ texts. Sure they’d think it was cringe but for what it’s worth, this song stands out as one of the better representations the era had. – JK Caray

79. One Click Straight  – MRT (2022)

A cramped MRT train during rush hour is the least romantic place one could find themselves in — and yet One Click Straight reflects the reality of a third-world romance all too well. The percussion takes the stage in this song, each hit and strike audibly similar to the sound of a train making its way along the tracks. “MRT’s” instrumentals and production deliberately come across as raw, almost caving the vocals in–like how you and your significant other’s voices are overshadowed by the hustle and bustle inside a train car. No matter the time, the noise, or the condition, it doesn’t matter when you’re in love — the world slows down for the both of you all the same. “Ika’y sa akin, ako’y sa’yo, at dito tayo maliligaw sa isa’t-isa.” – Noelle Alarcon

78. Megumi Acorda – Aftershow (2018)

Without a shadow of doubt, Megumi Acorda has cemented her place at the epitome of the dreamscape realm of Filipino dreampop through the liquefying immersive sounds that she was able to bring forth along with magical surrealism found in her lyrical composition that is still avidly talked about in and outside music spaces across the internet. Like her album art, Acorda’s talent is an ink stain of nostalgia that must remain. The third track “Aftershow” from her 2018 EP, ‘Unexpectedly’, creates its own niche of ethereal soundscapes such as its use of prominent basslines and pristine mastering encircles why Acorda has made such a significant mark on the underground indie scene in Manila and elsewhere– The track’s lyricism delves into an inner turmoil that every so-called yearner knows all too well; gasping for a love that’s only purpose is to avoid loneliness. – Faye Allego

77. Because – Marlboro Black (2017)

Starting out in the depths of Soundcloud, the then 17-year old rapper Because came out with “Marlboro Black”, a diamond in the rough that would eventually become the sadboi rap anthem of the 2010s. The breakout 2017 single highlights a more vulnerable side of the flex-heavy local trap scene, rapping about calling quits on a toxic relationship set to a piano and slow-paced trap drums. While the instrumental is barebones, the impact of the song lies in Because’s lyrics. With its train-of-thought style lyrics, it almost feels intrusive to listen to yet the words seem familiar to the heart, for better or for worse. – Rory Marshall

76. Bambu – Where You From (2012)

“Where You From” by Bambu opens with a flawless pastiche of late Technicolor era musicals, and concludes with a kulintang-based outro. From poverty and the prison system, to political corruption and generational trauma, the Fil-Am speaks to the US and Philippines alike in the track. His incisive bilingual flow slices through slinky piano loops. “Why would you want our kids to go through the same thang?” Bambu asks regarding society’s rot. “Where You From” is the renowned rapper’s most potent call to end toxic cycles, seamlessly blending both sides of his background. – Julienne Loreto

75. Barbie Almalbis – Just a Smile (2007)

A pre-streaming staple, Barbie Almalbis’ “Just a Smile”—also known as the “Close Up song,” transformed a dental commercial into an anthem of “friend zone” before it became common vocabulary. It cemented its place as a pillar of the early 2000s wave of acoustic pop, soundtracking an era of MYMP ballads and Nokia 3310s—where radio rotation and TV spots dictated the hits that defined the Filipino youth’s collective identity. – Adrian Jade Francisco

74. Autotelic – Laro (2016)

Every now and then, there’s a track that hits you right in the gut. In 2016, that was Autotelic’s “Laro,” an indak-inducing, move-to-the-front kind of track that encapsulates the essence of its own hugot without indulging so much in its own sadness. The beat is too happy for introspection, the lyrics too sad not be insincere. You’re not sure whether to smile or put your head down. When listening to “Laro,” both can be true. – Lex Celera

73. Alisson Shore – Hanggang Sa Huli (2018)

Alisson Shore didn’t have to belt his heart out on “Hanggang Sa Huli” to let you know that the end of a relationship is leaving him begging for one last night together. When R&B became moodier in the second half of the 2010s, it allowed for more alluring takes of that grand tradition of male soul singers getting on their knees and asking for their lover to stay. The pulsating synths throughout this song bring a closer look at the state of Alisson’s mind, and that space for vulnerability opened doors for artsier musicians like him. – Gabriel Bagahansol

72. Tiger Pussy – Guts (2013)

Rightfully reputed as Cebu City’s very own riot-grrrl band, Tiger Pussy needs no introduction for those who have a keen ear for hardcore music beyond Luzon. In all its minute-and-a-half glory, the erratic dance energy that oozes off the track serves not just as the perfect ending to their debut hardcore album ‘People You Hate’, it also uncovered the urge in women to have their own punk bands. 

You can’t really blame them. When Tiger Pussy tells you you’ve got the guts, you go ahead and make it worthwhile.  – JK Caray

71. Hev Abi – WELCOME2DTQ (2023)

The definitive track of the “New School,” Hev Abi’s “WELCOME2DTQ” signaled a massive shift in the Hip-Hop environment toward localized, pride-heavy drill and trap. Beyond its viral TikTok presence, the track served as a manifesto for the Downtown Q movement, proving that independent, street-centric rap could outpace mainstream pop. By blending aggressive delivery with effortless swagger, it established a cultural reset for the 2020s, becoming a staple for car audio culture, clubs, and Philippine Hip-Hop itself. – Adrian Jade Francisco

70. Moonstar88 – Torete (2000)

A quintessential anthem of the early 2000s, this Moonstar88 acoustic-pop track immortalized the Filipino torpe experience. More than a breakout radio hit, it served as a rite of passage; if you played the guitar, “Torete”—with its simple four-chord progression, was likely one of the first songs you learned. It became a constant presence at your local high school, whether during busking sessions, school fairs, or inside the classroom. Eventually becoming a permanent fixture in the Philippine acoustic songbook. – Adrian Jade Francisco

69. BINANGONAN HUSTLAZ – Lumiliko (2018)

EASYLIFE is BINANGONAN HUSTLA’s way of living — and it’s epitomized by the track “Lumiliko.” “Nagmamaneho nang mabagal, ‘yoko ‘yoko mabilis” says it all — as one hustles through the game that is life, one must also never forget to reap the fruits of their labor from time to time and take it easy. Each affirmation and experience is punctuated by buzzing 808s in a trap beat, leaving its listener in a trance that allows them to focus on and take in 2ldok’s wisdom. First released in 2018 and followed up by a Pt. 2 in 2024, both versions of “Lumiliko,” as polished or revised as the latter may be, stay loyal to the EASYLIFE ethos. Surebol lang lagi ang lakad. – Noelle Alarcon

68. Junior Kilat – Sigbin (2005)

Where the Reggae/Dub capital lies at the heart of provinces in Cebu, Junior Kilat pioneers the distinct sound heard in the bisaya dialect. The late frontman Errol “Budoy” Marabiles is immortalized through uplifting bisaya culture and traditions within his lyricism tinged with ska and dub. In “Sigbin”, the slowed, hypnotic downtempo tells the cautionary tale of the Philippine mythical creature of the same name. What makes this track stand out and showcases Junior Kilat’s impact is how they are able to set a wide atmosphere of storytelling that incites playfulness as well as dramatising a tale sonically with just a slow and steady beat. – Faye Allego

67. Oh, Flamingo! – Inconsistencies (2015)

Only a few names of massive renown in mid-2010s’ Filipino indie music carried their spark with the same luminance (if not brighter) in the years that followed, and the multisectioned and multilayered “Inconsistencies” is one of them. Indie darlings Oh, Flamingo! crafted in this song a monumental piece of local indie rock that possesses technical proficiency that captivates, and angst that refuses to let go—whether it’s the song’s six-minute runtime or the years of relevance it has had since its inception. -Nikolai Dineros

66. Bee Eyes – Dasma Girl (2013)

BEE EYES · DASMA GIRL

Before Bee Eyes renamed the album playlist that included “Dasma Girl” from The Best Band in the Philippines to Late Bloomer on their Soundcloud account, it’s fair to say the original title may have aged better. The prophecy felt real and unreal at the same time — a future both promised and undone. “Dasma Girl” is drenched in reverb, with sunset-soaked leads, loose guitar rhythms, bitcrushed drums, and a DIY ‘conyo punk’ energy amplified by infamous live banter. It was 2013 in a nutshell, and then they disappeared. For over a decade, no one quite knew what they were up to. – Elijah Pareño

65. Black Eyed Peas – Bebot (2005)

If you were to illustrate “Pinoy pride” on a sheet of oslo paper, the image might be a mohawk-wearing, heavily bearded rapper in shutter shades from Sapang Bato, Pampanga, waving chicken adobo like a flag. “Bebot” put Filipino stereotypes on the global map, accelerating cultural visibility in ways that couldn’t be undone. The moment was perfect: Pacquiao, Lea Salonga, Jericho Rosales’ Pangako Sa ’Yo — take your pick. The ideology landed exactly when it needed to. Apl.de.ap became, for better or worse, the most visible Filipino of his era. – Elijah Pareño

64. Rico Blanco – Antukin (2008)

Once Rico Blanco departed from Rivermaya, he unleashed his musical inspirations through his solo ventures. “Antukin” strings out britpop flourishes in earnest, giving way for him to seek out this love with assurance, one that reflects best through the instrumental key bridge before going all out on that infectious hook.

Careful craftsmanship is what always stayed within Rico Blanco’s musical endeavors. His ear in crafting spoonful melodies with technical songwriting chops that are undeniably his own. It results in him doing something interesting in his compositions, always keeping you attentively awake to the details he carves out. – Louis Pelingen

63. Caitlyn Bailey – Object Permanence (2008)

The overall presentation of “Object Permanence” doesn’t just seethe. It ravages. This encapsulates the tenacity that Caitlyn Bailey invokes within Davao’s hardcore scene. F. Maria’s screams are electrifying, deeply intensified by the band’s melodic ferocity as the grooves quake and shudder. That settled anger underscores the fate the band ponders upon. The battle has been won, and respite comes after, but there will be new pages to be filled in the future.

The song implies that finality doesn’t mean it’s completely ending. This is true for hardcore bands like Caitlyn Bailey. After disbanding, a few have remained, eventually discovering a beast waiting to be awakened. – Louis Pelingen

62. The Axel Pinpin – The Good Guys (2017)

Towering, glass paneled buildings rising from the blood, sweat, and tears of the masses whose milestones, lives, and plots of land are taken for the sake of development. Thin sheets of metal barriers that tell you these projects are initiated by “The Good Guys.” Axel Pinpin himself tells it like it is in six minutes and 20 seconds, narrating Troy’s story as he becomes witness to the crushing of mountains and fruitful land in exchange for uniform, capitalistic cityscapes. This is not merely a spoken word piece; it is an epitome of Filipino rage, brought to light with effect-laden guitars. Every strum exclaims the unbelievable intensity of greed possessed by private corporations. The song’s message is clear: it is these inhumane powers and injustices that lead the people to take up armed struggle in the first place. – Noelle Alarcon

61. fitterkarma – Pag-Ibig Ay Kanibalismo II

Accolades notwithstanding, fitterkarma’s banger of a track reinvigorates the Filipino band music landscape by conjuring a new image of love in its most visceral and captivating form. “Pag-ibig Ay Kanibalismo II” alludes to yearning without being twee, and invokes darker themes without being edgy for its own sake. There is still much to be said in music, and fitterkarma manages to bridge themes that resonate across generations while still rallying a generation of yearners together. – Lex Celera

60. SOS – Dying to Meet You

Before they helped define a generation of bands playing jangly blues ballads in the bars of Katipunan Avenue, SOS were just a bunch of guys writing jittery garage rock songs. The toe-tapping “Dying To Meet You” captures the innocence of this stage in their career: vocalist Roberto Seña sounds like he just wanted to be one of The Strokes (and there’d be accusations of this), while the band performs the song with the glowing exuberance of a boyband — something they would soon shed as they began developing the songs that would truly cement their place in OPM history. – Gabriel Bagahansol

59. Pupil – Disconnection Notice (2009)

This supergroup takes experimentation seriously, and even then, “Disconnection Notice” ends up a different beast altogether. Ely Buendia rails upon the dance-punk leanings of this song, where staccato syllables stab around the sharp guitar riffs and shuffling rhythms. It’s simultaneously accessible and alarming, like a feverish dance floor that never freezes up. 

Songs such as this embody Pupil as a band that allows everyone to find new ground outside of their usual mainstays. It gives them space to grow because things are completely different, and it lets their creativity spark even harder. – Louis Pelingen

58. Pastilan Dong – More of You (2015)

While contemporaries in the Manila indie music scene were absorbed in creating alternative, twee, or indie-pop hits, Pastilan Dong brazenly introduced noise to the stage. The distortion-heavy sound of “More of You” instantly made them a household name among local shoegaze acts. A decade later, the band continues to headline shows in new and familiar venues with the same song in their setlist but with larger, younger crowds singing the addictive part of the chorus, “I want more of you, I’m dependent on you…” 

Though they remain underrated, their contribution to noise rock and shoegaze will never go unnoticed. We’ll always want to hear more from Pastilan Dong! – Aly Maaño

57. Kiyo – Ikaw Lang (2019)

Kiyo perfectly captured both the sound and the lovey-dovey energy of 2019 indie hip-hop with its soft guitar instrumentation and lowkey production in “Ikaw Lang.” Furthermore, in local mainstream music, it was the epitome of “Gen Z Optimism,” as coined in TikTok, with its sound and the overwhelming hope and infatuation despite the anxieties of loving long-term. It was really intimate without trying too hard. And lastly, the female vocals on the last verse is the icing on top of the cupcake to describe a match made by Cupid’s pistol. – Jax Figarola

56. Einstein Chakras – Hangga’t Maari (Ayokong Pumatay) (2006)

When Einstein Chakras released “Hangga’t Maaari (Ayokong Pumatay)” in 2006, they drew from the longstanding tradition of punk being deeply tied to political and working-class resistance. The song confronts violence, corruption, abuse of power, and imperialism, showing how punk can function as a vehicle for class politics and dissent rather than simply an aesthetic.

Its importance extends beyond the song itself. Rooted in Manila’s underground and activist scenes since 1994, Einstein Chakras helped sustain a form of politically engaged punk that remains relevant today. Bands such as The Axel Pinpin Propaganda Machine, The General Strike, and Gapas continue that tradition, showing that the connection between punk, protest, and resistance remains a vital part of the local music scene. – Paolo Elwick

55. juan karlos – Buwan (2018)

Juan Karlos was one of many young idols who were at checkmate when the state of their artistic careers had a multitude of big question marks: Will JK exceed into stapling his name across Philippine media? or will he just be a television pop culture moment left behind the late 2010s? His answer to this was the cosmos.

Through its simplicity, “Buwan” became a renowned staple for singing competitions, busking performances, and amplifying karaoke culture; that shared participatory spread helped revive grand and theatrical love songs. Over the course of a decade, JK has managed to garner hundreds of millions of viewers in his music videos as well as listeners of his songwriting grandeur. – Faye Allego

54. Loonie – Isang Bara Ka Lang (2010)

When two emcees have beef for the longest time, people get hungry for a diss track. Loonie didn’t disappoint when he dropped “Isang Bara Ka Lang,” a direct hit to his fellow rapper Badang. With Gloc 9 bringing his own arsenal, the two lyrical geniuses gave a lethal blow to end their common opponent, easily breaking the internet. Six years after its release, the much-awaited Fliptop battle between the two rappers happened, and the veteran made a sweeping win. It just goes to show that when “Hari ng Tugma” aims, he never misses. He doesn’t just deliver, he makes history. – Aly Maaño

53.  Join The Club – Nobela (2005)

In a time when TV stations like MYX pushed Pinoy rock into the mainstream, Join The Club was among the many bands that created an anthem to define the adolescent love experience. Biboy Renia’s poetic lyricism and poignant delivery of their greatest hit, “Nobela,” echoed the sentiments of every lovesick fool in an on-and-off relationship. It’s the song that makes one want to pick up a guitar and learn the chords from a song hits magazine. It’s the cue for any hopeless romantic to try and woo their crush with awkward singing. And chances are, they would immediately recognize the song without even knowing the title. – Aly Maaño

52. Mellow Fellow – Dancing (2017)

The mid to latter half of the 2010s marked a surge in bedroom pop artists who turned to YouTube, Soundcloud, and Bandcamp for sharing self-produced music. Then 21-year-old Ralph Lawrence “Polo” Reyes, better known as internet artist Mellow Fellow, gained worldwide recognition through “Dancing,” a song that embodied a distinct lo-fi sound: crooning guitar melodies, low yet rich vocals, analog synths, and jazzy elements. Following its success, Mellow Fellow collaborated with other indie pop aficionados like Clairo, Vansire, Floor Cry, Ruru, and Teenage Granny, proving that all it takes is a working home setup and creativity to craft a massive hit for the post-internet generation. – Aly Maaño

51. Zia Quizon – Ako Na Lang (2011)

Soft tones and strong emotions become lightning in a bottle with Zia Quizon’s breakthrough hit, written and produced by Jungee Marcelo. Zia’s jazzy vocal inflections amid the acoustic guitars in the track cement “Ako Na Lang” as a soothing balm, with a certain kind of charm that’s hard to replicate. Maybe it’s the fact that the whole track is in Filipino, or that its whole arrangement lulls you into a relaxing, almost disarming mood. The composure in Zia’s voice sells the conviction conveyed within its lyrics. It’s hard to get tired of this track. – Lex Celera

50. Tame the Tikbalang – Backstab (2002)

By the time you arrive at a punk show at either Hades  Bar or even modern-day venues like Mang Rudy’s, chances are you’ll encounter a moshpit of sweaty punks circling around and chanting the potent lyricism and messages of Tame the Tikbalang; an important band to many in the hardcore scene, fronted by stalwarts and actual pioneers of the genre. “Backstab” was one of many examples from their album Forever Shall Be.

While there are tracks equally worthy of mention on that record, “Backstab” showed finesse and struck directly at the veins of those who wish to turn their backs on a school of thought that has fostered a generation of hardcore kids. Tame the Tikbalang are still golden, and it would be a shame to ignore what they stood for. – Elijah Pareño 

49. Gloc-9 – Upuan (2009)

When it comes to political music, songs often reflect a certain situation during a certain period of time. However, for Gloc-9’s “Upuan,” it contains a message that has resonated with the Filipino people for over a decade–so much so that it surged back into the Billboard charts 16 years after it was released. Frequently heard during the Philippine anti-corruption protests in 2025, “Upuan” connects its listeners through the unity in the Filipino struggle that the elite will never understand. Its relaxed, trip hop-inspired beat makes it starkly unique from other rap songs released during this period of time, usually filled with fast-paced bars and energetic beats. As its bare instrumental lets the story unfold, Jeazrell Grutas’ cries and echoed sentiments throughout its run perfectly express Filipino frustration. “Walang doktor na makapagpapalinaw ng mata niyo,” the rapper enunciates. – Noelle Alarcon

48. Oh! Caraga – Ipanumpa Ko (2019)

“Ipanumpa Ko” is a declaration of love. Not only in the literal sense, rather the song itself is an assertion of pride and love for your heritage and cultural identity. Oh! Caraga, a folk group from Mindanao, instilled hope in listeners across the archipelago through their warm, heartfelt sound and ear catching melodies. Its uplifting message transcends language barriers. The 2019 hit, and Oh! Caraga’s discography as a whole, influenced an important space for regional languages in the Tagalog-dominated OPM scene. – Rory Marshall

47. no rome – Seventeen (2018)

no rome’s track “seventeen” is drenched with nostalgia, harkening back to care-free days of youth and the weight of choices made had yet to find significance, especially when it came to love. Released earlier in his career via Soundcloud, it’s a testament to his producing prowess that caught the eyes of Dirty Hit Records, and is a classic fit for the pop scene for the time but with a twist of no rome’s unique style. His layered vocals and sonic soundscape with an R&B twang was both new and refreshing while clearly paying homage to his influences. – Rory Marshall

46. Musical O – Ocean (2009)

In the math rock and abstract art rock space, Musical O were true outliers — a one-of-a-kind band probing the depths of the human psyche, the phenomenon of the self, so to speak. There’s an enigmatic, unanswerable quality to Marco Dinglasan’s lyricism, rooted in an abstract, almost dystopian worldview. In “Ocean,” a standout and crowd favorite from their debut album ‘Debutante’, the listener understands why there’s reason to anchor emotion in life’s windy, chaotic seas. As the tide turns into a storm, Musical O briefly sketch the image of a Marco Polo-like figure, navigating strength through motion. “Ocean” guides you through angular riffs, brave vocal inflections, and the steady spirit of a criminally underrated band. – Elijah Pareño

45. Moscow Olympics – Keeping the Avenues Open (2009)

Despite Moscow Olympics’ transient activity, the mark they’ve left behind is insurmountable. Through “Keeping The Avenues Open”, one of their last few songs a year after their classic 2008 album, ‘Cut The World’, showcases their presence at their finest. A simple drum machine lays bare hazy guitars and AJ’s starry-eyed vocals echo across dreamy melodies that tumble within distance. 

All of it paves how Filipino dream pop will vividly circulate to the present day, one that has gradually morphed back to when bands like them were forming in their heyday. They kept the avenues open, and more dreamers showed up since then. – Louis Pelingen

44. Juan Thugs – Momay (2009)

https://www.youtube.com/watch?v=yuhCRqQfkEI

“Momay’s” lasting legacy as the “Weed Anthem of the Philippines” defies its beginnings as novelty music. Nobody has said it out loud, but the song’s popularity set off a shift in the public’s perspective. 

Compared to other local songs about the use of cannabis, the song encapsulated that feeling of ‘floating’, laughing at the most trivial of things and saying the dumbest things when you’re high. Cold air in your face, problems all evaporated, Momay frames the use of ganja as the relaxing, recreational activity that it is. 

In the current political landscape, a song as influential as “Momay” deserves a revival to remind Filipinos that users can be people who only want to experience the fun of being high. – JK Caray

43. Hey! It’s Your Birthday – Dead Cat (2016)

If dreams ever had a soundtrack, “Dead Cat” would be a perfect fit. Through their honeyed melodies and enigmatic lyrics set to fuzzy bedroom rock angst, Cebu rock outfit Hey! It’s Your Birthday created an atmosphere that is haunting yet tranquil. Their dreamlike, surreal style of indie rock set the stage for the rise of the DIY bedroom sound that would eventually dominate the scene in the years to come. – Rory Marshall

42. KOLATERAL – Sandata (2019)

Collective rage. Organized anger. Violence that emancipates. These are descriptions that have been spoken about KOLATERAL’s call-to-action song “SANDATA” time and time again. But there is one virtue binding these traits together that the track highlights as the cornerstone of a successful protest: community. “SANDATA” emphasizes community as having the power to break defence lines and flood any building faster than any typhoon can. On top of ‘SANDATA’s’ chorus becoming a mainstay chant in mass protests, its powerful verses will not only floor you but also leave you wondering how much more organizing can do. – Nikolai Dineros

41. Shanti Dope – Amatz (2019)

When it comes to the lively, monumental state of the 2010s Filipino hip-hop scene that involves plenty of moments you just had to be there for, how could one forget Shanti Dope’s “Amatz?” From PDEA trying to get it banned to being featured in Marvel miniseries ‘Falcon and the Winter Soldier,’ “Amatz” is a display of how Shanti Dope’s versatility is able to shake things up. In the thumping, sitar-driven beat produced by Klumcee, the rapper eloquently describes the high he gets from music through his Buddhist background in life–exhilaration that is “sobrang natural, walang halong kemikal.” Better than Mary Jane itself, probably. – Noelle Alarcon

40. Spazzkid – Getting to Know You (2013)

Serene, spacey vocals mingle with proto-trap beats and catchy samples are enough to make a splash in one of Mark Redito FKA Spazzkid’s landmark tracks from his 2013 EP ‘Desire.’ But what gives “Getting To Know You” its lasting power is the sum of its parts: a well-crafted chillwave track that shimmers in its playful restraint. “Getting To Know You” and the ‘Desire’ EP is convergence culture at work, stitching together a time of indie-meets-hypebeast goodness that resonates with many heads today. – Lex Celera

39. Somedaydream – Hey Daydreamer (2011)

Circa 2011 was strangely suspended between two worlds. Getting your song on MYX Daily Top 10 still ruled your music birthright, but the internet was also starting to dominate who gets to be in the media spotlight. Somedaydream’s “Hey Daydreamer” belonged to that fleeting era when the internet existed not as the nervous system that it is now, but as a blazing possibility of newness. Timing played a big part in how the song became not only timeless, but time itself. Rez Toledo, the college student behind Somedaydream, had the track become one of the earliest songs to trend online before the internet even became the mecca of everything under the sun. “Hey Daydreamer” stood because its afterlife attached itself to reality, to computer shops and barkada hangouts; somebody hearing it again while unwrapping their ice cream, remembering an entire decade they thought they’d never remember as vividly again. – Julia Harumi Kudo

38. Soapdish – Tensionado (2006)

Sung along to in millions of karaokes nationwide, Soapdish’s “Tensionado” became an instant alternative favorite in the mid-2000s, and the years that followed only further secured its replayability, may it be in birthdays, weddings, funerals, graduations…and the like. It’s the song’s clever use of buildups and pauses that perfectly emulate the tension of a rope being pulled from both sides. A tired cycle that’s been spun over one too many times, embodied by the bassline and lead guitar that repeat, yet speak out the loudest during the track’s peaks. Despite the exhaustion that comes from running in circles, Soapdish reflects Filipino yearning best — amid all the resentment, they ask: “pwede pa ba tayo?” – Noelle Alarcon

37. Aikee – Dota o Ako (2011)

Back when Mineski computer shops and various hours of playing Dota were in full force in the 2010s, “Dota O Ako” immortalizes what it felt like when men are in a push-and-pull relationship between Dota and their partners. Aikee genuinely plays into that perspective, with the late Vanessa (and in the UMG version, Sabrina) playing the girlfriend whose exasperation echoes onto the hook.

Aikee leans into its concept and runs away with it, treating Dota as a character that affects his relationship and facing it head-on. He perfectly balances nerd rap with genuine relationship pathos, a unique gem that ultimately chose what’s important: the love of his life. – Louis Pelingen

36. Ourselves the Elves – Uncertainly (2015)

Among the plethora of new wave indie bands that emerged in the 2010s, Ourselves the Elves is like the secret note from your lover you want to safely keep inside your back pocket. And “Uncertainly,” their most treasured song, is the written content you read to yourself at 2 a.m. when no one can see you yearn. Soft, genuine, and innocent, the song perfectly encapsulates the sonic identity of the band, which remains true to this day.

Whether you discovered the song in one of Alternatrip’s episodes, the short film ‘Lisyun Qng Geografia’, or a gig at your favorite underground venue, one thing’s for sure: you’ll always catch yourself singing the loudest to “Uncertainly.” – Aly Maaño

35. Pette Shabu – The Future is Trans (2023)

Set to high-energy beats courtesy of sonic innovator D Waviee, “The Future Is Trans” is rave rapper Pette Shabu’s relentless stream-of-consciousness. Here, she moves like a hopped-up MC unabashedly commanding the crowd to revel in queer joy. Her words are affirmations for people who, after years on the receiving end of a merciless stream of violence & abuse, simply just want to live their truth and express it on their own terms.

Pette Shabu & D Waviee want you to know one thing: transgender Filipinos have been here and will always be here, and no longer will your bigotry break their soul. – Gabriel Bagahansol

34. BINI – Salamin, Salamin (2024)

At the start of the 2020s, the girl-group BINI grew a devoted fanbase by deviating from the K-Pop-driven formulas of P-Pop’s second-gen and continuing the vibrant sounds of the genre’s nascent first-gen. But after a headlining set at a music festival that kickstarted BINI’s climb from Stan Twitter darlings to nationwide superstars, they achieved meteoric success with “Salamin, Salamin,” a fun pop-funk track about the feverish excitement of a brand new crush – powered by FlipMusic’s sunkissed melodies. With this song, these girls would conquer the summer of ‘24, helping P-Pop make a dent in the country’s consciousness along the way. – Gabriel Bagahansol

33. Sauna – Empty Is Your Name (2008)

A landmark single of hardcore music, “Empty Is Your Name” is a masterclass in math-adjacent aggression. Eschewing traditional structures for the visceral complexity of Jane Doe-era of Converge, the track defined the mid-2000s DIY scene from Ten02 to Cavite. As a standout from their album ‘Deeper It Goes’, these Batangas City wild children bridged the gap for future dark-hardcore outfits like Beast Jesus and HL/DV, establishing a regional powerhouse that challenged Manila’s sonic dominance. – Adrian Jade Francisco

32. Mayonnaise – Jopay (2004)

After seeing her crying in Eat Bulaga’s Lent season drama special, Monty Macalino of Mayonnaise decided to write a song about one of the most popular OG members of the SexBomb Girls. “Jopay” became an instant hit, perhaps because listeners were real stans or they just had their own “Jopay” in mind to dedicate the song to. 

Twenty years later, “Jopay” remains one of the most requested songs during a Mayonnaise concert. Its resurgence, sparked by a viral TikTok video featuring an off-key rendition of the hit single, further cemented its significance in Pinoy music and pop culture as a whole. – Aly Maaño

31. Shaira – Selos (2024)

Selos by Shaira Moro was first released in 2023; whether belting out from the phone of the person beside you on a jeepney ride, blasting through the speakers of stalls in bustling public markets, heartily ricocheting inside ukay-ukays, or fronting the setlist of your neighbor’s karaoke night, it was everywhere because it belonged anywhere. In complete Filipino fashion, “Selos” is a song about sorrow dressed in synth sway and electronic sheen. The people sing in spite of lament, they dance, they love, that’s always been one of the Pinoy’s strong suits, sometimes to a fault. When the controversy about the melody sounding a little too similar to Lenka’s song “Trouble Is A Friend” came about, people debated the song’s signification in culture, and rightfully so, still, people sought to get it back on streaming platforms because the general public didn’t really care whether it was going to be just an official cover song or an original song. What mattered was that Shaira, someone from Bangsamoro was singing about feelings that they felt too. – Julia Harumi Kudo

30. Tanya Markova – Picture Picture (2010)

Tanya Markova’s debut hit “Picture Picture” stands out amongst their discography as the track that primed general audiences to the charming eccentricity of the band’s sound

On its own, the song was already a hit owing to the overall catchiness of the track, but it did leave a weird feeling that was difficult to shake. As it turns out, the unsettling nature of the lyrics was a reference to a horror movie, adding a layer of eeriness. It was uncommon, sure, but Tanya Markova’s spin on mixing horror with goofy quips, opened the floor for more wacky theatrics of this order to take place in mainstream OPM. – JK Caray 

29. Orange & Lemons – Hanggang Kailan (2005)

With its jangly guitars and aching refrain, defining the mid-2000s revival of the British influenced pop-rock. “Hanggang Kailan” became a part of everyday Filipino social spaces. Becoming a familiar sound on Philippine music television channels such as Myx and its heavy rotation on the radio. This Orange & Lemons hit was always a popular choice at your school’s battle of the bands. Up until this day, the line “Umuwi ka na baby…” always finds its way onto the karaokes of your family gatherings, bars, and neighborhood celebrations. – Adrian Jade Francisco

28. Sheila And The Insects – Maude (2005)

Sometimes forming a band name should reflect who the band members are, both in synchronicity and in pure lone, but for Sheila and the Insects, the name was less about who they are as people; it became an eternal possibility disguised as an abstract musical ecstasy. Formerly ‘The End’, Sheila and the Insects started the world of infinite by naming themselves after a mystery; there is no Sheila. But there is music, and there is Sheila and the Insects’ raspy-rueful rocks as their guitars glide aglow. Being one of Cebu’s ever-adored indie acts, the band continues to verily be one of the ludic signifiers as to why life listens to music, and vice versa. – Julia Harumi Kudo

27. Silent Sanctuary – Ikaw Lamang (2007)

he popularity of “Ikaw Lamang” in the early 2000s became a signpost for coming-of-age romance– personal blog posts from Blogger, Facebook, and even MySpace all document what this promising track means to its listeners. If Filipinos had diplomats to defend our romantic nature, Silent Sanctuary would be our envoy due to their ability to strip love to its barest form: the illustration of love before it enters metamorphosis. Arguably an Emo song due to its heartfelt orchestration, it blends its strings, piano, and emotive vocals into a masterful confession and proclamation of devotion and desire– ultimately sculpting its own well-deserved pedestal with “OPM Love Song Of The Century” labelled on the plaque. – Faye Allego

26. Sitti – Para Sa Akin (2006)

Sitti struck the perfect balance between simplicity and sophistication in “Para Sa Akin”, showing how one can display honest emotions without sacrificing elegance. Rather, it even exemplifies elegance as Sitti’s channel to her core tenet—benevolent love. As a result, “Para Sa Akin” has become a go-to song in countless weddings. This proves not only its success as a hit song, but as “Para Sa Akin” a champion of its own principle. Making bossa nova a catchy listen to the average ear is but the cherry on top. – Nikolai Dineros

25. U-Pistol, Similarobjects – Sa Ilalim ng Buwan (2015)

U-Pistol, who sang mostly in English, Japanese, and Korean under the Los Angeles netlabel Zoom Lens, performed in Tagalog for the first time in “Sa Ilalim ng Buwan,” an electro-house track produced by Similarobjects. In the track, they turned love into something exhausting, debilitating, and distant. This B-side to his single “Moonlight” is somehow a remarkable track for its improbability: two Filipino artists, working across time zones and internet circuits, so geographically scattered, making a Tagalog song that is so culturally niche that would later find its way into OPM memory. – Jax Figarola

24. Sugarfree – Burnout (2003)

A conversation about Sugarfree would never not mention their timeless hit “Burnout”. A song about a love that slowly fizzled out, the most-streamed track on the band’s debut album ‘Sa Wakas,’ is one of those songs that cuts you with its gut-punch lyricism. What makes it even more iconic is its music video, pointing to a time when it became possible to meet the love of your life (and mess it up) through Oz World. Every time “Burnout” unexpectedly plays while riding a jeep or walking along once familiar routes, Ebe Dancel’s distinct singing can immediately warp time to quietly play out moments of a similar experience inside the listener’s mind. – Aly Maaño

23. Slapshock – Cariño Brutal (2009)

With “Carino Brutal,” Slapshock delivers a technically impressive heavyweight track that resonates not just with their core audience or even the wider rock landscape of their time, but also with casual listeners who wouldn’t usually listen to music of the same genre. The band’s shift towards a more metalcore sound paid off, particularly for those who don’t even pay attention to the genre: its relatively straightforward lyrics, delivered by the iconic Jamir Garcia, has transcended the genres Slapshock takes inspiration from. “Carino Brutal” is simply an anthem.  – Lex Celera

22. Nina – Someday (2006)

In 2006, Nina recorded a covers album of the kind of love songs every Filipino loves: music that houses our yearning for the love that we deserve, and lyrics that show the lengths we go in search of our better halves.

The following year, Nina would distill these things into her own song; as soon as the words to “Someday” left her lips, they touched the hearts of millions of Filipinos. Today, no karaoke night or singing competition is complete without someone getting in their feels singing this song. The standards singer now has a standard to call her own. – Gabriel Bagahansol

21. Gagong Rapper – Kabet (2004)

Only a few tracks invoke a whole aesthetic in our mind’s eye in the first few seconds. Who knew that song about being someone’s second choice would resonate with multiple generations for more than twenty years? While its relatively recent viral status might have relegated “Kabet” to a novelty, “Kabet” is both a standard bearer and one of its essential tracks in Filipino hip-hop lovecore. The Sandamukal and Dongalo-affiliated group will most likely be remembered by this track, whose title already preempts the singular pain it conveys over its five-minute runtime. The iconic piano line is undeniable in our collective psyche.  – Lex Celera

20. Nadine Lustre – Paligoy-ligoy (2014)

Nadine Lustre’s “Paligoy-ligoy” from the beloved Diary ng Panget soundtrack feels like a song that should never have become a cult hit years later — and yet it did. Pow Chavez’s lyric writing pairs naturally with Lustre’s effortless delivery, resonating across a generation. Beyond fashion and wit, her influence stretches through pop via the strength of a simple, effective chorus. Bojam’s bitpop production, to this day, feels both dated and underutilized, hinting at a future that never fully arrived. A future unwritten is culture unpreserved. If we’re being honest, a pop artifact like this belongs in the National Museum — at least in terms of internet culture. – Elijah Pareño

19. Ron Henley – Biglang Liko (2012)

Ron Henley will most likely be remembered by most for this track that’s too catchy for its own good. Sex metaphors ease their way into our subconscious through Pow Chavez’s breezy hook under a Flipmusic blueprint. But it’s Henley’s clever and nimble lyricism that cements its position. Even now, you can hear someone recite “Biglang Liko” word for word in the right circumstances. And even now, someone’s interest is piqued to decipher meaning from this hip-hop and pop-adjacent banger. – Lex Celera

18. December Avenue – Sa Ngalan ng Pag Ibig (2017)

With its piano flourishes, soaring vocals, and arena-sized chorus, it’s unfair to dismiss December Avenue as merely an extension of hugotcore’s past. “Sa Ngalan ng Pag-ibig” captures bombast through sweeping melodies, emotional overreach, and towering buildups that transcended time, space, and karaoke machines everywhere. Lead singer Zel Bautista once doubted he could hit the bullseye, but choosing optimism — in the name of love — proved decisive. The song was able to redefine pop rock for better and worse, changing its emotional core as devotion pushed to the edge. “Sino dito nasaktan?” If anyone’s to blame, it’s December Avenue. – Elijah Pareño

17. Radioactive Sago Project – Astro (2004)

The jazz fusion band Radioactive Sago Project would almost need no introduction if you’d already been delving into the alternative scene for a mere three months at most. However, to the untrained ear and patron of the arts, they were the biggest thing known to every hipster at the time with the emergence of “Astro.” Even the music video directed by R.A. Rivera also needs no introduction, as it literally introduced the band to the mainstream where storytelling, beat poetry, and a diverse array of instrumentation, whether it looked like you were part of a marching band or a punk show, all collided into a smorgasbord ready to smack you in the face, with Radioactive Sago Project welcoming you with open ears.

At a time when OPM was at a crossroads between nu-metal and pogi rock, they were right in the middle of that Venn diagram, and “Astro” sat perfectly in that transition, ultimately standing out in the scene among their cohorts. – Elijah Pareño

16. SB19 – Go Up (2019)

“Go Up” is a song that skyrocketed SB19’s humble beginnings — a dance practice video of the boy group performing the track became a viral sensation online, helping to mold them into the Pinoy pop royalty that they are today.

Produced by Oh-won Lee, “Go Up” follows the tropical house trend popularized during late third generation Korean pop: clean synths, modified vocal samples in the background, and clap cymbal stacks waiting for the perfect moment, all soaking in the sound of summer. It’s not merely a matter of “Filipinos can do it too,” as K-Pop adjacent the track may be; “Go Up” lets you hear how far Filipino music can go. – Noelle Alarcon

15. South Border – Rainbow (2003)

After yet another line-up change, South Border’s R&B formula eventually reinvents itself upon the release of “Rainbow”. Lilting grooves and woodwind accents pull you in close to Duncan Ramos and Vince Alara’s honeyed optimism. They relish the romantic affections with pain, but also hope. The ups and downs of life that make love everlasting.

This is a deliberate swerve that further established their name right after, evolving from their straightforward crooning ballads that shifted to lush neo-soul. They’ve garnered noteworthy hits beforehand, and with this song, they managed to pass grander heights with flying colors. – Louis Pelingen

14. Jake Zyrus feat. Iyaz – Pyramid (2010)

“Pyramid” dominated every MP3 player, iPod, and iTunes playlist when it came out in 2010. The raw power and talent in Jake Zyrus’ vocals paired with a pop melody so catchy it hijacks the ear, it’s no wonder why the track was a chart topper not just here in the Philippines, but internationally as well, reaching the Billboard Hot 100 list at #56. “Pyramid” is just one of the many reminders to the rest of the world that the Philippines shouldn’t be slept on when it comes to talents like Zyrus. – Rory Marshall

13. Sarah Geronimo – Tala (2015)

There is a stark marker that stands between life before the global pandemic and life after it – Sarah Geronimo’s “Tala” is one of the many things that make up said marker, being a TikTok trend during this midway period. Composed, written, and produced by pop virtuosos FlipMusic, Nica del Rosario, and R&B genius Alisson Shore, this song is as poppy as it gets, cementing Geronimo’s “Ultimate Pop Superstar” title. The percussion and pulsing keys drive the track, taking hold of whoever is listening to it and unconsciously causing them to move their hips. Dancehall-influenced “Tala’s” reflections on falling in love too fast united a whole nation, bringing hope in a time of peak hopelessness. – Noelle Alarcon

12. Typecast – Will You Ever Learn (2006)

Typecast cemented their place as one of the most successful emo and underground acts to break into the mainstream, both locally and across Southeast Asia. “Will You Ever Learn” rose to popularity through their DIY ethic and early use of platforms like Myspace to expand their reach in 2007. Their credentials as a band that started in Laguna also added to their cult following early on in the internet. Their blend of alternative rock and post-hardcore, paired with a strong online presence, made them feel global, often mistaken for a foreign band. It marked a shift in how Filipino underground acts could exist beyond borders. – Jax Figarola

11. IV OF SPADES – Mundo (2018)

When “Mundo” came out in 2018, the band’s dalliance with gauzy indie pop exploded into stardust, effectively breaking them through into the long-lasting spotlight. These once wunderkinds glow across the coats of shimmering synths and pumping grooves, tailoring around Unique’s understated vocals that swoon into the chorus, and Blaster’s guitar solo revving them up into space.

This creates a starry atmosphere that never loses its focus and only grows louder as it goes on. Eventually garnering everyone’s attention and becoming the epitome of a song that’s never lost its luster, still revolving the world with a glinting light. – Louis Pelingen

10. MNL48 – Pag-Ibig Fortune Cookie (2018)

As the sister group of Japanese idol girl group AKB48, the Philippines’ MNL48 turned “Pag-Ibig Fortune Cookie” into more than a rendition. It is best described as a defining pop moment in the 2020s and the impetus behind the P-pop craze in the country. What makes the song special to many Filipinos is its bright and brassy instrumentation and the familiar marching band energy. While the group remains active today, the era of “Pag-Ibig Fortune Cookie” and its playful choreography lives on as a collective memory of infectious joy. – Jax Figarola

9. Maldita – Porque (2011)

In Maldita’s sleeper hit “Porque”, an acoustic guitar and a lone voice take center stage. Despite its uncomplicated lyricism, “Porque” manifests the feelings of regret and bitterness after a failed romance. Its iconic status is not just for nailing 2010’s teenage angst, but also for its witty code-switching between Filipino and Chavacano. That’s how Maldita made the country sing a dialect that only 0.3% of Filipinos use.

Its popularity also influenced other artists to use their native languages, causing a brief period where non-Tagalog songs found success in Imperial Manila. As long as it reached the audience’s beating heart, it would resonate, no matter the language barrier. – JK Caray

8. DiCe and K9, Hi-C – Itsumo (2004)

Gentle, carefree melodies as sweet as candy, wrapped in the raw, thundering boom bap, with slick rap verses on the side — “Itsumo” gave us this flavor of R&B we now sorely miss from the early aughts. It’s only made better with a serving of pancit canton and cold lemon soda. ‘Itsumo’ cheered us up in our most dire of defeats and celebrated with us in the most radiant of victories. DiCe, K9, and Hi-C have struck gold and set Imperial Manila’s eyes towards their hometown of Cebu, and it has never been the same since then.

Somewhere else, this song is probably on loop, with your slowly emptying pocket being the only thing that’s keeping you from going to the counter to tell Kuya, “Pa-extend,” just to hear it one more time. – Nikolai Dineros

7. Dos Fuertes – Tarat Tat (2007)

Someday, local historians will find within the Philippines’ rich archives an account of a major cultural breakthrough, when in 2007, two creative minds in Zamboanga’s hip-hop scene — Mohammed Bansil (a.k.a. DJ Medmessiah, founder of Morobeats) and Clifford Ronquillo — made history with the release of “Tarat Tat”. A reggaeton track sang in Chavacano de Zamboanga and Tausug,

“Tarat Tat” is a masterpiece in diplomacy and art that integrates Zamboangan culture into the already culturally diverse genre through the abstract glue we all recognize as our bodies’ unbridled desire for kinetic energy. – Nikolai Dineros

6. Sexbomb – Spageti Song (2003)

“The Spageti Song” is the defining hit that launched Sexbomb Girls into superstardom while pioneering an entire wave of Pop music in the 2000s.

The cultural impact of this song was exceptional. Along with a viral dance craze, “The Spageti Song’s” comically instructional lyrics made for a hit accessible to every demographic. It even skyrocketed Sexbomb Girls as the best-selling girl group in Asia at the time. 

Above all, the attribute that truly sold the song to the Filipino masses was the campness it possessed. It was television music, unserious and raunchy at times, but the people loved the fact that a group of pop stars finally got their sense of humor. – JK Caray

5. Itchyworms – Beer (2005)

“Beer” is THE ultimate rock videoke anthem. The opening guitar riff is perhaps the most recognizable intro ever, echoing through bars, poolside hangouts, and late-night drinking sessions. It’s tied to shared Filipino practices: pulutan on the table or wet barbecue by the pool, while stories get louder as the night deepens.

Even decades later, Itchyworms remain a staple  in the eventful lives that we lead, because the song understands something simple—love is just as good as beer. – Jax Figarola

4. Up Dharma Down – Tadhana (2012)

Up Dharma Down became quintessential to hugot playlists, with “Tadhana” as their most defining song. It’s all the more sentimental when UDD recorded the drafts of the song at the peak of a mountain in Sagada, the place that once was extremely popular, where broken hearts go.

The song is so moving that it boosted the municipality’s tourism. Its cultural imprint deepened when it became inseparable from the 2014 film ‘That Thing Called Tadhana’ and TV series ‘Ilumina,’ where it was part of their soundtracks. These pairings mirrored how an entire generation came to understand love, timing, and letting go. – Jax Figarola

3. 187 Mobstaz – We Don’t Die, We Multiply (2012)

There’s a gargantuan ambition to 187 MOBSTAZ’s momentous posse cut, as it unfolds over a sprawling 14-minute verbal riffs stomping across a scintillating beat. It’s representative of the Filipino hip-hop scene that never backs down, spraying forth the hip-hop life that goes through struggles and strives to keep its feet on the streets. 

Every minute passed, each rapper gave their all. One melodic chorus, 36 aggressively rattling verses, all with a fiery attitude. They echo what the track title really meant. In hip-hop, the old voices leave a moving statement, leaving a legacy for the new voices to follow through. – Louis Pelingen

2. DJ Love – Tiw Tiw (2006)

“Tiw Tiw”, both the sound and the track, is the backbone of budots ever since its invention in 2006. The original sound has been sampled across countless dance remixes since the genre’s inception in Davao City, with its titular rhythm becoming the hallmark of the genre. There aren’t many genres in the world we can take pride in like DJ Love’s creation.

In the track’s “reloaded” version in 2024, DJ Love pushed this sound further by adding influences of hypnotic techno. The track continues to move and move people, to grow and be built upon, and to evolve and be reworked upon. – Jax Figarola

1.  Kitchie Nadal – Huwag Na Huwag Mong Sasabihin (2004)

Among the recognizable hits in The Kitchie Nadal Medley, “Huwag Na Huwag Mong Sasabihin” is definitely the one song that your cousins will fight you over at karaoke. After that iconic opening riff, Nadal’s powerful voice immediately sends you into a state of yearning. It’s a familiar situation that has resonated with Filipinos everywhere, transforming it into a timeless classic revered in both mainstream and underground spaces.

Ergo, in the case that my cousin tries to steal the mic as Huwag Na Huwag Mong Sasabihin comes on, I’d fight tooth and nail as long as I get to sing it. – JK Caray

---

First and foremost, I’d like to thank the Visayas and Mindanao journalists, promoters, musicians who listed out their hometown heroes, favorite musicians, and artists from their neighboring towns, barangays, bayans, cities, municipalities, provinces etc. Without them, this list wouldn’t be a complete “Filipino music” list:

Erik Tuban of Pawn Records, KC Salazar of Indie CDO, and Kara Angan and Karl Lucente of Filla Killa.

Special thanks to the TFL editorial staff writers that made this happen, your contribution to Filipino music writing has now been forever etched in online history:

Lex Celera, Louis Pelingen, Faye Allego, Nikolai Dineros, Noelle Alarcon, Gabriel Bagahansol, Aly Maaño, Jax Figarola, JK Caray, Julienne Loreto, Paolo Elwick, Adrian Jade Francisco, Julia Harumi Kudo, Rory Marshall.

Junk Pax Silica

Stop the U.S. and Israeli War Machine

Stop Killing Journalists

Marcos-Duterte-Trump-Netanhayu Mga Pasista

Free Palestine

Free Congo

Free Sudan

With love,

Founder and editorial-in-chief

Elijah P.

TFL

ESTABLISHED JUNE 2016