Written by Louis Pelingen One thing worth discussing about novelty or meme songs is whether or not they succeed with what they’re specifically trying to joke about, especially if there is something notable to the punchlines and melodic construction for said meme song to work long-term. While there are cases when the memetic humor sadly tilt into corny and flimsy territory, there are times when the artist knows their strengths and then applies them to the song so the meme eventually becomes captivatingly silly and catchy at the end of the day. Fortunately, zaniel’s C2 NA RED! falls into the latter category. What makes C2 NA RED! intriguingly stick is simply due to zaniel’s ability for composition and production, where his built-up experience of comfortably swooning over these cloud rap beats has a clarity that effectively shows up in spades for this song, showcasing the overall quality of his melodic crooning amidst the booming bass and chalky drums that’s well-blended in the mix. Said melodic crooning does add so much to the humor, adding an amount of kooky energy in simply embodying his favoritism of C2’s apple flavor over anything else and feeling exasperated when the store close to him doesn’t have the apple flavor in stock, just as he expected. Short but sweet, C2 NA RED! is a meme song that has enough charm and polish to the melodic craft, eventually enhancing the succinctly silly humor on display. Even if there is a worry that the meme will overshadow zaniel’s future work – an unfortunate side-effect to acts that are slowly establishing their music but are somehow limited by that one big meme song – the strengths that he does share in this track are at least a good presentation for what he’s capable of doing more as an artist. In the meantime, take a sip of this drink, it is certainly a flavor that’s worth gulping from time to time.
REVIEWS
ALBUM REVIEW: Barbie Almalbis – Not That Girl
Written by Noelle Alarcon If you’ve dug into the heyday of OPM, there’s no doubt you’ve come across Barbie Almalbis ‘ truths spread across her bands “Hungry Young Poets” and “Barbie’s Cradle.” Ever since becoming a solo act, Almalbis has shown immense growth–she tells us like it is in her latest release, Not That Girl. An album created to cope with “the most challenging year of her life,” her renewed outlook crafted a path for her most introspective, experimental record yet. Enriched with producer Nick Lazaro’s background in the metal genre, they managed to create an assortment of songs that are as familiar as they are fresh. Up to its mixing, the album utilizes everything at its sonic fingertips to tell its story. “Desperate Hours” shifts between your ears, a medley of multiple instruments banging and pattering against the sustained chord progression. Her eventual relief arrives when “finally the war is over” resounds clearer than any of her other lyrics, making way for her victory. “Homeostasis” follows suit in the first track’s whimsicality, equally as synth-laden and raw. It leans a bit more towards power pop though, reminiscent of the punchiness of her earlier works. Not That Girl hinges on Almalbis’ beliefs; it is what makes it so vulnerable, yet so comforting. “I tell my soul to only seek you, it’s the only real remedy,” she admits in “Happy Sad” through her signature unique delivery. The heavy metal-inspired track “Platonic” comes afterward, coated in cloying irony. You’d expect the bass drum-filled, fast-paced track to be cynical; until you hear Almalbis sweetly affirm, “I know God loves me, because you do!” All these songs build from each other; audible renditions of her life lessons making her stronger than ever before. “All U Wanna Do” is as feisty and loud as “Platonic,” yet there’s a calmness to the wandering synths that fill in its gaps while she bares her soul. “How To Weep” and the titular track “Not That Girl” prove Almalbis’ pen game is unparalleled. The former is a somber ballad, written straight from her heart: “Nobody knows I’m grieving alone; the way it comes, the way it goes.” The latter roars and howls, taking a more avant-garde approach to the worship songs she’s been acquainted with. “Tell them I’m not who I was before, I’m not that girl anymore!” Almalbis declares, calming the fierce storm inside her. Speaking of Almalbis and being unparalleled, she’s definitely one of the most influential women during Filipino alternative music’s peak in the 1990s and the 2000s. “Needy” and “Wickederrr Heart,” the album’s concluding tracks, greet you like an old friend you haven’t seen in a while. In this case, it’s her trademark sound that we all know and love. “Needy” is a bass-driven, drum machine-led proclamation, perfect for cruising along the road as you nod along to her lyrics filled with appreciation for loved ones in life. “Wickederrr Heart” is a bouncy, pop rock denouement of self-awareness, coated in the desire to change. “I can’t love you when I’m running; I know how it all turns out,” she admits to God, showing her true colors and encouraging you to do the same. Not That Girl is a testament to the fact that there’s always a light at the end of the tunnel. Its experimentality emphasizes its overall message. Life has its very own heavy metal highs, and sincerity-ridden, folk-inspired revelations. The ringing in your ears can seem like a catastrophic cacophony–until you take charge, and create something daringly beautiful out of it. Support the art and the artist:
ALBUM REVIEW: Bambu – If You See Someone Stealing Food… No, You Didn’t.
Written by Anika Maculangan One hard-hitting line after the other, Bambu’s words as a rap artist travel oceans just to make it into our eardrums. Timely, relevant, and empowering, If You See Someone Stealing Food…No, You Didn’t is a new release from the LA-based rapper that feels like just what we need right now more than ever. In the album, DePistola tackles issues like workers’ rights, the genocide in Gaza, corruption, and police brutality. He approaches these themes in a way that is direct, precise, and straightforward. He doesn’t sugarcoat his delivery, yet prioritizes the impact that it has to offer. Despite this emphasis, the tracks in this album, notably Steal For A Meal and PI State of Mind II have an immense sense of flow and rhythm. The beats across the tracks are potent, well-measured, and powerful, which better amplify DePistola’s fervent utilizations of tempo and melody. Despite lyrics not being available yet online, upon writing this review, there wasn’t much of a hassle deciphering the words because Bambu articulates each and every one of his messages so legibly throughout this entire album — both in form and content. DePistola raps from the heart of the Filipino-American community, highlighting what it means to have pride in one’s identity, despite geographic barriers. DePistola strengthens his listeners, which at its core, includes the youth in order to encourage them to continue to fight for human rights and social justice later along in the future. Inspiring, thought-provoking, and insightful, the content of DePistola’s most recent album brings light onto societal truths, that urge to be addressed. This exactly is what DePistola provides — a voice for those who are silenced. Through the medium of an album, he makes these stances firmly conveyed, and ensures that it’s accessible to his audience. Accompanied by various tonalities, like for instance, air instruments, even the interludes mixed into the rest of the songs evoke a kind of tough heartiness. It’s clear that DePistola doesn’t leave any empty spaces in his compositions, most, if not all of them, whole with soul and spirit. You can easily tell that he is passionate about his craft, in connection to the things that he stands for. With support from rap movements like the FlipTop community alongside the San Francisco bay area scene, artists like Bambu keep the Filipino perspective alive within this realm. He’s a promise that even abroad, Filipinos can make a name for themselves — despite all the hurdles and challenges that come along their way. DePistola speaks for those who have worked their way up to success, making something out of the value that is found in their personal experiences. Listening to this album, it’s hard not to be so attentive to the lyrics — ultimately, it’s the greatest asset of the entire project. The musicality of the album is just what you would expect from Bambu; skilled and masterful. But what shines the most is the weight that the album carries. It’s a perfect reflection of today’s faced struggles. And no, it does not mourn them, but rather, looks for solutions. However, what Bambu first does is open a discussion about them. This album is if anything, a necessity in today’s day and age. Perhaps DePistola thought it to be essential. Many rappers, local and international, can learn from Bambu’s integration of social issues into his music. He demonstrates that rap music can be used as a tool for advocacy during times of collective hardship. Music like Bambu’s unites people to help and uplift one another. It makes us realize what can be done, and how. It asks questions like “Why is this happening?” and makes the sound we are hearing more than just mere music but rather, a call for action. For that, we thank DePistola. While some tracks felt slightly out-of-place, like Tommy’s Burgers and Crazy Eyes, the album as a complete project doesn’t miss any points. Although others might find some patterns in instrumentality repetitive, one could also presume them to be intentional. Yes, these stories do need to be vocalized over and over again, as they should be until it’s brought us to acknowledge the problems that plague the world with oppression. In this album, DePistol says behind his messaging, that he won’t stop until those being exploited are given justice and recognized for their right to equity. If You See Someone Stealing Food…No, You Didn’t takes what is already there, and introduces it to a broader audience through the universal language of music. Bar after bar, Bambu proves to us that a compact summarization of what is happening currently can be put into words within the measure of 1-3 minute songs. In no way does it reduce these dialogues, but turns up the volume, for them to be reinforced on a more heightened, revolutionary scale. Support the art and the artist:
ALBUM REVIEW: Yorko – where the sky meets the sea
Written by Faye Allego Yorko’s virtuosic talent for Hip Hop and R&B shines in “Where The Sky Meets The Sea” as he opens up without fear of getting introspective in his songs; songs that took four years to make it into the final cut and four years to mark his first entry under LIAB studios. The rollout of this album in terms of aesthetics was done in a way that genuinely highlights the ebb and flow of Yorko’s vulnerability: his journal entries published across his social media pages, the scenic imagery only paired with the color hues of the sky, and the impeccable album artwork and layout done by GRAVER, Zeon Gomez, @aleng_lukresya, jadetonicc, @_niel4tienz4, and @skm2_ct have all sculpted and mended Yorko’s visions into a short anthology of memories written from the depths of Cloud 9. In his sophomore album, Yorko, who also goes under the alias Blimp Shady, takes the listener down a rather silky road with his sleek rhymes and rhythms in “Descent” followed by “Nimbus” and “Surf” which encapsulate certain Cyber R&B beats you’d expect to hear in a Blade Runner 2049 action sequence or in a niche Vaporwave Lofi Rap mixtape. In Horizon, Yorko reflects on the imbalances and harmony of life: ‘there’s more to life above the clouds/ there’s more to death beneath the ground/ take a dive headfirst/take the pain, feel the hurt/ ‘til you feel nothing no more’ these antheses with philosophical undertones become profound as Yorko takes what feels like a modern day Parable-of-Job-like approach to his storytelling. Juxtapositions that seep through the philosophical themes of the album are also emulsified in the pre/post break-up banger that is m.i.a. featuring SHNTI. Production-wise, Kashira changes the game for the DIY rap scene. You can press play throughout any time frame of this album and won’t find yourself fidgeting with the volume buttons of your device. Various influences and sonic textures from the West Coast Rap scene can definitely be heard in Where The Sun Meets the Sky, making it a flavorful homage to the entire genre itself and it’s not taking from the original and replicating it haphazardly. However, though the originality shines through, there is an inkling of that replication hazard getting in the way when you get to tracks like Ducktales, which utilises synth waves and ad libs that don’t add on to that theme of introspection and aren’t exactly elusive to hear within this genre. Overall, this album is essentially a deep-dive into Yorko’s inner sea of confusion and takes the listener for a swim back to the shore, shining under the sun with all the glistening hopes that come out of surpassing hardship all with the dreamy atmosphere engineered into the beat. Support the art and the artist:
TRACK REVIEW: Paper Satellites, BABYBLUE – Onodera
Written by Lex Celera Since their last project, Manila Meltdown in 2022, Paper Satellites has grown to a four-piece, with vocalist Jyle Macalintal, drummer Aaron Escueta, and bassist Paulo Carpio joined by Martin Cruz on the guitars and synths. Onodera, their newest release, continues their constant experimentation by taking a step further and recruiting another collaborator, producer BABYBLUE. Onodera is an impressive result of two collaborators putting their best foot forward and blending both the sounds that they have been known for to create something new and worthwhile. Listening to the album from beginning to finish is a tranquil experience that is not bereft of any exciting turns. “Onodera” is a mosaic of rhythmic pirouettes – a worthy prelude to what is to come in the rest of the EP. There is an addicting quality in how the song constructs itself with sound elements that swell and evaporate as it goes on. “Alipin” follows up with a polished dance-rock record that ends in undulating synths. Despite feeling like a mishmash of different styles, both parts are equally enjoyable. Released in February 2024, ahead of the rest of the EP, “Dapithapon” is an easy-listening record with a catchy tune that’s perfect for afternoon drives. “Dama” signals an emotional downturn without putting on the brakes, driven by lyrics that have enough oomph to be echoed into an anthem – a good swing that would make the EP’s closer, “Paggising,” all the more worthwhile. “Paggising” fully embraces the club-readiness of the whole EP with its synth-forward rhythms and floating vocals. In that regard, it reads like recent Up Dharma Down records. The likeness to electronic music is emboldened by how patient “Paggising” and the whole of Onodera in terms of building itself up into natural, enjoyable melodic arcs. The excitement never falters even when you can imagine the song ending sooner. Whether intended by its creators or not, I find myself thinking of the early 2010s in this record. There’s a little bit of Two Door Cinema Club, a little bit of Tycho’s Dive. You know how during those days you’d either listen to Skrillex or Boards Of Canada? Listeners of both will cling to this record like glue. It’s visceral but tranquil, and ultimately a well-bodied source of bops that won’t be out of place on either the dancefloor or a quiet headphone experience. Thankfully, the whole EP’s proximity to that era never reaches stomp-clap-hey status. For all of the EP’s achievements for the band – their first EP fully in Filipino and their first collaborative EP, – Onodera will be remembered for how it finds the sweet spot among both artists’ comfort zones, and how easy they make it feel. It shows that it pays off to be confident in exploring new sonic territories, despite the gestalt sadness in its lyrics. It would not be a surprise if Paper Satellites moved on to a different sound in the future, but should they choose to lean toward the direction of Onodera, I’d be the first to say that they would not be wearing out their welcome. Support the art & the artist:
TRACK REVIEW: Fragile – Deep Enough
In recent years, we’ve noticed screamo music making a comeback amongst younger generations. Now, it’s referred to as ‘skramz’, which claims to be a contemporary approach to the classic genre. Do a basic search on ‘skramz’ and you’ll probably stumble upon bands like Catalyst…, Knumears, and Vs Self. But the catch is, most of them are from the U.S., whether the rural midwest or some suburbia out of the west coast. This makes their music often reflect Western imagery — something that is hard to relate to and resonate with if you didn’t grow up in America. Especially since most of their songs circulate within the themes of one’s teenage years. Although, thankfully, we have bands like Fragile now, to make skramz more applicable to our locality. There’s no denying that there’s some sense of contentment in finally having a skramz band, that is from the Philippines, and as a matter of fact, from Cavite. Skramz no longer feels like such a distant genre, hanging from the fringes of Western culture. It is now also something that we, as Filipinos, can define for ourselves, in our own version of it, independent from its Western counterpart. The track deep enough is angsty, melancholic, and with guttural vocals. It cuts through the senses like a sharp knife, bellowing with downtrodden lyrics. It provides that satisfying levity that we often feel, from listening to skramz, as if transcending towards heaven, and maybe even hell. The instrumentals hold a feel for nostalgia and sentimentality, which paired with harsh vocals, end up with great contrast and texture. However, the overall ‘recipe’ of the song still reflects a bit of what we hear in bands like Algae Bloom, Versera, and seahorsechoke. While there’s still some room for improvement, one could place priority on originality. Perhaps exploring themes and subjects within their ideas that are not so generic upon their temperament of what’s ‘angsty.’ Maybe something more rooted to the Filipino experience of the coming-of-age. Less on the dread, and more on the context. Asking questions like what is our (Filipinos) account on what torments us? And how can we convey such a niche experience through musicality? Although to add onto that, they’re still a relatively new band, and it always takes time to develop one’s unique sound. With this, comes an opportunity for them to establish a skramz sound that is purely authentic and genuine to the local scene. Despite it being quite common for skramz bands to fall into the trap of repeating a pattern of redundancy out of their own peers’ music, Fragile seems to be a capable band in breaking that frequent occurrence. Hopefully when they do, it won’t be a blueprint to what Western bands have already come up with. For one, they already produce more spirited, vigorous instrumentals that, in all honesty, is difficult to find in this day and age’s gloom-for-doom type of skramz. Despite clearly withholding aesthetics that are influenced by industrialism and perhaps even slightly nihilist, the overall sound of the band does not sound ‘dead’ and in fact livelier than ever. But maybe that’s the hope we Filipinos have, speaking for itself – always looking for the light at the end of the tunnel. Basically, free of mimicry and replication, without the inclination to imitate earlier skramz bands. Hence, there’s a lot of pressure for a band like Fragile, who is bringing a fresh genre into the community. Yes, screamo has been in the country for years, but skramz is an entirely new variety of it, and its presence is still pristine to the country. Certainly a big responsibility, one can place their bets that as they discover more of their sound, they’ll make a distinct name for Filipino skramz. Support the art & the artist:
ALBUM REVIEW: emma bot – Radio Emma
Written by Louis Pelingen There is a sudden rush of emotions that’ll overwhelm everyone once they hit a certain age, wherein processing the state of their life thus far peels back all the ups and downs they’ve experienced as they continue to live and do the usual stuff in their routine to survive. It brings out the frustrations that may wallow in the present, but over time, it’ll die down as there is more to look forward to in the future. It might take time to push out those frustrations, but it is necessary to wade through them to learn and grow. For Sab Morado aka Emma Bot, they process that emotion within the set of pop punk and indie rock palette in their debut album, Radio Emma. Composed and produced by Emma Bot themself, with additional help by the members of Warpten amongst others, there’s a striking consistency and emotional punch within a lot of these songs, further grasped by the excellently sequenced album structure that allows both mellow and frenetic melodies to follow through without any flubs in momentum. Carrying through a familiar sonic streak that might not shift the sound of pop punk, but when these melodies are just catchy and filled with invigorating grooves, snappy performances, and fantastic production work, it leads to a lot of these songs just stick in the brain. Whether that be the rumbling bass and guitar passages on “Parallax (in Another Age)”, the stomping groove of “Mothing Feels Good”, the lively melodic throughlines of “P”, the shift from the wandering groove to the synth accents and flourishing guitars of “Coming of Age”, the soft build-ups that effectively lead to the explosive guitars of “On the Pavement” and the emotive final hook of “Easy”, the riotous melodic panic of “Japan”, and the wistful tone that’s amplified further by the additional vocals of Nica Feliciano and Howard Luistro on “Some Days (are Bad Days)”. It’s not just the melodies that manage to stick, as Emma Bot does write a compelling reflection within the themes of the record. Essentially, Emma Bot is trying to move away from whatever ache they feel, yet it doesn’t exactly come with an easy hurdle, especially as their mind is still filled with memories from the past that keep floating by. It’s an introspection that tangles itself down the line, getting a bit more existential through mentions of feeling numb, being a bit too wasted and sleep-deprived, and getting worked up with growing older that only creates the impression of getting close to giving in to cynicism as heartache and existential crisis only pulls them down further into the abyss. Yet amidst all that, Emma Bot acknowledges that there is still worth looking forward to beyond all of that cynical musings, where being able to see themselves alive is at least a positive moment to think about. The lingering pain might still be carried and there’s an unsureness about what else is there to dream about, but the important part is to keep grasping onto hope. The aspect in life that ensures that everything will be okay in the end. In short, Emma Radio is the sort of debut album that manages to hit the landing and showcases just how many roads Emma Bot could sonically proceed in the future, especially as there isn’t much risk taken within the production and compositional aspect of the album. Still, Emma Bot manages to strike the sweet spot on their first go, carving impressive melodies that have only gotten better with great pacing, sharp production, and nuanced writing that might wallow in the stormy heartache but is aware enough to grasp toward hope. It’s a radio channel full of palpable tunes that are worth the listen. Support the art and the artist:
EP Review: LU – Not Fragile, Just Tired
Written by Aly Maaño As 2024 came to a close, some of us couldn’t help but be in a somber mood. Aside from the festivities and family reunions, we also needed to prepare for a new transition which can often put us in a state of reflection, regret, and second-guessing. In her debut EP, Not Fragile Just Tired, 22-year-old LU sends us into a spiral of emotions on the precipice of a new year. Growing up in Aurora province, LU is no stranger to seeing gigantic sea waves off Baler’s coast, but when the tides of melancholy hit, surfing through the turbulence may not be an option. Sometimes, the waves roll in on you, each as strong and bold as the last. The EP’s opening track, BLAME IT ON THE BEER, sets a downcast tone, with its introspective lyrics, distorted riffs, and powerful guitar breakdowns fusing into a melodic, post-rock treat which is highlighted by the cacophony of aggressive guitars and LU’s haunting vocals towards the bridge. Lyrically, the same level of anguish is felt in LIVE FOR WHAT but it possesses more pop-rock sensibilities due to its consistent mellow and jangly sound, serving as a momentary crash in preparation for the next track. The great wave of desolation peaks at LINES, a song featuring Yusilo. In this track, LU finds herself in a tornadic waterspout of her own emotions, clashing with Yusilo’s heavier guitar textures and progressive rhythms. At this breaking point, LU further showcases her expressive vocal prowess with Calvin Borja, Yusilo’s frontman, impressing us with his vocal dynamic and range. As if all hope is lost, the track abruptly ends after the outro, signaling the end of the storm. While the first three tracks were all guitar-heavy, the latter half of the EP features acoustic tracks like CONTROL and KINDER. The soft plucking of guitars along with LU’s hushed voice evokes the quiet, calm, and desolate aftermath of the first act. The mood picks up again at ASTERISK, ushering upbeat drum patterns and grungy guitars. But this hopeful undertone doesn’t last for long. As if to harness the sea’s agony, the last track transitions mid-song to a subdued atmosphere with the lyrics building up to LU’s pleading screams, “I wanna give her the world,” which continues like a prayer to whoever may listen. LU’s first EP is brimming with potential. Their evocative vocals and contemplative lyricism are far from being one-dimensional and the fresh elements in her sound don’t fall off the bar either. LU sings about the transient nature of emotions much like the quavering sea, with its waves present and passing. Not Fragile Just Tired represents the rising and ebbing tides and each track is a wave-sound bearing a satisfying symphony. Support the art & the artist:
TRACK Review: Mellow Fellow – Heaven
Written by Noelle Alarcon In this world, heaven is considered as the be-all, end-all of life’s course. Anything else euphoria-inducing that comes close is the nearest you’ll get to arriving at the cosmological paradise. For indie pop act Mellow Fellow, who emerged from Muntinlupa and is currently located in Canada, the agency to choose yourself is his equivalent of the bliss achieved beyond the stars. True to his name, “Heaven” opens with a mellow assortment of instruments smoothly cascading into his smooth vocals. The keyboard and the guitars twinkle along the periphery. They form the core of his trademark sound, reminiscent of the motifs that defined bedroom pop during the 2010s. The rhythm section doesn’t take a back seat, either. The thick strings of the bass dance to the variations of open-handed drumming, making the symphony full and whole. It creates an environment conducive enough to let his truth bloom across rich textures, intensified by titillating synths and alternating beats. “Heaven” is light and airy, with fierce proclamations adding a little kick to the artist’s signature cool. It propels you into the clouds through the unapologetic honesty its confessions spell out. It’s a reflection of the arduous journey to corporeal nirvana, aurally fleshed out in the highs and lows between the verses and choruses. This is Mellow Fellow’s invitation for you to ascend with him into liberation, through dropping the burdens of life that no longer serve you.
The Flying Lugaw presents: THE 𝗕𝗘𝗦𝗧 𝗙𝗜𝗟𝗜𝗣𝗜𝗡𝗢 𝗥𝗘𝗟𝗘𝗔𝗦𝗘𝗦 𝗢𝗙 𝟮𝟬𝟮𝟰
2024 was the year where Filipino musicians and artists valued the full-length release. There are bands that shot for the moon right away by releasing an album with 12 songs while others released a mixtape like it was 2013 all over again. Streaming platforms like Bandcamp and Soundcloud are important in searching for those who wish to push the envelope in releasing new music. There are no limitations when it comes to releasing an album; you can create a “season” of your own while another up-and-coming local act is cooking something up behind the scenes. Music deserves to be heard in the form of an album (or at the very least releases that have more than 3-4 songs) The Flying Lugaw crew would like to make a wish that in the year 2025, or any year for that matter, more albums, EPs, Mixtapes or any other release with a collection of songs would be pushed more for artists, by artists. 30. Pat’s Soundhouse – Khaen Solo Vol. 1 (anika) Heavy on instrumentation, this one’s for long car rides. Maybe when you’re stuck in traffic or driving through the freeway. Poignant, with a touch of elegance, the sound of the khaen is brimming with liveliness as if embodying the spirit of a human within its chords. Encapsulating the aura of what it feels like to stargaze, Khaen Solo is rich with vastness in tone. LINK: https://open.spotify.com/album/2webH6kaLadcVoHd6uBEET?si=HJaFOd1-S_SNL6x2qq-D1w 29. To love everything ever again – Nineveh (aly) Emotional, vulnerable, brooding yet hopeful. In his first EP, “To Love Everything Ever Again,” Janpol Estrella, who goes by the moniker Nineveh, bares his soul by intricately weaving gut-wrenching lyricism with glitchy synthesizers, noisy distortions, playful drum beats, and chamber pop elements to uniquely capture an emotion and to tell a story. Referencing biblical characters and verses throughout the EP, Nineveh questions his relationship with his faith as he boldly shares his internal struggles, even if his voice shakes. LINK: https://open.spotify.com/album/1ZLfneo1HaEkbv4g7a57Gn?si=cdb26387ac754144 28. Soldados kan Tios – Walang Titulo (nikolai) More than a post-metal sludge release, ‘Walang Titulo’ is a protest. With heavy contributions from renowned artist and activist Alex Pinpin, this newly formed hardcore band decries in the album the plight of farmers whose lands are taken by the elite class. LINK: https://open.spotify.com/album/046CsHH1cBlsg411TmmRgF?si=668f301ae3bc4dbe 27. Tydings-Mcduffie – s/t (louis) Ever imagine a period piece coming back as a message to the present times? Tydings-Mcduffie takes you on the highs and lows of the Philippine Commonwealth Era. Amidst the brief ride, the tides of their self-titled record zoom into its protagonists and all they have to dream, experience, and sacrifice – paired with smooth jazz compositions that give you a tune to remember. Tydings-Mcduffie provides a penchant for what the past believed in: an optimism that persists beyond melancholia. LINK: https://open.spotify.com/album/35vNlk6c2W6c3SXPS8ka1W?si=11d57ae092e04085 26. Haley Heynderickx – Seed of a Seed (anika) Folkish and devoted to the nature of Oregon, Seed of a Seed projects the gentleness of trees, flowers, and insects when brought into a tender symphony. Like ripples on a river, doused with rainwater, Seed of a Seed introduces an organic approach to composition. Bringing in Heynderickx’s ability to produce poetic lyricism, she enkindles the profuse vibrance that one can find in mundanity. Surrounded by lush imagery, the musicality speaks for itself when it wants to convey that sense of fullness. LINK: https://open.spotify.com/album/5WjjIOn40MG9kLfaeHBS5a?si=03125d230e504161 25. PRY – Resignation Letter (jax) Pry is aggressive and unapologetic in their female rage, in their sophomore album RESIGNATION LETTER, which slices through indie rock, alternative, punk, and noise rock with emotional edge. The constant surveillance and judgment for their non-conformity to established concepts of femininity and identity are anathema to the band. Unlike their debut “The Party’s Over,” which leaned heavily on riot grrrl and cathartic screaming, their new sound now explores more lilting rhythms, slower tempos, and stickier textures. This evolution is a goodbye letter to their anguish like a lump on their throats, but still, fitting in their principle of being punk. LINK: https://prymusicph.bandcamp.com/album/resignation-letter 24. Switchbitch – Silang (jk) switchbitch’s bombastic debut release sets the stage aflame as they solidify themselves as Filipino Conscious Rap heroines. Women rapping about peasant and working-class advocacies sounds exactly as badass as it looks on paper, Silang is just another way of getting their points across. Heavily equipped with sardonically blunt quips and fast code-switching, the lyricism is wildly compelling at riling people up and igniting the simmering anger we already feel. It evokes inspiration and anger—one out of frustration and one out of hope, all in the sense of creating a better nation. From the current state of affairs in the Philippines, it seems that this isn’t the last we’ll hear from them. They said it best in their outro, “Ako at sila ang magtutuloy ng pagpunla sa pag-asa hanggang sa makamtan natin ang tagumpay.”; as long as there is injustice, there will always be a switchbitch spitting bars on the oppressor’s face. LINK: https://open.spotify.com/album/3TfSuIKsQfT6R1LFJ1f6FS?si=155c9dca615a4302 23. Brickcity – We the Forgettables (nikolai) Kinetic energy and deep angst envelope the room in Brickcity’s ‘We the Forgettables’. For 25 minutes, you are treated to pure skramz goodness with not a moment to rest besides ‘Pretend’. A must-listen if you’re into bands like TNG. LINK: https://open.spotify.com/album/6wBzB53uUrFW32BtxSpwnp?si=f263574b8ce94259 22. vice* – syzygy (louis) ‘syzygy’ is a notebook scribbled with every idea that vice* can execute with the hand of a careful adept. An EP that crosshatches glitch pop illustrations with emo-pop doodles notably aware of his influences, yet using that knowledge to establish his style within. What results is a melting pot of bassooning beats; fractious guitars; and bending vocal stirs that tie up into prismatic melodies. All chaotic pieces, linked into one mesmerizing frame. LINK: https://open.spotify.com/album/3wthcVGeUFteuz3gNZnPDC?si=0b713105c79f4788 21. sci fye – who knows? (jk) Something needs to be said about the beauty in mundanity. As an open hate/love letter to the buzzing existentialist cityscapes of Manila, who knows? captures its worldly essence to a tee—but not without unwittingly writing an ode to its intricacies. From the sweltering afternoon