Electronic artist and singer-songwriter vice* laces together the heartaches of emo-rap and the intricacies of glitch pop into a neatly tied debut EP. In a world where the Lil Peeps and Wicca Phase Spring Eternals have shifted into heavier and denser material, there exists a younger and fresh breed of producers hopping on the stepping stones of the aforementioned artists, and vice* is one of those fresh artists alley-ooping themselves to the grander playing field. In debut EP “syzygy”, the 6-track project constantly builds a world of its own; it finds itself deconstructed, intentionally self-destructing and implodes everywhere. But the end result is it finds a place to fall sprucely.
The possibilities of this project falling under banal, predictable pacing and lyrics are slim. There’s potent pop writing to be found in “syzygy”; In “hit me!”, trance and math-rock chords find themselves in constant harmony with each other while “takeUdown” forces the shattering, glitchy, frying pan percussions to shine among the poppy hooks. “inner me” showcases a more straightforward, lesser noise in the forefront but capitalizing on melodic writing at the combat zone.
If you think about it carefully, for the project to escape the monotony of emo-rap and its cliches, vice* opens a new window of possibility in terms of blending emotive vocals through explosive, maximalist production. vice* can range from distressing to level-headed delivery, the production does most of the talking. Prancing past the familiarity of what emo-pop and emo-rap did during the mid 2010s Soundcloud explosion, vice* knows how to structure a full-length release from its hyper highs to its emotionally-charged tamer back half. The first half of the project has found its comfort zone, linking together genre labels and ultimately liquifying those same labels, forging into something groundbreaking in the end. From front to back, vice* has a unit behind him that’s supported him from the very start, eventually creating a sonically rich project that can possibly stand the test of time. With vice* being in the 2020s, there’s a balance in the world of experimental pop and hip-hop.
As 2023 comes to a close, GLASS, the silliest MAPEH rock band in town, kicks off 2024 with a new self-titled release chronicling the band’s 2-year-long songwriting journey from their 2021 EP release of the same – featuring three tracks from the album “Spice”, “Jones”, and “Buntot” – and a handful of new material, all loaded in a magazine of kinetic energy, dad jokes, millennial-passing shock value, and musical ammo.
GLASS’ creative box is a confluence of blues, math rock, and post-hardcore templates, oftentimes shifting styles at unexpected turns and in sync with the band’s penchant for odd tempos and intricate rhythmic structures. The opener track “Octopus” does not try to hide this at all; a delicate intro teases the listener of the band’s tendencies to go off-kilter before going R&B-like as the verse kicks in and capping off the song in full virtuoso mode. It’s not always we get to hear these different styles blend as well as GLASS does with their songs.
By the time you have finished “Octopus”, you will already have an idea of the kind of surprises GLASS has in store throughout the rest of the album, but in varying distributions of flair. For instance, “Obmerb” is a tad bit more conventional and Steely Dan-like than “Octopus” with a guitar solo more unassuming with less post-hardcore shenanigans.
Tracks like “Ops” and “Buntot” embrace the blues a bit more than the others, a characteristic the local scene needs more of nowadays as artists and fans across genres have increasingly deviated from the allure of a style that once dominated the mid-2010s flavor-of-the-month genres in favor of a more ethereal sound that shoegaze presents.
GLASS’ bubbly personality helps them in their compositions, and this playfulness complements the disjointedness of their tracks. But at times, it can also work to the detriment of the band. There’s a level of wit that the band employs in their songwriting that does not always land perfectly on the feet. There is this one song in the album, which I will not spoil to not ruin the experience for everyone coming into this record for the first time, that I would consider to be a perfectly acceptable song about a particular subject matter, but they kept running the same joke towards the end after it ran its course. Nothing too cringeworthy to pass on – just the kind of pure tito humor we all have a guilty pleasure for.
GLASS has a treasure trove of innovative ideas, and they are not afraid of trying them all out. Most of these ideas work, a negligible few don’t. But at the core of it all, this free-spirited energy and shamelessness are traits we all ought to have, and GLASS came at a perfect time to set a year on such an exciting note.
The first couple of notes that start ‘readmymind’ will immediately sink you deep into arkyalina’s striking soundscape. A producer, multi-instrumentalist, and composer in his own right, there is already so much going on with Tavin Villanueva’s composition work, bringing in so many ideas to bear. arkyalina’s tight and impressive pop punk-esque vocal runs quickly snap within the chalky breakbeat grooves, the sweeping guitar solo, and the feverish reverb-smeared piano and strings backdrop, a combination of tonal flairs resonating even further through arkyalina’s production and Calix’s mixing and mastering assistance providing potent clarity and color to the punchy melodies.
This track is a case of a captivating song that once you’ve heard it, you cannot help but give it more listens a dozen times later. An on-the-spot stand out where arkyalina’s broad display of musical flair manifests within ‘readmymind’, colliding so many ideas that cohesively work together into this alternative pop wonder. Branching out many roads ahead, only arkyalina himself knows where he wants to go next, keeping us on our toes about whatever admirable aplomb he might release in the future.
The year 2023 saw a lot of shifts happening: the rise of scene kids coming from the FYPs and For You pages of yore and the steadily rising of attendees in DIY underground shows all over. In Luzon, newer collectives were formed via embodying the gothic, emoviolence sensibilities of Metro Manila’s newer heavy music units. Over at the Visayas region, genres like hiphop and dream pop are the talk of the town, making both soundscapes and cultures sought for newer heights. And in Mindanao, their scene becomes more and more solidified in terms of dance music and various alternative genres that goes beyond the expectations of a regular Imperial Manila listener.
From Luzon, Visayas to Mindanao, we present to you a yearly tradition that the editorial team would always prepare themselves for; Not just because it’s the task that’s daunting, but it’s the journey and the result of 11 months of scouring the internet and gigs for the best of Filipino music. Here it is, The 20 Filipino Releases of 2023.
20. Lil JVibe – WHOLE LOTTA LUVSHIT
Simply put, ‘WHOLE LOTTA LUVSHIT’ is the pop-rap EP that immediately puts Lil JVibe into this current space of inventive local hip hop. From Gem Records Production’s assist in balancing out the 4 tracks’ layered drill and jersey club beats, oodles of pop sample choices that are stitched amazingly well, and Lil JVibe’s ability to keenly blitz through these immense soundscapes is a big testament to his skill as an artist. ‘WHOLE LOTTA LUVSHIT’ is a bold, untethered, and sincere EP that’s just the beginning of Lil JVibe’s ambitious potential as an artist, one that all of us should pay serious attention to. -Louis Pelingen
19. Panjia – all the colors that make you!!!
In the year 2023, you have a ton of shoegaze acts that can easily pass off as imitators of someone and something given the time and algorithm to figure it all out. Staying true to its title, this debut EP “all the colors that make you!!!” is a primer of what you need to know about Panjia; youthful angst in front of computer screen, yearning in a language fitted for the hell week tortured student and loaded with nu-gaze terminology. The solo project surprisingly brings tasteful riffage-writing and overall promise in the young crop of heavy gazers out there locally. It’s Zoomer Shoegaze Bingo and the first recipient of such game is none other than Panjia. -Elijah P.
18. Punebre – Ang Nasa Dako Paroon
‘Ang Nasa Dako Paroon’ is a compelling testament to the raw essence of old-school death metal. With influences echoing ‘90s death metal, Punebre skillfully intertwines a foreboding atmosphere, relentless energy, and concise, impactful lyrics in highlight tracks like ‘Itim.’ The result is a sound that pays homage to the horror genre, revitalized for a new era, with slight nods to Filipino horror filmology, urban mythology, and folk mythology—‘Balete Overdrive’ and ‘Shaken and Rattled’ come to mind. However, Punebre’s most exciting feat that further amplifies excitement for their music is their inventive approach to PR. I vividly recall ordering a copy of their demo CD, which included tracks from ‘Ang Nasa Dako Paroon’, and to my surprise, the package included a meticulously crafted autopsy report. I have since kept that piece of paper and plan to have it framed on my wall. Though I still feel tremendous regret for missing out on their limited release of blood-soaked Punebre shirts earlier this year, there’s always a reason to be excited for Punebre. -Nikolai Dineros
Irrevocable – Generational Curses
Emo and punk band Irrevocable further show their ability to make face melting songs in this new release. They talk more about family influences and touching tributes while letting the songs breathe more resulting in a more engaging and expanded dynamic sound that doesn’t overstay its welcome – in fact, making the listener want more. -Janlor Encarnacion
Oh, Flamingo – Pagtanda
The aging process offers a different perspective even to veteran bands of the music scene. Oh, Flamingo! takes a look at timeless topics such as love and loss but with the added perception of being able to look back. Coupled with the use of our native language, the band is able to process emotions in a more connected way while still being distinctly Flamingo-y. -Janlor Encarnacion
Toots – Jargon State
Toots’ debut depicts an expertly crafted adventure into self-discovery. The earnest vocals display a tenderness that contrasts with the loud-soft contrast of each song – showing a wild journey both lyricism and soundscape. This is an indie-rock/folk EP that deserves multiple listens. -Janlor Encarnacion
Precal Dropouts – Little One, Travel Far
Davao alternative rock and shoegaze crossover outfit Precal Dropouts have indeed traveled far and wide in their long awaited debut EP. The charmed life of Gavin, Jan Mark, Ben, Neilcon and Dee has been incredibly eventful. Singing about their gardens, dinosaurs and tidal waves, their sentimentality has reached from the Manila shores to the third floor of Suazo in their hometown. The project is a welcome gift for all new and old fans of the genre, servicing the classic tropes and new offerings of its sonic choices. Wherever you go, there’s a journey worth taking and that is listening to “Little One, Travel Far”. -Elijah P.
DJ Love – Budots World
Budots World is a compilation consisting of the dance genre “budots” in its different mutations, variations and traditional production style performed by different producers all over the country. It was an effort to unite all producers locally and thankfully Manila Community Radio were able to make the pioneering producer DJ LOVE’s dreams come true in this project. “Budots World” has a diverse selection and interpretations, resulting into 100 percent organic and pouring in 200 percent bust-a-groove energy. This is a mix that you shouldn’t pass on. -Elijah P.
Promote Violence – Joyful
There are two different listening experiences to Promote Violence’s “Joyful”: one is hearing multiple synth screeches and feedback resulting into a cathartic release; The other is a story of how religious Fundamentalist approaches can break a human into two. Despite all the realistic horrors of one group, PV’s confrontational nature is a sound to behold. After hearing the aggressive, therapeutic vocal delivery and its abrasive electronic/noisy production, this emotional release can potentially open many eyes of those who experienced the same pain of their oppressors. And that is why “Joyful” is a must listen for many, religious or not. It’s one hell of a story to hear and a warning sign to all followers out there. -Elijah P.
Goon Lagoon – Rocket Peace
‘Rocket Peace’ is the project that etched Goon Lagoon’s identity as a full-on grunge band. In this record, the band touches on the chaotic brilliance of their earlier work and painted them on a larger canvas. Marked by in-your-face tracks like ‘Down the Drain’ and ‘Pocket Grease’, Goon Lagoon is shaping up to be one of Elev8 Me L8r’s most intense groups to date. -Nikolai Dineros
ONE CLICK STRAIGHT – s/t
ONE CLICK STRAIGHT unleashes a wave of irresistibly catchy indie-pop tunes in their self-titled debut album, hitting the mark with tracks like ‘MRT,’ ‘Dahan-Dahan,’ ‘Synecdoche,’ ‘untitled 02,’ and ‘Hahayaan.’ This eponymous release marks the start of their stylistic evolution, capturing their affection for post-punk while deviating from the genre’s melancholic tendencies. The band’s success is intertwined with the younger generation’s embrace of gothic sensibilities in music and fashion, evident in their adolescent fan base driving a new emo takeover. While some aspects of their songwriting might need ironing out, tackling uplifting music with heavy influences from rock’s more depressive subgenres is already an ambitious feat, which they pulled off with their hits, and their impact on this new wave of show-goers is undeniable. They may be clad in all-black garments and covered in dark eyeliners, but if you happen to go to one of their live shows, you’re in for a party. -Nikoai Dineros
ALYSON – Definitely! Love!
Ateneo’s most charming quintet makes a triumphant return with their album ‘Definitely Love!’ after a long break following the release of their eponymous debut EP. Clad in matching beige suits with their newfound love for the city pop genre, ALYSON shines a light on the rather depressing cityscapes of Metro Manila, showcasing more brass work in a valiant attempt to overpower the seemingly insurmountable cacophonies of car horns and car engines during EDSA’s Friday rush hour traffic. It does not take much to get the idea; just listen to ‘Underpass’! ‘Definitely Love!’ is exactly what its title suggests, and ALYSON perfectly delivers the whole message with all the small bits one would either find cute or cringe-worthy, all packed into one Japan-pressed eight-track album to listen to while stuck in the suffocating hell of city traffic with the knowledge that there’s someone you will come home to. So, no place for cynics here! -Nikolai Dineros
bird. – oshin
When you sleepwalk, you feel like you’re surfboarding across the waves; timing is essential and going with the flow is strategic. Sometimes it’s okay to embrace the fact that bird. made a “surf rock” album for people who wanted to relive those sandy beaches while listening to “Teen Dream” and a little bit of Real Estate. The tracks have rhythm among the bevy of noise. The vocals carry a lot of emotional weight in spite of its husky delivery. Their own brand of dreampop genre is kept sacred and celebrated in their sanctuary. The band has brought it to life from front to back in “oshin”. -Elijah P.
Noa Mal – Suspended Animation
Noa Mal continues her multiple-release streak with her recent four releases that reflect Noa Mal’s diversion in darting varied sonic palettes and songwriting themes. However, out of the four projects, ‘Suspended Animation’ remains supreme. A pivot towards languid, softer soundscapes saturates Noa Mal’s expressions of feeling blue as she replaces a lot of her usual grunge elements with drum machines, hazy synths, and tranquil pianos. It leads to ‘Suspended Animation’ ending up as Noa Mal’s refreshing projects to date, where within suspended stillness, the disillusioned numbness becomes more noticeable and upfront. -Louis Pelingen
Jason Dhakal – BEING
The three years of growth after Jason Dhakal’s debut project have allowed him to compile his confidence in his sophomore album ‘BEING’, where the development in his artistic presence finally allows him to find comfort and joy in his poised self. That sense of grace manifests further with Lustbass’ set of warm, luxuriant production with beds of pianos and horns that complement the well-composed low-end instrumentation. An improvement on all fronts and so much more, ‘BEING’ represents Jason Dhakal’s newfound embrace of his growth, now able to be an inviting romantic in his alluring aura. -Louis Pelingen
5. Gibraltar – Promo Release
Hardcore veterans of GIBRALTAR are ending 2023 on an explosive note with their Promo 2023 release under Still Ill Records, arguably one of the best labels in the Philippines today, and a series of live shows across the country to promote the said release. Promo 2023 opens up with ‘Novena’, a haunting prayer vigil reminiscent of Bystorm’s opener to their ‘sumalangitnawa’ (also under Still Ill Records) aptly titled ‘Unang Pagbasa’, before dropping fire after fire with intense ferocity. There’s no breathing room from here on out, as GIBRALTAR clobbers you with some of the most extreme hardcore tracks this year, including ‘The Strongest Weapon’, ‘Jagannath’ and ‘Hissing Cross’, so you best have said your prayers at ‘Novena’. The closest you’ll get to a break is ‘Rondalla’, but the record’s almost through at that point. -Nikolai Dineros
Kindred – Subset
‘Subset’ is the debut mixtape from the boyband Kindred that spills forth numerous rays of color ever since they put out their lead single last year. Despite the different musical flair and origin points of Kindred’s members, ‘subset’ is an impressive body of work that taps all of their brimming light into a single colorful holistic wavelength, deeply immersing their styles of OPM, R&B, and Hip-Hop into one jubilant package. Helped further by Kindred’s embrace of their connections and influences from past and present, ‘subset’ carves out the exciting routes OPM can lead into the future, a future that’s joyous to see for eccentric artists like Kindred thrive even more. -Louis Pelingen
The General Strike – s/t
The General Strike’s debut album has everything you need to hear in a local blues album – harmonicas, anthems about the current struggles from all sectors and a powerful vocal presence that’s exceeded expectations beyond the seas, mountains and streets. Stories of a blue-collar worker’s strife are delivered truthfully, the necessary action of calling for justice, farmer’s rights and land reform using the local tongue will stand as an eternal symbol of equality and worker’s rights. -Janlor Encarnacion
Limbs – Everything Under Heaven
Limbs unleashes a colossal musical journey that transcends their screamo roots in this full-length release, ‘Everything Under Heaven’. This Manila-based hardcore band skillfully navigates punk’s diverse umbrella, blending electronic fusions harmoniously with the album’s kaiju motif. Beyond its musical intricacies, ‘Everything Under Heaven’ addresses mass injustices in the Philippines, shedding light on human rights violations and state-induced terror in rural areas. With contributions from artists like Jem Gallardo of Pry fame and rap duo switchbxtch, ‘Everything Under Heaven’ stands as an enormous, politically charged work urging listeners to confront uncomfortable truths and join the movement for change. -Nikolai Dineros
The Purest Blue – All is True
‘All Is True’ explores nostalgia’s encompassing feelings, one compressed in a dollhouse one could barely make out in their nostalgic childhood. The Purest Blue builds her own experience of this reminiscing journey through painted layers of shoegaze and dream pop foundations with mixing assistance from Jared Lim that makes the compositions crisp and bright overall.
‘All Is True’ is also poignant in musing through The Purest Blue’s reflection of her past, feeling all the torrent of joyous highs and painful lows from those moments yet finding the truth within to pave her peaceful path that keeps those memories with her late father resonate even stronger. It’s easy to write off nostalgia through a rose-colored lens, but ‘All Is True’ shatters that through a closer look at warm and melancholic moments of love and loss that will eventually lead the way to a moving conclusion where the memories from people will be cherished closer than ever, a good luck charm as we embrace a tender kindness in our lives. -Louis Pelingen
Thank you so much for supporting TFL throughout the year 2023, folks! Stay tuned for more updates on reviews, shows and many more!
Every year, something monumental happens in the music scene, whether it would be an army of alt-kids taking over a mall show, a rapper taking over the country by storm on Tiktok or a DIY venue at the verge of crumbling after two shoegaze bands. Genres have multiplied into bubbles, ecosystems emerge as newer venues from the highways of Cavite to the driveway of a basement at a Chinese restaurant. There’s a steady scene rising, amplifying louder one year after the other: 2023 is a year where those highlights have made made an impact beyond NCR.
From Luzon, Visayas to Mindanao, we present to you a yearly tradition that the editorial team would always prepare themselves for; Not just because it’s the task that’s daunting, but it’s the journey and the result of 11 months of scouring the internet and gigs for the best of Filipino music. Here it is, The 23 Filipino Tracks of 2023.
23. P4BL0 – baka magalit mf mo
In the “18 Commandments of the Boybestfriend”, there’s unnecessary fluff written along those ridiculous rules. However, P4bl0’s “baka magalit boyfriend mo” has this lasting effect delivered by its cloud-9 like production, ultimately writing one of the best pop hooks in the game now. It hasn’t been written on the scribes nor the tablets that South Metro Manila regular P4Bl0 made a banger track tailor made for the rebounds. Whether it’s the wacky gimmick of BBF/GBFs or the semi-ironic execution, P4bl0 has proven and tested that the undying concept of love and yearning can be done in a dreamy cloud-rap fashion. -Elijah P.
22. O Side Mafia – My Thang
It’s been an endless streak of hit singles for O $ide Mafia despite the lackluster collaborations and disputes between territorial beef and fan leaks; “My Thang” is a victorious reaction to all of the success outweighing all of the group’s cons in the game. The simple old-school 2000s G-Funk influenced synths, the satisfying braggadacio three-verse combo and the killer hook is an all-time career highlight for the group and they just stay winning while all the haters watch. -Elijah P.
KRNA – Dream Again
KRNA expand on their infectious sound by expanding their soundscapes to include reverse guitar samples while pairing back on KCs vocal strength. The single shows the band’s mastery of making heartwarming music and a story of yearning that feels like a warm embrace being whispered while in a slumber. -Janlor Encarnacion
Armi Millare – Roots
Armi Millare announced her return to the music scene with a dissonant pop single – taking the time to show her own prowess in music creation with a tune leaning towards more pop and r&b. Roots signals the metamorphosis and re-emergence of OPMs signature voices and we can’t wait for more. -Janlor Encarnacion
Suyen – Sonic Tonic
‘Sonic Tonic’ is the long-anticipated debut that charges Suyen’s magnetic presence amidst the fray of fringed pop rock, a bottle of riot grrl and grunge blends where Suyen just sounds high-spirited in her craving for that adrenaline rush. Sam Marquez’s production is impeccable in bringing the heatwave atmosphere to ‘Sonic Tonic’, where the already remarkable chugging riffs and splashy drum work are vibrant and immense. Enough to keep everyone cheering along the soaring hook, ‘Sonic Tonic’ is a striking first cut from Suyen who is never afraid to jump first into action, letting her do anything to reach a gratifying emotion that will keep her feel alive. -Louis Pelingen
ASIDE BOONDOCKS – SOUFSIDE
‘SOUFSIDE’ is a meteoric statement from the Cebu Hip-Hop collective ASIDE BOONDOCKS as they erupted through the scene with their tastes for boom bap and hardcore hip-hop. Flagrant in their hyperbolic expressiveness, that ecstatic flair allows each of their distinct flows to tumble through the stirring hypnotic beat that has a quirk of its own due to its swaggering bass lines and buzzy synth waves. ‘SOUFSIDE’ stamps a mark that will break further ground for the Odd Future-inspired Hardcore Hip-Hop ASIDE BOONDOCKS are leaning towards, where they’ll spark an explosion that you can’t help but feel its heat. -Louis Pelingen
Waiian ft. Yorko, U-Pistol – SMILE
With Waiian’s recent return for his sophomore album, ‘SMILE’ is a track that has a familiar thematic trudge from this rapper who has a lot more to observe past his 2020 debut. In this pensive reflection on the mortality and bullshit of life, Waiian invites Yorko and U-Pistol to pen down their emotions on the table amidst a relaxed boom-bap beat and calming piano lines. As a result of that writing session, ‘SMILE’ ended up being Waiian’s best song to date where the melodies are tight and catchy on all quarters from Waiian and Co. No wonder that ‘SMILE’ is one of the lead singles for Waiian’s recent project for a reason, as it’s a respite that brings a gentle smile on constant repeat. -Louis Pelingen
16. PETTE SHABU – Bulbulin Ka Na
As PETTE SHABU goes deeper into her experimental rap tapestry with every track she puts out, her transgressive lyricism and ferocious flows become more sharper. That in itself eventually led her to release dozens of challenging sonic bangers in 2023, with ‘Bulbulin Ka Na’ bringing the most sting out of her thus far. Through every whirling wordplay PETTE SHABU spits out, her flow turns impenetrable as PETTE SHABU confidently carries herself within horseboyy’s dense glitchy beat. ‘Bulbulin ka na’ is a bulldozer that keeps PETTE SHABU in control of her agency, lashing down everyone who comes for her without shame. -Louis Pelingen
Pikunin – Tadhana
The dizzying hyper-pop artist known as AHJU$$I may have retired from that moniker, but his rebirth as Pikunin has those old bits and pieces intact, now ribboned with UK Garage rhythms and ticklish vocal flair. These characteristics manifest through Pikunin’s debut track, ‘Tadhana’, using Armi Mallare’s cooing vocals as the Jersey club beat tiptoes around it which also serves to be a bouncy springboard for Pikunin’s chirpy vocals and twee lyricism. Starry-eyed in nostalgia with a modern touch, Pikunin spins a refreshing take on the classic song that updates his eccentric brand of pop with gleeful yearning. -Louis Pelingen
Ronan – Insomnia ft. SHUICHI
Out of the few tracks that Ronan has put out this year, the tweaked version of ‘Insomnia’ is his most compelling release thus far. With additional robust instrumentation, polished production, and shattering performances from both Ronan and Shuichi, ‘Insomnia’ blooms into something fully formed and representative of Ronan’s breakthrough within this psychedelic R&B niche. Ronan’s cover of ‘Kailan’ might be the seed that takes a peek at what he can bring, but ‘Insomnia’ is the one that emerges into the surface, unfolding into a jaw-dropping track as a result. -Louis Pelingen
Salem and the Stellar Cats – Reflections After Salem
There’s spoken word about the local bands you’re with, some moments you just crave the halal patir in your neighborhood, and sometimes you just can’t resist calling your pet cat out of overwhelming emotional bonding. In the phenomenal “Reflections After Salem”, living in a world after Salem is a reminder that everywhere you go is a dizzying world of love, companionship and overall chaos. There’s angular, punk-driven riffages, buildups that give off a bedroom pop glare and a voice of an artist just waiting for their pet cat to come home. It’s real and it’s genuine and we’re all for Salem and the Stellar Cats. -Elijah P.
Sica – Choosy
Greenhouse Records’ very own Sica remains to be one of those rappers that personifies the “no fucks” attitude. We’re all aware that words in the verse are to live by one hundred percent. Regardless of how much material he’s released in the past to the present, “Choosy” is a centerpiece to all slices of life. Looming over the nocturnal production like its Gotham City, Sica’s got what it takes to be on point wherever he goes and whatever beat he chooses to hop on. It’s Sica effortlessly bringing the attitude adjustment and we’re here witnessing its greatness unfold. -Elijah P.
Demi ft. Madman Stan – homebdy
The heavy hitters from newcomers have been abundant throughout the year 2023, especially for the realm of r&b, and it’s no surprise that the new breed like DEMI brought the heavy rotation from dusk till dawn on “homebdy”. Carrying the verse behind his back, Madman Stan converses with DEMI like a natural while the latter clemently speaks over the sensual flute samples like it’s the final countdown of the evening. The track almost feels cinematic at points, but there’s appeal to its short-but-sweet length and that alone is a reason as to why it’s an earworm to many throughout the year. -Elijah P.
Cat Boy Jeepney Drivers – Unsint a Message
Labeling themselves as the premiere “buko pie and sisig pretty boys” on the internet, Cat Boy Jeepney Drivers champions everything about the current “isms” of love, online and momentary relapsing in “Unsint A Message” – a revelatory dream-pop r&b bop that transcends digital bodies into the love letters of that never was. Serenaded by resident shyboys Neytan & Areli, “Unsint a Message” is proof that geographical distance can’t stop both artists expressing their sincere riverbed of feelings in one track, whether done in copious amounts of reverb or harmonious autotuned textures. Cat Boy Jeepney Drivers might as well take their stylish sentimentality throughout 2024. -Elijah P.
Rhodessa – Kisame
The “harhar vocalist” movement was dying, and singer-songwriter Rhodessa has resuscitated the genre in ways you would never expect. On paper, it’s a style that’s been on the forefront for the more tender crowd. Nonetheless, the neophyte took those cliches up a notch, creating a new category of herself in the long run. Coming out of nowhere pre-”Kisame”, Rhodessa bursted out of the scene with the track alongside its comforting vocal delivery. It’s a sonic manifestation of a daydream, optimism shot across the heavens and ultimately landing perfectly albeit the pleasantly, gentle pacing. -Elijah P.
Japanese Surplus – Lovespring
The one liner “Will I still love you in the spring?” are like dart shots to the chest; Questioning seasons and time changing, newcomer Japanese Surplus put local songwriters on a chokehold in breakthrough track “Lovespring”. In the pile of Marlboro blues, pale ribbons and sad Notes app messages for the self, underneath those knick knacks is a gem waiting to be found. Soundcloud has done it again being the prime app for the underground and it goes to show that acts like Japanese Surplus are one of those promising flock of young singer-songwriters today. -Elijah P.
Toneejay – Parang Magic
Pasig’s rising folk-pop star, Toneejay, departs from his earlier sound as he unveils one of his two hits in 2023, ‘Parang Magic.’ True to its title, Toneejay impresses with a more vibrant and earnest version of himself, using just the bare essentials. What made this transition work for Toneejay was his knack for fundamentals in songwriting and production. Gone are the days of navigating an entire soundboard, tweaking his channels left and right in search of that squeaky-clean setup that would make for his trademark sound. With the simplicity of well-crafted musical elements, minimal EQ work in post, and heartfelt lyricism to boot, Toneejay adeptly navigates dynamic shifts, integrating pulsating bass lines and his signature falsettos. -Elijah P.
Showtime Official Club – Paligoy Ligoy
The year 2023 is the state where the 2010s Pinoy pop culture nostalgia has come full swing, with Showtime Official Club mainly unveiling that nostalgia through audio form with their run of tracks since late last year. Yet, ‘Paligoy Ligoy Remix’ is more than calling out nostalgia as it embraces the structure of a collaborative Budots DJ Mix, where each phase from four out of the nine Showtime Official Club DJs offers different tones and rhythms that are consistently bouncy and frenetic in their energy. The ‘Paligoy Ligoy Remix’ was a standout from the moment it was released, an essential cut from Showtime Official Club’s ridiculous goldmine of releases, and a bombastic echo that will eventually net the collective a deserving spot on Boiler Room alongside the DJ that influenced their sound in the first place: DJ Love. -Louis Pelingen
kyleaux, k1ko – gusto kita
Under the 25hearts collective is an assortment of young-fledged musicians who have been morphing their style for the past few years, one that eventually cultivated a following ever since. On ‘gusto kita’, kyleaux and k1ko under 25hearts show a step further in expanding their sonic stepping stones, where kyleaux’s flexible vocal lines fit nicely on k1ko’s shuffling 2-step production. Catchy as sin in so many ways, ‘gusto kita’ is yet another piece for 25hearts’ intrigue towards branching out their creative music mindsets. -Louis Pelingen
FEIFEI – Minato
Just when we thought hyperpop had already peaked and the whole Y2K comeback was just a fad, then comes Feifei with her banger ‘MINATO’, an Adderall-filled pop tune perfectly curated for potential success in the Gen Z crowd: internet vernacular hinging on the parasocial romance culture prevalent in online community hubs like Discord, and a pre-made sped-up version of the song. All that’s left for this song to go full circle is a TikTok video going viral with ‘MINATO’ in the background. -Nikolai Dineros
Hev Abi – WELCOME2DTQ
Welcome to downtown Quezon City, a place where no one coddles you, and everyone takes advantage of each other, ready to chew you up and spit you out if you don’t climb the ranks. In ‘WELCOME2DTQ’, Hev Abi invites you to Kyusi’s simulacrum of the larger Filipino hip-hop realm. In its 3-minute runtime, Hev Abi’s playful flows and on-the-mic persona vividly describe his beloved turf, perfectly encapsulating the relentless competition among hustlers in the streets of Metro Manila. It’s a warzone of individuals who refuse to be lorded over, fighting fiercely for their image. If you’re just a rookie around these parts, know that at the top of the food chain is Hev Abi. -Nikolai Dineros
cheeky things – korean blackout curtains 7ft. (1pc, not set)
The effects of local underground music’s biggest watershed moment in the last couple of years have finally come to a boiling point with the arrival of cheeky things and the release of their standout track ‘korean blackout curtains 7ft (1pc, not set)’, signaling a full-scale takeover of the post-lockdown indie zeitgeist. Heavily inspired by the cult-favorite indie rock band Duster with a dash of The Smashing Pumpkins spice, ‘korean blackout curtains 7ft (1pc, not set)’ can be heard from small crowded venues in the peripheries of Metro Manila’s local music hubs to the Spotify playlists of a particular wave of Filipino adolescents embracing gig culture, inundated by the ways of arthouse films, shoegaze, Roman empires, and German philosophers. No one expected this young band, let alone a demo version of their song to be this big, but we are here for it. -Nikolai Dineros
RB Slatt – Pahna
When we first caught wind of RB Slatt through his collab track ‘Lasing Na Naman’ with fellow rapper Eros Rhodes, and later on, his single ‘TAHLA’, we knew this guy was on to something. Enter his breakout song, ‘PAHNA’, a melting pot of a remix of ‘One Way’ by Autumn! broken down to its atomic structure before being molded into an entirely different creature, one that is superior to the original.
Much like his courage to show emotional vulnerability in the song, RB Slatt does not shy away from taking creative risks, constantly challenging the limits of what can be considered ‘palatable’ to the common listener’s taste, while simultaneously proving through his growing success that there is a place for the eclectic style of internet cloud rap in the larger rap game obsessed with empty bravado and tried-and-tested trends in production. -Nikolai Dineros
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Amidst the up-and-coming music collectives putting their marks this year with exciting sonic palettes on their sleeves, KINDRED stands alongside them with the utmost glee. The eight-member boyband that, based on their singles, music videos, and live performances alone, the remarkable quality shines through immediately with how much they work together as a group, able to plug into a focused and genuinely exciting alternative sonic palette despite each member’s own brand of creative flair and perspective. It’s a tangible connection that eventually manifests through ‘Subset’, their debut mixtape being worked on in the oven for around 3 years.
‘Subset’ is a fitting title for the stacked tracklist on display, a mixtape that showcases a glorious array of OPM and Boyband material meshed in with UK Garage, Breakbeat, Alternative R&B, and so much more. Within the 15-track hour-long length of the mixtape, KINDRED’s ability to create joyous eccentricities is surprisingly consistent all throughout, allowing their experiments and flashy energy to easily let the melodies snap brightly, highlighting the boyband’s strength to focus as a unit even more. Just like the singles leading up to this project, the deep cuts are just as colorful and robust. The jersey club bounce of ‘KZONE’, the drum and bass beat leading into that stomping bass rumble on ‘Losing U’, the atmospheric bass knocks of ‘Afterglow’, and the one-two punch of ‘L Punch’ and ‘R Punch’ where the former’s electrifying guitar passages transitions to the latter’s calmer yet nevertheless sticky melodic flows are continuous instances of that creative flair popping away into exciting territory.
The word ‘connections’ is something the boyband emphasized deeply in this project, not just on the romantic relationships that are filled with tender passion and sincere yearning, but also on the inspirations that led them to where they are right now and the bonds that they’ve made and cherished within their own group. ‘Megastar – Interlude’ is one of the two touching examples of this, where Sharon Cuneta questions her stardom that will inevitably fade as she observes her friends getting weary. Yet, she knows that the younger generation like KINDRED will play those old tunes, a message that’s executed dearly with KINDRED harmonizing beautifully with Sharon at the end. ‘Ligaw’ is the other example that speaks of the boyband’s sparkling synergy. Harking to the retro boyband sound where their vocal harmonies harness a sense of grace to that era, a dedication to that past as KINDRED glides towards the future with their bonds, their inspirations, and their relationships moving them further into something worth clinging on.
With the dynamic swerves on display, KINDRED within their creative stronghold not only redefines the concept of a boyband where their bonds allow them to create such magnificent tunes all on their own control but perhaps even open up a new arc for what OPM can head into; infusion of genres that makes for a rejuvenating experience for both the artist and the audience. With the rise of interest towards certain dance-focused electronic genres in the local scene, ‘Subset’ does feel like a celebration of past influences mixed in with contemporary sonic landscapes that brim with a prismatic quality. Perhaps prismatic is the best word to describe the project, with each member’s bright light collectively scattering through different directions, they become varied colors that spark individually yet gleam together as one.
There’s a lot to process in “Jargon State” – the debut EP of alternative-rock and indie-folk solo act Toots. For listeners, this may sound like the typical coming-of-age project in the form of a Donnie Darko-inspired backdrop. For Toots, it’s not easy being green; He embraces his own worth, the age that he’s in, and the surroundings that engulf the sonic palette throughout the EP as well. It’s as rewarding as it is an adventure to course through. “Jargon State” is a five-track debut EP worth keeping.
Written and recorded during the periodic times of searching for himself in a strong emotional tidal wave; it’s either during the search for a peace of mind or wrestling against a bigger force. But in “Jargon State”, Toots has proven himself lyrically otherwise that it’s okay to let things sit, gradually waiting for the storm to turn into a calmer state of mind. From the alienation themes of closer “Jargon State” to the angsty dissatisfaction of the stellar opener of “Fall”, there’s a lot to pick up in terms of production and instrumental choices in this project. In “Hide and Seek”, the loud-quiet-loud dynamic has found a perfect balance; Acoustic guitars morphing into a heavier, more robust electric guitar. In “Memory is a Trap”, you have the intensifying yet gentle accompaniment of the protagonist’s vocals and his trusty guitar, “Shell” and its pop structure make you lift your spirits at an all time high. Toots’ varying levels of vocal delivery are the obvious highlights through and through. But on the surface level, the relationship between the instrument and the artist are its greatest assets in “Jargon State”.
As you listen to the EP more, you’ll start to notice that he has triumphantly submitted several acts of catharsis whether it would be distorted vocals, plucked sections of intimacy and synths weaving across a verse filled with several trains of thoughts.
“Jargon State” has all whatever variables of intimacy you can find in an indie-rock record. There’s vulnerability than there is shattering, off-putting states of emotion. A resolution with a fine-tuned ending. A heroes’ redemption arc with the added human, adulting themes. Carved like Ben Gibbard but determined like a Built to Spill narrator, Toots is in his own league in his debut outing.
Davao’s premiere hip-hop group PLAYERTWO is aiming to take over the Southeast Asian scene with their visceral take on the genre. They seemingly have the complete package of a unit: hooks that go on for days, a virtuoso mix of producers and rappers trading bar after every beat switch and a chemistry that is to die for.
They’ve eventually landed themselves in a major label deal, marketing the group wherever they go in the country. Shortly after the release of the massively successful “That’s My Baby”, the group eventually went on to release an album; assume that it’s the first installment of a series of albums that’s reminiscent of the Saturation Trilogy by then hip-hop group BROCKHAMPTON – who also popularized the modern-day “boyband” formula in the West.
But back here, we’ve witnessed a sea change of rap groups following this model from Manila to Pampanga to way South in Davao City. It’s a phenomenon that hasn’t fizzled out yet. In “HAPPY ACCIDENTS VOL. 1”, the group doubles down in the dynamic, following through what seems to be a long-term plan devised by PLAYERTWO themselves.
“HAPPY ACCIDENTS VOL. 1” is a decent effort at showing what it means to be a “boyband” in 2023. With members Ivo Impreso, Luke April, Wave P and creative directors Ven Villariza and DJ PUHKEN serving a plate of hooks and bars, there are slight hiccups involved throughout the entire project. The distinct rapping style of Wave P is noticeably more charming than the rest of the group, making him consistently standout wherever the group lays the smackdown. But if listeners would notice as time passes, biases form: Wave P might be the only member sticking out in terms of writing clever verses and learning how to stick out melodically.
In tracks like “THINKIN OF LOVE” and “TIKTIKTOKIN,” Ivo Impreso and Luke April got what it takes to follow up Wave P’s verses, but it oftentimes come out short in the long run. Sometimes, it comes off as confusing whether or not who is rapping in the verse. Funnily enough, listeners might even mistake that two verses may be one rapper all along In the smash hit single “THAT’S MY BABY” Wave P’s bridge instantly comes out as a highlight in the entire album. Beating the rest of the two verses that came before it. This is a case of hard carrying rather than it being a group effort.
However, production-wise Ivo and Luke’s production has surpassed everyone’s expectations. In “SHOWER MUSIC”, there’s a percussive instrumental pattern, almost experimental if you listen hard enough, that is far beyond the conventional instrumentations from the rest of the album. “HAPPY ACCIDENTS VOL. 1” is an installment that shows promise of the group. It’s a project that is a rap showcase rather than a project being a separate body of conceptual work. It can function as a body of work on its own, but sometimes its quality becomes unbalanced due to the lack of cohesion and order. Hence, the album being a battle of verses rather than a team effort. PLAYERTWO shouldn’t be just a “PLAYERONE” in most cases.
‘Massive’ would be an understatement to describe this album.
“Everything Under Heaven” marks the third full-length release of the Manila-based Limbs, and it is perhaps their most colossal musical outing yet.
Like a steel Eldritch creature you cannot look away from, “Everything Under Heaven” is a record that dwells from the underground to cast its shadow upon all that sit carefree in their comfortable abode to shine light on truths less realized by many unaccustomed to violence.
From the album art itself, the band, with their fellow ARPAK artist Mikhail Collado helping them bring their vision to life, depicts a backdrop of an urban locale entrenched in war. Dilapidated interchanges that surpass people in height, silhouettes of mech robots built for war pulled straight from a sci-fi movie towering over all they trudge their path on.
Whether it was by intention or sheer coincidence, Limbs was going for something grand on this album that even the title hints at (their use of giant robots to illustrate this is sheer ingenuity), and the music that comes with its packaging delivers some of the best hardcore pieces of the year so far.
Originally branding themselves as a screamo band, Limbs’ “Everything Under Heaven” feels more like a mini compendium of the wider punk umbrella than a one-note act. There is something for everybody, and the way the band incorporated these different elements is commendable.
Breakdowns come from every which way, complex drum fills fly at break-neck speed, distortions come in full force. It is the rawness of hardcore you would come to expect going into this record, and more. Whether it’s the balls-to-the-walls skramz of “Transactional Rifle”, or the restrained chaos of “Metropolis of Salt,” or the multi-sectioned odyssey that is the title track, there is always a method to their madness.
Meanwhile, there are moments of ambient and electronic music thrown across the album as the band exhibits their capabilities as producers, sometimes to complement the guitar-driven sections, sometimes to go along with the loudness of a song, and sometimes to be its own thing (“Second Survivor” comes to mind).
Also worth noting are the contributions other artists have made to this album. Pry’s Jem Gallardo makes a major appearance in “Metropolis of Salt” as a co-writer and vocalist. switchbxtch, also known for releasing protest music, especially during the pandemic, also lent a hand.
Now I would be remiss to write about “Everything Under Heaven” and not discuss the themes the band explored in the album — rather, the stories the album was built around.
“Everything Under Heaven” is centered around the mass injustices of the Philippine government on the poor, spanning many faces of human rights violations and terror-induced state formation in rural parts of the country. It is the underlying, horrifying truth the band tries to bring forth to its listeners. “Metropolis of Salt”, for one, outlines a gruesome image of starvation faced by the poor in the midst of a violent clash with the state’s forces. The single “Hope Belligerent” is more specific with its narrative as it explores the Tinang 83 incident in chilling detail.
True to their roots as activists and members of ARPAK, Limbs outwardly express their disdain towards the state and its forces, whether clad in blue or green. Using their art as a conduit, the band not only wishes to bring awareness to the people, but encourages everyone to break free from all moral restraints and share the same burning spite.
Like a steel Eldritch creature you cannot look away from, “Everything Under Heaven” is enormous in scale and in essence. It is packed with collaborations, a bevy of musical influences, and songs that will leave you dizzy from all the headbanging you’ll end up doing. Its enormity is ever-so-present in its packaging. But looking past the exterior, you’d inevitably come across the horrors it eagerly wants to tell you. You either look away, or you face them and do your part in this movement for change and for justice.
Local artists need to straddle between genres more often. It opens a door for many to experiment, find their voice in the noise and maybe even conjure up a new sound that nobody has ever heard before. But there’s a risk in being too odd. It may also lose your sense of identity, playing with more inconsistencies than sticking to a uniform, realized sonic palette. However, singer-songwriter Oz Kabuhat defies those odds in “I Would.”
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Starting out in the electronic/pop realm in their earlier releases, MINT’s own Kabuhat goes beyond the grain in making formulaic pop music. Instead, “I Would” grows apart from its humble beginnings. Synthesizing layers of electronica over crispy snare and kick drums and capitalizing on falsettos that could run for days. There’s gold hiding in the sparse, more subtle moments of the track, but Oz doesn’t settle for less. He settles in maximizing in writing the most bitter-sweet sounding melodies ever known. “I Would” is a track that no one should sleep on.
