Written by Elijah P. When the buzzing synths mimic analog guitar riffs or a drum machine slices through autotuned wails of teenage yearning, you know you’re inside mako badco’s world. On ‘songs from a time,’ that world feels like an endless internet feed—chaotic, messy, oddly moving. It’s the sound of a keyboard tumbling into infinite melodies, sometimes colliding, sometimes euphoric, always glued together by curiosity and instinct. The project first surfaced in the algorithmic haze of SoundCloud, buried among my recommendations, but what sets it apart is how addictive it becomes once you tune in. mako badco pulls from trance, indietronica, and experimental hip-hop in the vein of Evanora Unlimited, underscores, and deer park, yet reshapes those influences into something less polished but more personal. Across its quick 19 minutes, ‘songs from a time’ offers surprising range within its lo-fi haze. “someone real,” featuring ivy2k, pairs glitchy crooning with a cracked emotional pulse. “offline!” veers toward overt sentimentality, a yearning for connection in a world that never seems to log out. The highlight, “relieve me of…,” leans on low-pass breakbeats and submerged atmospherics, hitting hard without overstaying its welcome. Each track feels like a fragment pulled from an endless scroll, but together they form a snapshot of what it’s like to be young, wired-in, and searching. If the project falters, it’s in its looseness—songs sometimes drift without resolution, melodies threaten to evaporate before fully landing. But the imperfection is part of the charm. In between the buzzing synths and cracked vocals is a clear voice brimming with earnestness and restless ambition. It may not yet be fully formed, but ‘songs from a time’ makes one thing clear: mako badco has potential worth watching, grain, noise, and all. Support the art & the artist:
Tag: Elijah P.
ALBUM REVIEW: Supafly — GRA GRA GC10SHEEP
Written by Elijah P. Greenhouse Records has never been short on rappers—the kind who call themselves “young stunnas” with a straight face, or the ones who treat head-to-toe blue as a genuine lifestyle rather than a fashion choice. Some are punchlines, others are bullet magnets, but Supafly? He’s built differently. Or at least that’s the idea. His latest album, GRA GRA GC10SHEEP, positions itself as a victory lap following 2022’s BAKASAKALI and his collaboration album with Because, but three years is a long time in rap, and Greenhouse’s rise—marked by block parties, barangay SK gigs, and a UP Fair slot—hasn’t necessarily sharpened Supafly’s edge. If anything, it’s left him leaning on a crew that’s more crutch than cavalry. Tracks like “LOOT” (featuring Hellmerry) and “Batista Bomb” stand out precisely because they’re among the few where Supafly doesn’t drown in guest verses. There’s a swagger here that doesn’t require a posse to prop it up—no filler, no dead space. But those moments are rare. Too often, GRA GRA GC10SHEEP feels like a relay race where nobody drops the baton, but nobody really sprints either. The album’s midsection is a revolving door of Greenhouse’s usual suspects: Gat Putch, Buddahbeads, Lexus, and Sica. Their verses don’t elevate each other; they congest the tracklisting from start to finish. On “AUTOFLY,” a hook that could’ve hit hard instead lands like an afterthought, buried under a testosterone pile-up. Worse, the production leans on references so blatant they border on parody. “SIZZURP” rides a Memphis bounce that’s less homage and more hand-me-down, while “BATISTA BOMB” nicks the skeletal menace of Travis Scott and Playboi Carti’s “FE!N” without adding anything new. When the album works, it’s despite itself. “LOOT,” “BALAGBAGAN,” and “DGHR” are chaotic in the best way; the kind of tracks where the energy feels live-wired, unpredictable, and hard-hitting production-wise. But this is supposed to be Supafly’s show, and GRA GRA GC10SHEEP rarely lets him own it. For a rapper who’s spent years carving out a name, this album oddly insists he’s just another face in the crowd. The irony? Greenhouse’s rise might’ve given him a bigger stage, but here, he’s still playing backup. Support the art and the artist:
EP REVIEW: jucu – tanging alaala
Written by Elijah P. Solo artist jucu doesn’t fake it. His latest EP, tanging alaala, plays like a memory dragged into the present—half-faded, half-reconstructed, but it doesn’t pretend to be authentic. The “distant memories” he sketches out aren’t framed through nostalgia but through the raw texture of alternative sounds. These are genres that doubled as both shelter and symptom during the post-pandemic ennui: post-punk, shoegaze, indie-folk, and other guitar-led corners of the scene. It’s a familiar palette for Gen Z’s genre-hopping musicians—the ones who aren’t afraid to twist the template and upload the results straight to the void (for this case, his expansive discography on his Soundcloud account). tanging alaala reads like a dare. It’s a direct translation: “only memory.” Obvious? Sure. But it works because jucu doesn’t try to cloak honesty in metaphor. The name is a low-hanging fruit, but sometimes, that’s where the sweetness is. From the opening tracks, “Insomnia” and “Salubong ng Ating Mata,” jucu shoves expectations aside; Drum machines sprint, and the acoustic riffs snap into reverb-heavy guitar washes. The production jolts, but it holds together. “Cookies and Cream,” the EP’s centerpiece, sprawls out at six minutes—a dangerous length for a young artist worth their salt in sticking to one sound—but jucu makes it land. The track meanders through hazy shoegaze into a kind of misted-over noise rock, his vocals ghostly, but it so happens to stay grounded throughout the entire thing. By the time “our love has faded away” hits, the emotional terrain feels more regional than imported, it is transformed into post-punk grown from local soil instead of borrowed from across the ponds of the revivalists of the North Americas (think Beat Happening, Surf Curse or even Voxtrot) or even the cloudy skies of the United Kingdom (think Cleaners from Venus, Joy Division or Young Marble Giants). No, tanging alaala doesn’t transcend genre—it doesn’t try to. And maybe that’s its biggest strength. jucu knows the blueprint and doesn’t flinch. He stays inside the frame but paints it with a sense of clarity most genre experimenters tend to blur. The textures, the pacing, the commitment to the mood: it’s all consistent. Maybe too consistent, whereas the conventions might act as a detriment if ever they choose to lessen the experimentation and continue to rely on these conventions heavily. There are moments in this EP that beg for rupture or surprise, but jucu plays it straight, showing that sometimes the best way to make a statement is to simply do the thing well. It’s not anything new, per se, but rather a refinement of the sound. There’s something real forming here—maybe even something worth sticking around for. tanging alaala diamond in the rough waiting to be discovered. SUPPORT THE ART & THE ARTIST:
TRACK REVIEW: zayALLCAPS – MTV’s Pimp My Ride
Written by Elijah P. It isn’t blatant nostalgia. In fact, it’s the opposite – almost a parody of it. But who’s counting? zayALLCAPS leans hard in between the College Dropout-era “Slow Jamz” and XXYYXX debut territory with his infectious single, “MTV’s Pimp My Ride.” The LA-to-Sacramento Fil-Am crooner-rapper hybrid dropped what could be part of a larger, era-defining compilation tape, but here, R&B gets stripped down to its barest parts. And in this standalone track, somehow it’s also his most cohesive single to date. This isn’t the smooth, synth-led sound of one-dimensional R&B. Instead, zayALLCAPS pulls from the raw textures of the early 2010s LA beat scene, delivering a jagged, off-kilter love letter to the genre. The track stacks harmony over harmony, layering falsetto and grit against pounding 808s that bend the shape of the song. It’s disorienting in the best way, warping the flow just enough to keep you leaning forward. But even as the production threatens to unravel, zayALLCAPS stays locked in vocally, anchoring every moment. “MTV’s Pimp My Ride” sticks. There’s a reason West Coast melodicism has lasted this long, and zayALLCAPS makes it clear he’s not letting go anytime soon. SUPPORT THE ART & THE ARTIST:
TRACK REVIEW: sumther – forget
Written by Elijah P. sumther’s latest track “forget” sounds like the best kind of house party—the one that spills from a cramped Tomas Morato club into school hallways and basketball courts, chasing sunrise with reckless abandon. Known for his intimate plugg experiments, the artist sheds his bedroom producer skin here, embracing a bigger, brasher sound that crackles with the energy of someone discovering their voice at just the right moment. Where his earlier Soundcloud loosies reveled in microgenre nuances, “forget” plays like a manifesto. sumther was trading pluggnb’s melancholy for a swaggering, synth-drenched anthem about moving on (but only after one last dance). The genius lies in its duality: it’s a breakup song disguised as a party starter, with lyrics that sting even as the 808s and the piano lines dare you not to move. The production expands his world beyond sub-bass corners. Snares and synths ricochet like sneakers on gym floors, melodies shimmer like spilled vodka under strobe lights, and sumther’s delivery—part-sung, part-rapped—carries the giddy exhaustion of someone who’s stayed up too late feeling everything at once. It’s a coming-of-age moment bottled in two-and-a-half minutes: proof that his knack for earworm hooks (that chorus lingers like next-day confetti in your hair) could propel him from niche favorite to undeniable mainstay. If this is sumther unchained, imagine what’s next. SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: Chinese Garden – In Hiding
Written by Elijah P. There is something spellbinding about Chinese Garden’s debut single, “In Hiding.” From the first note, the track pulls you into a world that’s haunting and hypnotic. The lead vocalist’s longing, almost yodeling runs are the centerpiece, weaving through a sonic landscape that feels both intimate and expansive. Twisted electronic textures flicker in the distance, while sparse, echoing instruments create a sense of unease. Meanwhile, the loud, fuzzy guitar in the foreground anchors the track, giving it a visceral edge. The band’s mellow arrangements and poetic syntax feel tailor-made for the yearning hearts and restless souls of “In Hiding.” The production teeters on the edge of collapse, like a glitching computer on the verge of melting—yet it never loses its grip. Instead, it adds a layer of unpredictability that makes “In Hiding” all the more compelling. Bright, shimmering guitar tones cut through the haze while the delays stretch into infinity, creating a dreamlike atmosphere that’s hard to shake off. “In Hiding” speaks a language that resonates with dive bar scenesters and acoustic purists who’ve embraced the digital age. It’s a track that defies easy categorization, drawing comparisons to Phoebe Bridgers and Snail Mail but ultimately carving out a sound entirely its own. By the time the song ends, it’s clear that Chinese Garden isn’t just another band in the indie crop—they’re a unique force that’s unafraid to blur the lines either from the organic and the electronic, the nostalgic and the futuristic. The track lives in between. Support the art & the artist:
MIXTAPE REVIEW: sobe – ICED OUT
Written by Elijah P. The year of 2024 has completed its axis around the sun. Galaxies have aligned to meet the greatest talents and achieve the biggest milestones ever reached. In the case of local music, it’s reached way over its quota. We’ve spent 365 days receiving or witnessing all the accolades and essays from last year’s highlights. From a land thousand miles away mind you, and they managed to catch our attention online. Like a buzzer beater of sorts, it’s a different kind of “plus aura” when you get to be under a listener’s radar for the rest of the year while still being incredibly talented in the same regard. Enter sobe: a Fil-Am musician based in Las Vegas showcasing both unhinged electronica and alternative r&b to the forefront. Their latest mixtape titled “ICED OUT” is as balls-to-the-wall and it is ferocious as it gets. Described as a “maximalist hip-hop tape”, it has quite literally everything an experimental music fan would hope for. Sugary production bitcrushing; hyperpop influenced breakdowns; downright chaotic squeals between pastiche producer tags, sobe has the entire music world on her shiny fingertips. However, this is more than a rager than most everyone would dismiss it to be. These soundscapes give more justice than it is credited for. sobe is out here counting these bands while the rest of her arsenal cooks up more glitch-hop mayhem one track after the other, linking together the bombast of rap mixtape sensibilities with the destructive ease of the crushing mallets landing right on your speaker monitors. Alchemy is in the works in “ICED OUT”. Highlights include overwhelming left turns such as “tiradores” and its blown out production: low pass filters, rattling hi-hats, and disorienting pitches; “4uuuu”, a self-professed ‘broke girl anthem’ while keys jangle in the backdrop of a big-room club banger. She showcases more than just plain lyrical braggadocio in between hosting her own mixtape, the entire project exceeds expectations past production flexing. sobe’s versatility in “ICED OUT” shines the brightest. In “wadditiss”, sobe contemplates on taking out bad exes and taunting on guys for not getting ‘hoes’ while scratches and revving subwoofers cry at the back; “tip” keeps up with sobe’s signature falsetto vocals – a slightly unorthodox approach that would make her lightyears away from most r&b copycats. It has that tongue-in-cheek quality yet bolsters in being earth-shattering. “break in 2” dabbles in pluggnb inspired synthwork, the flourishes include xylophones that patterns like a lullaby while choppy vocals poke in and out of the track. All in all, it’s safe to say that sobe is a proud kababayan making it in the underground of Las Vegas, riding ahead of the trend waves in rap and alternative r&b. Ultimately creating a lane that’s uniquely her own. And like her hometown, Sin City, she continues to break the rules in rap, and that also includes space, time and sound in “ICED OUT”. Support the art and the artist:
EP REVIEW: The Revisors – Salagubang
Written by Elijah P. The ‘90s alternative rock revival is in full swing, with Twosday channeling Britpop sensibilities, Panjia exuding youthful energy and charm, sci fye embracing grunge-era aesthetics, and The Revisors paying homage to the Eraserheads with their songwriting groove. But wait for just a second, this isn’t a dig nor a reductive statement to compare the neophytes to an already lionized four piece. In fact, they are different. “Salagubang” would beg to differ if it were to play the game. Their 5-track debut EP is worth taking into account. “Salagubang” has a bevy of tracks that aim to reminisce an era and at the same time add something new to the formula: flourishes of guitar noise in “Alina”, the mixture of sunshine pop and chaos in “Take My Hand” or the rambunctious yet wholesome demeanor of “OK Lang Yan”. – there’s so much to pick in terms of highlights. Keoni, Raco, Ninja and Zell add a lot to the table with juxtaposing sensibilities of powerful vocal melodicism and fuzzy textures that add so much personality to their arsenal. Nowadays, the music industry is filled to the brim with vocalists and bands that overstay their welcome in terms of falsetto vocals and slow intimate pacing to add some sort of dramatic yet lazy, ineffective attempts. However, the band in question did it with a fresh mind and a redecorated take on the cliches that come with the conventions of standard “OPM” singer-songwriter rock. And with the formula in mind, The Revisors played it to their advantage in “Salagubang”. There’s an entire scene waiting for them, and the current modern-day power pop/pop rock circus is in good hands with the quartet entering the fold. Support the art & the artist:
ALBUM REVIEW: Sica – GO SEE GOD
Written by Elijah P. On “Go See God”, Sica’s faith and love for the game are at a crossroads. Tip-toeing between fame, personal growth, the trust between family and their cohorts, and the community unfolding before his very eyes. At his expense, this is a result of Sica contemplating his own position as a family man, as a businessman and as a performer. It’s one responsibility after the other, ultimately leaving all the decision-making to the high almighty himself, the central figure of the entire project. “Go See God” sees itself trying to reach a higher state, quite literally reaching billboard status, where the hemispheres of heaven are at the reach of his fingertips. Resulting in a divine intervention of events that led him to where he is today. It’s a lot to absorb and you may find it anywhere in any hip-hop project. However, “Go See God” is different in the extent of the scene today – It doesn’t flex, it improves. It’s not just “chill” for the sake of a mood algorithm. It elevates the story to different heights. The production on the one hand carries heavily. It’s told through experiments of contemporary r&b, hypnotizing passages of phonk and psychedelia, and full band live setups: a full-length record where the sonic and production choices shine through. In previous releases, the Greenhouse Records and Kartellem affiliate has always stayed sonically dormant early on in his career. Bonus track closer “Opmat” featuring Waiian bookends and at the same time starts the album in a loop proving everyone wrong mood-wise. “Hue For Ya” was a colorful, icy-cold taste test, “Go See God” was the full course. Going by the monikers “Baby Blu” and “Prettyboypacino”, he lives the life with the chalice on the one hand and a hundred bands on the other, proving that living the fast life could lead you to the grave in “Intro”; “Bukas Pa” grooves in hopes for living another day; the title track “Go See God” rides through the clouds under the influence of phonk and a tasteful string section; “Young Stunna Inalude” eases its way in boom-bap; album highlights “Bad to the Bone” and “25 (Still Alive)” exemplifies the range of Sica’s crooning and strong hook game. After sitting 36 minutes throughout the dark of its after-hours, Sica hopes that everyone listening would be praying for his soul. He himself would testify that he isn’t alone in the journey at night. “Go See God” is a redemption arc in his story, this is an address to his younger self: “Hindi ako matakot mamatay/ Takot ako kung san ako pupunta/ But fuck it baby, we still alive/ At bahala na kung ako ang mauuna”. Support the art & the artist:
TRACK REVIEW: aunt robert – Mad
Written by Elijah P. Gabe Gomez, better known through their solo project aunt robert, explores indie rock and dream pop with a diaristic approach. Their Spotify bio emphasizes “I like writing short songs,” wholly embodying this sentiment by focusing on emotional depth rather than song length. In their latest single, “Mad,” Gomez is accompanied by a powerful wave of sonic textures—layered guitars and electronic swells of reverb—that create a walloping wall of sound. This sonic backdrop either ushers in a blissful catharsis or points to a bold new direction, moving away from their bedroom pop roots. “Mad” seeks to sound grandiose yet it remains grounded. It is a statement to the entirety of aunt robert’s material. The buildup in the track’s verses creates tension as aunt robert’s whispered vocals and the accompanying band build towards the chorus. The result is a peak that is both cathartic and a display of emotional unease. While it might may seem elementary to craft a song with both quiet and loud dynamics for some, the contemporary execution of these ideas makes “Mad” especially satisfying. The blend of uncompromising electronica, transcendental dream pop, and the innocence of singer-songwriter formulas comes together beautifully. aunt robert consistently delivered a powerful track, making it clear they know how to create something special. Support the art & the artist: