Written by Louis Pelingen After years of hosting in queer circles as well as frequently featuring on certain songs across other artists’ projects, Kumare Harvey’s debut single, ‘VILLAIN,’ is nothing short of astute. Across the neptunes-esque beat with burly guitars adding edge to his bars, Kumare Harvey lets everyone know first and foremost that he’s not one to be played around. He takes down those who try to talk shit and villainize him, but can only go so far as saying it online. He never softens down throughout; his attitude remains confident all across. Of course, it’s through Kumare Harvey’s performance that sells such a bombastic song, with a clear-cut delivery, an efficient flow, and a swaggering energy that struts with ease. His overall magnetic presence gives the song its glorious punches, especially to those who might try to pull him downwards and fail in miserable fashion. Haters gonna hate, as they all say. Support the art and the artist:
Tag: Hip Hop
ALBUM REVIEW: Hev Abi – Maduming Timog
Written by Gabriel Bagahansol Around this time two years ago, Hev Abi had control of half of the top 10 spots in Billboard’s Philippines Songs chart. After emerging as a sleeper hit towards the end of 2023, he received commercial success and critical acclaim as a baby-faced lover boy with a playful charm and a hint of naughtiness — along with an occasional gangsta persona who reps the Tomas Morato area. With a good ear for beats and interpolations, a pen that flows out nothing but swag, satisfying feature appearances for other artists, Hev Abi’s tales of mischief and romance set in downtown Quezon City made a hit artist out of him, and helped kick off a landmark year for OPM in 2024. But last September, in the comments section of one of the loosies he’d been uploading to YouTube, someone complained that his new music won’t appeal to the masses. His response? “Pasabi sa masa wala nakong pakielam.” Those loosies, it turned out, were his explorations toward hazy, AutoTune-drenched mumble rap. Pivoting away from the soulful beats and smooth rapping that sent him to superstardom, he began an artistic transformation that also set off that all too familiar phenomenon of Filipino listeners clinging to familiarity, to the point where they end up stifling an artist’s creativity. But after hustling for close to half a decade as an MC, he definitely needed to explore different musical horizons that match the lifestyle he’s writing about now, and these experiments culminate in the release of his highly-anticipated second album ‘Maduming Timog’. A nod to the seedy nightlife within Timog Avenue – and, perhaps, to the Dirty South hip-hop genre that birthed the trap music and mumble rap that make up this album’s artistic DNA, this album sees Hev Abi indulge in the impulses that fuel the Kyusi underbelly. On “WELCOME2TIMOGMAGULO,” he reintroduces himself as the man who gets every party started, the street-scarred host who’s got all the drinks and drugs for everyone who’s itchin’ to sin. But as he clasps his numbed hands to confess himself to the Lord, he admits that he does all this to escape his loneliness – a foreshadowing that would come to haunt this album as it progresses. But what does he do with this bit of self-reflection in the meantime? If the next two tracks are any indication, it seems that Hev Abi has made up his mind in continuing these bad habits. For “AYUSIN ANG SIRA,” he gets in his R&B bag to belt about never wanting to let go of his demons. The seductiveness he usually reserves for his most romantic declarations works so well when he talks about the joys of getting high, and the autotune in his voice adds to the zoned-out bliss of his drug-induced numbness. After pre-gaming in the first four songs, Hev Abi kicks off the party in earnest on the album’s lead single, “ALL NIGHT LONG,” a bouncy synth-funk track whose echoes of golden age hip-hop bring a feel-good atmosphere to a set of already-loaded songs. His romantic pursuits in this joint also commences a run of the kind of songs he usually does best, except the consummate lover boy is hardly anywhere to be seen. Sure, Hev Abi can still turn on his charm and try to be devoted to just one woman, as heard on tracks like “ISANG GABI LANG,” and on the Jess Connelly collab “AWAY,” where the R&B singer’s calm, breezy singing is a pleasing response to Hev’s frantic platitudes for a girl he swears is the only one he’s seeing. But the Hev Abi we’ll be hearing throughout the album is a callous heartbreaker who answers to his most wicked impulses and won’t think twice about seeing other women. His hedonistic pursuits are best captured on “WALANG HIYA,” where Hev Abi keeps up his prowess in putting his rendezvouses – unbridled debauchery now included – into some of the smoothest and most cinematic rhymes in OPM. (“Di ka nagmamahal pero andito ka parin nagbababad / Sa usok na binuga ko, binuga nya, binuga mo, bilog ang buwan”) Halfway through the album, however, we get to a set of songs that continue the vibe of a delightfully devilish night out but doesn’t do much to progress the narrative the start of the album had suggested. Past the Manila Sound-sampling “ASO’T PUSA” interlude, we hear Hev Abi and frequent collaborator LK brag about racing down the Skyway on “SIZZLING,” and on a rare all-English number in “FADED OFF” with Manila Grey, Hev Abi tries once again to make amends for his sins. But while the latter track is a fairly decent collaboration, it’s clear that Hev Abi has a long way to go in writing English lyrics that are as dynamic and exciting as his writing in Tagalog. Furthermore, while tracks like “LIL SHWTY” and “NAGHAHANAP SILA” have memorable samples and hooks, it really feels as though we’re beginning to hear the party wind down to what should be its natural conclusion. Except it doesn’t. In the rage track “2PACCIN,” Hev Abi tries to restart the excitement by enumerating everything that makes up his idea of party, but all it does at this part of the tracklist is make everyone who can sense an incoming hangover leave. It does seem he can sense this, too, though: the last three songs on ‘MADUMING TIMOG’ see him telling his lover that he’s choosing his hedonistic lifestyle over her. This non-resolution would’ve been alright for the kind of character he’s portraying – if only he hadn’t jumped the shark after meandering for so long. “HANGGA’T MAY ORAS PA ‘KO” lacks the slightest bit of sincerity that would’ve made up for the necessary absence of his aura, and the strain in Hev Abi’s voice as he’s trying to channel 808s-era Kanye West isn’t helping either. And listening to “FROM TIMOG MAGULO, WITH LOVE” and “HONEYMOON” feels like drying out in the Timog Avenue sunrise, listening to the
TRACK REVIEW: Kartell’em – KITBA
Written by Noelle Alarcon In hip-hop, you can’t just drop your words and hope they’ll stick to the beat. It is audible when you don’t mean what you say; the presence (or lack thereof) of bravado alone is enough to make or break a track. In Kartell’em’s latest single, “KITBA,” they have enough bravado to last a lifetime. That much is evident in the swagger that kicks off the song. “Kartell’em in this bitch again!” expects you to have heard of their name, of their achievements, of what they’ve gone through as a group. There’s a certainty–a sense of security in who they are as artists, that floats through its five-minute runtime. The beat may be easygoing, but it lends itself to acting as a canvas for the bars that each collaborator of Kartell’em drops. Each verse is full of personality, with those of Ne7in and Wavyier’s being incredibly tongue-in-cheek–making milli’s and poking fun at titos really put it all together. As ridiculous as some lyrics may seem, Kartell’em never takes themselves too seriously–and that truly grounds them in their suave, signature cool. “KITBA” is straightforward, animated by its clever variations in flow–because how else would you rhyme “play” with “play” and still make it sound interesting? As direct as it is, however, it does leave you hungry for more; looking for a climax or a switch-up–a bit of a palate cleanser in the strings of sentences about abundance. It’s a track with a loud bark, with the potential to have a firmer bite. SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: Nateman, Lucky – IMMA FLIRT
Written by Adrian Jade Francisco Imma review! At times, local hip-hop sidesteps sentiment and wit. But at most parts, it goes straight for your earworms. From drill, bass-heavy therapy sessions to R&B late-night text tracks, Nateman and Lucky’s latest collaboration is a quantum leap towards the realm of the unpredictable. Is their latest single “IMMA FLIRT” silly? Yes. Is it worth skipping? Not at all. The Pasayeño’s ninth single of 2025, ‘IMMA FLIRT,’ featuring Lucky, is an R&B-infused hip-hop track that samples R. Kelly’s ‘I’m a Flirt (Remix).’ Nateman and Lucky’s verses seep into the track like smoke from hand-rolled papers. With repetitive, cheeky lyrics such as “Imma flirt, pag napadaan mga chicks dito sa hood” or “Soundtrip si Curse One, chorus at verse niya—ako daw first niya,” it sounds campy at first, but it gets infectious thanks to the melodic hook and production. ‘IMMA FLIRT’ doesn’t stretch the rapper’s soundscape nor a nod to his previous Drill releases. His recent tracks are more of a smirk, with a question tucked behind them—whether the hip-hop artist will eventually branch out of his usual late-night R&B lane. Despite that, the track is an unintentional case of brain rot that lingers for hours on end. “IMMA FLIRT” won’t change Nateman’s catalog but it just might hijack your ears. For something so unserious, it takes its catchiness seriously. SUPPORT THE ART & THE ARTIST:
TRACK REVIEW: Ada Meniv – Placenta
Written by Lex Celera Ada Meniv is a solo project by Philippines-born, Hong Kong-based producer, instrumentalist, vocalist, and sometimes rapper, Tisch Nava. Beginning with 2024’s ‘THE ONLY WAY THROUGH IS OUT,’ Ada Meniv’s music doesn’t feel like a loaded experiment in genre-blending as much as it is an assertion of taste and aesthetics. In laying bare the connective tissue between dark ambient, progressive metal, rap, and grunge, their tracks echo each genre’s most resonant qualities: an intensity of emotion and a stylistic choice to break convention. All of these qualities are realized to a greater extent with “Placenta.” Compared to Adam Meniv’s other releases, “Placenta” presents itself as more restrained in exploring its aesthetic impulses, with a third of its runtime meditating on a grunge-inspired riff. At the same time, esoteric wordplay and ethereal chants come together without wearing out their welcome. Its genre switching comes in turn and in healthy doses. Ada Meniv is more than capable of straight-up pursuing a dark ambient or grunge track worth listening to. But “Placenta” presents something more interesting than just embracing the abstractions that defined its sonic foundations. Neither the tinges of grunge-driven riffs nor the droning, trap-inspired rap would work as well without each other’s presence, taking turns. You don’t have to destroy to build something new. We might live in a world where genres are being pushed to their farthest ends in the name of experimentation. Ada Meniv seeks out new meaning from within instead. SUPPORT THE ART & THE ARTIST:
EP Review: SAJKA – Weed&Melodies
Written by Nikolai Dineros Another breakout song in the charts, and Imperial Manila is put on notice by the South yet again. The culprit this time is one Bacoor representative, SAJKA (Sajka Jamaiah Formaran). Though his hit single “Nicotine” is making huge waves in local hip-hop’s algorithmic sphere, SAJKA brings more to the table than TikTok-core bait. Perhaps SAJKA’s table is one filled with residues between tiny crevices and paper rolls rather than ashtrays because “Nicotine” is thematically the farthest you can get from understanding the artistry SAJKA is trying to achieve in his latest EP, Weed&Melodies. The EP is a reggaeton project at its core with the occasional nods to afrobeat and funk, courtesy of Southrow Music producer ODMADEIT. There is no fine print. It is mostly weed and all melodies. Adjacencies to the respiratory system and bad habits aside, the EP is packaged, rolled, and passed along as a THC trip, with explicit references to cannabis use and its effects, and without a single care about the forces under the state’s payroll. SAJKA even takes you on a ride-along in the standout track “Masid.” While the concept is solid on paper, showing SAJKA’s strong potential as a genre-crossing visionary, the EP sometimes falls flat in execution. As a post-release single, “Bogsame” shows signs of fatigue from its initial run, with the song having offered barely anything that hasn’t already been explored in other tracks released prior (you may also look up tracks “Up and Down” and “Masid” that capture the same vibe but better). Even as an opening track, the candidness mixed with the self-indulgence of the ‘me and my friends are high as fuck’ attitude runs its course as quickly as it was introduced, only to make a better comeback in subsequent songs. SAJKA, however, stands out when he fully embraces his reggae calling. “Horns” and “Burnin Paradise” are great displays of the artist in his element, paying homage to the genre he’s inspired by without losing authenticity. There is still the curious case of the EP’s journeyman single. Despite the thematic incongruence already discussed above and the subtle genre shift, “Nicotine” — a hip-hop song first, a reggae song never — is still far from being a black sheep figure in the track list. Its success in the charts is undeniable, and its placement is only to the benefit of SAJKA, as it turns people’s heads to him and his more divergent undertaking. Hence, it plays the journeyman role. But given the state that it’s in, sticking out like a sore thumb in the track list, it is rather interesting that it even exists in the first place. With just as much grasp of information as a common listener, I can only theorize as to why that is the case, of which I have a handful: First, “Nicotine” is an early prototype of Weed&Melodies before they went full reggae, and it somehow made the final cut. Secondly, reggae — even with its hip-hop overtones — is a hard sell, and “Nicotine” was used as an anchor to make it palatable for their target audiences. Lastly (and on a less serious yet more absurd note), tobacco may simply have a larger revenue share than weed in the Philippine stimulants market with more regulatory backing, thus attracting more potential listeners from a larger consumer base. SAJKA is on a path of reinventing himself from just another laidback rapper in Cavite’s already saturated scene with like-minded contemporaries to a convention-breaking fusion artist. With a heavy background in hip-hop and a growing appreciation for adjacent genres like reggae, dance, and funk, “Nicotine” may just be part of the equation to a bigger calling that Weed&Melodies alludes to. Who knows? It might take a few more ‘hits’ before SAJKA reaches that eureka moment. SUPPORT THE ART & THE ARTIST:
TRACK REVIEW: BABY FREEZE – LIL ICE
Written by Faye Allego In scorching hot weather and immense humidity, stepping outside the house feels like it’s destined to sizzle your skin. That isn’t the case for Baby Freeze’s new single, “LIL ICE.” Maybe she’s gifted. Maybe it’s Never Paco’s mixing and mastering. Or maybe she knows how to make a bop that’s simple, fun, and well-witted. Produced by NOIR and wearing eyeshadow that screams a metallic Dior shear meets Re-l Mayer from Ergo Proxy in the track cover art, Baby Freeze not only turns daily affirmations into a catchy tune with her latest track, but coldly presses two questions: are short-form, Y2K-inspired tracks just a nostalgic trend, or can it carve into its own genre? And is it still transgressive when a woman who is unapologetically herself wants the drop bars about owning her own starpower? “LIL ICE” is a fresh example of balancing intuitive songwriting with dance floor appeal; while lots of short electronic hip-hop anthems come to a staggering halt just as the singer is about to reach a lawful bridge, Baby Freeze heatedly affirms the repeat button because every bar like “front row seat and they all fall in line/ and they causin’ a commotion every time they see me smile” bites back without any need for an extension. Perhaps overthinking is unaffiliated with her. Anything a woman raps about that even has a droplet of braggadocio is automatically subject to being labelled as polemic writing. “LIL ICE” is a clapback or a breezy self-affirmation anthem; her carelessness about being a spectacle of negativity reflects the hater and not her talent. An inkling of risk arises as the track fits into the genre of speedy songs masked with the early 2000s cyber aesthetic; the risk of blending in with the influx of this popular happenstance might cause her talent to go unnoticed. SUPPORT THE ART & THE ARTIST:
TRACK REVIEW: Tatz Maven – Handang Malunod Sa’yo
Written by Louis Pelingen The years since Tatz Maven’s debut album have seen him explore more of his range as an artist. Still sharp in terms of his production work, but his attempt to sing more and emphasize a melodic direction on his compositions has been fascinating to listen to. An attempt that has clearly shown its strides, releasing more songs since 2020 in a slow yet steady approach that allows more time to bring out the best of his artistic growth. And with the recent release of “Handang Malunod Sa’yo”, this song only reinforces the fact that Tatz Maven is on his A-game as a producer right now. The sharp drum lines playing amidst strong bass lines and guitar swerves are produced impeccably, with Tatz Maven’s vocal lines showing a lot of coursing melody and emotional zest. Remarkably, bringing out the complicated feeling of traversing through a partner’s melancholy, where even if it can be emotionally suffocating, the willingness to stand beside them despite it all only strengthens their connection. While it may still take a while before Tatz Maven is ready to turn that past crop of singles into a project, “Handang Malunod Sa’yo” is a sheer force of will punching through one of his staggering songs to date. Compelling from so many angles, where even the vastness of the sea can’t pull it down. It’s worth the dive. Support the art and the artist: