Written by JK Caray THUGSTA’s debut album “THUGS 2 RICHES” leaves more to be desired for the Malate-based rapper, but the talent is evidently there. “THUGS 2 RICHES” chronicles the origin story of THUGSTA, the sacrifices and enemies he had to overcome to achieve the lifestyle he wanted. Right off the bat, “FIRST OF ALL” demonstrates THUGSTA’s storytelling capabilities as something to be admired. THUGSTA knows how to craft the perfect underdog story without cutting out the ugly parts; the violence of the environment he came from and how it clearly shaped his jaded perspective on the world. It’s effective at making you root for him in every situation he puts himself in. On the other hand, the cocktail mix of producers, all with their own take on THUGSTA’s sound, barred the songs from sounding indistinguishable from one another while being easy on the ears. The simple beat switch between “PUSSY” and “PARA SAKIN YAN” gave the album the variety it needed to make the listening experience more enjoyable. It’s no wonder that within its 19-minute runtime, every song pops out in its own way. At times, however, rap performances have rendered themselves redundant with flows that get monotonous when the rapper reaches over the 16-bar limit rather than writing memorable bars. In “PARA SAKIN YAN,” Thugsta doesn’t match the enthusiasm of the song and gets overshadowed by the high energy of the beat. A little more charisma goes a long way for an album like “THUGS 2 RICHES.” One unfortunate flaw that comes and goes throughout the album is the distasteful misogynistic quips that THUGSTA adds in at times. While it is well-known that the rap canon has had its misogynistic roots in the culture it sprung out of, it becomes hard to ignore when he’s spitting a verse that makes you actively root for him, only for it to be followed by namechecking women “putas” he doesn’t waste time on. Overall, it is disappointing enough that it takes away from the immersion of an otherwise good song. “THUGS 2 RICHES” as an album may have some glaring issues performance-wise, but THUGSTA’s adept writing chops and the songs’ dynamic beats carry it past the finish line. Outlandish and right in your face, THUGSTA presents himself as a fledgling who, with finer adjustments and more rapping allure, would have the potential of having a lasting fanbase from the general audience he’s already gained from being just himself. Support the art and the artist:
Tag: JK Caray
TRACK REVIEW: Asian Panganay – Disconnection Notice
Written by JK Caray Asian Panganay’s debut single, ‘Disconnection Notice, ‘ talks about Filipino family dynamics in an intimate, sobering way, centering on the panganay’s perspectives. As their band name suggests, Asian Panganay is an all-asian, all-Panganay, all-girls quintet. This common attribute allows them to have the personal edge that pops out of their debut single. Right off the bat, ‘Disconnection Notice’ starts strong and hollow, even vacant, though not in a bad way. A drum beat dragging itself on and simple riffs being fed through delay pedals give a sense of motion without the drive that actually brings it to life. This gives the song more dimensions in how it tackles the subject matter. The line “I don’t have anything to say/You never hear me anyway” distills all those years of neglect, accompanied by vocals that draw the line between ache and exhaustion. In a way, it acts as a parallel to the times when eldest daughters are expected to keep carrying on, even as fatigue eats them inside. For such a bold entry, the song has already generated a brand that audiences can look forward to. This can either be a pro or a con, depending on whether the band leans into it or decides to switch it up for their upcoming releases. For now, releasing ‘Disconnection Notice’ as their debut single was a necessary move to solidify the band’s striking presence in the current scene. Now that they’ve given a voice to the unheard heroes of a Filipino family, where will Asian Panganay steer the ship next? SUPPORT THE ART AND THE ARTIST:
ALBUM REVIEW: Hazylazy – ANTAGONISMS
Written by JK Caray Hazylazy, Laguna-based virtuoso Jason Fernandez’s solo project, is an indie darling. His first EP, ‘The Resentment Segment’ in 2020, has since become a classic that captured the stark isolation brought upon by the pandemic blues. In the following years, the soloist had everyone’s ears on him, waiting for another release. What’s next, we collectively wondered. It wasn’t until 2025 that we finally heard a response, culminating in Hazylazy’s debut album ‘ANTAGONISMS.’ ‘ANTAGONISMS’ thrives within its lush instrumentation. Experimenting further on that hazy, dreamy sound, the album is a spiritual successor to the 2020 EP, but given more space to grow. If ‘The Resentment Segment’ bordered claustrophobic territory at times, ‘ANTAGONISMS’ flourished in its own peculiar world. Hazylazy’s vocal performance here remains static and unchanged, but he’s never been one to focus on one component more than his overall sound direction. The DIY elements of the production carry a fuzzy nostalgic sound; bringing up scenarios of indoor plastic playgrounds, liminal neon arcades, and vast green valleys under vibrant cerulean skies, only existing within its hazy, fever-dream-like wall of distortion-heavy guitars and reverberating drums. Over the course of the album, the tracks center around Hazylazy’s internal struggles. Perhaps this is another understanding of the album title ‘ANTAGONISM,’, a play on the indifference of airing out one’s inhibitions. For example, the track “WAKE AND FLAKE” talks about escapism from the mundane life and the unbreakable cycle it creates. The rest of the album operates at the same tone, glum yet desperately hopeful. A few lines from “CHASING MY TAIL” sum it up the best: “No sight of reason—No right demeanor, Believing there’s no one to hold onto. ‘Cause I wanna get my whole life together”. A record like ‘ANTAGONISMS’ happens whenever a 1:1 rendition of an artist’s idea is executed. It’s an accomplishment when an artist creates their own worlds, but to convey it in its purest form is a feat that only a few can do. In this case, it works because the album is by far the most potent version of Hazylazy. A release so personal and unapologetic, it created a portal to a land that used to only exist within his mind. Transcendental and mystical, it’s clear from the start that ‘ANTAGONISMS’ does not belong in the world we reside in. SUPPORT THE ART & THE ARTIST: ANTAGONISMS by hazylazy
EP REVIEW: (e)motion engine – tell me how you f(e)el
Written by JK Caray How does a song mirror one’s life? (e)motion engine’s debut EP ‘tell me how you f(e)el’ doesn’t really give you an answer, but it provides a slate for you to write on. 6-piece indie rock outfit (e)motion engine has been all over the scene. From the release of their first track “mlb” dating back to 2024, the band has quickly cultivated a dedicated fanbase. After a year of teasing tracks, their newest EP ‘tell me how you f(e)el’ only pushes them further into their growing success. If you’ve gone to a few of (e)motion engine’s gigs over the years, you’ll know the kind of dynamic energy they bring to a set. With engaging performances that often result in a moshpit here and there, it’s a wonder that they’ve managed to record the same kinetic vibe in their EP. It’s another wonder that they’ve managed to be sonically consistent with the rest of their portfolio, mostly attributed to the edgy pop punk sound that permeates through all their songs which is a nod to their emo roots. (e)motion engine’s identity is deeply engraved into their music that it doesn’t just sound the same, it sounds uniquely them. ‘tell me how you f(e)el’ reads like a diary. At times it feels alive, as if someone occasionally peeking through the drum beats. Each song acts as a journal entry, capturing the essence of being in a certain moment. It’s filled with different scenarios that may conjure up a memory or two; “milk” is the entry for when your mind betrays you as you remember somebody you shouldn’t. On the other hand, “keep it in” is a track you want to expel some pent up energy, while “mlb” celebrates the beauty of life and the privilege of seeing it blossom in front of you. Not all of it has to be profound, much like how every day can’t always be exciting, but it speaks true to the human experience. Throughout the EP, (e)motion engine carefully tiptoes the line between telling a story and letting the listener fill in the blanks. At its very core, the tape hinges on your vulnerability to trust in it. It’s the record that you go to at the end of the day, like the vent folder in your notes app or the childhood blanket you cry to. It wants to make you feel seen. Now it’s up for you to decide, are you willing to ‘tell me how you f(e)el’ or are you still scared to make it real? SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: SAINT LAWRENCE – SO U
Written by JK Caray Sometimes, The Best Thing Ever™ disguises itself as something arbitrary. In the case of SAINT LAWRENCE, his debut track “SO U” first came from that familiar itch of needing to create something, despite all limitations. Made out of a awkwardly tuned guitar, a catchy hook, and the feeling of losing your spark, “SO U” is a song about burnout that ironically helped its writer avoid burning out. Right from the start, nothing could prepare you for the intense wave of emotions. The eclectic drum patterns and rigid glitches convey a sense of helplessness, being bitter at one’s predicament. The production is flawless for a debut track, with little elements like the occasional glitch adding to the steely vibe. Here, SAINT LAWRENCE’s performance is brooding yet intimate, carefully alternating between soft whispers and screaming with all the guts he can muster. Each detail builds into a satisfying breakdown that washes everything along with it. It’s a once-in-a-blue-moon moment whenever an upcoming artist defines precisely what they want to do with their music, but it’s as if the stars aligned for SAINT LAWRENCE, given how polished his craft is. “SO U” not only provides a backdrop of what’s to come, it shoves you headfirst into the mayhem that is SAINT LAWRENCE. Support the art & the artist:
TRACK REVIEW: Paprikka – Itataya
Written by JK Caray Starting out by covering beloved City pop tracks, Manila-based singer-songwriter Paprikka releases her debut track “Itataya” as the next step to the career she’s been building. In a burst of creative inspiration, Paprikka decides to gamble to make it big—and sure enough, she hits it on her first try. From the get-go, Paprikka’s determined to make the city pop genre her own. Belting in straight Filipino, she channels that ‘kikay’ attitude of the Manila sound—think the whimsical, carefree fun in Rachel Alejandro’s Mr. Kupido and you get the gist. Her performance on the track playfully tethers between a cheerful schoolgirl on a first date and yearning alongside a high school crush. It’s warm and fuzzy, charming, and corny yet you giggle every time the memory crosses your mind. Overall, “Itataya” shows a lot of promise for Paprikka’s career, signifying she has an ear for producing memorable hits. At times, however, it becomes too similar to the whistles of the Japanese City pop tune, down to its clichéd bass groove and bells. As common as this pitfall may be for anyone starting in the genre, there’s no doubt that she’ll cultivate her style along the way if she truly wants to reinvent the genre. In the meantime, “Itataya” is a gamble worth taking if it leads to being a one-of-a-kind pop star like Paprikka. SUPPORT THE ART AND THE ARTIST:
ALBUM REVIEW: Kremesoda – For Years
Written by JK Caray Sunday morning radios. Long car rides. Drifting in and out of a dream. There is a certain common feeling that arises among the three, a feeling so fleeting that a word has yet to be made to name it. It’s a moment that occurs whenever drowsiness masks a profound sobriety. Kremesoda, a Metro Manila-based 5 member band, defies it all and effortlessly expresses these complex sensibilities in their much-awaited debut album, “For Years”. The album consists of eight tracks and is a vibrant roulette of different sounds and styles, with some alluding back to the act’s past releases. “FOMO,” for example, reminisces their City Pop roots within the framework of a mellowed-out and hazy memory, while “Fleeting” features catchy 8-bit melodies alongside tight, upbeat drums. It’s that moment when you groggily wake up early from the blaring alarm sound, desperately trying to recall the dream you were having just a few minutes ago. The third track, “Far-fetched” borrows a few twangy guitar elements from Surf Rock and infuses it seamlessly with their mellow Indie tune. Meanwhile, midway through the release involves an interconnection of themes between “City doesn’t love you” and “Terminal”. In “City doesn’t love you”, the band calls back to their first single release “City Lovin” but this time, the vibe is completely different — tender yet harsh, its indulgent riffs paired with spiteful lyrics. “Terminal” quickly picks up these embittered feelings with more of a cynical attitude, deeply affected and aching to hurt back. The title track standout, “For Years,” provides a break from all the antagonism and goes back to the melancholic side of the release found in the earlier parts of the album, capturing the feeling of driving out to the countryside while hopelessly pining, patiently waiting around for something that was never meant to be. Ultimately, the final track “The Door” presents two options: to get out or to stay in. Opting to stay, the track reinstates the themes of longing and desperation found within the entire release. “For Years” is a long time coming project. After Kremesoda’s first single back in 2017, the band has been steadily releasing singles and garnering attention from the music scene. In 2020 however, the band abruptly seemed to disappear. Now, after four years of inactivity, “For Years” serves as a triumphant comeback to remind us that Kremesoda still stands as a force to be reckoned with. After all, the quintet has been here for a long time — they have gone through multiple eras, they have seen the ever-changing landscape of the underground OPM scene and they have performed in some now-defunct venues, but even after all that, “For Years” is shaping up to be their most substantial release as of yet. “For Years” carries a tone that signifies maturity in their artistry and the sonic cohesion they’ve been chasing for a long time. Along their journey, they’ve picked up bits and pieces, creating a decoupage of all the things that they encountered. Finally, after years of exploration, they come out emerging on the other side with a distinct tune that’s hard to put into words — one that is uniquely theirs, uniquely ‘Kremesoda’. SUPPORT THE ART & THE ARTIST:
EP REVIEW: Pinkmen – Neptunes
Written by JK Caray Following a string of single releases spanning a couple of years, Offshore Music’s Pinkmen finally released their debut EP after a period of constant track launches within the past year. Far past their 2019 hit ‘Hanggang Sa Muli’, Pinkmen had the better part of 5 years to focus on progressively honing their distinct style within the music scene; however, the question still nags a few, was the long wait even worth it? The answer whether or not it was lies in Pinkmen’s dedication to their latest release ‘NEPTUNES’. With a runtime of 35 minutes, the EP begins with the track ‘Historical Revision ’24’; a reprise of their catchy political 2021 single ‘Historical’, consisting of even more tongue-in-cheek references and quips. ‘Di Pa Rin Sapat (Ang Sahod)’ drives the band’s stances even further, carried by vocalist/lead guitarist Giro Alvarado’s moving and powerful vocal performance over a somber instrumental that reflects the common folk’s everlasting problem. Third on the list, “Lately” includes droney, weeping guitars that decorate a thick wall of sound. The dense ballad structure makes it an unassuming first listen, yet it turns into a sentimental banger upon multiple listens, enough to be a solid pick for a break-up playlist. Oddly enough, ‘Art Song’ breaks the immersion that came from the earlier tracks. Its position momentarily skews the flow of the album, due to its nature of being a ‘nonsensical’ song, as it comes directly after two earnest ballad songs. Nevertheless, Pinkmen proudly wears their influences here, with the track being eerily similar to a ‘Sgt. Pepper’s Lonely Hearts Club Band’s song. In ‘Hourglass’, bassist Mark Armas animates the song forward with his highly infectious grooves and licks. Arguably one of the more enjoyable moments of the EP, the track seamlessly blends elements of neo-psychedelia and disco to form a fresh and distinctively unique sound. ‘Habulan’ sells a rich narrative as it features local rockstar Ely Buendia’s signature poignant songwriting at the center of the song. Themes of ambition and longing make up for an empowering track that makes ‘Habulan’ an anthem for hope and resiliency. Lastly, NEPTUNE’s last song ‘Miscom’ stands out as the resonant end to the entire release. Evocative and nostalgic, the song banks on classic feel-good musical conventions—jangly guitars, dynamic drums, and compelling chord progressions—paired with bittersweet lyrics to deliver that familiar sense of melancholy. And it succeeds in doing so, with the entire track sounding like a trip to the past, a chat with people you’ve sworn to hate but have since forgiven with time. After years of waiting, we could only hope for the band to continue riding the momentum of the ‘NEPTUNES’. This release marks a milestone in their discography and has shown the band that they could make it; because now that they’ve proven themselves capable, nothing’s stopping Pinkmen from getting to higher heights. Support the art & the artist:
EP REVIEW: Yaelokre – Hayfield
Written by JK Caray Keath Osk, more known by their stage name Yaelokre, has captured the attention of the Medieval fantasy-loving, Renaissance Faire attending part of the online community—garnering millions of streams, likes, and even a fandom of their own. An all-around storyteller, weaving stories through music, art, and performances, the artist first showed promise through their single “Harpy Hare”. After a few months, Yaelokre follows up with their debut album “Hayfield,” the prologue to their ongoing musical centered around the world of “Meadowlark”. Depicted with gorgeous art and a strong stylistic direction, it’s clear that “Hayfields” is part of the love project that Keath Osk has been brewing for years. However, it is still the kind of art that can be hard for some people to digest due to its perceived peculiarity. As for the music itself, “Hayfields” is a tight and cohesive concept EP, with influences that range from The Oh Hellos to AURORA. Although it suffers slightly from its unpolished production, the picturesque storytelling paired with the eloquent almost Nordic style of singing proves effective at showing the points across. “Hartebeest” for one sets a thrilling introduction, hyping up the entire album aside from its cryptic lyrics. In it, the scene is vivid: it feels like running in a mystical forest that promises one-of-a-kind adventures. “Harpy Hare”, the more known single, is a catchy stomp-and-holler song about an overprotective mother told through interesting symbolisms and metaphors. The track carries the energy that Hartebeest starts with and adds more to it; Yaelokre’s headstrong voice being the center of the song, every word pristine. In “And the Hound”, the blistering tempo mellows down as it goes to a more ballad approach, featuring the most moving and most powerful vocal performances of the entire EP. Here, Yaelokre boasts their prowess in songwriting, the lyrics being equal parts morbid and captivating. The closing song “Neath the grove is a heart” starts with gentle flutes and builds up the song along the way. Compared to the other songs, the song is much lighter yet still as grandiose. Warmth is felt across the beating of its drums and the harmonious vocals in the end, innocent and magical. It is an enchanting ending that calls back to the start of the EP as it includes leitmotifs of “Harpy Hare”, and “Hartebeest”, further hammering the feeling of going home. By now it’s obvious that this kind of project does not mix well with some, but Yaelokre’s instant rise to success may have exemplified the amount of naysayers. Scrolling through the comment section of some of their posts, a horde of people express their disapproval of the concept calling it “cringe.” While the question of it being cringeworthy is subjective and varies from person to person, is it bad to just have whimsical fun? “Meadowlark” as a whole is a world built on childlike wonder, a time where judgment was not yet commonplace—would it hurt for us to revisit what it felt like back then? Sure, Hayfields and the rest of Yaelokre’s works may not be for everyone, but when it does hit, it hits you hard. Support the art & the artist:
EP REVIEW: rosh – cotton mouth
Written by JK Caray If you were also a hip local music listener back in the 2010s, you understand how crucial music websites like Bandcamp and SoundCloud were in experiencing the height of that underground, lofi scene brewing inside people’s own houses. While home recordings have always been a thing, the format of these sites provided the internet a front-row seat to the unfiltered, underproduced music some passionate strangers online made in their free time. Among these lie hits and misses but in 2016, Roshelle Munez released her first release “gitling,” which became an instant hit on SoundCloud. Following the virality of “gitling,” Manila-based Alt-Pop artist Munez, aka rosh, became an indie darling overnight—however, it would not be until 8 years later that she released her debut EP entitled “cotton mouth.” Serving as her serious venture into the music scene, the release—a long-awaited debut effort consisting of her unseen works from 2016-2022—allows us to take a peek into her diary as an extension of her psyche. “gitling – 2024” reinvents the original with more polished production and a clearer sound direction that fits right in with the rest of the EP. The addition of groovy drums and harmonies gives it a more laid back and playful vibe, as if having given it space and time to breathe. In stark contrast to this, “human goo” introduces that wall of angst that lingers throughout the entire record. It picks up the pace with driven drums, rosh’s fatigue embodied in her vocals buried beneath eclectic bass synths and the harmonic dissonance of guitars. “rainbow road” steps back from the heavy noise, favoring to experiment with lush, dreampop-like sensibilities. The lyrics echoing her heartbreak are cryptic yet very familiar, something everyone has felt but nobody could pinpoint. Lastly, “nevermind” closes the EP at the zenith of its turmoil. The instrumentals weep with a sense of deep longing and yearning; she’s begged and begged, but somehow it’ll never be reciprocated. Errors decorate the track alongside distorted guitars, creating the perfect backdrop for the emotional breakdown that follows. rosh ends the EP with a “never mind,” too tired to care anymore. In cotton mouth, each song is a confession; all the anguish and hurt hidden finally surfacing after years of being bottled up. Maybe that’s why despite its heavy, angsty nature, cotton mouth feels freeing. It’s the words you couldn’t say and the stories you try to forget after years of running away. Ultimately, rosh’s first foray displays a remarkably promising future for Manila’s star-sign-loving, alt-pop rockstar. Support the art & the artist: