Within just two extensive verses and a set of devastating refrains under a clattering, shambling production is enough foundation for Jade Fake to burst up all of her provocative confrontations towards men and all of their borderline pathetic sexual fixation. There is a genuine sense of rage that Jade Fake indulges in, her exasperated delivery and lyricism spilling out scathing whiplashes as the Arca-esque inspired production stiffens and shrivels around her—creating more discomfort as it goes along. The peak of this intensity slowly unravels as the production becomes the center point of all of this, covering up Jade Fake’s voice with its shaky, bleeping textures and its unorthodox melody progressing through with a stomping beat, eventually leading to this track embracing harsher electronics that gives an overstimulating unease and ending with the shrill noise taking control of the atmosphere of the song.
It’s clearly an inflammatory pursuit that is portrayed well by Jade Fake in both her production and melodies, taking her lyrical flips to take the spotlight with a potent amount of disgust carried by her performance just before her production steals the entire show, complementing that sense of discomfort and elevating it to the point that it manages to execute its intended message exceedingly well, pricking everybody’s ear who have listened to the song for a single or even repeated listens. Pulling aside subtlety for an in-your-face approach might create some lopsided results, but when the anger toward the insufferable obsession with reckless sex is palpable, the harsher edge may as well permanently disrupt the climax point.
With the news of BINI breaking new grounds on the Billboard charts and eventually dethroning Ben&Ben on Spotify in terms of being the most streamed OPM group in around 2 years, it showcases a grand successful milestone not just for BINI themselves, but for the P-pop scene in general: a hurrah for a lot of P-pop and K-pop fans where they celebrated the return of Bubblegum Pop in the mainstream local scene given the acoustic folk-pop chart dominance for a long time now. Although the Bubblegum Pop sound has been boiling in the local indie spotlights if you know where to look, there is still value to be had towards this groundbreaking success of BINI as it gives a fresh coat of paint to the local mainstream music scene right now.
This all leads to the first EP of BINI, Talaarawan. To start, the performances and the melodies have a solid foundation throughout the EP, allowing the collection of cheery P-pop songs to feel vibrant and well-composed. The performances naturally carry off the loose and charming tones that are not just embedded into the hook-driven melodies, but also the writing and instrumentation that also surrounds them. While they do stumble a bit whenever they break out on the rap verses, they do at least manage to keep up the upward optimism that remains quite infectious.
However, for an EP that is described to encapture the breadth of emotions and stages of life and love, that essential idea starts falling apart really quickly with a few glaring issues that sadly overshadow the melodies and the performances. The lyricism, despite the passing metaphors that differ from song to song, does not have enough intriguing flair to go alongside it. As it immediately goes into romantic platitudes where the sense of yearning and empowerment blurs into one another, Talaarawan lacks any detail that can open up the emotional depth of the writing, making it less special. Besides the writing, a lot of these songs still carry the same mixing issues as the previous BINI projects, where cuts like “Karera” go a bit too loud in the mix, “Pantropiko” and “Na Na Nandito Lang” having similar loud mixes and then some, and the inconsistent vocal fidelities that create a big distraction on those two songs.
But this all rolls into the big frustration of this EP: the production. From the general synthetic instrumentation to the stiff and dated production choices, they never really allow the melodies to properly pop off and the vocal harmonies to be as stellar as they need to be, eventually taking away the brisk vibes that these cuts are going for, especially on “Pantropik” where the synthetic textures completely blemish the summery tone of that song.
However, there are still moments of passing quality that BINI still pulls through: The effortless opener of “Karera” where the performances just go off amid the decently bubbly beat; the melodic glimmer on “Salamin, Salamin” remaining really sticky even despite the bass rhythms getting a bit janky on that song; and “Diyan Ka Lang’” that closes off the EP on a good note with enough remarkable synth lines that blend well with the retro-inspired drums.
Even with all of that, there is a big missed opportunity for BINI to take a drastic swerve in terms of their sonic palette, especially when their shift in sound from project to project has always seen slight changes, taking the safest tangents instead of diving into fascinating genre influences and experiments that the contemporary K-pop scene has currently embraced.
Because, if they did manage to take that colorful array of genre elements alongside production and writing refinements, it could strengthen the concept of this EP, where the variation within genres and production textures paired with the solid vocal and melodic foundations at the core can be an absolute boon to BINI. But, Talaarawan as a whole just does not go there. Instead, in every passing good note there are disheveled musical scribbles that overshadow the better aspects of the EP.
Stuck in a stiff sound that doesn’t allow BINI to encapsulate the set of emotions they wanted to express in these diary pages, they at least managed to land on the important emotion that will guide them onward: joy.
The artistic bond that Neytan and Areli have made ever since ‘FAR’ has flourished into something ecstatic beyond compare. When they first put that song out in the spotlight, their musical chemistry gels in an instant as their melodies echo their sonic influences such as Brockhampton and No Rome, and the ruffled yet effectively tuneful production has enough to captivate not just the listener but perhaps even themselves. This pairing of their interlocking interests and styles eventually paves the way for this duo to make their own boyband under the delightful name: Cat Boy Jeepney Drivers.
Under their long-awaited debut mixtape, DIARY NG POGI, there is something in the presentation alone that speaks about the duo and the interests that made them click together. Their fascination and appreciation for the 2010s mainstream and local pop culture, the intrinsically silly Pinoy references and exuberant experiences that they carry along through their songwriting and performances, and even their sense of musical wonder that is not just creative, but in a way does reminisce on how homespun a lot of the local music scene that was popping over in youtube back in the early 2010s. Where despite the limitations that those acts have to face, they still manage to push past that as they insert as much charm into their songs whenever possible.
Of course, these inspired characteristics do plop over to the musical side as well, where both Neytan and Areli chain together their respective knack for sampling and melodic composition to create a delightful blend of incredibly enjoyable pop and R&B songs within this mixtape. The joyous bounce of “LOSER” just puts an instant grin from ear to ear due to the swiveling samples and rumbling grooves swirling around the effortless vocal melodies, “UNSINT A MESSAGE” that’s comprised of manipulated samples and shuffling beat carries the layers of vocal harmonies to soar and allow the cheeky yet sincere sentiments to succeed, “MARSHMALLOW HATDOG” with its near 4-minute runtime full of harmonic layers picks up more melodic swells alongside pileups of strings and distorted percussions that closes the mixtape to a grand finale, and their cover of Justin Bieber’s “BOYFRIEND” adds upon a certain menace on the track’s sense of cool through the hammering percussion and blown out vocal pickups that lets the song to become instantaneously glorious as a result. Even if the breakbeat samples on “POP CULTURE” and especially ”MAYBE MITSKI” didn’t have the same creative treatment as the other songs, the vocal melodic runs placed upon the quicker pace of these songs are still sharp enough to work within the structure of the mixtape.
Defined by their past local and international sonic influences alongside their own experiences that mold the silly yet sincere moments in these cuts, Cat Boy Jeepney Drivers are willing to not just take notes on past glories but appreciate them by embracing a sense of wonder and charm into their song-crafting process. As a result of their adventurous brand of pop, DIARY NG POGI unleashes multitudes of ecstatic, creative, and excellent set of pop songs from a duo that lives and breathes pop culture. Overall creating a colorful and charming diary that definitely needs a next installment, for there is so much greatness on display.
After Armi Millare left UDD when that was announced back in 2021, the question now hangs in the air: what happens next for UDD? After 20 years as a band that mainly flocks in alternative rock with dabbles of electronica alongside Armi’s evocative vocals, this leaves the curious thought of where the band will go next. Will they keep moving forward with the usual formula intact? Or is there going to be a shift in their overall sound palette, shedding their past and evolving with a refreshing lens?
The answer to that very question lies with “Run Deep,” the comeback single that’s now honing deeper into pure synth-pop majesty, firmly brushing past the alternative rock sound that used to be UDD’s sonic territory, and diving deeper into the newer direction of blistering electronics that replaces the heavy use of glossy synth patches on their previous material with a different kind of coat. Creating a chilling, smoky atmospheric touch on the whirring house beat, smearing over Paul Yap’s dazed vocals as he glacially muses through love that never seems to transpire. The set of elements placed within this song creates an effective tune and tone, courtesy of the production that lets these synthetic textures carry a lot of weight as well as the melodic construction that builds up these mulling melodies into satisfying peaks.
Overall, “Run Deep” is a chilling switch up to UDD’s formula that manages to stick the landing on the band’s next phase of operations. An exciting new chapter to where they will go over, running deeper into this electronic-tinged wonder that creates even more excitement than hesitation.
A decade after he first popped up in the local music scene, Zeon Gomez has worn many masks under his belt through the multitudes of projects and collectives that he has worked on and contributed with, overall showcasing him as a jack of all trades within the local musical circles, namely his other side project Promote Violence; bands like Rome and the Cats, Moon Mask, Spirit Ocean; and collectives like YoungLiquidGang, and BuwanBuwanCollective. Through these jumping points that Zeon has taken from differing acts after another, an important part that needs to be acknowledged is that even as he flits across various side-projects, his knack for venturing within the waves of gleaming synth electronica, stirring pop melodies, and personal lyrical flair has always carried over, developed further under his main musical alias: U-Pistol.
Through his first two albums in the 2010s, his ambition to embrace those characteristics above is shown in their clearest sights, not to mention the features spanning from Sarah Bonito, Aseul, Yikii, and others that reveal his firm stance towards curating Asian artists as he was deeply invested with J-Pop, K-Pop, and C-pop during the time. While he hasn’t donned that mask quite often in the 2020s as he slowly starts working behind the scenes through the music prod Kashira, his growth as an artist over time hints at a sonic shift waiting to happen, especially with his embrace of hip-hop under the U-Pistol and Promote Violence namesakes.
8 years since he put out his last material, Last Splinter is the 3rd long-awaited installment under U-Pistol’s discography, careening through sonic foundations that he propped up in his past projects like “Waste” and “Girlfriend,” but the overall showcase of his brand of synth gleaming electronica has now matured, branching off into an evolved version of his style. Underneath the glassy synth works are an array of elements that create a genre-shifting project where past aspects of his past projects now manifest here, further bringing in blaring guitars and shuffling rhythms that only hone in U-Pistol’s great strength towards creating snappy hip-hop and pop melodies amidst propulsive production within the project’s 35-minute runtime. His performances on ‘Glass Garden’ and ‘Hortensia’ in particular are remarkable, his mellifluous range as he silkily flows across the feet-shuffling soundscape of the former and tenderly sings on the somber acoustics of the latter shows that he has exceeded as a rapper and a singer.
Of course, it’s not a U-Pistol project without a collage of collaborations helping out in this project, settling more towards the local music scene, an intended decision that gets reflected through a specific part of the eventual narrative. Fellow Kashira prod members like Calix and Tatz Maven help crystallize a lot of the colorful instrumental soundscapes as well as the sonic clarity of the project; Hanako and Syn under the old Spirit Ocean band lend their vocals, where Hanako’s prim voice assists on the tuneful albeit instrumentally clunky “Blue-Eyed Grass” and Syn’s stark performance on the reworked version of a previously released Spirit Ocean track “Marigold, in the Afternoon” with additional guitar work from Arkyalina carries the exhausted yearning of the track; VS VIDEOTAPES’ and yx2’s co-production on the light and fuzzy textures of “VS VIDEOTAPES INTERLUDE” and the jersey club groove of “Plum Blossom” respectively are exciting additions that manages to blend within the consistent production scope of the album, allowing the melodies to bounce and fizz a bit more; SHNTI’s sense of effortless cool works in-tandem with U-Pistol’s sleek flows on “Wisteria” and its scratchy beat as “Wilting, if Forever Never Comes” tailors the thematic arc of the project.
The sense of maturation eventually sneaks through in the overall narrative of the project. Conceptualized around the masked man in his glass garden waiting for a certain flower to bloom that acts as a metaphor for U-Pistol’s self-isolation post-break-up, it paints a familiar theme that he has waded upon on his past projects. Namely surrounding the wilted romance that he still yearns and clings to, a connection that he wishes to keep sparking despite knowing that the ex in question now has somebody else entirely. It’s a situation that leaves him conflicted and hurt, the angst pulling him deeper and deeper into melancholy. Yet as the album progresses, he gently picks up past the heartbreak and eventually decides to leave the entire situation as he notices that there’s no benefit in waiting for that flower to bloom. It’s a vivid arc that U-Pistol portrays effortlessly, yet the personal emotional nuance is deepened a little bit further, specifically directed toward the collaborations he pulled in for this project. In ‘The Chained Man Inside the Glass Garden’ interlude specifically, there are these various murmurs from multiple people that call out to Zeon, expressing worry towards his state of ennui, asking him to hang out and telling him if he’s feeling alright. These voices that were heard don’t come from strangers but are the friends, collaborators, and various people that Zeon knew and bonded with personally in his life, placing their overall presence in this specific interlude as an acknowledgment of the support that Zeon has during this eventful turmoil and seeing him not through the U-Pistol name and his various musical works, but under Zeon as the person that they know and care about deeply. It’s a small moment that does so much, recognizing the number of people that Zeon cares about as he acknowledges how much they’ve helped him back in his life, overall making the collaborations of this project feel so much more personally heartfelt and synergistic.
And with that comes the project’s overall blast of sonic mixtures and a case of strong foundations embellished with the well-placed blending of sound textures, styles, and performances from U-Pistol & co paired with neatly arranged compositions and familiar yet deeply invested emotional throughline. As U-Pistol leaves outside of that glass garden, there is another field that opens more space for him to flourish in. Last Splinter shows not the end of U-Pistol, but yet an exciting newfound transformation and revitalization of his eclectic growth.
MISTER MEYERS makes sure to put something out when the opportunity still strikes hot – that is to say, the wave of releases on January 1st that you can see piled on obscure Bandcamp features or the early RYM year charts. While he has been putting out music for the past few years – leaning a lot more on his bedroom pop niche – his last released single back in December 2023, ‘GOOD GOD PENELOPE’, shifts his style in a 180-degree direction where he doused his melodic vocals with effects amidst groove-centric indie rock. Now entering 2024, ‘We Are Stardust’ boils itself to deep-fried textures that go on a consistent hot streak, tossed and turned over with MISTER MEYERS’ tripped-out snarkiness as the beat twinkles and buzzes on the hazy atmosphere before it suddenly suffocates itself with a heavier glitchy backdrop that eventually ends the song.
‘We Are Stardusts’ with all of its soaked-up dense production and warbled melodies completes MISTER MEYERS’ 360-degree transition into his eclectic hip-hop dabbled hyperpop flair that overall sticks the landing where his creative firepower and experimentation just charges throughout this song. His attempt to create stardust has been wrapped in pretty flowers before, but right now, he makes them combust with flammable chemicals.
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.
