Proudly wearing their years in the local music scene under their belt, ONE CLICK STRAIGHT’s evolution is evident with every release they put out. Finding their niche through speaking out on matters of the heart, it’s no surprise they came up with “Telepono.” It’s as if they’re professing vulnerabilities through the coiled telephone cord, hoping you’ll make out the earnestness from the receiver.
Over time, OCS has always kept their trademark: the production of their music closes in on your ears, engulfing you in the reverb of their spilled truths. This fits their style just right–with the heavy-handed strumming of their guitars, the rattling echo of the snare drum, and the breathy articulation of the Marquez brothers. In “Telepono,” they blend these elements with radio rock staples of the late ‘90s and the early 2000s. These are heard in the littlest quirks, like starting the song with a crescendo to a drum fill, or the brief moment where everything is so distorted the instruments crackle into static, making room for the vocalist’s poignance.
It’s tracks like this, inspired by the desolation in cold city dweller settings, (as seen in their single covers) that people connect with most. But like long-distance confessions through the circuit lines, it’s hard to grasp the extent of affection “Ikaw lang ang gustong kausap” encompasses. For a song so honest, its intentions need more than the derivation of song structures that were once in fashion–”Telepono” yearns for the fullness of sound that OCS is known for.
Criticisms aside, “Telepono” is another catchy, memorable track from OCS. The warmth it possesses keeps you company in the midst of the biting wind under evening skylines. It’s the late night dial you never expected to ring, whose words are filled with such endearment that they keep you up until the morning.
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!
If you look at the cover, the One Click Straight in the present has shifted away from the One Click Straight of the past. Their image, once observed, has always been a frustration towards the band and their overall output. In their debut album, ‘The Midnight Emotion’, they kneeled over the synthpop worship that has its significant influences from the gauzy sides of the 70s – 80s synthpop. While well-produced with its use of gauzy synth textures, the rest is nothing but a blur. It tries to resort to a ‘foolish romantic chase’ theme, but the writing itself has shunned away from instilling wonder, in that romance and the melodies themselves came off fumbling at the seams. It is interested in the aesthetics of a new romantics leaning synthpop, but never breaking free to consider morphing into something new.
This flailing fascination goes to their EP in 2020, conceptualized as a sweeping set of baroque-accented songs treated with a cosmic, starry-eyed harana that goes bigger in scope: polished in its lusher arrangements and melodic chops, but letting the vocals and writing lay limp as a result.
The band switched away to another transition in sound and style 5 years into their debut. They used to pull away from their Synthpop worship and replace it with Pop Rock worship; now they pull the stops as a mark of change and growth in their self-titled LP. It is swirling with a rush of energy, urgent and thrilling on the edges as the band picks up strands of Pop Rock, and Post Punk that threads itself down to a cohesive 14-track offering.
Going in this direction is a good fit for the band to expand upon their sonic wheelhouse. It brings out the band’s improvements to the table regarding their writing, composition, and production in a way that feels more propulsive, focused, and immediate. “Wake Me Up” is a track evident of this, with all of its driving percussive beat and guitars amidst all the synthetic feedback, pop rock melodies that take some nods to The 1975 to great effect, and crisp vocal chops that seek to snap awake from overthinking surrounding one’s relationship and their own personal doubts. “Hahayaan” shrugs off the judgments that are propped against them, peppered with shuffling guitar strummings and snappy percussion that swarm around the chilled-out vocal melodies. “Untitled 1” opens up with percussive grooves and cycling guitar licks that accelerate and crash through as it progresses, building off a rebellious spark from those who will take the autonomy of their lives. And “Isang Kawalan” closes things off, a retreat from one’s beloved when their identity has faded. It’s a stomping closer where the crashing drums and guitar melodies pick up the rhythms as it plows through to the end.
Going even further – when they do strike gold, they make out some of their best tracks to date. The quiet longing of “MRT” is a grand standout for a reason, the warmth from the solemn vocal lines is situated within an excellent chorus and the twiddling guitars and punchy drums. “Synecdoche” and its tender balladry acquaints itself with glimmering synths and calming keys, coating the melancholic loneliness and changes that permeates through the song. But beyond all of that quiet pain comes the bright presence of the lover that’s always in one’s mind, a sentiment that the song delivers wondrously. The 2010s pop rock tunings of “Untitled 2” varies itself as it incorporates some house grooves underneath, allowing the hook to pop out with the grumbling guitars. And “Gulo,” with its waving guitar progressions over the rapid drum pattern, brings enough bewilderment to the post-breakup situation of the song. It plays its bewilderment until the very end, the piano murmurs the regretful musings of the relationship.
As much as the band finds their footing with this stylistic shift, they’ve embraced it to a fault that they still find themselves carrying their influences rather than carving a form that is their own. One major culprit for this is that, just like them taking huge notes on 80s synthpop in their debut, this record has a lot of rubbing off of the flagrant 90s – 2000s pop rock and post-punk stylistics that only makes the record less fascinating than it should be. “Dahan-Dahan” has its trudging groove progressions aided by the pianos that may sound thrilling at first, circulating around pacing yourself calmly amidst a world that may leave you behind. The vocal cadence and the shoutier delivery don’t have that same pumping swerve to them, leaving the song to lack any sort of wild edge to it even with the progressions trying to claw things through. “Gitna” goes to a similar issue, where the post-punk nods get rather trite with the shouty vocals and the stomping percussion and guitars. It sketches out the confusion and questions of where one’s life might lead, but the compositions don’t wrestle with themselves to make that point resonate stronger – ending up being clunky as a result. And then there is ‘Some Kind Of Girl’, an immediate dud in the record about the shy yearning towards a girl that then proceeds to put the situation in the friendzone. It’s a dull adult alternative song, paired with the obvious cloying guitar strums, processed beats, and a vocal delivery that sounds more stiff than enthralling.
To dig even deeper, there is a part of the execution of these songs that makes the album frustrating to go through. As much as the production stays consistent with how the textures crumble and warp in the mix, the static rhythms of a lot of these songs make it hard to justify the 54-minute runtime of the album. It makes the album sluggish to get through, and without a big switch-up to the structure of the songs just makes things clunky and drag as a result. While the aforementioned obvious pop rock and post-punk influences hold these songs back with the progressions and especially the vocal cadence that tends to sound too somber or lacking in sparking flair, it doesn’t help charge up the themes of yearning romance and questioning existentialism – lyrical aspects that show the band’s change throughout the years and the willingness to get even bigger.
Ergo, after going through the ride on their self-titled record, the shift and experimentation may mirror their improvements and strengths on the production and writing side, said mirror also reflects just how the band still gleams over their influences way too well. It’s a glaring aspect that could’ve wished that they would just break that mirror and dig themselves deeper into something unexpected for the band. Because as much as the record is an improved showcase of the overall scope of the band’s writing and tunes, it gets lopsided from the wonky structure and pacing which also hurts the replay value of the record. The self-titled album may be a proper shuffle and improved representation of what One Click Straight can pull off, but they still have a couple of influences to rub off from their creative sleeves, eventually learning off the rust that is their past, constantly relearning their steps in the present.
Written after long commutes and comforting cramped spaces while in motion, One Click Straight has proven themselves again that they are capable of growth, even above and beyond than their current contemporaries in the scene. As much as their lead vocalist Sam Marquez describes every one of their most recent outputs as “raddening”, “MRT” is basically the “renaissance” of their material, their literal version of “city” pop, may it be a songwriting and visual aesthetic standpoint.
The string of singles such as “Hayaan” and “Wake Me Up” have established themselves as the pop band, all the while “MRT” and “Lilo” are reserved to be more honest and layered than the sum of their parts. Whispered melodies and crisp drum production are becoming the trademarks of a One Click Straight track — may it be coming from their live drumpad playing or constant teasers on their social media — made their careers as musicians reach an all time high in terms of quality.
“MRT” has rhythmic rumbling of a train and synthetic warps mixed with Sam’s unorthodox guitar playing – the creme dela creme of the track. These sonic choices are paired with sentimental lyrics that tackle on the concept of finding each other while in transit, but whatever the place of love will take place in, one thing is made sure: One Click Straight have made unique jams for commuters; for folks constantly moving as the world revolves over and under them 24 hours; for humans depending on music wherever they go.
