Written by Lex Celera I think it was around this time last year when I first listened to SLIZ’s breakout hit, “Sige.” The breakout hit established SLIZ as some sort of a late 2010’s bedroom artist meets late 2000’s love rap chorus crooner, packed with simple but catchy lyrics on smooth beats that’s easy on the ears (dance crews have had her songs as part of their choreography). But what sets SLIZ apart is what is arguably her most becoming trait: an unmistakable, high-pitched singing voice that has not entered our ears in a long time. I’ve come to understand that her speaking voice is pretty much the same as her singing voice, based on an interview with her and catching her live performance. It’s a singing voice that serendipitously stands out from whatever musical elements it’s paired with. In my mind, it’s SLIZ’s most dominant trait that would either make you love or dismiss her. But I’d like to believe that majority of SLIZ’s first-time listeners who would openly balk at her shrill singing, whether it was “Sige” or her latest release “Droga ang Pag-ibig”, would slowly lurch back to YouTube and listen to it again. And again. “Droga ang Pag-ibig” shares a common thread with Aikee’s “Kahit Bata Pa Ako”, Mike Luis’s “Iba Ka Na Pala Ngayon”, and Hambog ng Sagpro’s “Alaala Nalang” in that they all carry infatuation and fidelity as themes, but also handles these themes in an outwardly immature way. The fact that all these tracks feature high-pitched, childish voices makes me feel that there’s some correlation between all of them. Like her breakdancing cohorts in the music video, “Droga ang Pag-ibig” is a free and easy listen that doesn’t attempt to go beyond its confines. It is a step towards the same direction SLIZ has been going for since the beginning, and while it doesn’t offer much merit beyond what’s already been said, it also establishes SLIZ beyond the novelty her previous work has unwittingly offered. The cutesiness of it all is here to stay, at least for a while more. SUPPORT THE ART & THE ARTIST: