Written by Francine Sundiang The best music often has a transportative quality to it, able to bring you to moments in the past you may not have even been a part of. With Jopper Ril’s “Won’t Wait,” the listener is taken to distant memories of late karaoke nights and the height of R&B, disco, and Manila Sound in the ‘70s. It’s a track that proudly wears its influences on its sleeve, but with enough attention given to songwriting and vocal performance to really make it stand out. Everything starts slowly, with melodic piano and subtle guitar chords gradually building up in intensity before reaching a falsetto vocal and a classic pentatonic guitar solo. This change in trajectory keeps your attention and prevents the track from becoming stagnant, all while Jopper Ril manages to exude a sense of charisma and stage presence purely through audio. These elements brought together create a track that would have been an instant classic had it been released at the same time as its influences. There’s nothing exactly new here, but there doesn’t need to be. After all, there’s no greater tribute to your influences than to show how their classic sounds still have a place in the present. Jopper Ril does exactly that; “Won’t Wait” is a homage to the greats, a time capsule to the height of a genre. SUPPORT THE ART AND THE ARTIST:
Tag: Track Review
TRACK REVIEW: NICKOTINE – BLOW BLOW
Written by Elijah P. NICKOTINE sits in a strange corner of the electronic dance space. They operate with the focus of a producer who knows exactly where to push the limits and does not bother waiting for permission. Their singles catalog running from 2024 already runs long enough to fuel an entire DJ set, and every release hits with the blunt force of someone who refuses to soften a single edge. The shift from the old Nicko Erotica moniker to NICKOTINE speaks for itself. They never relied on a safe route, and they continue to avoid any lane that asks them to pull back. Their TikTok gives a glimpse of how their mind works: Short clips, tight captions, and a kind of humor that turns the abrasive quality of their songs into a punchline. “BLOW BLOW” doubles down on that attitude. The track launches straight into hedonistic lines and a wall of mechanical horns that grind against buzzing synths. The whole thing comes together like a controlled collision. NICKOTINE built a following through SoundCloud drops that move between techno and deconstructed club. That following continues to grow because each release carries a sharp personality that rarely surfaces in the local dance scene. They have close to 19k followers on TikTok, which raises a bigger question: how many clubs and curators have yet to notice what they can do? The wild part is that they produce everything through a phone. No laptop. No full home setup. Just instinct and speed. Keep NICKOTINE in your sightline now. Support the art & the artist:
TRACK REVIEW: Franz Guico – di ko aaminin
Written by Rory Marshall Cagayan De Oro’s very own Franz Guico switches things up in his newest release, “di ko aaminin.” The folk singer-songwriter has taken a nudge in a different direction with his first single of 2025. Franz Guico has built up a reputation for soft, heartfelt acoustic tracks – reminiscent of haranas and sweet ballads, but with “di ko aaminin,” he casts his music in another light with a Math Rock twang. Nothing is lost with the new sound. Everything that made his music work before is present in the track, just with a new coat of paint. With his honeyed lyrics and melodies that seem to take residence in your ear long after the song ends, now accompanied with a shifting time signature and twinkly, complex guitar riffs, this feels more like an evolution rather than a switch-up. He’s no stranger to intricacies in his guitar playing, as seen in his previous folk tracks like “at nagkagulo”, but in this new single, the translation is seamless. All that’s different is the switch from soft acoustic to crunchy electric guitars. That, paired with crashy drums and a harmonic breakdown to close out the song, by the end of it, you’re left wondering how well his two styles complement each other. Is it a step in the right direction? Yes. His discography has a lot of heart, with tracks like “dahan dahan ka nang nawawala” and “ikaw na ang buhay ko” deserving more recognition than they have, but it wouldn’t be a far cry to label his discography a drop in the bucket of singer-songwriter OPM. Experimentation is healthy, and shaking things up is a natural part in the artistic process. It doesn’t always result in a success or a path the artist wants to pursue, but for the case of Franz Guico and “di ko aaminin”, this is an avenue worth exploring. SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: Parti. – Breach
Written by Noelle Alarcon In Parti.’s latest single “Breach,” the vibrations of sound speak for themselves, urging you to tap into your latest instincts. The waves of emotion that wash over in all six minutes and 31 seconds of the track do not yearn to be explained or interpreted. But rather, this smorgasbord of instrumentals is an open avenue. “Breach” is inspired by artists like Pierce the Veil and Death Cab for Cutie, which is sonically apparent in its hard-hitting riffs and rich solos that add texture to the layers of aggressive percussion and brief moments of quiet that build up to consecutive peaks of release; of emancipation. In a way, a song is typically structured, there would be a climax that awaits the listener, or pauses of one’s breath to punctuate their words. Parti. breaks away from this mold altogether, engulfing you in the charm of “Breach’s” unpredictability. You never know when the fullness of sound is going to start staggering, going up and down your ears, or when an incomprehensible voice note is about to weigh on its sonic atmosphere. Keeping the listener on their toes while remaining audibly cohesive shows the band’s dedication to mastering their craft. Despite only having three singles in their roster so far, Parti. already has such a strong sonic identity. Wherever “Breach” is breaching into, it’s definitely an inviting welcome into Parti.’s “instrumental-experimental post-hardcore na medyo math” world. SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: dear fr1end – VOICEMAILS
Written by Aly Maaño From his pop-rock roots as Abcd’s frontman, Darwin Dela Rosa embodies a different persona in his solo project, dear fr1end. In his debut single, “VOICEMAILS.” Darwin explores the midwest emo and pop punk territory, with heartbreak and longing as its main themes. It begins with a recorded phone conversation between two people who are evidently on the brink of ending their relationship. In between denial and bargaining, a jangly guitar intro can be heard, capturing that signature Midwest emo sound akin to the twinkly guitar elements of math rock. This forms the precedent of the song’s whole storyline: a person caught in the throes of a breakup, and is still holding on. As the verse explodes with a full swing of instruments, Darwin’s anguish-riddled voice perfectly reflects the protagonist’s emotional state. The track continues on a faster tempo, shifting more to the pop punk side with strong, prominent drums that break into clean, jangly riff solos at the right moment. At this point, the narrator continues to send voicemails to his ex-partner as a way to comfort himself rather than an attempt to bring her back. As if to mirror his sorrow, the song deviates once more to a slower pace, accentuating its cycling guitar parts and melodies. Having gone through all the stages of grief, the song collapses into a chilling guitar solo until the beep of an unanswered phone fades into silence. In its entirety, “VOICEMAILS” is the type of music you play on your car while driving to the only 7-11 in your rural town at 2 a.m. The lyrics aren’t gut-wrenching, but bleak enough for any listener to reminisce about that one failed relationship (or situationship). The song’s lack of a chorus doesn’t make it less catchy or memorable; it highlights Darwin’s ability to tell a consistent narrative from start to finish. Like a long-distance pen pal, one may wonder what other heartfelt stories dear fr1end will share through his music. SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: Kartell’em – KITBA
Written by Noelle Alarcon In hip-hop, you can’t just drop your words and hope they’ll stick to the beat. It is audible when you don’t mean what you say; the presence (or lack thereof) of bravado alone is enough to make or break a track. In Kartell’em’s latest single, “KITBA,” they have enough bravado to last a lifetime. That much is evident in the swagger that kicks off the song. “Kartell’em in this bitch again!” expects you to have heard of their name, of their achievements, of what they’ve gone through as a group. There’s a certainty–a sense of security in who they are as artists, that floats through its five-minute runtime. The beat may be easygoing, but it lends itself to acting as a canvas for the bars that each collaborator of Kartell’em drops. Each verse is full of personality, with those of Ne7in and Wavyier’s being incredibly tongue-in-cheek–making milli’s and poking fun at titos really put it all together. As ridiculous as some lyrics may seem, Kartell’em never takes themselves too seriously–and that truly grounds them in their suave, signature cool. “KITBA” is straightforward, animated by its clever variations in flow–because how else would you rhyme “play” with “play” and still make it sound interesting? As direct as it is, however, it does leave you hungry for more; looking for a climax or a switch-up–a bit of a palate cleanser in the strings of sentences about abundance. It’s a track with a loud bark, with the potential to have a firmer bite. SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: Man Made Evil – Dear Baby From Malate
Written by Noelle Alarcon So far, the 2020s have proved to be an era engulfed in the novelty of remakes. It’s evident in recreations of films from decades ago, the return of cuts and fabrics popularized by your parents’ generation, and the like. In this age of pastiche milked dry by major corporations, it’s artists like Man Made Evil that show everyone how authenticity can breathe new life into the past. ‘Dear Baby From Malate’ is over five minutes of stripped-down brilliance; a track mixed like a live performance. The instruments are put together in a way that sounds like you’re right next to them, welcoming and fitting for the romantic swagger the song’s words carry. Its singsongy background vocals add to its chummy appeal; a song that is as catchy as it is intricate. The track’s brash vocals mesh together perfectly with its guitars, which let overdrive take the reins in shaping the body of the song. It’s reminiscent of local 70s acts like the Juan Dela Cruz Band, whose discography carries both bark and bite. Similar to its predecessors, “Dear Baby From Malate” is also hinged on creative riffs, a smug, patterned rhythm section for support, and incredibly casual lyrics. Just when the song calms down for its soft “ooh, ooh, oohs,” it lets loose some more, until the audible release of energy fades to its eventual end. “Mapa rockers man o punks na long hair, tiyak hindi lahat wagi diyan,” sings the band, their easygoing, “it is what it is” attitude towards love infectious. Passion oozes out of the track, from the earnest references of their inspirations to the witty tongue in cheek it carries throughout its run. ‘Dear Baby From Malate’ is a reminder to take it easy; authenticity will always get you by, in the end. “Ganito talaga sa mundong ibabaw.” SUPPORT THE ART AND THE ARTIST: Dear Baby From Malate by Man Made Evil
TRACK REVIEW: geiko – No Way Now
Written by Louis Pelingen “No Way Now” is a song that has more weight to geiko than anyone else. A change in tone and sound where she confronts a connection that used to be endearingly close but is now tousled and cut away, a narrative ruffled through shuffling, dreamy pop-rock flutters that’s additionally produced by Jad Lara. Adding light percussion, glossy synths, and reverbed guitars that complement geiko’s more somber singing, just before the guitar solo swerves and she starts releasing her anger at that past relationship. Whilst not exactly a remarkable song – drums sound lighter than they should, chorus doesn’t hook strongly, and geiko’s release of anger stumbles more than it is anguishing – the gradual change of her sound ever since the release of “Palapit Sa U” offers growth for her as a musician. Perhaps, in wading through the past, she ends up somewhere refreshing. Growth ends up like that, after all. SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: Nateman, Lucky – IMMA FLIRT
Written by Adrian Jade Francisco Imma review! At times, local hip-hop sidesteps sentiment and wit. But at most parts, it goes straight for your earworms. From drill, bass-heavy therapy sessions to R&B late-night text tracks, Nateman and Lucky’s latest collaboration is a quantum leap towards the realm of the unpredictable. Is their latest single “IMMA FLIRT” silly? Yes. Is it worth skipping? Not at all. The Pasayeño’s ninth single of 2025, ‘IMMA FLIRT,’ featuring Lucky, is an R&B-infused hip-hop track that samples R. Kelly’s ‘I’m a Flirt (Remix).’ Nateman and Lucky’s verses seep into the track like smoke from hand-rolled papers. With repetitive, cheeky lyrics such as “Imma flirt, pag napadaan mga chicks dito sa hood” or “Soundtrip si Curse One, chorus at verse niya—ako daw first niya,” it sounds campy at first, but it gets infectious thanks to the melodic hook and production. ‘IMMA FLIRT’ doesn’t stretch the rapper’s soundscape nor a nod to his previous Drill releases. His recent tracks are more of a smirk, with a question tucked behind them—whether the hip-hop artist will eventually branch out of his usual late-night R&B lane. Despite that, the track is an unintentional case of brain rot that lingers for hours on end. “IMMA FLIRT” won’t change Nateman’s catalog but it just might hijack your ears. For something so unserious, it takes its catchiness seriously. SUPPORT THE ART & THE ARTIST:
TRACK REVIEW: Ada Meniv – Placenta
Written by Lex Celera Ada Meniv is a solo project by Philippines-born, Hong Kong-based producer, instrumentalist, vocalist, and sometimes rapper, Tisch Nava. Beginning with 2024’s ‘THE ONLY WAY THROUGH IS OUT,’ Ada Meniv’s music doesn’t feel like a loaded experiment in genre-blending as much as it is an assertion of taste and aesthetics. In laying bare the connective tissue between dark ambient, progressive metal, rap, and grunge, their tracks echo each genre’s most resonant qualities: an intensity of emotion and a stylistic choice to break convention. All of these qualities are realized to a greater extent with “Placenta.” Compared to Adam Meniv’s other releases, “Placenta” presents itself as more restrained in exploring its aesthetic impulses, with a third of its runtime meditating on a grunge-inspired riff. At the same time, esoteric wordplay and ethereal chants come together without wearing out their welcome. Its genre switching comes in turn and in healthy doses. Ada Meniv is more than capable of straight-up pursuing a dark ambient or grunge track worth listening to. But “Placenta” presents something more interesting than just embracing the abstractions that defined its sonic foundations. Neither the tinges of grunge-driven riffs nor the droning, trap-inspired rap would work as well without each other’s presence, taking turns. You don’t have to destroy to build something new. We might live in a world where genres are being pushed to their farthest ends in the name of experimentation. Ada Meniv seeks out new meaning from within instead. SUPPORT THE ART & THE ARTIST: