Written by Adrian Jade Francisco Marikina’s up-and-coming pop artist SHANNi decides to elevate the groove in her latest single. In “SSS (stuck song),” her soft Manila sound explores a funky city-pop environment, a dreamy but exuberant track that tackles the narrative of a push-pull dynamic in a relationship. “SSS (stuck song)” is a stark contrast from the past three singles in the area of her sound elements. The lush texture, infectious guitar, boogie-worthy synth, and piano layers revisit the era of retro-fueled rhythms. It is irresistibly catchy, pulling the listener into a repetitive whirl, much like the endless loop of a vinyl, right from the first listen. “SSS (stuck song)” and its lyrical construction does not stray away from her previous releases; Instead, the production takes the spotlight. While her ‘70s-esque torch ballad inspirations led her to venture into nostalgia-driven hits, it does not reinvent the homage it is leaning on. It lacks the innovative approach to the funk-rock and city-pop genre. Although SHANNi did not opt to introduce something fresh in the soundscape of the aforementioned genre, her ability to widen her palette may be a positive sign. SHANNi’s talent and skill are undeniable when she puts out replayable jams like “SSS (stuck song)” as she continues to explore her artistic facade. If she consistently maintains this momentum, she’s likely to produce more bangers that stick like gum, replaying over and over like this one. SUPPORT THE ART AND THE ARTIST:
Tag: Track Review
TRACK REVIEW: kyleaux – NOTICE ME
Written by Louis Pelingen Stepping outside the dense smoke of his past releases, “NOTICE ME” acts as the next progression for kyleaux’s creative prowess. Replacing rapid warbles with sleeker R&B cadences that compliment his desire for romantic attention, one that requires a level of inviting charisma that Kyleaux proves to handle in potent strides. Paired with the nimble bass groove, shimmering synths, and textured boom-bap percussion, it coalesces to Kyleaux’s melodic arsenal, instantly pulling the attention of the listener into the song. It may be a little bit quaint mixing-wise – especially around kyleaux’s vocals – yet the overall melody coming through his vocals and his instrumental is silk as butter. This results in said quaint mixing becoming a feature rather than a weakness of this whole song, a deceptive magic under kyleaux’s growing bag of tricks. One that’s worth noticing further as he constructs more of these low-key yet delightful songs. SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: Paprikka – Itataya
Written by JK Caray Starting out by covering beloved City pop tracks, Manila-based singer-songwriter Paprikka releases her debut track “Itataya” as the next step to the career she’s been building. In a burst of creative inspiration, Paprikka decides to gamble to make it big—and sure enough, she hits it on her first try. From the get-go, Paprikka’s determined to make the city pop genre her own. Belting in straight Filipino, she channels that ‘kikay’ attitude of the Manila sound—think the whimsical, carefree fun in Rachel Alejandro’s Mr. Kupido and you get the gist. Her performance on the track playfully tethers between a cheerful schoolgirl on a first date and yearning alongside a high school crush. It’s warm and fuzzy, charming, and corny yet you giggle every time the memory crosses your mind. Overall, “Itataya” shows a lot of promise for Paprikka’s career, signifying she has an ear for producing memorable hits. At times, however, it becomes too similar to the whistles of the Japanese City pop tune, down to its clichéd bass groove and bells. As common as this pitfall may be for anyone starting in the genre, there’s no doubt that she’ll cultivate her style along the way if she truly wants to reinvent the genre. In the meantime, “Itataya” is a gamble worth taking if it leads to being a one-of-a-kind pop star like Paprikka. SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: KAIA – Tanga
Written By Lex Celera Leading up to its music video release, KAIA released a number of one-minute “concept films” on their social media accounts, featuring each member depicting potentially romantic moments gone awry. And while the promotional videos are just long enough to capture the feeling, KAIA’s “Tanga” unpacks this romantic type of love with nuance without losing the sheen of its pop structure. Within the highly engineered lens of pop is a fantastical but relatable world built through image and sound, cultivated during and in between music releases, “Tanga” checks all the boxes of what is serviceable and “radio-friendly.” The single is catchy, it has earworm-worthy chorus and showcases upbeat rhythms. For KAIA, “Tanga” is a boon to its music catalog, sitting pretty beside “Walang Biruan.” While the latter pushed KAIA sonically, “Tanga” remains decisive in fine-tuning their sound. Zack Tabudlo’s mastery of examining expressions and receptions of love and putting them into words without sounding preachy leads to a satisfying pop track. More than lyrics, the harmonies are satisfyingly layered and the adlibs are discreet but playful. It’s safe to assume that these additions to KAIA’s repertoire are a result of close collaboration with the more experienced Tabudlo. What’s most compelling in “Tanga” is the levity created between the twee lightheartedness of its melodies and the abject sadness presented by its lyrics. Why do we carry on with unrequited love or romance beyond red flags? In “Tanga,” anger at the act and love for the other can happen at the same time. These themes are explored but never really go anywhere. And that’s fine. What matters for KAIA is one-minute moments and three-minute odes to these moments, portraying a feeling that can be sustained upon multiple listens. KAIA’s charm shines bright in “Tanga,” and while admittedly safer than their past releases, forms a full-bodied discography thanks to its well-considered lyricism and composition. SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: Ame – Ipagpatawad Mo
Written by Louis Pelingen In treading back towards the nostalgic 60s rock ‘n roll, Ame manages to fit themselves well, as their musical prowess shows how well-equipped they are in approaching this sound on“Ipagpatawad Mo.” From Zarviel’s hollering vocal presence that firmly cries his call for affection, the blustering blues rock progression and wild guitar solos, stomping drum rhythms, as well as the occasional bright piano lines and vibraslap rattles. They all check out the boxes of what makes that era of rock ‘n roll quite compelling and runs with an all-killer, no-filler direction. The other part of what allows the tune to punch through is the production. Having Max Cinco and Paulo Agudelo doing most of the production duties alongside Sam Marquez handling the mixing and mastering duties means that most of the instrumentation lets their vibrant melodies shine through without overlapping with one another. The emphasis is on “most” however, where despite the already colorful mix, the dynamics could’ve been just a bit more spaced out, as the bright piano lines do get trampled over with the low-end and various guitar sections being so flashy and excessive. “Ipagpatawad Mo” is the kind of nostalgic callback where it’s clear that the band knows enough of the sound to recreate it with good intentions. It’s a straightforward attempt for sure, yet it allows Ame to flex more of their musicianship as they stray away from the mild pop soundscapes that they’ve started with. That shift to explore more melodic intricacies is, at the very least, a kind of forgiveness worth accepting. SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: sumther – forget
Written by Elijah P. sumther’s latest track “forget” sounds like the best kind of house party—the one that spills from a cramped Tomas Morato club into school hallways and basketball courts, chasing sunrise with reckless abandon. Known for his intimate plugg experiments, the artist sheds his bedroom producer skin here, embracing a bigger, brasher sound that crackles with the energy of someone discovering their voice at just the right moment. Where his earlier Soundcloud loosies reveled in microgenre nuances, “forget” plays like a manifesto. sumther was trading pluggnb’s melancholy for a swaggering, synth-drenched anthem about moving on (but only after one last dance). The genius lies in its duality: it’s a breakup song disguised as a party starter, with lyrics that sting even as the 808s and the piano lines dare you not to move. The production expands his world beyond sub-bass corners. Snares and synths ricochet like sneakers on gym floors, melodies shimmer like spilled vodka under strobe lights, and sumther’s delivery—part-sung, part-rapped—carries the giddy exhaustion of someone who’s stayed up too late feeling everything at once. It’s a coming-of-age moment bottled in two-and-a-half minutes: proof that his knack for earworm hooks (that chorus lingers like next-day confetti in your hair) could propel him from niche favorite to undeniable mainstay. If this is sumther unchained, imagine what’s next. SUPPORT THE ART AND THE ARTIST:
TRACK REVIEW: .foollstop – L
Written by Adrian Jade Francisco Fallen angels—once held in the heavens, now cast down, wandering in the aftermath of their descent. .foollstop’s “L” is shaped in a similar sentiment, an anthem of loss, reflection, lost in the reverie of ill-fated romances. San Pablo’s .foollstop has released their initial shoegaze track, a year elapsing since their live debut at Mow’s. The euphonious mix of the instruments, Huwakin’s and Ice’s vocals are cascading rivers of tears that transcend into sound, echoing throughout the song. A touch of rap alongside shoegaze is featured in the second verse, which is not something you hear in the genre every day; The monologue section before the breakdown of “L” is a bursting bottle loaded with emotions that erupts in the ending, drowning in tremolo-picked guitars and layers of vocals. Taking a glimpse at their “L” demo in Sining Shelter’s compilation “tunes for a true home,” the band slid the key into the right lock in the final version by incorporating more audio tracks in the mix. “L” weaves biblical metaphors into its narrative, portraying the perspective of a fallen angel caught in a fleeting situationship. Just as the fallen angel once knew the embrace of heaven, the narrator reflects on the short-lived moments of a love that couldn’t last. You may interpret various words from “L” such as “loss,” “ love,” or “limbo” but you can not associate the band’s debut with “loss.” Unlike the fallen angels, .foollstop’s wings chose to soar and may further introduce something of substance in an uncertain future. Support the art & the artist:
TRACK REVIEW: Chinese Garden – In Hiding
Written by Elijah P. There is something spellbinding about Chinese Garden’s debut single, “In Hiding.” From the first note, the track pulls you into a world that’s haunting and hypnotic. The lead vocalist’s longing, almost yodeling runs are the centerpiece, weaving through a sonic landscape that feels both intimate and expansive. Twisted electronic textures flicker in the distance, while sparse, echoing instruments create a sense of unease. Meanwhile, the loud, fuzzy guitar in the foreground anchors the track, giving it a visceral edge. The band’s mellow arrangements and poetic syntax feel tailor-made for the yearning hearts and restless souls of “In Hiding.” The production teeters on the edge of collapse, like a glitching computer on the verge of melting—yet it never loses its grip. Instead, it adds a layer of unpredictability that makes “In Hiding” all the more compelling. Bright, shimmering guitar tones cut through the haze while the delays stretch into infinity, creating a dreamlike atmosphere that’s hard to shake off. “In Hiding” speaks a language that resonates with dive bar scenesters and acoustic purists who’ve embraced the digital age. It’s a track that defies easy categorization, drawing comparisons to Phoebe Bridgers and Snail Mail but ultimately carving out a sound entirely its own. By the time the song ends, it’s clear that Chinese Garden isn’t just another band in the indie crop—they’re a unique force that’s unafraid to blur the lines either from the organic and the electronic, the nostalgic and the futuristic. The track lives in between. Support the art & the artist:
TRACK REVIEW: Zack Tabudlo – Diving
Written by Gabriel Bagahansol For a while, it seemed as though Zack Tabudlo’s stardom would go on forever. His style of charming pop and R&B tracks dominated the airwaves as the nation shifted back to normalcy from the pandemic, an imperial phase helped by the fact that he would constantly put music out, dropping a new single or album every few months. Lately, though, he couldn’t seem to land a hit song as easily as he used to. His star has been slowing down, and so has his output: he only released four singles last year. But after keeping a relatively low profile for the last few months, Zack is back, and upon brokering a deal with an American record label, it looks as though he’s taking a shot at a big comeback. And just like how it was a couple of years back, he didn’t waste any time. He’s got a new song out. Some might think that Diving sounds just like any other R&B track you can find at one of many chill playlists at your local streaming platform, but this does have enough of that Zack Tabudlo magic that they should probably pay attention to this one. Here, that magic is at its best; you got everything you’ve come to expect from his music, from his vocal melodies and the guitar lines that complement it to his soulful vocal range that goes all the way to an enchanting falsetto (which only shows up once in this song), to his lyrical mastery with the subject of love, which in this case is the tried-and-true topic of obsessive frustration over someone who’s love may not be true at all. It all comes together to form that kind of pop music realism that’ll make you believe this guy is riddled with jealousy and heartbreak and couldn’t snap out of it. As far as heart-rending songs of woefully unrequited love go, this hits all the right spots. While Diving may find itself lost in the shuffle of newer, shinier releases, it has, at least, enough defining qualities to make for a unique listening experience should it find its way to you. Play this a bunch of times and you’ll be reminded of just how good Zack Tabudlo’s music was when you had his music on a loop a few years ago, or caught it at a mall or the radio or TikTok. Will this song immediately help him set the world on fire again? Probably not. But it’s intriguing enough that once it gets pushed to a streaming service playlist in America, someone out there could hear and enjoy it to the point where they’ll soon find themselves diving into a whole world of music they’ve been missing out on. SUPPORT THE ART & THE ARTIST:
TRACK REVIEW: One Click Straight – Telepono
Written by Noelle Alarcon 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.