SABINE sounds like she’s going all in with a full tank of ideas; both at an emotional high and a musical journey standpoint, “Selfish” has traces of rock and pop leanings, almost going towards an experimental tangent with soaring vocals, a blaring synth and multiple guitar tracks. The casual ear may find this an overwhelming sonic experience but for some actual supporters and the artist themselves, this is an experience all worth the taking.
Taking notes from their rock and pop heroines of yesterday, Galagnara’s vocal prowess takes center stage, acting as a driving force for the musical accompaniment to their introspective lyricism that takes place in their own protagonist’s mind. The 4-minute odyssey may be a drag as casual songwriting structure is concerned, but the sheer weight of the track crashing down to you may come off as either a rewarding experience or an unnecessary kick to the shins without any comforting ending. For the case of “Selfish”, the production is commendable as a step forward in polished bleeps and ringing distortion. However, it may be slightly overproduced and pushing to its actual limits that would overstay its welcome, rendering it slightly ineffective emotionally. On the other hand, the track has its fair share of breathing room for it to build up once again. Galagnara’s powerful presence does not overshadow the rest of the musicality as it tips at an upward direction, regardless of its flurry of emotional demon metaphors sitting throughout its lengthy structure.
Overall, SABINE has the right amount of star power between her talented current batch of musicians in MINT College, but the argument would rather be framed as “Selfish” being a step forward to nurturing a better, more promising sonic palette for the institution’s musicians in the years to come.
Illest Morena has the entire archipelago on the grip of her nails. Starting out slow and calculated in singles like “LOML” and “Faded (Raw)”, both of which propelled her to pop stardom. Her material doesn’t simmer down, but rather the generous giving of heat continues to burn all towering r&b pop stars of yesterday. She constantly drops the heaters until there’s no one left to follow in her own game. Like all competition, she’s achieved past the notion of going big or going home. Illest Morena’s newest single “Slow Burn” is an example of a walking oxymoron.
In the track there are lyrics immediately contradicting her own checklist in a bootycall: “He’s sweet, but a lil’ spicy”, “Gusto ko nang barombado, pero may takot sa diyos”. Additionally, the pacing just goes straight to the show. Illest Morena drives the track bouncing, hydraulic-like melodies and cadence, all for the listeners to want in a track that’s centered in honest desire. There’s a lot to pick more lyrically compared to her more melodic cuts, but that doesn’t mean it is to dismiss it entirely. This goes to show how much there’s slight variety in cherry picking the best of her output so far.
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.
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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Local artists need to straddle between genres more often. It opens a door for many to experiment, find their voice in the noise and maybe even conjure up a new sound that nobody has ever heard before. But there’s a risk in being too odd. It may also lose your sense of identity, playing with more inconsistencies than sticking to a uniform, realized sonic palette. However, singer-songwriter Oz Kabuhat defies those odds in “I Would.”
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Starting out in the electronic/pop realm in their earlier releases, MINT’s own Kabuhat goes beyond the grain in making formulaic pop music. Instead, “I Would” grows apart from its humble beginnings. Synthesizing layers of electronica over crispy snare and kick drums and capitalizing on falsettos that could run for days. There’s gold hiding in the sparse, more subtle moments of the track, but Oz doesn’t settle for less. He settles in maximizing in writing the most bitter-sweet sounding melodies ever known. “I Would” is a track that no one should sleep on.
Ango Paz’s own fusion of UK garage and Anti-pop is still making its way on the radar for many listeners all over. Heck, even Jung Kook’s hooky Seven or Pinkpantheress’ single worthy loosies or bootlegs prove to be more than just Tiktok worthy jams. Those tracks in particular are actual pop songs that’s built massive followings and influences for decades, regardless of formula changes and genre shifts. Pop music is a product of time and dopamine in the veins. Furthermore, Ango wants to slightly deviate in the formula by incorporating emotive vocals, explosive left turns in the production and another level of attitude in his latest single titled “pull me up (break it off)”.
Fresh from the aunt robert collaboration, the latest single carries a similar weight in terms of clarity to Ango’s vision as a producer and songwriter. Surely you can tell from the influences from a mile away, but Ango wanted to let their listeners know that UK Garage can be a transmutative genre in pop music. It’s a sonic force that can pull you right in immediately for its mechanical form. From the 2-step rhythms to the melodic sensibilities, Ango smartly inserts structures and techniques that’s common yet effective today: the explosive outro by the second half, the acoustic guitars bouncing along to garage kick and snares etc. “pull me up (break it off)” is an example of an artist’s work showing great potential. It’s an advancement to both genres holistically.
Back in June of this year, FEIFEI returned back in the scene with a three-track single called ‘YUM’ that included two pluggnb cuts and a Jersey Club remix of one of those songs courtesy of Showtime Official Club’s production. Those cuts, alongside the Jersey Club remix of ‘let her cook’ center a lot towards social media aesthetics on the romance and honing into the bubbling Jersey Club and UK Garage adjacent soundscape that has gotten really active this year, with ‘discord pag-ibig’ hones in on the discord slangs that are used for lovey-dovey interactions and the ‘let her cook’ jersey club remix from Showtime Official Club leaving a mark of interest for FEIFEI on her sound moving forward.
Three months later, FEIFEI eventually embraced both the UK Garage dance-pop beat and the colorful internet-laden flirtations on ‘MINATO’, a combination of aesthetics that leads to a ridiculously sticky single put together really well due to the quicker percussions, buzzing and swirling cocoons of synths, and ridiculously catchy melodies from FEIFEI which wiggles around the beat yet still manages to be composed and tuneful all the same. All of those elements paired with the lovey-dovey romance that comes off as colorful and silly due to how it sprinkles a dash of delusion as well as the internet-driven flair on the writing end up overall endearing. Endearing in a way that’s gonna make you cheer for someone to get with their crush while also gently making fun of that person for the harmless delusion they’ve put upon themselves. Not that it is bad to be in those situations, of course, but FEIFEI sure knows how to make it look fun and honest all throughout.
For those who are not aware, before his Kailan cover was put out, Raccoon Eyed Ronan debuted on SoundCloud with ‘INSOMNIA’, a mostly decent R&B cut that was underpowered due to the rough production and mixing & mastering elements. However, after the Kailan cover did get a lot of buzz around the indie circles – which has led to Raccoon Eyed Ronan now working under Twin Plaza Recordings – he eventually touched up this song with Shuichi helping along. And surprise to nobody, it’s essentially an improved version thanks to the hypnotic production with all of its psychedelic atmosphere from the synths and horns paired with the impeccable mastering allowing the course grooves to swell and then explode wondrously at the end. And for a song that’s about holding on to a relationship and asking with genuine care if there is a possibility of fixing said relationship, both Raccoon Eyed Ronan and Shuichi delivered exponentially where Ronan’s somber yet heartfelt vocals contrast well with Shuichi’s desperate expressiveness that works with how the instrumentation spills forth after his verse.
There are a lot of welcome additions to this new version of ‘INSOMNIA’ that puts Raccoon Eyed Ronan as an artist to look forward to. Since now that he is under Twin Plaza Recordings, there is so much potential waiting to be seen here that it’s exciting to guess wherever he will go from here, especially with his brand of R&B that he can present with potent sincerity and layered melodic and production taste. For the time being, this track and the Kailan cover stand strong for what spark he’s yet to unleash, a spark that will keep us wide awake in the near future.
The online personality of Miya Villeno – or also known by their username and moniker Crimason – is far from their usual high speed slapstick content and Stan Tiktok phase. It’s so far to the point that the music they shill online inspired them to venture on a music career of their own. Their latest single “Enough” has been building self-hype as a pop ballad for the kids wanting to be – well, you guessed it – enough for each other. Moreover, the debut single of the 16-year old singer-songwriter has averted any risk or failed to stick out in their first attempt at songwriting. In “Enough”, it’s 4-minutes and a half of nothing but a sore thumb.
Albeit a lazy hook and standard verse-chorus, Villeno doesn’t shy away from exhibiting their chops vocally; a noticeable tenor voice that’s suitable for their voice on rougher-sounding tracks. Whereas her presence is more akin to the Born Again Christian singing seminar if you’re thinking of a song that’s as uplifting as a Retreat camp cry session. “Enough” becomes more antiseptic as time passes, the sheer velocity makes the entire track unlistenable as a whole. The entirety of it is uninspiring, wealthy in clichés and one dimensionality. The emotional anchor that this track weighs is light and hollow. If you want to chase the algorithm in Tiktok, Instagram and Spotify, this track isn’t it.
