Written by Elijah P. PRAY is one of those Manila rap outliers who know how to play the game from the very beginning. On his debut project ‘THANKGOD4ALLDIS$WAG,’ he walks in already dressed for the role: “gangway” street styling, flex-first instincts, and a slightly pitched-up delivery that turns his nasal cadence into its own signature. The tape runs under 20 minutes and barely lets any track breathe past the two-minute mark, which is part of the point. This isn’t a rap “album” in the old sense. It moves like an Instagram timeline refresh: fast, glossy, and prepped for replay. For all its iced-out production luster, PRAY’s strength isn’t merely identifiable trap aesthetics. He understands how to sit inside production and steer it. His ear works like a DJ’s. The beats across “MONEY COUNTER,” “RA$TA,” “F*CK AGAIN,” and “$YRUP TSAKA DOPE” hit that sweet spot where rage energy and cloud-rap drift start bleeding into each other; Trap hi-hats flare up, melodies blur into neon haze, then PRAY slides through with a calm, almost smug control. He raps like he’s narrating a lifestyle he’s already living, pitching into his dreams he hopes to buy into. He even plays a Kodak Black sample of “counting money” as one of the “freakiest things” he’s ever done. Lyrically, he plays the expected cards: money, lust, lean syrup-soaked bravado. Still, the project doesn’t collapse under cliché, because PRAY knows how to sell a line. His hooks land, his timing stays sharp, and his vocal tone has enough character to keep the tape from feeling like another copy-paste flex mission.With all its charismatic end result, THANKGOD4ALLDIS$WAG won’t convert the experimental rap purists, and PRAY isn’t aiming for that crowd anyway. This is music for the city’s wired-up nights, for kids who treat Instagram as a moodboard and ground zero for the come-up. PRAY enters 2026 with real potential, and this debut proves he can get ahead of the game. Support the art and the artist:
Tag: Trap
TRACK REVIEW: maki! – popout
Written by Elijah P. “Lahat sabog/ fuck it, we get lit,” maki! declares on “popout,” a year-opener single that wastes zero time pretending it’s anything deeper than adrenaline and appetite. But that’s the trick: what sounds like disposable turn-up rap is also a tight little mission statement. maki! opens the track greeting the listener like he’s clocking into a shift, then asks for love with the kind of hunger that most rappers like him wouldn’t barely achieve. maki! does it effortlessly. “popout” runs under two minutes, and it moves at the speed of an online reel. The beat leans into bitcrushed, 8-bit textures, turning trap into something glitchy and pixelated. maki! slides across it with melodic autotune warps and chopped-up vocal flickers, tossing newly heated ad-libs. The parking-lot setting in the song’s music video feels right: fluorescent, chaotic, nocturnal, and ready for trouble. What separates him from the usual mumble haze is that he actually commits to a slightly tilted rise of momentum. He gets from point A to point B cleanly, no dead air, no lazy hook crutch, no filler bars pretending to be vibes. With the internet pushing this slayr/CHE-adjacent strain of pixel-trap forward, maki! sounds tapped into the mutation early, proving local rap gets to catch up, sharpening their skillset into something truly their own. Support the art and 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:
TRACK REVIEW: GRE! – Sa’kin
Written by J.K. Caray QC-based producer/rapper GRE!’s latest single is unlike anything you’ve ever heard from him. Released mere days after his other single “äll.gre!,” ‘Sa’kin’ shows a completely different side to GRE!’s capabilities, all without the cost of stripping his signature style. This track marks another turning point in his ever-changing discography. In a natural evolution from his usual sonic aesthetics, “Sa’kin” displays the masterful marriage of two genres: Pluggnb and Hyperpop. Bound within the flawlessly tight production, GRE! displays his musical prowess in a way that furthers both. Starting off with dreamy and atmospheric synths, the performance in this track impresses with its vocals, reminiscent of hyperpop artists like glaive and ericdoa, encased within the confines of ice cold autotune. The infectious trap beats, piercing chiptune melodies and heart-thumping string sections create a behemoth of a song that sounds larger than life at times; a refreshing yet much-needed style to alleviate the plugg scene from his repetitive contemporaries. It’s obvious that GRE! knows exactly what he’s doing and he’s not afraid to switch it up. As his third single for the year, the track could very well be a part of a new album or a new era but if one thing is for sure, it’s that he’s going to go far. After “Sa’kin,” you’re left to wonder, just what else can he do? How far is he going to go? And most importantly, can you still keep up? Support the art & the artist:
TRACK REVIEW: japercc – Way too ahead
Written by Aly Maaño japercc is an up-and-coming hip-hop artist from Cebu who began releasing music on SoundCloud in 2023. Since then, he has been continuously serving the cloud rap scene with head-bopping tracks that blend synth-derived melodies and chiptune elements woven into rage trap beats. For your serial Playboi Carti enjoyer, one of his latest releases, “Way Too Ahead” produced by anthonyramx, passes as an instant banger. japercc successfully executes the low, slurred vocals akin to the mumble rap genre. The catchy, repetitive hooks and bass-heavy, gummy beats easily bring listeners to a codeine-induced frenzy. The high-pitched vocal swishes at the bridge add a playful flare before the second verse. While it is a sonic treat, “Way Too Ahead” doesn’t stray away lyrically from the snazzy, braggadocio rap template. But overall, the outward swag and quality of the whole production compensate for its lack of lyrical variety and substance. japercc tastefully gathered and fused the ingredients to whip up an effortless bop for fellow flared jeans enthusiasts. Although it might not fit everyone’s palate, “Way Too Ahead” makes sure to leave an impression; it adequately encapsulates what rage rap is all about. With japercc giving us a taste of home-cooked trap music, it’s exciting to know what he can bring more to the table. We’re just going to have to let him cook. Support the art & the artist:
TFL’s THE 23 FILIPINO TRACKS OF 2023
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 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 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 ‘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 ‘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 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 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
TRACK REVIEW: RB Slatt – Pahna
Written by Elijah P. RB Slatt is part of the vanguard of young r&b/electronic/rap producers blowing things out of the water with their string of singles and remix that are influenced by several internet genres from the 2020s. Lambasted by the mainstream hip hop community for their looks and execution, RB Slatt could care less about the comments who can’t contribute to the discussion that is their constant envelope-pushing production and approach to rap. Akin to the likes of brakence, underscores an glaive, RB is making a lane of their own effortlessly with Northgang cohorts like LIL JVibe and Eros Rhodes; both of which who are in equal levels of rap skill but not as close to the production circuit bending charm that RB has under his belt. Being a remix of autumn!’s “one way”, the excuse of this lacking of originality only scratches the surface of the “discourse”. The real question that listeners should ask is “Is it any better than the original?” The answer: leaps better than the original, fortunately. Bootlegs can only be bootlegs if it doesn’t surpass the real thing, but this is a special case – “Pahna” easily topples the quality of “one way” for the better. The melodic ambition of RB is tons way more presentable compared to the former’s slacker, mumble rap melodies that could pass off as background music. “Pahna” is the viral hit not one hip-hop listener asked for but it is the bonafide post-lockdown internet hit that everyone needs to hear.
TRACK REVIEW: Jeff Grecia – Elevate
Written by Elijah P. I have a proposition for all local hip-hop listeners: close your eyes, listen to Jeff Grecia’s “Elevate” and imagine a time in 2017 when Al James exploded in the scene and somehow spawned imitators in the scene to the point there was no turning back. Jeff Grecia’s “Elevate” takes the worst elements of a 2023 mainstream rap track. It is more vapid than an emptied Elfbar on a Happy Thursday, a flat tire in the middle of heavy traffic, “aesthetic rap” only catered to pick up people at a bad gig outside of a Poblacion bar. There are verses, flows and pitches here trying to stay away from the formula but it is so formulaic that it’s pointless to hear Grecia’s wincing voice reach to Hell’s gate. What else do we need to hear more of Grecia? Virtually nothing apparently. Not even the tito cornrows and hoodie can save face. If we were to look at it in the bigger picture: We do not need more Al James clones in the scene Support the art and the artist:
TRACK REVIEW: O $IDE MAFIA & TUS BROTHERS – CRASHING
Written by Elijah P. The internet has long existed to demystify many different art forms. From showing its bare bones to even revealing what is there and what makes the material in the first place. In music, there’s an ongoing debate whether or not an unfinished track with little to no final mixes made by the engineer – or in short a “leak” – made it out in the open from trusted sources all over the ethernet is better than the final product. Take O $IDE MAFIA and Tus Brothers’ collaboration “Crashing” as an example. As far as my hearing is concerned, “Crashing” sounded a lot more tamer, sinister. And yet it feels a lot more collected with the trademark rage-y verse-carrying by none other than O $IDE MAFIA. With Tus Brothers’ classic contemporary voice aping overkill sticking out like a sore thumb in the mix, even if the beatswitch in the earlier versions from the leak wouldn’t save the track from being unbearably mid in the long run. “Crashing” was an experiment in collaboration. It was an attempt to make something work from opposite sides of different worlds trying to make sense of something on paper and yet fall flat on the surface. Gee, Cashman, and Madman have equally drawn their swords higher than ever, exceeding everyone else’s expectations presence-wise while Al Tus and Rudy Rude attempted to sound as piercingly sharp as their cohorts, but neither of the two would even come close to match O Side’s energy in the first half. From the internet’s obsession over TMI in IG livestreams to the inevitable leak of the earlier version – which is now gone from YouTube – “Crashing” did their best to keep the hype yet the leaks made sure that there are no such things as securing the element of surprise. Support the art and the artist:
TRACK REVIEW: Hev Abi – WELCOME2DTQ
When it comes to a territorial takeover, Hev Abi does it in the most sinister way by inviting you to 1103 aka South Triangle, Quezon City. Beginning in the Memphis Rap influenced production to the modern-day ominous trap house presence, Hev Abi is looking forward to taking the entire region by storm this year. “WELCOME2DTQ” is documentation of a city that has a long and rich history in hip-hop, and Hev Abi successfully captured the essence of Kyusi via baseball bat-wielding charisma and flawless flows. Say what you want about the A$AP Rocky comparisons, but no one would ever dare to reduce Hev’s uncompromising presence and initiative. He possesses an aura of coolness to the place to the point you’d actually be proud of repping your hometown. Whether it would be a posse backing him up along the Tomas Morato avenue or the overall crew love you receive in “WELCOME2DTQ”, the up-and-coming rapper is largely responsible for being the phantom in the dark, slowly but surely tagging his nearest vicinities with an all-encompassing rap skill. Backed by C.R.E.A.M callbacks by the bridge and demonic pitches placed by the outro, Hev Abi’s at the come up and QC is the launching pad he needs at this time in the hip-hop scene.