top 10 OPM albums of 2008

I really had a hard time working on a list of just 10. I wanted to include Pamilia Di Magiba, Yosha, Dice n K9, Wolfgang, Pedicab and Markus Highway on the year-ender list but I've decided to make it minimalist this time, citing only the best among the best releases that made 2008 a good year for Original Pinoy Music (OPM). I know, it's a little late to put up a year-ender special, but what the heck--it's better late than say, never. Here's the top 10 outstanding local records the define 2008's leading edge:

10. Self-Titled, THE ITCHYWORMS

The very idea of Self Titled is to assume the halfway point of Little Monsters Under Your bed and Noontime Show, showcasing the best of both worlds. But this time around, Itchyworms' Self-titled underpins a more mature, rounder sound-- albeit not as grand and as intellectual as its magnum opus, Noontime Show or as monstrously catchy as the first record.

9. Nancy Jane, NANCY JANE

Armed with a new name and established music producers/collaborators (Brian Cua, Rico Blanco, Bimbo Yance, Ricci Chan and Benjamin Gabitan among others), Castiliogne’s self-titled debut Nancy Jane scampers around various retro-modern dance music influences (house, trance, electro disco, cosmic disco, eurodance) and revels a shameless mirrorballsiness out of filtering her mesmerizingly thin voice on spatial modern discos and Hed Kandi-inspired anthems. It’s the perfect heir to Kylie Minogue, Sophie Ellis Bextor or post-90’s Madonna, as it favors a sensuous, club-oriented pop music centering on sensuality, love, unadulterated relationships and none of those pretentious philosophical musings that a lot of singers have explored failingly." -read the rest of the review here.

8. Vince Noir Project, VINCE NOIR PROJECT

The post-feminist ideas are borrowed straight from the closet of Madonna, Liz Phair and Lily Allen, but the intricate layers of noise, electronic bleeps, swishes, reverbs and stoner disco beats are results of an amalgam between cabaret triphop and artsy, electro-driven, punk rock—like Karen O. channeling Santogold, with the boys from Simian Mobile Disco helping out in the firecracker mash-up. There’s disco, there’s Brooklyn-inspired art punk, there’s eurodance, there’s the entire nu rave music scene teetering on their sonic backdrop, offering a fitting space for a postmodern narrative detailing the dangerously dark, sexy and vulnerable side of a freethinking, modern woman.

7. Pocket Guide to the Other World, THE CAMERAWALLS

Whether they rehashed once again the stoner, 80’s Britpop-feel of Orange n Lemons or they can’t seem to get enough of banduria-riffed lullabies and Morissey tendencies, Pocket Guide to the Other World still holds a spot as the most Clem De Castro-sounding record to date. As ambitious as ONL’s last album, Moonlane Gardens but as fresh and as nostalgic as ONL’s Love in the Land of Rubbershoes and Dirty Ice Cream, The Camerawalls’ debut album is distinctly charming, cropping poetic narratives and wistfulness in unforgettable pop moments. As expected, quotable quotes splatter over the record, but my favorite signature one-liner comes from the song called “Solitary North Star” telling us “there is beauty in absence”—aptly describing how we’ve missed Clem’s splendid pop songcraft.

6. Endings of a new Kind, TAKEN BY CARS

More than just the deliberate post punk influences ranging from Gang of Four, B52s, The Cure and its successors (Bloc Party, Interpol, Franz Ferdinand) – Taken by Cars’ EOANK is pretty much a take-off from the younger pool of British ‘neo-rave’ bands like Klaxons, which breaks loosely on interlocked riffs racing skyward and downward, electronic-rock vibe and reverb/fx-laden noise elbowing the kind of ecstasy poppin’ musical experience in a hi fi, laser-binding hub somewhere in Makati or Fort Bonifacio. What they make for choppy grooves and midnight discos, they also make for dreamy melodies that seemed fit for Sarah Marco’s punk-ish albeit restrictedly ranged coos. Its exactly the bands’ most lucrative weapon: dead beat vocals over circling guitar riffs, drumbeats that’s upfront in the mix as to sustain the bouncy-feel (Think of Bloc Party’s SILENT ALARM) and the intense punk rock energy that’s as abruptly orgasmic as a late night quickie." -read the rest of the review here

5. Bring Your Friends, CIUDAD

Say hello to mope anthems that shrouded the very music background of contemporary hospital dramas. Bid farewell to the already cramped, Pavement garage pop that we once enjoyed and loved. Because it’s official: Ciudad is now threading for a seeping, warm guitar rock experience via Bring Your Friends, their follow-up album to the geekily trippy but naïve It’s like a Magic. This time around, Mikey and his posse tackle relationship and adult issues with maturity finally sinking in their teeth. It’s their most VH1 material to date, containing moments-filled of mellowness in their songwriting and music style. So far, the best grown-up indie rock record I’ve heard in recent years since Deathcab for Cutie’s Plans and The Shins’ Wincing the Night Away.

4. Bipolar, UP DHARMA DOWN

What seems to translate into another episode of genius becomes Up Dharma Down’s tight spot: follow up record Bipolar isn’t in any detail, their ticket to sophomore jinxdom. Instead of recreating their bits and pieces of organized riot, Armi and gang veered from the formula that made the first record triumphant in both critical and commercial aspects.The intense menace gushing over ‘gazer-pop melodramas “Maybe” and “Pag-Agos” evolves into downtempo, Radiohead-approved ballads while the radio-courting, 70’s soul revivalism in the same league as “Oo” and “Lazy Daisy” slots in post-rock instrumentation and brooding ambient textures for a retro-modernist effect. As a result of growth as band vocalist, Armi Millare has also lessened her tendencies to oversing—like Macy Gray taking an overdose of Prozac on “Sleeptalk” or Jill Scott panicking on having a bad hair day (“Malikmata” and Maybe”). " -read the rest of the review here

3. Themesongs, ANG BANDANG SHIRLEY

I’ve always been very vocal in sharing to other people my growing fondness for Ang Bandang Shirley—that New Pornographers/Broken Social Scene-posing, gooey power pop outfit that references jeepney drivers, prom dance, outdoor childhood games, cold Christmas nights, and anything constrained under contemporary pinoy pop culture. Of all the myriad of reasons why I’m so into ABS, their pomp of not shying away from simplicity and genuine pop enthusiasm seems to be the most admirable of all. And it’s manifested on their debut album, Themesongs, which confidently exhausts widescreen melodies and harmony-laden, 70’s AM radio pop to its advantage. Their debut album also attempts to achieve the aesthetic simplicity of Eraserheads’ Ultraelectromagneticpop! and Sugarfree’s Sa Wakas, two sensational college-rock album that successfully combined wit, intellect and naiveté with pinoy pop sensibilities.

2. Your Universe, RICO BLANCO

Blanco’s solo debut album feels like a lost Rivermaya record, seemingly a missing link to his grandiosely contemplative works and strings of sensible, audience-friendly, pop gems. It’s also his most challenging opus to date as it welcomes novel ideas and offbeat experiments that’s sure to surprise old fans. Songs like “Start Again”, “Ayuz”, and “Antukin” are friendly reminders that Blanco hasn’t forgotten his alt rock roots, but the rest of the record shows his grotesquely extravagant and avant-garde side, a conclusive evidence of how forward-thinking and creative this man is. “Outta this” traces his fetish for spacious and avant electronic ideas or should I say, his worshipping for Kid A-era Radiohead. “Metropolis” has Postal Service written all over its arresting electro-ballad camp, while the new wave-tinged “Say Forever” is just so infectious and catchy. The real scene-stealer though belongs to “Yugto”, a mind-bending yet cohesive bundle of various music influences and sonic challenges stroked in one epic, art-rock production. If only for the record of setting the most surprising album that any longterm artist could dare to achieve, this is my album of the year and probably of many years to come—a revelation that will surely engrave Blanco in the consciousness of Philippine sound art.

1. Identity Theft, DRIP

Excising every possible remnant of Bristol triphop and dark electronic ambience, Drip’s Identity Theft provides soundscapes for brooding film noirs, showing the bird’s eye view of complex urban life, its atrocities and alienating romance. It’s filmic, yet full of fainting moroseness, drowning its listeners to a stratum of cacophonous drones and shivering melody—one that is built and harnessed on a foundation of samples, minor keys, scratches, vinyl hisses, arcade beats, classic music strings and jazzy guitars. The experience with Identity Theft is surely a riveting albeit a challenging one, and it dares for you to see the glow and light even in this gloomy, antihero-infested, cityscape backdrop.

Top 50 Original Pinoy Music (OPM) songs of 2008

50. Battlecry, Greyhoundz
Hard rockin’ comeback single from the Elwood Perez of pinoy nu metal offers another slammer rage, Pigface-style. Sometimes, a return to the roots is necessary for another shoe-in critical approval and this song with nods to their classic sound just nailed it for them.

49. Make ‘em say, Pikaso
Is hiphop finally getting the love it truly deserves? Pikaso’s most awaited comeback tirade proves that the local hiphop scene never tires out of producing quality songs, something that even your overrated Lil Wayne and art-dodging Common would consider listening to while looking forward to the scene’s latest trend. And when we say trend, we don’t necesarily mean Autotune.

48. Pasaway, Cambio
Kris lends her sultriness over three minutes of sugared indie pop and shoegazer-riffing jam equivalent of a star-crossed, if not drunken, post-wave love tune. Or should I say, Sandwich tune?

47. FLS, Angulo
Post-hardcore’s anthem of the undying day strikes hard at the mainstream radio consciousness, winning the entire generation of slit-wrist rockers and emo bangers gone deranged. Critics might not like the tag “the new Urbandub”, but this band has indeed earned their cred by slamming the critical busting and playing it cool. Just like a real sport!

46. Lisan, Paramita
Prog-rock fetishism might totally be so out of style, but not for Terno alt rockers Paramita, which trades its second fiddled, Imago-embracing signature sound for a harder, heavier, classic rock leaning. Yes, at times, the excessive guitar solos can be a little bit self-indulgent, yet it never runs out of steam and style when delivered tastefully. Quote me on saying that.

45. Your Universe, Rico Blanco
Rico Blanco sounds effortless producing britpop-inspired guitar anthems. His arrangements always have that solemn yet controlled quality to it. On “Your Universe”, he aptly defines the descriptions above, but with a more intricate approach and direction. Songs like this makes you realize that going straight, simple and heartfelt is the best way to go the nostalgic route, thinking of that romantic past.

44. Shapeshifter, Taken by Cars
As dreamy and filmic as Michael Gondry’s surrealism on celluloid, this song succeeds in resonating pure ambient confection without the pleasure-seeking attitude most indie bands have been resorting into. If the climactic tensions at the end part don’t amaze you at all, then there must be some problem on your part.

43. Halogen (Incandescent version), Names are for Thombstones versus Bagetsafonik
In a recent online conversation with Watari Machine/Names are for Thombstones very own Nono (his nick btw), he mentioned that the inspiration for the brooding reworking of Bagetsafonik’s “Halogen” is indeed late 80’s to early 90’s 4AD, recapturing the atmospheric daze of bands like Cocteau Twins and This Mortal Coil. While its chilling moroseness brings to mind a state of post punk doom, NAFT’s version sounds breezy, comforting and weightless, like a light at the end of the tunnel and not, to quote The Smiths’, a light that never goes out.

42. Grace, Kitchie Nadal
Nadal never sounded so sincere in this spiritual ballad about submitting one self to God. You can instantly feel the glow in her mild-mannered singing, as she sings, “Grace, grace, I surrender to your embrace.” It feels so goddamn inspiring hearing such a beautifully crafted pop song like this.

41. Walang Katulad ‘Toh, D’Coy feat. Luke Mejares and Artstrong
Pinoy hiphop and R&B at its finest. Need I say more?

40. Markers of a Beautiful Memories, The Camerawalls
Mushy yet captivating, this is the perfect soundtrack to waking up early in the morning, with breakfast in bed all set, the skies in the glass window—seemingly clear and calm—signaling a beautiful day ahead.

39. American Girl, Markus Highway
The wordplay is tongue-in-cheek, like Yoyoy Villame on psychedelia. The summer-feel, acoustic guitar jam on the other hand is as fun as skinny dipping in Manila Bay—all bared and crazy as hell.

38. Fallen, Drip
Sounds like a sonic backdrop for Stanley Kubrick’s sci fi movie, Space Odyssey 2001: heavily textured, cyborg electro-soul that sounds futuristic and postmodernist four decades ago. Released now, it feels so old fashioned and outdated, yet very much revered like the classic movie score it winsomely projects.

37. Evidence, Urbandub
The most laidback track Urbandub has done in its seven-year music career. Adding jazzy undertones and pop sensibility on its modern rock arsenal could alienate fans, but this subtle come-on is as equally tight as its previous releases.

36. Monobloc, Pupil
Some calls it a return to roots, E-heads style. Others who thought they knew better, label it as just another “Nasaan Ka.” But who cares? So far, this is the catchiest and most easy-listening track that Ely and the gang has ever pulled off in their post-Eraserheads career.

35. Ibrahim, Wolfgang
What makes a solid performance out of this comeback release from one of pinoy rock’s most admired band? Catchy and lots of melodic (not to mention heavy) guitar riffing? Check. A tasty guitar solo and a madly-driven rhythm section playing? Check! A nod to early Metallica and more of pace-setting angst that makes moshing a morning ritual? Check. Kick-ass mix? Double check!

34. Christmas is here, Daydream Cycle
Quite an odd to include a Christmas song here. But this lightly dreamy, ethereal pop ode is just so inescapable, that you’re left yearning for more after four minutes of heaven and bliss.

33. Rainy Days, Swissy
Sure it reminds us of a younger Joni Mitchell with solid pop songcraft and a poignant story to tell, but this girl’s got originality and talent. Her captivating folk-pop melodies are perfect addition to your love song sampler. And I mean it as a compliment.

32. Botelya, Liquid Jane
Quirky alternative rock is back on track. No it’s not Lemonheads or freakin’ Sugarfree. It’s no other than Liquid Jane, giving us the best of rocking glee and flavorsome guitar solos through the catchy first single ‘Botelya.”

31. Bad Mouth, Mike’s Apartment
Pinoy soul movement’s latest makeover plays along gibberish funk and 70’s retro-soul with James Brown attitude and a whole dime of confidence. The result: a swelling, post-R&B number that had the rest of us hypnotized to its arresting vibe.

30. Love Song, Nancy Jane
As expected, the songs in Nancy Jane contains hook factor and infectious moments, but at the same time, it accommodates finesse in stylistic frivolity, like a clockwork electronic pop record that seeks to define chart music’s latest edge. “Love Song”, Nancy Jane’s first single, is a declaration of this impressive feat: easily likeable, fun, clean-cut, dance-pop tart that even adult contemporary fans would enjoy. Its chirpy hooks and bubblegum electro-feel sustains Nancy Jane’s sultry flair, but with a sticky-sweet image and an inrush of confidence reflected in her singing. *quoted in my album review

29. Natural, Yosha
This year’s “Turning my Safety Off” brings spiritually charged chillax and vibe-estimating sensuality to the core. It’s the sound I imagined exactly when you drugged Jill Scott and the gang into a coffeshop jam, naked and all.

28. Pangarap, Gloc 9
This rags-to-riches ode provides a meaty way to inspire millions of aspirants in the scene. But there’s something dark and bothering about this track as compared to the other Gloc 9 songs written in the same vein. This one exudes a melancholic space more than a hopeful one, shrilling utter coldness on the painful struggles imbibed in his poetry.

27. Skatetown, Chillitees
Nothing has changed on their downer soul catalogue. Except for maybe they’re groovier, funkier, lustier and more straight up to the 70’s. James Brown couldn’t be happier.

26. Saccharine, Bagetsafonik
Rushing in dreamscape giddiness, “Saccharine” provides a mesmerizing, shoegazer guitar jam and a droning pop catharsis that’s as festive as any melodic treat out there. But hidden on its syrupy escapism is a tragic narrative, a lost that seems to secretly flow on its veined melancholia. The best way to describe the feeling: bittersweet.

25. Uh Oh it’s Electro, Funk Avy versus Taken by Cars
Funk Avy aspires to be the country’s Girl Talk or Danger Mouse, as he mashes up his own palette of beats, loops, slinks, hisses and samples with contemporary music from the likes of Pedicab, Ang Bandang Shirley and Taken by Cars. His most memorable mash-up this year is with Taken by Cars’ first single, “Uh Oh,” bringing heavy electronic layers and drones to the Bloc Party-ish tune.

24. Sa Magkabilang Dulo, Peryodiko
When Twisted Halo starts to ditch its idiosyncrasies and decidedly swoops to anthemic, if not forthright kind of rock music, things could get surprisingly rewarding. As it turns out, Vin Dancel chooses the latter for his new band, sticking confidently on simplicity and how to relay the message across. It’s like U2 or R.E.M attempting to be Gary Granada, only that Vin and company would rather call it their own.

23. Every First Second, Up Dharma Down
As a fresh alternative to the already fed-up, ear-clanging experiments of their prime, the teaser single “Every First Second” has the band upping the ante for straight-up, rock anthem and pace-setting angst. Though, given the gravitating energy, Armi is still as perversely soulful as ever and the band is still as compromised with mixing dissonant rumbles, head-bop melodies and speed. It’s the closest thing that they could offer to modern rock—well, this or the psychedelic soul of “Two.” *quoted in my album review

22. Kailan, Bamboo
We have to admit our love for Bamboo’s anthemic stance and socio-political message. It’s humanly inspiring, yet it doesn’t reserve its calling for drastic change—and as the old folks say it with so much will, the kind of change that should start inwardly and outwardly, within one’s self and within helping others realize the rewards of this change. On “Kailan,” the first single off Tomorrow Becomes Yesterday, the lead singer mutters with question, “Ilang awit pa ba ang kailangang tugtugin ng bandang ito,” like a goodwill ambassador starting to get frustrated by what is happening with the country. But the drive still pushes for the band to create more of this progressive-leaning music, as they are insistently calling for everyone to be part of the advocacy, “Tao po / Nananawagan lang po ako.” And it’s better off said with so much politeness.

21. Magic, Sino Sikat?
Everything is mesmerizing in this slow-panning slice of throwback R&B: Kat’s smoky, big-lunged voice, the groovy basslines and the sensuous guitars that evoke midnight romancing. It’s the kind of song that any hopeless romantic out there would most likely enjoy, while hugging their pillow crazily, thinking that it might coax them sooner for a love mode.

20. Until it’s cool, Ciudad
It’s a good addition to a Deathcab for Cutie catalogue: a sad bastard heartbreaker of a track that features mope guitar build-ups and an air of Grey’s Anatomy-ish soundtrack potential. This time around, Ciudad is working it a bit cheerless and mellow, like a favorite dog disappeared from the house or something. For some it’s breakthrough, for me—it’s a tragic goodbye to that old sunny happy tunes and twees.

19. Maskara, Rivermaya
It’s a different Maya without Blanco and Bamboo: less of the anthems and less of the crushing song-of-the-year moments. What brings to us instead are those cloak-and-dagger forays to indie rock and electronica, with their feet still stuck in the past, trying to choose whether to pick up from where their famous vocalists have left off or whether to stay out of the distinctness that they’ve unearthed since their career took off in the mid 90’s. “Maskara” is a fitting testament of this confusion: a stuttering, electro-rock vamp with downtempo vocals and recitals clinching over neo-Maya’s kitchensink experiment. Truth be told, it breaks new grounds and ideas, but it still reminds you of the old Maya days (Free), when they’re most likely stuck under Blanco’s guidance, searching for novel direction and all.

18. Novus is Burning, Wolfgang
“There is a war coming,” Artadi warns in pre-apocalyptic single, “Novus is Burning.” The RPG-ish, epic scale rendering of the song might remind you of the singles in the Black Mantra album, but Wolfgang never sounded as more spirited as this, with the band’s music occupying three minutes of progressive, thrash and old school metal in just a wipe of a merciless performance.

17. Freakout Baby, Itchyworms feat. Lourd De Veyra
The funk/retro disco-feel is meant to be a joke. In NTS, the worms parodied the production numbers in Variety shows, jerking around Saturday Night Fever grooves and showbandiness like a pro. On their latest record, Self-titled, they’re making it happen once more with the Manila Sound tribute, “Freakout Baby.” The lyrics are in-your-face arrogance ala Rico J. Puno, but the entire thing is so Hotdog and TVJ, a return to that 70’s freakshow where funkiness is revered as godly.

16. Turning Grey, Drip
Echoing an ambient sonic collage, this post-hiphop, Portishead-inspired track reminds one of the 90’s Bristol triphop scene with the classicism so well imbibed in the string arrangements and the modern flair obviously exuded in the brooding samples and loops. Some parts though, sounded like a lift off Squarepushers’ and Aphex Twins’ leftover sink, which isn’t half a bad thing.

15. Themesong, Ang Bandang Shirley
If there’s one prom anthem that trades excessive romanticism for a childlishly silly, but live-for-the-moment romantic encounter, then this song must be it. Owel sings about puerile love over near-three minutes of New Pornographers-inspired power pop mush, charged with nothing but enthusiasm and hope—a classic quality that makes yesteryear’s sobbing, daydreaming and star-crossed gazing a worthwhile moment in one’s life.

14. Sinong Magsasabi, Francis M.
Backed once again with heavy, distorted guitars and propulsive rage, Francis M. raps like no easy fader on another razor-sharp rant on the socio-political cancer that continues to infest the country. This time, he’s frustrated over the ill system, losing a glint of hope over what seems to be our last gunshot. On the fiery chorus, he spits, “Sinong magsasabi? / Paano sasabihin kung walang nakikinig?” What a better way to describe a neo-realist situation.

13. Wha’a git, Vince Noir Project
Capturing NY electroclash sound with synthetic swish of Eurodisco and an inrush of punk rock attitude, VNP molds a song about a dissatisfying experience with losing one’s virginity. On this ‘til-break-of-dawn party score, Tinio trash-talks like Lily Allen and Kate Nash, dissing the boy who first nailed her to bed. “He was the first, he was the worst,” she recalls the rude encounter, with the rubbery synths and triphop bleeps stressing its all out disdain.

12. Control (Rico Blanco mix), Nancy Jane
Who would have thought that this year’s slickest and most vibrant club anthem could emerge from a three-way, all star collaboration enlisting pop singer Nancy Jane, electronic music producer Brian Cua and alt rock genius Rico Blanco as culprit? On this breezy disco pulse that evokes a bubblegum pop version of Lisa Stansfield, NJ and company discovers the beauty of straightforwardness and smooth production other than getting down, dirty and crotch-grabbing. It’s like Madonna retrogressing into its wholesome stage, embracing teen twee and cotton candy, all at the same time.

11. December 2 Chapter IV, Taken by Cars
Abandoning shortly its Klaxon-inspired raver punk for a cuddling, indie rock sleeper, Taken by Cars’ “December 2 Chapter IV” spends some quality time digging reflective moments by churning dreamy guitars and soaring melodies. It’s a breather they haven’t done before and it says a lot on how the band maintains diversity on its set of songs.

10. Taya, Up Dharma Down
At a time when they seemed to run out of creative tricks to topple their previous opus, Up Dharma Down resorted into rimming the broodingly sedative side of electronica and started integrating blunted beats, echoes, hypnotic drones and druggy space ambiance into their psych-soul mosaic. The culmination: “Taya”, a cathartic, if not trance-inducing, song about hatred and regret.


9. Betamax, Sandwich
Surprisingly, the second biggest hit of their post-Abaya career (next to “Sugod”) is a wunderkind gist of the Philippine rock n roll history trodden in three minutes of fun, nursery rhymes-y guitar rock. The approach is simply back-to-basics wordplay, with Raimund enumerating the pioneers and rehabilitators of the scene in witty and catchy statements.

8. Larangan, Pamilia Dimagiba
Group comeback of the year! Pamilia Di Magiba makes a surprising return via the single, “Larangan”, a throwback hiphop opus that’s got some smokin’ Wu Tang attitude and balls-out, assertive vibe worn on their classical strings sample. The lyrics in “Larangan” present a solid introduction to their long-time status and retrospection in music-making, swaggering into what could be the cockiest yet most welcome spit-rap moment in recent years.

7. Ang Pusa Mo, Pedicab
Its hard to imagine how a masochist-themed song dipped in bouncy dance punk grit and textured electronic murmurs ends up blazing at the top of the local mainstream music charts and suddenly becomes an instant shoe-in soundtrack to a popular sexy camp comedy that stars (whew!) Katrina Halili, Dianna Zubiri and Jennylyn Mercado. Was it the explicitly funny, double meaning lyrics aiming to rival Lito Camo? How about the now-revered “Aysus” come-on that sticks to the head like a headache? Whatever it is, I’m sure, you loved the song as much as you hated it.

6. Disconnection Notice, Pupil
Post-eraserheads Ely would mean onslaught exploitation on heavy sound art. Gone are the hook-laden days, the penchant for pinoy pop culture, and the anthems that we’d long to hear forever. It is later replaced by rabid distortion and fuzz, strong psychedelic moments and surprisingly, more of indie hipster dance as represented in the latest record, Wildlife. But the catchiest and inarguably, the most popular track he has ever done so far outside Eraserheads is the trippy “Disconnection Notice,” a stoner homage to the brooding disco punk of Interpol. The video with Glaiza De Castro as the mentally challenged, raver vixen is a turn-on, but it’s the song’s spaced out, dancefloor rhythms and shrieking menace that makes it a stunner in everyone else’s book.

5. Clinically Dead for 16 Hours, The Camerawalls
Must be the post-chorus banduria on lemony, 80’s indie pop backdrop or the over-all sunshine feel of the song that references near-experience with death. Whatever it is, The Camerawalls latest offering brings out the best in a subtly done, guitar-pop opus that even its hacked influences (Echo and the Bunnymen, The Smiths, 80’s Britpop) wouldn’t deny enjoying. So far, the best Morrissey song not written, produced and sung by Morrissey himself.

4. Cyber S., Top Junk
During her early years, Tuesday Vargas is already considered an underrated gem. She turned Bjork’s big band hit, “It’s Oh So Quiet” into an inspiration while working on the rocking novelty act medley “Babae po Ako”, which also injects wit, flea market one-liners and D.O.M dance moves to the over-the-top production. Other minor hits like the funny “Naman”, showed how receptive she is with brazen and breakthrough comic ideas. However, the appreciation never seemed to get in the way, not until she joined indie rock outfit, Top Junk. The band’s promising first single “Cyber S.” validates her under the radar potential as the next Katwo, interpreting a modern cyberspace romance in a jagged and sexy rendition that you’ve never heard before. At first, she channels a hybrid of Yeah Yeah Yeah’s Karen O. and Blondie’s Debby Harry. But on a closer listen, her forthright vocal style resembles that of Santogold, fitting surprisingly on the Brooklyn hipster dance punk pastiche that the band intends to register.

3. Eargasmic, Dice n K9
Conquering both the indie kids and the entire nation with its nonstop techno pulse, Dice n K9’s “Eargasmic” solicits a world-conquering, b-boy futurist rendition that bleeps and rings like ultramodern lights show. Dice’s grating rhymes are the catchiest that ever swarmed in local hiphop this year, but it’s still the seductive, club-oriented bleeps and buzzes that made this song an instant favorite.

2. Morning After, Drip
When laidback, jazzy guitars suddenly sneaks into the race of fast-paced grooves and layered ambient sounds, the rhythm doubles in speed and the beat-heavy, electro-pop vibe becomes subtly heavier than what is expected. However, the fragility in Beng Calma’s voice remains depressing and desperate as ever. In her postmodernist outtake of unrequited love, she asks, "Do you know how to love?" The rest of the world listens and gives its middle finger approval.

1. Yugto, Rico Blanco
Overflowing with ideas and spectacle, “Yugto” easily qualifies as Rico Blanco’s most ambitious work to date. It’s an understudy on musical complexity, on building portals towards genres and organized sonic clutters, and most importantly, on breaking the tradition of conventional song structure. Rico Blanco’s aspiration trailed for an enormous comeback. For a song that jigsaws into mind-bending surprises, it’s so amazing that “Yugto” emerges as this year’s biggest rock single, a proof of his longtime, crowd-drawing power. But what’s considered a milestone here is not the attained commercial high-end that he recently earned. Instead, it’s the genius that he instilled during the crafting of this song, its gothic, albeit new age-y, modern rock amalgam that fuses Rico’s modern and late day influences: 80’s post punk, 80’s hardcore, Joey Ayala, Radiohead, Rush, choir music, Hagibis, Queen, free jazz, big band and Mars Volta. It’s one cohesive mash-up that nobody dared to imagine—a triumph that loosely birthed for a new classic.