Naga City Band IDLEPITCH Brings City Pop and Funk to ‘Salamangkera’

Naga City Band IDLEPITCH Brings City Pop and Funk to ‘Salamangkera’

Tuesday, August 25, 2026

Naga City band IDLEPITCH is exploring a funkier sound with “Salamangkera,” a new single that blends city pop, ‘80s-inspired grooves, rock, and Filipino songwriting.

The track turns the familiar experience of falling hard for someone into a playful story about attraction, enchantment, and losing your sense of direction. Released worldwide on digital music platforms, “Salamangkera” also signals a stylistic shift for the band as it looks beyond its established rock sound.

At the center of the song is the image of a salamangkera—a woman whose charm is so powerful that she seems to perform a kind of romantic magic, only to disappear after leaving someone captivated.

What is ‘Salamangkera’ about?

“Salamangkera” uses the Filipino idea of magic and enchantment as a metaphor for infatuation.

The song describes the experience of becoming so attracted to someone that rational thinking takes a back seat. Rather than treating the subject as a conventional heartbreak story, IDLEPITCH approaches it with humor and a sense of play.

The song's concept came from guitarist and composer Herbert Belbes, who found inspiration in the ‘80s band America and its song “You Can Do Magic.”

Belbes says the connection lies primarily in the theme: both songs involve romantic attraction and the idea of someone seemingly possessing a magical effect over another person.

That reference helped give IDLEPITCH a starting point for developing its own Filipino interpretation.

Why does ‘Salamangkera’ sound different from a typical rock song?

The band deliberately moved toward a more groove-oriented arrangement.

“Salamangkera” draws from MOR, or middle-of-the-road pop, ‘80s music, Pinoy funk, Manila Sound, and yacht rock. These influences give the track a polished, rhythmic quality that differs from a straightforward guitar-led rock arrangement.

The song also incorporates city pop elements. City pop is a Japanese pop style associated particularly with the late 1970s and 1980s, known for sophisticated arrangements, smooth grooves, jazz and funk influences, and polished production.

IDLEPITCH combines those characteristics with Filipino lyrics and the energy of a local rock band.

The result is less a strict genre exercise than a blend of sounds from different musical traditions.

How did IDLEPITCH develop the song?

“Salamangkera” began as a rough demo recorded on a phone.

The initial version was subsequently expanded with the help of producer and co-writer Ahmad Tanji, whose involvement led the band to reconsider elements of both the arrangement and lyrics.

The song also changed significantly with the arrival of Jeremy Pronto as keyboardist.

What originally began around a guitar riff eventually developed a distinctive keyboard-led opening. The band recalibrated the part to create a horn-like effect, giving the introduction a stronger ‘80s pop character.

That change illustrates how adding a new musician can alter a song beyond simply introducing another instrument. Pronto's keyboard contribution became part of the track's sonic identity.

What are IDLEPITCH’s musical influences?

The band draws from a broad collection of Filipino and international influences.

Alongside ‘80s pop and city pop, “Salamangkera” incorporates elements of Pinoy funk, Manila Sound, and yacht rock.

Manila Sound refers to a style of Filipino popular music that emerged prominently in the 1970s, combining local songwriting with pop, soul, funk, and other contemporary influences.

IDLEPITCH also points to early exposure to Filipino acts such as Kala and P.O.T. as part of its musical background.

These influences help explain why “Salamangkera” does not fit neatly into a single category. The song uses rock instrumentation as a foundation while incorporating funk rhythms, pop melodies, keyboard textures, and nostalgic references.

The single represents an attempt by one of Naga City's prominent bands to expand its musical range.

Rather than simply reproducing the sound associated with its earlier work, IDLEPITCH is using “Salamangkera” to explore a more polished and rhythm-driven approach.

That experimentation also reflects a wider trend in contemporary Philippine music, where artists increasingly mix rock, funk, pop, electronic music, and older Filipino sounds rather than staying within strict genre boundaries.

For a band from outside Metro Manila, expanding its audience can also bring attention to the music communities developing in regional cities.

Naga City has its own history of live music and local performers, and IDLEPITCH's new release provides another example of regional musicians seeking audiences beyond their immediate scene.

What does ‘Salamangkera’ mean?

“Salamangkera” refers to a woman associated with magic or sorcery, but IDLEPITCH uses the word playfully to describe someone whose charm feels almost magical.

In the song, the term becomes a metaphor for romantic attraction: someone appears, captivates you, leaves you emotionally disoriented, and then seems to vanish.

Where can listeners hear ‘Salamangkera’?

IDLEPITCH’s “Salamangkera” is now available on major digital music platforms worldwide.

The single gives longtime listeners a new version of the Naga City band while offering new audiences an introduction to its combination of rock, funk, city pop, and Filipino musical influences.

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Iman Fandi Releases ‘IT IS’ as She Embraces a New Independent Era

Iman Fandi Releases ‘IT IS’ as She Embraces a New Independent Era

Singaporean singer Iman Fandi has released “IT IS,” a pop and R&B-leaning single centered on confidence, self-worth, and refusing to settle for less.

Released August 21, the song is Fandi’s third single of 2026 and comes as she continues building her career independently after leaving Universal Music. The track follows “Tip Toes” and “Out Of My Mind” and is part of the run-up to her debut independent EP, Afterglow.

The release also arrives after a busy month for the 26-year-old singer, who performed at Singapore’s National Day Parade before making the international debut of “IT IS” at a Los Angeles event with American rapper Snoop Dogg.

What is Iman Fandi’s ‘IT IS’ about?

“IT IS” is built around the idea of knowing your value without having to repeatedly prove it.

Rather than framing confidence as something that requires external approval, the song presents self-worth as something that comes from being secure in who you are. Its playful tone also gives Fandi room to address the familiar question of whether a song is secretly about a particular person.

That ambiguity is intentional. Fandi has described the song as partly inspired by her own experiences and partly as a playful challenge to anyone who assumes the lyrics are about them.

The result is a track that approaches confidence with humor as well as assertiveness.

How does ‘IT IS’ fit into Iman Fandi’s independent era?

The single is part of a larger shift in Fandi’s career.

After leaving Universal Music, Fandi began 2026 as an independent artist. Her first independent single, “Tip Toes,” was released in February and opened the road toward Afterglow. She subsequently released “Out Of My Mind.”

Fandi has previously described independence as giving her greater control over her music and creative decisions. That includes not only songwriting and recording but also aspects of the visual and promotional work surrounding her releases.

For “IT IS,” that independence comes through in the song's directness. It does not present confidence as something the singer is still trying to find. Instead, it sounds like an artist becoming increasingly comfortable defining herself.

Why is Iman Fandi’s 2026 significant?

Fandi's new single arrives during one of the busiest periods of her career.

In August, she performed “Giants” at Singapore's National Day Parade, held at the National Stadium. She also appeared at the Superstar Among Friends: Broadus Together event in Los Angeles on August 15, where “IT IS” received its international live debut.

The National Day Parade performance was particularly significant because Fandi is the daughter of Singapore football icon Fandi Ahmad. Her appearance connected her growing music career with a family legacy that is deeply associated with Singaporean sport.

Her international performance in Los Angeles, meanwhile, placed her alongside Snoop Dogg and gave her new single exposure outside Singapore.

The sequence of events shows an artist moving between distinctly different platforms: a national celebration at home, an international music event, and an independent release campaign.

How is Iman Fandi connecting with Filipino audiences?

Fandi has also been building connections with the Philippine music and entertainment scene ahead of “IT IS.”

She met members of P-pop girl group KAIA and singer RAMONA, the musical identity of actress and singer-songwriter Andrea Brillantes, during the NBA Rising Stars Invitational in Singapore.

The meeting led to social media collaborations featuring “IT IS,” with content rolling out on TikTok during August. Fandi has also worked with Singaporean performers Jasmine Sokko and Gareth Fernandez, who joined her in National Day Parade performances.

For Filipino listeners, the KAIA and RAMONA collaborations provide a natural introduction to Fandi's music at a time when P-pop and other Southeast Asian artists are increasingly using social platforms to cross national markets.

This is particularly relevant for independent artists. A song no longer has to depend entirely on traditional radio promotion to find audiences in neighboring countries. Short-form video collaborations can allow artists to share music, choreography, and personality with audiences beyond their home market.

What comes next for Iman Fandi?

“IT IS” is the latest step toward Afterglow, Fandi's planned debut independent EP.

The project follows a year in which she has expanded both her creative independence and her live-performance profile. Her current releases suggest a clearer focus on confidence and self-definition compared with the themes of her earlier career.

The single's release campaign also extends beyond streaming. Fandi teased “IT IS” at the reopening of Singapore nightclub Zouk in July and is scheduled to perform at the Singapore Indoor Stadium later in August. A school tour is also planned as part of the song's rollout.

With the EP still ahead, “IT IS” functions as both a standalone release and a preview of the artistic direction Fandi is developing independently.

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Ligaya Escueta Evolves From Solo Act Into Full Band Under Offshore Music

Ligaya Escueta Evolves From Solo Act Into Full Band Under Offshore Music

Indie rock artist Ligaya Escueta has expanded from a solo project into a four-piece band following its signing with independent Philippine label Offshore Music.

The newly established alternative quartet features Ligaya Escueta on vocals, bass, and guitar, alongside Kristo Mercado on bass and guitar, Diego Cerrudo on guitar, and Ninja Nicolas on drums.

While the signing formally introduces the lineup, the musicians say the transition from solo act to band has been developing naturally for some time.

Who are the members of the Ligaya Escueta band?

The current lineup brings together four musicians with defined roles across the band's instrumentation.

Ligaya Escueta — vocals, bass, guitar

Kristo Mercado — bass, guitar

Diego Cerrudo — guitar

Ninja Nicolas — drums

The members also share an existing friendship outside the band, which Escueta says helped make the collaboration feel organic.

Rather than assembling a group solely for a recording project, the musicians had already developed a working relationship and musical chemistry before the formal signing.

How did Ligaya Escueta become a band?

According to the members, the shift was less a dramatic reinvention than a formal recognition of how they were already working together.

Escueta describes the band's formation as a natural process. Because the members are close friends, their existing relationship also carries into their music-making.

Cerrudo similarly says the group already felt like a band before the official transition.

That distinction matters because Ligaya Escueta had previously been identified primarily as a solo artist. The new lineup changes that structure while retaining the name and musical identity associated with the project.

How will the band's songwriting process change?

Moving from a solo project to a four-person band will change how the musicians divide creative responsibilities.

Mercado says songwriting will become more collaborative, with the members taking on greater responsibility for future projects.

That can significantly affect a band's sound. A solo artist typically has greater control over songwriting and arrangement decisions, while a band brings multiple musical perspectives into the process.

For Ligaya Escueta, the change could mean more room for experimentation as the members contribute their own instrumental ideas and influences.

The quartet's existing familiarity with one another may also make that collaboration easier to develop.

Why did Offshore Music sign the band?

The formal signing with Offshore Music did not create the band's working relationship, according to the label.

Offshore Music Artist & Repertoire (A&R) Manager Dani Mendoza says the contract was largely a formality because the musicians were already functioning as a unit.

What could the lineup change mean for Ligaya Escueta’s music?

The move gives the project a broader creative framework.

With three additional musicians involved in songwriting and performance, the band's future recordings can draw from a wider range of instrumental ideas. Bass, guitar, and drums also provide a different foundation for arranging songs than a solo singer-songwriter setup.

The members have not indicated that they intend to abandon the sound associated with Ligaya Escueta. Instead, the emphasis so far has been on collaboration and the chemistry that already exists among the musicians.

For listeners, the next releases will ultimately show how that chemistry translates into the band's recorded sound.

Ligaya Escueta has officially evolved from a solo indie rock project into a four-member alternative band under Offshore Music.

The new lineup brings together Escueta, Kristo Mercado, Diego Cerrudo, and Ninja Nicolas, with the members taking a more active role in songwriting and future projects.

The transition appears less like a sudden change in direction and more like a formal step for musicians who were already working as a band. With Offshore Music now welcoming the quartet to its roster, the group's next recordings will show how its collaborative approach shapes the next phase of Ligaya Escueta's music.

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Offshore Music Signs Soul Artist Paco Pastor

Offshore Music Signs Soul Artist Paco Pastor

Independent Philippine music label Offshore Music has signed Paco Pastor, a 19-year-old Manila-based singer-songwriter whose sound draws heavily from soul and contemporary pop.

Pastor joins the label's roster at the beginning of his professional music career, after spending the year developing his songwriting, production, and live performance skills. His signing also gives Offshore Music another emerging artist to develop within its independent music roster.

For Pastor, the move follows a surprisingly recent decision to pursue music professionally. Performing onstage was not originally part of his plans, even though music had long been important to him.

Who is Paco Pastor?

Paco Pastor is a Manila-based singer-songwriter whose musical style is influenced by the softer and more sensual qualities of soul music.

At 19, Pastor is still developing his identity as an artist. Rather than limiting himself to one sound or image, he describes his artistic personality as having multiple sides.

That approach is reflected in his influences. Pastor cites artists including Sade, Nectar Woode, and Olivia Dean, whose music combines elements of soul, pop, jazz, and contemporary R&B.

Pastor has also embraced qualities traditionally associated with femininity as part of his artistic identity. He views those influences as something to celebrate rather than something to conceal.

The result is an emerging artist who is still figuring out exactly where he fits within the Philippine music scene.

How did Paco Pastor start performing?

Pastor says performing was never part of his original ambitions.

Although he knew he loved music, he did not initially see himself standing onstage in front of an audience. That changed after encouragement from his best friend, Alysha, who pushed him to consider music as more than a personal interest.

His parents also played an important role. Both are artists and supported his decision to pursue music, giving him an environment where creativity was already part of everyday life.

The combination of encouragement from people close to him and his own interest in songwriting eventually led Pastor to take the stage.

How did Paco Pastor join Offshore Music?

Pastor's progression from aspiring musician to label artist happened within a relatively short period.

He made his live debut with a full band at one of Offshore Music's self-produced gig nights. He later began performing and jamming with more experienced musicians through his management team at Waddle House Manila.

Those experiences helped him develop as a live performer while also introducing him to musicians and industry professionals.

He was subsequently signed to Offshore Music, the independent label founded by Filipino musician Ely Buendia.

The label's A&R team saw potential in Pastor not only as a vocalist but as a musician involved in multiple parts of his creative process.

A&R, or Artists and Repertoire, is the part of a record company responsible for finding and developing artists and music.

A&R teams typically scout emerging musicians, assess their creative potential, help shape their development, and connect artists with the resources needed to record and release music.

For Pastor, Offshore Music's A&R Manager Dani Mendoza says the label was interested in developing his abilities across songwriting, production, performance, and branding.

Mendoza describes Pastor as an artist who writes and produces his own material while also developing his identity as a performer.

That combination was central to the label's decision to sign him.

Why did Offshore Music sign Paco Pastor?

Offshore Music says Pastor's involvement in multiple aspects of his music made him a strong fit for the label.

The label has positioned itself around developing musicians and supporting artists whose work needs a platform. Pastor's early independence as a songwriter and producer aligns with that approach.

His signing also reflects the role independent labels can play in the early stages of an artist's career.

Unlike established acts with large audiences, emerging musicians often need support not only with recording and distribution but also with live performance, artist development, branding, and industry connections.

Pastor enters that process while still at an early stage, giving Offshore Music an opportunity to help shape his development rather than simply build on an already established commercial career.

What comes next for Paco Pastor?

Pastor's signing is an early milestone rather than the end point of his development.

His experience performing with a full band and collaborating with more established musicians provides a foundation for further growth as a live performer. His songwriting and production work, meanwhile, give him greater control over the musical identity he wants to establish.

For a 19-year-old artist, that combination can also leave room for experimentation. His influences already span several contemporary soul and pop artists, while his own description of his artistry suggests that he does not intend to stay within a single creative lane.

As he begins releasing music under Offshore Music, listeners will get a clearer picture of how those influences translate into his own sound.

Offshore Music has signed 19-year-old Manila-based singer-songwriter Paco Pastor, adding an emerging soul and pop artist to its independent music roster.

Pastor's path to a professional music career has developed quickly. Within the past year, he moved from being hesitant about performing live to appearing with a full band, working with experienced musicians, and signing with an established Philippine independent label.

His next challenge will be turning that early momentum into a distinct body of work. With songwriting, production, and performance already forming part of his creative practice, Pastor enters the industry with plenty of room to grow—and an independent label behind him as he does.

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NEXTONE Explores Heartbreak and Self-Doubt in ‘Nagkulang’

NEXTONE Explores Heartbreak and Self-Doubt in ‘Nagkulang’

OPM band NEXTONE takes a different musical route with its new single “Nagkulang,” combining synth-heavy production, city pop influences, funk, and pop-rock with a story about romantic doubt.

Released through Sony Music Entertainment, the song looks at the thoughts that can follow an unexpected breakup: Was there something I should have done differently? Did I really fall short?

Rather than turning those questions into a slow heartbreak ballad, NEXTONE gives them an energetic soundtrack. The result is a song built around the tension between an upbeat groove and the uncertainty at its core.

What is NEXTONE’s ‘Nagkulang’ about?

The song began with a single word: “Nagkulang,” which roughly translates to having fallen short or failed to give enough.

From that starting point, the quartet developed a story about someone who initially believes they did nothing wrong in a relationship but begins questioning themselves after the relationship ends.

That uncertainty drives the song. Instead of offering a clear answer about who was responsible for the breakup, “Nagkulang” stays inside the narrator’s thoughts.

The repeated word becomes almost like an internal refrain—the question that keeps returning even when there is no definitive explanation.

Why does ‘Nagkulang’ sound upbeat despite its subject?

The contrast is deliberate.

Heartbreak songs often rely on subdued arrangements to emphasize sadness. NEXTONE takes the opposite approach, using a strong rhythmic foundation, bright synths, and melodic hooks to recreate the restless energy of overthinking.

The production incorporates city pop, a Japanese pop style associated with polished grooves and sophisticated arrangements, alongside alternative pop, funk, new wave, and modern pop-rock.

That combination gives “Nagkulang” a distinctly nocturnal quality while keeping the song accessible as a pop track.

The upbeat production does not erase the emotional weight of the lyrics. Instead, it reflects the way overthinking can feel: energetic, repetitive, and difficult to shut off.

How is NEXTONE changing its sound?

“Nagkulang” represents a shift from the guitar-driven approach that has characterized much of NEXTONE's earlier material.

The quartet uses heavier synth elements while retaining bass and guitar as important parts of the arrangement. The band also experimented with funk and new wave textures, allowing the new single to occupy territory between pop, rock, and electronic-influenced music.

The songwriting process was also unusually quick.

NEXTONE completed the song's basic structure and melody during its first session. The band then stepped away from the material before returning to assess what the song could become.

That process allowed the musicians to refine the arrangement rather than immediately filling every available space.

Why did the band keep the arrangement restrained?

The bass and guitar parts proved particularly challenging during recording.

With the synths already carrying significant weight in the production, the band avoided adding unnecessary instrumental layers. The goal was to make each part serve the song's groove without competing for attention.

That restraint is important in synth-heavy pop production. More layers do not necessarily create a bigger or better sound. When multiple instruments occupy similar frequencies, the arrangement can become crowded and obscure the melody.

For “Nagkulang,” NEXTONE instead chose to give its major elements enough room to work together.

The new single appears to mark a turning point in how the band approaches songwriting and production.

NEXTONE describes “Nagkulang” as a mature step in its development and says the lessons from making the track have influenced songs written since then.

The band also plans to release another song before the end of 2026. According to NEXTONE, the upcoming track will provide a contrast to “Nagkulang,” suggesting that the quartet does not intend to remain locked into one particular sound.

For a developing OPM act, that willingness to experiment can be significant. Contemporary Filipino pop music increasingly crosses traditional genre boundaries, with artists moving between rock, electronic music, R&B, hip-hop, folk, and mainstream pop.

NEXTONE's latest release fits within that broader movement while retaining the band's identity as a live-oriented quartet.

Where can listeners hear ‘Nagkulang’?

NEXTONE’s “Nagkulang” is now available on major digital music platforms worldwide through Sony Music Entertainment.

The single offers both longtime listeners and new audiences a glimpse of the band's evolving sound, particularly its move toward synth-led arrangements and more varied pop influences.

NEXTONE’s “Nagkulang” turns romantic self-doubt into an energetic OPM track driven by synths, groove, and pop-rock textures.

Its central question—whether the narrator somehow fell short in a failed relationship—is deliberately left unresolved. Instead, the music captures the restless cycle of replaying a breakup in your head.

For NEXTONE, the single also represents more than another release. It signals a willingness to move beyond its guitar-driven roots and experiment with new wave, funk, city pop, and electronic production as the band develops its sound.

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Jolianne Releases ‘Daanan,’ Her First Filipino Self-Written Single

Jolianne Releases ‘Daanan,’ Her First Filipino Self-Written Single

Cebu-born singer-songwriter Jolianne has released “Daanan,” a guitar-pop ballad about first love, emotional vulnerability, and learning to let another person into your life.

The August 14 release follows the success of “Palayo Sa Mundo,” Jolianne’s collaboration with Arthur Nery. Spotify currently lists more than 60.7 million streams for the track, while the latest release announcement says it has recently surpassed 70 million streams on the platform.

Released through Sony Music Entertainment, “Daanan” also marks a significant step in Jolianne’s songwriting. It is her first self-written song in Filipino, a departure from the English and Bisaya languages she says she is more accustomed to using when writing music.

“Daanan” approaches falling in love as something learned gradually rather than an instant romantic transformation.

The song centers on the experience of allowing someone to guide you through unfamiliar emotional territory. For Jolianne, that means discovering first love while learning how to trust, become vulnerable, and grow alongside another person.

The concept fits a broader theme that has appeared in Jolianne’s music: personal growth and the uncertainty that comes with entering new stages of life.

Her earlier release “Palayo Sa Mundo,” featuring Arthur Nery, became a major streaming success after its October 2025 release. Spotify lists the song as a 2025 single and credits Jolianne and Nery as performers, with Luke April as producer.

“Daanan,” however, puts Jolianne's own songwriting at the center.

Writing in Filipino presented a new challenge

Although Jolianne is Filipino and grew up in Cebu, writing an entire song in Filipino was unfamiliar territory for her.

She describes English and Bisaya as her more natural songwriting languages. Writing in Filipino required her to approach songwriting from the perspective of a beginner.

That creative challenge became part of the significance of “Daanan.” Instead of staying within a familiar process, Jolianne used the song to explore what happens when an established artist deliberately works outside her comfort zone.

The result is a song whose subject and creation share a common thread: both involve learning.

How was ‘Daanan’ created?

The song began unusually for Jolianne. She initially recorded its melody as a voice note without chords or a beat.

Producer Luke April subsequently developed the idea into a fuller arrangement. The production moves from a relatively sparse opening toward a more expansive orchestral sound, reflecting the song's progression from uncertainty toward emotional surrender.

The music video extends that idea through dance.

Directed by Raliug and produced with Lunchbox, the video follows Jolianne as a character learning to dance from an instructor she develops feelings for.

The awkwardness of learning new steps becomes a visual representation of the emotional risk involved in falling in love.

Learning to dance requires trust between two people. The student has to accept mistakes, follow another person's lead, and gradually become comfortable enough to move without hesitation.

That mirrors the song's central idea: relationships also require people to learn each other's rhythms.

What does ‘Daanan’ say about first love?

At its core, “Daanan” treats first love as a process rather than a destination.

The song does not present romance as something that arrives fully formed. Instead, it focuses on the small experiences through which two people become familiar with each other.

That includes vulnerability, uncertainty and the willingness to keep choosing a relationship even when its eventual direction is unclear.

This approach gives the song a different perspective from the more dramatic idea of love as an immediate, all-consuming experience. “Daanan” is concerned with what happens after the initial attraction: learning how to share a life with another person.

How does ‘Daanan’ build on Jolianne’s recent success?

The release arrives at an important point in Jolianne's career.

“Palayo Sa Mundo,” her collaboration with Arthur Nery, was released in October 2025 and became her biggest streaming success to date. Spotify currently shows more than 60 million plays for the song.

The song also strengthened Jolianne's position within contemporary OPM, or Original Pilipino Music, while introducing her to a wider audience beyond Cebu.

Earlier coverage of Jolianne has noted how her Cebuano background informs her identity as an artist working within the broader Philippine pop scene.

“Daanan” gives her an opportunity to follow that success with a song that is more directly her own. Rather than relying on the formula of a successful collaboration, she is using a new language and a more personal songwriting approach.

Where can listeners hear ‘Daanan’?

“Daanan” is available on major digital music platforms worldwide through Sony Music Entertainment.

Its official music video premiered on Jolianne’s YouTube channel on August 14, 2026, at 6 p.m.

The release gives listeners a new view of Jolianne after “Palayo Sa Mundo”: one that places her songwriting, Filipino-language storytelling, and willingness to experiment at the center.

Conclusion

Jolianne’s “Daanan” marks a new stage in the Cebu-born singer-songwriter’s career, combining a Filipino-language song with a story about first love and emotional vulnerability.

Coming after the success of “Palayo Sa Mundo,” the single is also a test of how Jolianne can translate her growing audience into a more personal musical direction.

By deliberately stepping outside her usual songwriting languages and process, Jolianne has made the act of learning part of the song itself. “Daanan” ultimately presents love, music, and artistic growth as experiences that become clearer one step at a time.

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Aldus Santos Launches St. Ruin With Grief-Inspired Single ‘Uncool’

Aldus Santos Launches St. Ruin With Grief-Inspired Single ‘Uncool’

Writer-musician Aldus Santos begins a new chapter in music with St. Ruin, his latest recording project, and its debut single, “Uncool.” Released August 14 through Lilystars Records, the song marks Santos’ return to recorded music after several years away.

“Uncool” is more than a comeback single. Santos wrote the song for his only brother, who died of cancer in 2023. He describes it as a love letter to the departed, moving between imagined present moments, memories of the past, and an uncertain future.

The track introduces St. Ruin ahead of the planned October release of A Cocktail Called Last Word, an EP Santos describes as “a grief journal in audio.”

What is St. Ruin and why did Aldus Santos create it?

St. Ruin is Santos’ new musical identity, bringing together his work as a musician, writer, and observer of music and culture.

Santos is known to longtime followers of Philippine independent music as a member of the aughts-era band The Purplechickens and neo-folk project Pamphleteer. His work has also extended beyond performing and recording. He has written about music for publications including Rappler, NME, Billboard, and Rolling Stone.

His books include Alternate Endings, a collection of concert reportage published by Offshore Music in 2020, and The Demo Versions, a blend of criticism and autobiography released by Everything’s Fine in 2022.

Santos also co-wrote Eraserheads: Combo on the Run, the documentary about the iconic Filipino band's much-anticipated reunion. The film began streaming on Netflix in May following its theatrical run.

With St. Ruin, Santos brings these different parts of his creative life into a new musical project.

Santos handles vocals, guitar, and harmonica on the recording. He is joined by bassist Yan Bagay Cruz, whose credits include work with Bayang Barrios, Joey Ayala, and Abby Clutario.

Drummer Dave Cruz of Blind Stereo Moon also appears on the track, while electronic artist and producer kvtvlv contributes synths and sound design.

The combination gives “Uncool” an arrangement that extends beyond a conventional singer-songwriter setup. The electronic elements, in particular, add a cinematic quality to a song built around grief and remembrance.

“Uncool” serves as the first advance single from A Cocktail Called Last Word, which is expected to arrive in October.

The EP will be Santos’ first recorded release since Pamphleteer’s double-A-side Two Novellas in 2022. It also represents his first recorded work under Lilystars Records.

The title of the EP carries an intentional sense of finality. Santos' description of the project as an audio grief journal suggests that the songs will examine loss not as a single event, but as an experience that continues long after a death.

That perspective also helps explain the unusual treatment of time in “Uncool.” Rather than presenting grief strictly as something belonging to the past, the song moves across different tenses, reflecting how memories can remain present while the person being remembered is no longer there.

Santos’ return highlights how creative careers can evolve rather than follow a fixed timeline.

He spent much of the past decade moving between music, criticism, journalism, books, and documentary work. St. Ruin brings those experiences back into a recording project while also addressing a deeply personal loss.

It is also notable that Santos is introducing a new musical identity in his 40s. The idea challenges the assumption that musicians must establish their artistic identity early in life or remain tied to the projects that first made them known.

For independent musicians, releasing new work can also mean starting over with a different audience, sound, or creative direction. In Santos’ case, St. Ruin gives him space to approach music from a different point in his life.

His observation that “a poet doesn’t stop hurting past a certain age” captures the central idea behind the project: grief does not necessarily follow a schedule, and neither does creativity.

Where can listeners hear “Uncool”?

“Uncool” is available on major digital streaming platforms through Lilystars Records. It is the first released song under the St. Ruin name and serves as a preview of the forthcoming A Cocktail Called Last Word EP, which is slated for October.

For listeners familiar with Santos’ earlier work, the single offers a new entry point into his music. For those discovering him for the first time, it connects songwriting, literary sensibility, and personal storytelling in a project centered on loss.

Aldus Santos’ St. Ruin project begins with “Uncool,” a song shaped by the death of his brother and the complicated ways grief changes over time. The single also marks Santos’ return to recorded music and introduces A Cocktail Called Last Word, an upcoming EP built around the idea of grief as an ongoing experience.

Rather than treating his return as a nostalgic revisit to his earlier bands, Santos is using St. Ruin to document a different stage of his life. “Uncool” suggests that the new project will be less about looking backward than finding a way to keep moving while carrying the past.

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