“A band that eats together, stays forever.” It’s a lighthearted line, but for Sandwich, it reflects a deeper truth about longevity, chemistry and shared experiences that have kept them together for decades.
The veteran Filipino alternative rock band, composed of Raymund Marasigan, Diego Castillo, Mong Alcaraz, Myrene Academia, and Mike Dizon, shared the quip when asked about the secret behind their staying power. While clearly said in jest, the sentiment points to something essential: maintaining strong personal bonds beyond the stage.
For Sandwich, regularly coming together, whether for meals or music, has helped sustain the group’s dynamic and creative spark through the years.
Formed in 1998, Sandwich emerged as one of the defining acts in the local alternative rock scene. Known for their experimental edge and playful songwriting, the band carved out a unique identity that resonated with both critics and listeners. Over time, they built a reputation not just for producing hits, but for evolving with each release, never confined to a single sound or formula.
Their move to PolyEast Records in 2006 marked a new chapter, leading to a steady stream of albums and fan-favorite tracks such as “Sugod” and “Betamax.” Years later, their partnership with the label remains intact, with the band recently renewing their contract on March 27, 2026.
Even as the music landscape shifts, Sandwich continues to adapt. The group acknowledged the rapid growth of Original Pilipino Music (OPM) in the digital era, embracing faster-paced platforms like TikTok to connect with newer audiences. This willingness to evolve has allowed them to remain relevant in an industry that constantly reinvents itself.
With that, Sandwich is currently gearing up for the release of a new full-length album, with a lead single titled “Young Stunna” set to drop in the first week of May. The upcoming track hints at a fresh yet familiar direction that blends their signature sound with contemporary influences.
The title alone plays on the idea of staying young at heart—an ironic but fitting theme for a band that has been in the industry for over two decades. Early hints suggest the single leans into a more contemporary, groove-driven sound while still carrying Sandwich’s signature grit and irreverence. It reflects their awareness of today’s fast-moving music culture, where trends evolve quickly and artists are constantly challenged to keep up.
There is a cat at the center of Mitski’s newest world.
Not the soft, internet-famous kind curled in a sunbeam, but a cat suspended in a moment of tension, with one cat calmly occupying the foreground while another waits in the background, ready to pounce. The first cat doesn’t see it. Or perhaps it does, and simply refuses to live in fear.
That image anchors “Nothing’s About to Happen to Me,” Mitski’s eighth studio album released through Dead Oceans. The album artwork, made by Mark Burckhardt, came directly from a scene Mitski imagined in her head long before the music took its final form.
“So the album art started with basically the idea in my head,” she told Gannon Hanevol of The Current. “I had this mental image of a cat in the foreground, oblivious, blissfully unaware of a cat in the background about to pounce on it.”
The title of the album, she explains, comes from the voice of that unaware cat: Nothing’s about to happen to me.
That tension has long defined Mitski’s songwriting. Few artists of her generation have captured the emotional interior of modern life with such sharp precision. On this album, those feelings became so dense that Mitski began to notice a shared emotional landscape across the songs.
“I think the music came first, and I think I just looked at all the songs and I was like this feels like there’s a common theme of feeling claustrophobic, but in your mind,” she shared.
It’s a specific kind of claustrophobia, where the outside world feels overwhelming, but the inside world feels even louder. “Feeling boxed into your thoughts,” she continued. “Feeling wary of the outside world, feeling overstimulated and feeling lonely and isolated at the same time.”
If the album cover is the cat, then the setting of the record might be the house it lives in. Mitski imagined the album’s central figure as a strange, solitary woman living in an old inherited house where she can’t quite manage but can’t abandon either. In her mind, the house itself mirrors the mind—rooms filled with accumulated objects, inherited stories, and emotional debris that stretches across generations.
Mitski explained that she was drawn to the idea of a house representing a person’s mind, with the objects collected in its rooms serving as a metaphor for the generational traumas that can build up within someone over time.
And inside that house is the cat. The metaphor, Mitski admits, arrived more as instinct than calculation. Cats have always carried a strange cultural reputation: adored by some, distrusted by others. People who dislike them often describe them as mean or distant.
But Mitski sees something else entirely. Cats do not obey commands or organize themselves into hierarchies. They don’t perform affection on cue. They live beside humans and not beneath them.
“They love you how they love you and they do what they want.” In Mitski’s telling, that independence reveals something deeper about how people, particularly women, are judged.
“I think often cats are demonized for that. In a similar way that I think a lot of women maybe are misunderstood for that quality.” The comparison isn’t heavy-handed. Instead, it reframes the album’s emotional terrain, that is the misunderstood woman, the solitary house, the watchful cat. All of them exist slightly outside the expectations placed on them and even the music itself refused to behave.
When Mitski first began recording the album with longtime collaborator Patrick Hyland, she imagined something stripped down and direct, more like rock songs as she wanted to use the bare minimum amount of instruments. But songs, Mitski believes, have a way of revealing their own needs.
“Sometimes you can't enforce your will onto songs,” she uttered. “Sometimes songs just are what they are and you have to follow what they need to be.”
What began as minimal rock arrangements slowly expanded into something more cinematic, with orchestral textures and choral layers weaving through the record. The songs, it seemed, had decided their own scale. If that unpredictability feels familiar, it’s because Mitski’s career has always unfolded in a similar way.
Over the years, she has become one of the most respected songwriters of her generation. Her songs capture the contradictions of being alive, like wanting connection but fearing it or searching for meaning while knowing life itself is fragile.
“I mean, I can’t make anyone feel anything,bBut the ultimate would be… I hope I can die happy if someone at some point listens to specifically the end of this album and feels a sort of awe towards life and its fragility and its beauty,” she shared.
It’s an audacious wish, she admits. But it’s also a very Mitski one. Because in her songs, life has always been something both delicate and enormous, but still worthy of wonder. Like the cat in the painting, we move through the world without seeing everything that waits behind us. Danger, change, endings—they exist whether we acknowledge them or not.
But Mitski’s music suggests another possibility that even in the shadow of the pounce, there is still time to sit in the sun. And well, simply exist.
WASHINGTON, D.C. (February 2026) - A new 13-episode documentary series airing on MYX Global pulls back the curtain on the power of authenticity, friendship, and independent artistry in the margins of the music industry. WRIZZARDS follows a Fil-Am indie collective carving out its own space in the DMV (DC, Maryland, Virginia) underground scene. Spanning 20-24 minutes per episode, the series introduces the core four: J Matty, Leif, Bema Tadey, and Tina Carzon, and traces how their bond evolved into a DIY music collective and independent label rooted in community over commercial recognition.
Filmed over two years, the series captures the highs and hidden costs of the independent grind, from basement rehearsals to headlining local venues, before an unexpected loss threatens to derail everything they’ve built. As missing music, unanswered questions, and unspoken tensions begin to surface, the group is forced to reckon with pressure that extends beyond the studio. Raw and unfiltered, WRIZZARDS explores resilience not just as a creative pursuit, but as a test of trust, loyalty, and whether a collective can survive when what’s lost isn’t only files on a hard drive.
WRIZZARDS: Underground Uprising, premieres April 2026 on MYX Global. Stay tuned.
What: A 13-Episode Documentary Series airing on MYX Global
Who: LEIF, Bema Tadey, J Matty, Tina Carzon or also known as WRIZZARDS
When: Premiering April 18, 2026
Where: On MYX Global
Washington Rizzards (also known as WRIZZARDS) are a Filipino multi-genre musical collective of independent artists consisting of four members: J Matty, Bema Tadey, LEIF, and Tina Carzon - all based in the DC, Maryland, and Virginia region. They've opened for major Filipino artists such as Billy Crawford, Jay R, Kris Lawrence, Ben&Ben, Silent Sanctuary, Moira Dela Torre, HappySlip, and more. They were also featured on notable platforms such as Billboard PH, NYLON Manila, Wish Bus, Washington Post, Washington City Paper, and MYX Global.
After a decade-long wait, Bruno Mars officially returns to the solo spotlight with his fourth album, The Romantic, now available worldwide.
Leading the album’s charge is his new single, “Risk It All,” accompanied by an official music video directed by Mars and Daniel Ramos, now streaming on YouTube.
“Risk It All” marks a statement of his artistic evolution. The single follows the explosive “I Just Might,” which debuted at No. 1 on the Billboard Hot 100.
To celebrate the album’s release, Mars turned the launch into a global experience. Fans were treated to premieres across all iHeartRadio stations and a live performance broadcast on TikTok Live. The promotional campaign also included immersive, romantic activations such as mobile flower trucks handing out roses, “love lock” walls in multiple cities, and a themed pop-up experience, The Romantic Flower Shop, at Tommy’s Gift Shop in Los Angeles.
The album arrives on the heels of Mars' continued international success. His 2025 collaboration with Lady Gaga, “Die With A Smile,” became the fastest song in Spotify history to hit 1 billion streams and topped the Billboard Global 200 Chart for 18 weeks. Similarly, his hit with ROSÉ, “APT.,” was named IFPI’s biggest-selling global single of 2025, topped global charts for weeks, and earned three nominations at the 68th Annual GRAMMY® Awards.
Following the gentle intimacy of her recent single “muscle memory,” Clara Benin returns with “the one to blame,” a new track that continues her exploration of reflective soundscapes.
This latest release from the indie singer-songwriter offers what could be called “headspace harmony,” which is a music that doesn’t just fill the ears but quietly settles in the mind.
From the very first notes, “the one to blame” immerses listeners in a soft, wistful atmosphere. Clara’s voice floats over delicate acoustic arrangements, creating a sense of nostalgia familiar to many. There’s a subtle melancholy in her tone, a kind of yearning that resonates especially on quiet, solitary days. It’s the kind of track that invites you to pause, stare out a rainy window, and let your thoughts drift freely.
Lyrically, the song stays true to Clara’s hallmark introspection. She captures the complex feelings of reflection and accountability, framing them not as heavy burdens but as contemplative moments that encourage connection with one’s own emotions.
In a post, Clara admits that this song came from learning how to let someone in without running way. "most of my songs come from heartbreak, longing, or overthinking everything, but this one came from learning how to let someone in without running away," she writes.
With “the one to blame,” Clara demonstrates her gift for translating certain emotions into music that resonates deeply. It’s a companion for solitary afternoons and reflective nights. Fans of her previous work will find a familiar warmth here, while new listeners are invited into a contemplative space that only Clara can craft.
Filipino pop-rock duo ONSE is stepping into a brighter, more playful era with the release of their newest single, “Mukbang.” Known for their guitar-driven sound and emotionally grounded lyricism, the pair takes a noticeable creative approach that feels lighter, warmer, and intentionally refreshing.
From the very first listen, “Mukbang” radiates an easy optimism. The guitars remain at the forefront, anchoring the song in ONSE’s signature sonic identity, but there’s a buoyancy here that sets it apart from their previous releases. The rhythm feels more carefree, the melodies more open, and the atmosphere more inviting, like an open table waiting to be shared.
“It’s so different from our previous work…our goal was to create something fresh, upbeat, and optimistic,” ONSE shares.
That difference is immediately apparent. Rather than leaning into the emotional weight often associated with pop-rock storytelling, ONSE allows themselves to experiment, not only in sound but in perspective. The duo embraced a more playful creative process, giving themselves room to explore how love can exist beyond intensity and longing.
“The idea came from wanting to explore love in a fun and relatable way,” they added.
At the heart of “Mukbang” is a charming metaphor that feels both contemporary and culturally resonant. Borrowing from the concept of online “mukbang” content, where hosts share meals with viewers, the song reframes love as an act of giving. Food becomes the language. To prepare, serve, and offer a meal is to give a part of oneself wholeheartedly.
While ONSE experiments with tone and theme, they never abandon their musical core. The guitars still shimmer with familiarity, grounding the track in their established sound.
With “Mukbang,” ONSE proves that evolution doesn’t always mean drastic change. Sometimes, it simply means seeing love through a softer lens, and inviting listeners to take a seat at the table.
Earlier this year, Kenaniah casually mentioned in a #MYXChecksIn interview that fans could expect more music, and even an album, within the year. It sounded exciting, sure, but with “Huli Na Ba Ang Lahat?” now out, it’s clear he meant every word.
Opening his 2026 slate, the single doesn’t attempt to reinvent him. It refines what listeners already love about Kenaniah: emotional sincerity wrapped in melodies that sit gently on the heart. But this time, there’s a deeper stillness to the storytelling. The track moves with some kind of reflection, carried by smooth soft-rock textures that feel expansive.
“Huli Na Ba Ang Lahat?” unfolds like a late-night realization. It captures the perspective of someone who once chose silence over courage and someone who watched love drift away because they hesitated to fight for it.All that remains is the question, huli na ba ang lahat?
The verses are contemplative, almost conversational, as if Kenaniah is thinking out loud. With the soft rock backdrop, his vocals glide without overpowering the emotion. When the chorus arrives, it opens up.
What makes the song particularly compelling is how it mirrors where Kenaniah is artistically. He has openly shared that he’s still discovering what his sound truly is in 2026. And while that search continues, this track suggests he’s honing in on it. Coming after “Nahihiya” and “Sabihin Mo Lang (Kung Ayaw Mo),” the balance of soft rock soundscapes, introspective lyricism, and understated delivery is beginning to form a cohesive identity.
If “Huli Na Ba Ang Lahat?” asks whether love came too late, Kenaniah’s artistry feels right on schedule. He may still be defining his sound, but with releases like this, he’s clearly moving closer. Because if this is him still “finding” his sound, then it’s safe to say, hindi na talaga huli ang lahat.
Watch the #MYXChecksIn interview here:
by Julienne Frago
With an honest, vulnerable, and emotionally charged single “Sick and Tired”, singer-songwriter Gabri Panlilio deepens her ongoing advocacy for mental health awareness. It captures the quiet breaking point many experience but rarely talked about—when exhaustion goes beyond any physical fatigue, and settles deep into the mind and soul.
The song “Sick and Tired” was inspired by Gabri’s personal experiences with emotional and mental burnout. It was born from a season of being overwhelmed by expectations, labels, and the pressure to constantly hold oneself together, and realizing that feelings cannot simply be ignored and pretending to be okay is no longer the option.
Through “Sick and Tired,” Gabri hopes to send a message to the listeners who may be feeling emotionally drained, unheard, or misunderstood; that it is okay not to be okay. Being surrounded by a positive and supportive environment can make all the difference, especially during one’s lowest and difficult moments.
Continuing the mental health conversations she began with her earlier release “Calm,” Gabri kept on using her music as a platform for advocacy and sharing awareness. She believes mental health deserves the same level of care and attention as physical health. While faith can offer strength and grounding, she emphasizes that healing also requires actions such as seeking professional help, setting healthy boundaries, and prioritizing both mental and emotional well-being.
“We all pray for healing. Maybe that is why God send doctors and therapists - not to cast out demons, but to help us fight them.” – Gabri’s description in her new youtube video of Sick and Tired (Official Music Video)
BGYO just stepped back into the spotlight — and they didn’t come to play. They came to remind everyone exactly who they are.
The Filipino boy group has officially released their newest single, “FRESH,” and it’s everything you’d expect from a group entering their most confident era yet: smooth, bold, and unapologetically self-assured. Available now on all streaming platforms via ABS-CBN Music, the track marks BGYO’s first Tagalog release since 2024’s “Andito Lang,” signaling a sonic and creative reset that feels sharper, cooler, and undeniably them.
At its core, “FRESH” is an anthem for owning who you are — no filters, no apologies. With standout lines like “I got what you want” and “Ain’t nobody fresher than me,” the track leans into confidence as its superpower. Built on a groove-driven hip-hop foundation, the song highlights BGYO’s effortless swagger while expanding their sound into smoother, more refined territory.
Even more personal, the track was written by member Mikki Claver, making it a reflection of the group’s growth not just as performers, but as artists finding their voice. It’s BGYO at their most authentic — and it shows.
This release follows a major year of milestones for the group. From headlining their first solo concert to earning a spot on Spotify Philippines’ “Best of P-Pop On The Rise,” and receiving TikTok’s Community Impact Award, BGYO has continued to level up both at home and globally. They’re also set to hit the stage at DUNK! Music Festival in Japan, further expanding their international footprint.
And the momentum isn’t slowing down anytime soon.
With over 100 million combined audio and video streams, multiple #1 iTunes debuts across Asia and the Middle East, and recognition from global platforms like the Recording Academy, Teen Vogue, MTV Asia, and Netflix, BGYO continues to cement their place as one of the leading forces shaping the global P-Pop movement. Add to that their 5 million-strong social following and over 60 million TikTok likes, and it’s clear: BGYO isn’t just riding the wave — they’re helping define it.
More than just a comeback, “FRESH” feels like a statement. It’s BGYO stepping into their power, owning their evolution, and inviting fans along for the ride.
Because at the end of the day, nothing hits harder than confidence. And right now, nobody’s doing it fresher than BGYO.
Listen to “FRESH” now on all streaming platforms.
On Lunar New Year, Filipino American singer-songwriter Yeek chose to begin the season not in silence, but in sound.
The artist welcomed 2026 with the release of “Stayin’ Low,” which is a track that feels an easy listen on the surface, yet layered with the kind of detail that rewards repeat plays.
The timing of the track also came with a message from the artist that reveals his mindset entering 2026. Reflecting on the current landscape of music and online culture, Yeek wrote, “In a new time where fast content is the new standard & numbers seem to matter more than ever, make time for the art that's for you first. See you in 2026.”
While many releases at the start of the year aim to be loud and attention-grabbing, Yeek took a different route. That sentiment echoes throughout the single, which feels patient, intentional, and rooted in craft.
Musically, “Stayin’ Low” carries the familiar DNA that listeners have come to expect from Yeek. Known for producing, writing, and singing his own material, Yeek continues to shape a sound that feels unmistakably his. His music has often been described as melancholic, soulful, and DIY-driven, and those elements remain present here, but “Stayin’ Low” leans further into groove.
It carries a warm pulse and the overall production glows with a smooth, almost hypnotic texture.
There’s a warmth in the production that pulls you in almost immediately, while the rhythm keeps things moving just enough to make it impossible not to nod along. There’s something about its flow that makes it easy to loop. It’s the kind of song that naturally gets your head nodding, whether you’re paying close attention or letting it play in the background of a late-night drive or a quiet afternoon.
If Yeek’s message was about making time for art that feels personal and unhurried, “Stayin’ Low” is proof of concept. With “Stayin’ Low,” Yeek proves that consistency doesn’t have to mean predictability. It can mean refining a sound, trusting your instincts, and letting the music speak at its own pace. And in a time when everything seems to be speeding up, that approach feels not just refreshing, but necessary.
For Yvng Jin, music is a bridge between two homes.
The 20-year-old Filipino American singer, songwriter, and producer is entering a pivotal chapter with the release of his newest single, “WALA NANG IBA (NOBODY).” But beyond the sleek production and smooth vocals lies a young artist carving out space for his Filipino identity in a global soundscape.
Born and raised in the United States, Jin has never shied away from calling himself a “pure-blooded Pinoy.” That pride takes center stage in this latest release. While “NOBODY” delivers a polished English-language track primed for international playlists, he made a deliberate choice to drop a Tagalog version titled “Wala Nang Iba (Nobody)” at the same time.
“It explores the feeling of finding somebody that nobody else you know compares to,” he shares, describing the song’s core theme. The sentiment is universal, but the bilingual release makes it personal. In an era when Filipino artists are increasingly gaining global traction, Jin positions himself as part of a new wave, those artists who don’t see their heritage as a niche, but as an asset.
His relationship with music began early. “Music’s always been a part of my life,” he says. “I started making music in the 7th grade. I fell in love with it quick.”
That early infatuation has since matured into a full-fledged career backed by serious numbers. With millions of streams across YouTube, Spotify, and other platforms, Jin is steadily building an audience that stretches far beyond Fil-Am communities.
Yet even with early success, Jin’s eyes are set on growth. He’s already at work on his second album, signaling that his debut chapter was only the beginning. At the same time, he’s looking to reconnect with his roots in a more tangible way. Having last visited the Philippines as a child, he’s planning a return.
“Excited to experience being back in the motherland as a young man,” he says, smiling at the thought. If “WALA NANG IBA (NOBODY)” proves anything, it’s that Yvng Jin isn’t choosing between cultures.
There’s a familiar feeling that settles in the moment Arron Rebustes begins to sing. It’s a kind of quiet warmth, like hearing a voice that understands the things you sometimes can’t explain. That same sense of comfort finds its way into his newest single, “Panahon,” but this time, the emotion lingers a little longer.
The song unfolds gently, almost like a story told in soft light. It doesn’t rush toward a climax or chase a dramatic peak. It walks beside the listener, exploring the quiet spaces where questions about love often live.
Arron himself shared how personal the track is to him. In an Instagram post, he wrote, “this song is very close to my heart. it’s about believing that there’s a perfect time for everything, and how this feels like the perfect time to share this music, especially in the month of love. i hope you guys love this as much as i do. i wouldn’t be able to do this without the people who helped me and believed in me.”
Listening to “Panahon” feels like reading a letter never meant to be rushed. The song traces the journey of someone learning to sit with uncertainty rather than fight it. There’s longing, but it isn’t desperate. There’s solitude, but it isn’t lonely. There’s a quiet acceptance that love, like time, moves in its own rhythm.
Part of what makes the track stand out is its structure, or rather, its lack of a traditional one. Arron steps away from the usual chorus-driven format, explaining, “I realized that not every song needs a traditional chorus, it just needs to feel right.”
And the song does feel right. The melodies rise and fall naturally, carrying emotion in place of repetition, allowing the music itself to become the refrain. With subtle production touches from Nikhil Amarnani, the arrangement adds depth without overshadowing the heart of the song.
But more than anything, it’s Arron’s voice that anchors the experience. Soft but assured, it guides listeners through the song like a companion on a long walk and not telling them what to feel, but giving them space to feel it.
Whenever Arron sings, it feels more like being wrapped in a story you didn’t realize you needed to hear.
