Photo credit: HYBE x Geffen Records
HYBE x Geffen is gearing up for its next major global debut as it officially introduces SAINT SATINE, the newest four-member girl group formed through the conclusion of the audition series World Scout: The Final Piece, streamed via ABEMA.
The announcement confirms a lineup that blends already familiar global trainees with a newly discovered standout. The group consists of Emily (USA, 20), Lexie (Sweden, 21), and Samara (Brazil, 20)—all of whom previously gained international attention through the Netflix docuseries Pop Star Academy: KATSEYE. Their journey now continues under a new identity as SAINT SATINE.
Emily - Lexie - Samara
Completing the roster is Japan’s Sakura (16), who was officially chosen during the show’s finale. Out of more than 14,000 applicants, Sakura emerged as the final member after a highly competitive selection process that unfolded in Japan and was documented throughout the series.
To mark the culmination of the project, HYBE x Geffen released the digital single album World Scout: The Final Piece – Finale, featuring two tracks that highlight the intensity of the final selection round.
One of the standout records, “PARTY b4 the PARTY,” brings together Sakura, Emily, Lexie, and Samara in a high-energy performance built on punchy beats, heavy bass shifts, and playful vocal exchanges. The track leans into a bold, club-ready energy, capturing the excitement of pre-party anticipation and the chemistry between the members.
The second track, “WE RIDE,” features finalist Ayana alongside Emily, Lexie, and Samara. In contrast to the first song’s explosive vibe, it offers a smoother, nostalgic sound inspired by early 2000s R&B, layered with soft harmonies and a laid-back rhythm.
With the lineup now complete, SAINT SATINE is officially set for its global launch. HYBE x Geffen describes the group as existing in a space between contrast and control. The name reflects that duality, with “SAINT” representing strong artistry and presence, while “SATINE” evokes softness, refinement, and sophistication.
Pack your bags as Travis Japan is hitting the road, and this time, the stage lights are swapped for sun-soaked highways and desert skies.
In their upcoming Disney+ series Travis Japan Summer Vacation!! in the USA, premiering May 1, the J-pop group invites fans on a road trip that’s equal parts adventure, nostalgia, and self-discovery.
Fresh from their recent world tour, the seven members—Kaito “Chaka” Miyachika, Kaito “Umi” Nakamura, Ryuya “Shime” Shimekake, Noel Kawashima, Shizuya “Shizu” Yoshizawa, Genta Matsuda, and Kaito “Machu” Matsukura—set off on a journey that feels like a full-circle moment. The destination? Los Angeles, the same city where they first made waves internationally through their breakout stint and debut performance on America's Got Talent.
But don’t expect a typical travel diary. This 10-part series turns the classic road trip into something more personal. Splitting into teams and following an itinerary planned by Kawashima, the group explores the U.S. one unforgettable stop at a time.
From the otherworldly rock formations of Arches National Park to the old-town charm of Durango, and the breathtaking views of Monument Valley and Sedona, every location adds a new layer to their journey. Along the way, the members trade choreography for campfire conversations, opening up about their early days, challenges, and the whirlwind rise that brought them to the global stage.
Premiering with three episodes on launch day, new installments will roll out every Friday until the finale on June 19.
At its core, Travis Japan Summer Vacation!! in the USA is a story of growth, friendship, and rediscovery. And for Travis Japan, this ride looks like one worth taking.
“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.
Some performances entertain. Others resonate long after the final note.
When Jarren Garcia arrived in Vancouver for MYX Presents: Jarren in Vancity last October, the result was not simply a live set, but a carefully felt exchange between artist and audience. In an intimate setting of 150 fans, the evening unfolded with a rare immediacy — measured, immersive, and deeply connected.
The night opened with Téa G, whose poised and assured performance established a tonal foundation that was both contemporary and self-possessed. Jarren followed with a set that emphasized nuance over spectacle — a performance defined by control, presence, and a clear articulation of his evolving sound.
Beyond the stage, the experience extended into a broader cultural dialogue.
A Fit Check featuring Baldylox Vintage (Alex Chang), a leading voice in Vancouver’s vintage and streetwear space, positioned style as an extension of artistic identity — a visual counterpart to sound.
An Artist Appreciation session with John Concepcion, a Vancouver-based Filipino-Canadian R&B artist known for his smooth, contemporary sound, offered a thoughtful exchange between two artists navigating the intersections of music, heritage, and global audience — grounded, reflective, and forward-looking.
Together, these moments formed a cohesive narrative: Jarren in Vancity as both performance and perspective — a study in how music, fashion, and community converge in real time.
MYX now brings this moment into focus.
Special performances, exclusive conversations, and behind-the-scenes access from Jarren in Vancity are now available on MYX’s official YouTube channel.
*Photo courtesy of Archia Natividad.
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.
GOODPHIL 2026 is officially leveling up.
From March 13–16, Filipino student leaders and athletes from across Texas are taking over Round Rock for one of the biggest collegiate Filipino events of the year a weekend packed with sports, culture, and community pride, hosted by the University of Texas Filipino Students’ Association.
And this year? The finale hits different.
On March 16, MYX Global is stepping in as a proud Media & Entertainment Partner, mounting MYX Presents at the closing ceremony; Headlined by Filipino-American singer-songwriter AJ Rafael.
If you grew up on YouTube-era love songs and heartfelt acoustic anthems, you already know AJ. With his signature soulful vocals and emotionally honest songwriting, he’s built a global following that spans generations of fans. Now, he’s bringing that same energy to the GOODPHIL stage.
Opening the night is rising artist JMKO, whose smooth, genre-blending sound and effortless stage presence make him one to watch.
Before the concert, the weekend kicks off with three days of competition (March 13–15):
Indoor games at Round Rock Sports Center
Outdoor matchups at Round Rock Multipurpose Complex
The closing ceremony and concert take place at Kalahari Resorts and Conventions, where culture, competition, and music all collide.
From courts to concert lights, GOODPHIL 2026 is about showing up for community and celebrating Filipino excellence in every lane. And we’re hyped to help amplify it.
See you soon, Texas!
For event updates and exclusive coverage, stay tuned to MYX Global and official GOODPHIL channels.
More info: https://www.utfsa.com/goodphil
Contact: utgpc2026@gmail.com
MYX is the official entertainment and media partner of GOODPHIL. For media requests for our talents, please email us at MYXGlobal@abs-cbn.com.
Singer-songwriter MRLD recently shared a post on social media announcing that she is now an independent artist.
In the post, MRLD described the start of her 2026 as a difficult period, saying she experienced conflicts with people she had previously worked with. She also spoke about the emotional toll of the situation, mentioning the “tears,” “frustration,” and “sadness” she felt in recent days.
Despite this, the artist expressed gratitude to those who supported her during her time with O/C Records. She thanked the staff and emphasized that she did not want her message to sound ungrateful or resentful.
MRLD also stated that she is “now an independent artist” and said she looks forward to releasing her own music and fully receiving the results of her hard work moving forward.
However, O/C Records said exclusively that the announcement was not mutually agreed upon and came as a surprise to the label, adding that MRLD’s recording and exclusive management contracts remain in effect.
In a statement shared with MYX, O/C Records said that both her recording deal and exclusive management contract are “still in full effect.”
“We’re a bit surprised that she posted something like this when in fact we’ve been constantly reminding her about this,” they shared.
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.
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:
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.
