Welcome to Songs You Need to Know, our weekly rundown of the best music right now. The Rolling Stone Philippines team is constantly sharing things to listen to, and each week, we compile a ragtag playlist of songs that we believe every music fan today needs to know. Whether it’s the hottest new single or an old track that captures the state of the present, our hope is that you discover something for your musical canon.
This week’s songs feature boundary breaking artists from the UK, Philippines, and beyond. Coming from the UK are indietronica duo The Femcels and their off-kilter brand of electronic music. Cloud rap extraordinaire Fakemink hops over an atmospheric drill beat. Locally, indie folk mainstay Clara Benin delves into the upbeat intersections of pop music while kiyo hangs around on a rooftop, rapping over glitchy beats in his comeback single. Go down the rabbit hole of music this week with a highly diverse selection of songs.
A guitar-slinging crooner goes heartbroken indie pop
A promising comeback for the Filipino singer-songwriter, “muscle memory” sees Clara Benin collaborating with Sydney-based electronic trio D.E.L, made up of brothers Timm, Nick, and Joe de la Hoyde. The track, Benin’s first single of the year, feels more full-bodied and driven on upbeat indie pop drumming, immediately making it a standout in her soft, slow-paced catalog, though embellishments are kept to a minimum. Benin sticks closely to the acoustic sound that makes her a favorite of the Jess & Pat’s crowd, as the song speaks of an inability to let go of habits even after a breakup. Here, she does what she does best — tug on heartstrings over a guitar — and proves that some habits are worth keeping. —Pie Gonzaga
Not actually Italo, but electrically charged all the same
Released in November 2025, “Spazzatura (Italo Disco)” comes from Italian-American musician Celia Babini and, despite its title, isn’t actually of the funky Italo strain. Instead, Babini offers a straightforward pop track supercharged with electricity, with a high-pitched lead synthesizer surging through the chorus while her vocals, sitting coolly in the lower registers, temper the heat. I don’t understand Italian, and all I know is that “spazzatura” means “garbage,” but at a runtime below three minutes, the song almost feels too short for a mildly melancholic pop track you could be having an absolutely wild night to. —Pie Gonzaga
Playful synth pop with a Moroder callback
First released as a single in April 2025, “Funny Music” is the opener to Switcheroo, the debut album by Gelli Haha, the musical project of Filipino-American singer Angela Abaya. The track contains all the electric bliss of a Giorgio Moroder disco cut, complete with punchy snares and a pulsating synth. It doubles as a declaration of Abaya’s unabashed silliness in the face of feeling like a clown. “I’m funny (it’s just a joke) / for real,” she sings in falsetto, which, paired with the playful dance-pop production, reminds one of Remi Wolf. With “Funny Music” and Switcheroo, Abaya may be well on her way to becoming an indie favorite. —Pie Gonzaga
When two insecure students make music
When you take a peek inside the world of The Femcels, you’ll see a diary entry scribbled in eyeliner and spilled energy drinks. Led by Rowan Miles and Gabriella Turton, turn high school awkwardness into high-end performance art in “Indiest Girl at School” from their debut album I Have to Get Hotter.
The song stumbles on purpose, wrapped in pixelated synths and cheap drum hits. Miles and Turton’s lyrics poke fun at obsession and the urge to be different in their own “pick me” adventures. The project captures that phase of a fragile life constantly on display. Instead of gunning for perfection, The Femcels leave the rough edges exposed, turning cringe into gold. —Elijah Pareño
The rapper talks about real life during sunset
“COMEBACK (Pabalik sa’yo)” finds kiyo stretching his emotional range, code-switching naturally between English and Tagalog, using both to tell the same story of longing, regret, and wanting another chance. The beat flickers and warps around him, full of digital stutters and soft melodic layers.
kiyo rides the production with confidence, blending gentle singing and quick rhythmic runs. There’s a sense of growth here wherein the vulnerable hook hits hard in between the loud, hypnotizing trap-laced production. This comeback shows how kiyo keeps evolving while staying grounded in the feelings that made his songs connect in the first place. —Elijah Pareño
In my restless dreams, cloud rap still exists
“fml.” finds itself deep in that blurry space between a dream and a nightmare. British rapper Fakemink floats over a haunting flip of British garage producer Burial’s “Rival Dealer,” letting the beat breathe while he unpacks frustration into numbing effect.
What separates Fakemink from the wave of UK underground rappers he came up with, such as EsDeeKid, Rico Ace, Fimiguerrero, to name a few, is how incredibly claustrophobic his songs are. In his latest single, there exists a steady spiral of thoughts in his bars that many listeners recognize due to his trademark cadence. “fml” is perfect for a late-night breakdown wrapped in dreamy textures, proving Fakemink’s strength lies in transcending desperation into something that is strangely immersive. —Elijah Pareño
