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.
The week’s songs include the Filipino-Australian pop artist daine’s odd pop cut “PQC,” Bad Indie Eye and his U.K. garage-inspired “torpe” anthem “Baby Wag,” indie pop duo Wasia Project’s lush direction in “2515,” experimental trio Feeble Little Horse’s “Rewind,” and many more.
Glitchtronica hopping on some country music
Indie rock’s favorite experimental band Feeble Little Horse’s new album bitknot is more glitched out, more honest, and a lot more careful with its soundscapes compared to its previous releases. Nearly three years after their last album, Girl With Fish, in 2023, the trio is now experimenting with loops and pitch shifts on one of the album’s many highlights, “Rewind.”
With Feeble Little Horse’s new direction under the big umbrella of indie rock, they manage to stand out by becoming a unique subject within their own genre, adding flourishes of electronica, stronger twee melodies, and varying degrees of fuzz throughout the track. Fans of their previous noise rock-adjacent material would most likely be disappointed, but the change is still worth it considering the immense growth the band has displayed over the past couple of years. —Elijah Pareño
Pep squad pop gets vulnerable
daine has been putting off making an album for so long because they feel that it’s “something that needs to have a cohesive concept and a sound,” the Filipino-Australian singer told Rolling Stone Australia last year. But it seems like they’re finally ready to make waves, having just released the lead single to their unnamed debut album on June 16.
“PQC” is, in the best way, an odd pop song, starting with a pep squad beat and a twinkling piano. With buzzing synths and daine’s delicate vocals, the track seems to draw on the work of American electropop duo The Pom-Poms. But there’s also a vulnerability in the lyrics that provides a contrast to the production’s playfulness. “Got more scars, but it’s not what I wanna tell you,” daine sings in the verse, which is a little sadder in tone compared to the catchy “You’re plastic, you’re tragic, overly-romantic” hook of the chorus. —Pie Gonzaga
U.K. Garage for softies and hip-hop fans
Solo rapper Bad Indie Eye first cut his teeth in the game by mostly rapping featured verses for Kartell‘em, rarely releasing solo singles of his own until the release of “Baby Wag.” The track opens with bright synths, and what follows is a U.K. garage 2-step drum pattern that complements the smooth flow of Bad Indie Eye’s natural delivery.
In “Baby Wag,” Bad Indie Eye pleads with his love interest but at the same time suffers from the typical “torpe” trope. “Ang daling sabihin, ang hirap gawin,” he croons through autotune. Bad Indie Eye is one of those hip-hop acts who learned how to be soft with his feelings, and he isn’t ashamed of doing so. —Elijah Pareño
A dramatic, electronic cut from an indie pop act
English indie pop duo Wasia Project, consisting of siblings Will Gao and Olivia Hardy, is taking a new direction with “2515,” the lead single of the upcoming album Nocturne. The muted synths and pulsating beat feel very much like Radiohead’s “Everything In Its Right Place,” except Radiohead’s song never seems to find resolution and remains in limbo throughout. “2515,” on the other hand, progresses into lusher production as it goes, drums kicking in during the chorus and strings rising in the second verse. Hardy’s voice is more siren-like than ever, echoing in the pure drama of the track’s outro. —Pie Gonzaga
A kick-ass needle drop charged with adrenaline
I could not hide how geeked I was to hear Wolf Alice’s “Smile” play during a fight scene in Supergirl, which just came out in Philippine cinemas. Off the English rock band’s 2021 album Blue Weekend, “Smile” features vocalist Ellie Rowsell coolly talk-singing over a catchy, distorted bassline and slamming drums. The song is one of many other phenomenal needle drops in DC’s latest movie, which includes Sleigh Bells’ “This Summer,” Wet Leg’s “Catch These Fists,” and even LE SSERAFIM’s “Celebration (Supergirl Ver.).” —Pie Gonzaga
Essential female-fronted twee pop of the 2000s
Barbie’s Cradle’s “Limang Dipang Tao” is still fun to listen to 23 years after its release. The song contains the snappy, twee-pop melodies played through minimal drum rolls and stick brushes, and intricate bass lines. What made it more enjoyable is the lyrics that sing about a traveling jeepney and its predicament amid the hustle and bustle of city life.
“Limang Dipang Tao” was brought to life by vocalist and guitarist Barbie Almalbis, drummer Wendell Garcia, and bassist Kakoy Legaspi. Released on their final album, Playing in the Fields, in 2003, the track joyously travels with Almalbis’ acoustic guitar playing. The delicacy of her voice plays an important role in their trademark sound. The chorus “Mama! Para! Dito na lang!” is already etched in my brain upon first hearing. There are so many details to be pointed out and that’s what Barbie’s Cradle is best known for. —Elijah Pareño
Frequently Asked questions
Barbie’s Cradle consisted of vocalist and guitarist Barbie Almalbis, drummer Wendell Garcia, and bassists Kakoy Legaspi, and Rommel Dela Cruz.
The Filipino-Australian artist who is about to release their debut album is daine. She just released her lead single “PQC” in anticipation of the release.
“Smile” by Wolf Alice was used in one of the fight scenes in the superhero movie Supergirl.
Wasia Project is an indie rock band based in London, United Kingdom.
The Feeble Little Horse song, “Rewind,” is on their latest album Bitknot.
