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 mix captures the breadth of the week: from VVINK and DJ Love’s cross-genre budots, which push P-pop to its edges, to Manila house trio B.K.E., sharpening a late-night groove. The list also features a strong lineup of global releases that sit comfortably alongside local acts, spanning slowcore, slacker rock, glossy synth-pop, and R&B — sounds that give the list a rich sense of discovery. Each entry stands on its own while pointing to artists moving toward sharper, stranger, or more focused work. It’s a good week to keep your ears open.
The advent of budots in P-pop
VVINK’s “BADUY,” produced in collaboration with budots pioneer DJ Love and rapper Pio Balbuena, marks a milestone for both budots and P-pop. True to the maximalist sensibilities of the budots genre, “BADUY” reclaims Pinoy kitsch through its fusion of sugary, K-pop-inspired melodies with budots’ infectious percussion.
The move feels long overdue, as the budots sound has yet to fully inject itself into the P-pop machinery. As newcomers, VVINK occupies a unique position to experiment without the pressure of appealing to a fanbase the size of BINI or SB19. Perhaps that underdog status gives them the edge to pursue projects like this, which not only push the boundaries of P-pop but also offer long-overdue recognition to producers like DJ Love, whose two-decade career has yet to reach mainstream visibility. —Sai Versailles
A house track for any period of twilight
Forever, the fifth EP released by Manila-based label Twelve Points Records, brings together three of the city’s house producers — Saint Guel, Junoy Manolo, and Thirstkid — under the collaborative project B.K.E. Born from a beachside retreat and countless jam sessions, the trio discovered the red threads running through their individual sonic palettes, shaping a lush sound that is greater than the sum of its parts.
The first track of the EP, “Moonrise,” gently pulses into a rhythmic groove, providing a measured momentum that carries listeners through each subtly evolving section. The track stands out as the most versatile: whether you’re just getting the night started or winding down toward morning, its soft melodic lines paired with a throbbing bassline make “Moonrise” perfectly suited for any period of twilight. This song isn’t on Spotify, so go listen to it on Bandcamp. —Sai Versailles
Filipino progressive rock goes to church
Following their 2019 debut Peklat Cream and the 2021 single “Guillotine Drops,” indie darlings Bita and the Botflies have returned with “Quiapo.” Since forming in 2016, the four-piece has carved a niche for Filipino rock’s weirder side.
“Quiapo” embraces progressive rock, featuring shifting time signatures between the waltz-paced verses and a more kinetic chorus. Here, Sofy Aldeguer’s vocals glide between scatting, crooning about attending mass at Quiapo Church, and exclaiming her devotion and longing: “Luluhod hanggang magkakalyo ang tuhod / makasama siya nang iilan pang minuto.” —Pie Gonzaga
Winter depression music is upon us
On November 7, Rosalía made a big splash with her fourth studio album Lux, which saw the Catalan pop star experiment with lush, orchestral flourishes that felt suited to a Baroque cathedral. Four days later, Charli xcx — the mastermind behind 2024’s maximalist pop-dance canon Brat — released the comparatively less adorned “House.” The lead single is part of the upcoming Wuthering Heights soundtrack, featuring The Velvet Underground’s John Cale delivering a spoken-word piece in a deep, musky voice that seduces the listener within seconds.
While Lux carries a distinctly Romanesca sensibility, the jagged strings and static noise laid over Charli’s howls create a haunting sonic landscape that feels quintessentially English and gothic, like a storm rolling in over the moors. As the days grow shorter (in the Western hemisphere), these releases tap into a melancholy that lingers not only over the winter season, but across today’s broader pop psyche. —Sai Versailles
Texan slowcore and fuzz gallops over the stable
While Texan rock trio Shallowater pulls from a slowcore pulse, the band crafts a language that sits somewhere between alternative country and slacker: “God’s Gonna Give You A Million Dollars” moves with a steady drawl and twang without losing the grainy, ‘90s alternative rock patience that it is appears to reference from. The track feels unhurried and lets each detail settle — from the spare opening notes to the confessional vocal delivery. Halfway through, the song gives way to a wall of fuzz that arrives with no warning, and the heaviness pays off in equal measure. —Elijah Pareño
This is a slacker rock Euro trip worth going
Snuggle captures a kind of Copenhagen looseness that blurs charm with a slightly unbothered shrug. “Driving Me Crazy” moves with an easy shuffle that hints at indie folk, indietronica, and a bit of the experimental streak that runs through the city’s smaller scenes. The duo treats arrangement like a conversation that could drift in any direction, which gives the track its offhand appeal. Snuggle makes a point of sounding light without drifting into throwaway territory. The track works because it understands how to balance mood, melody, and a dry sense of humor that sits at the center of their best work. —Elijah Pareño
Synth-driven, upbeat, yet forlorn
Sarah Kinsley’s “Fleeting” is a shimmering pop anthem about change and impermanence. Following her 2024 debut Escaper, the American singer-songwriter layers sweeping synths over a galloping ‘80s-inspired beat, evoking the restless energy of Kate Bush’s “Running Up That Hill” while channeling the lyrical forlornness of Robyn’s “Dancing On My Own.”
“Fleeting” explores the urge to escape the past, but it closes on a cathartic, reassuring note with repeating lines like “Things will turn around” and “It’s not forever / it’s just for now.” Kinsley calls it “an anthem dedicated to the flood of change,” and it’s impossible not to feel swept along. —Pie Gonzaga
Waiian eases into a cleaner, more playful direction with “SOFTIE,” and the shift suits him. His writing has always had a sharp undercurrent, but here he leans into a brighter tone that opens space for humor without losing intention. Nicole Anjela matches his energy with a performance that gives the song its easygoing appeal. Their blend turns the track into a shy anthem that sidesteps the usual push-and-pull of flirtation by keeping the mood relaxed.
Waiian uses simplicity as an advantage here. Nothing feels overworked, and the chemistry between the two pulls the entire piece together. “SOFTIE” stands out because it feels personal, direct, and confident in a way that marks a new pocket in his catalog. —Elijah Pareño
It’s hard not to be charmed by Addison Rae’s debut album Addison, and the closing track “Headphones On” is a highlight. The fifth single drifts between R&B and soft trip-hop, lush and breezy, anchored by an electronic organ and a gently swinging beat that keeps the song moving.
Addison sings, “So I put my headphones on,” a quiet, intimate response to the crises she names — her parents’ divorce and moments of insecurity, among them, — turning vulnerability into something relatable and warm. With this track and the rest of Addison, the former TikToker proves she’s more than a pop star in waiting; she’s a careful student of her craft and ready to stake her claim in music. —Pie Gonzaga
