Every Song on VVINK’s Debut Album, From Least to Most Addictive

VVINK goes full 8 Mile rap battle mode with every member trading verses, high‑belting bridges, and a chorus that never quite hits the album’s usual star power. As the closer, it’s an unsatisfying finish after a wild five‑track run midway through. When I need serotonin from VVINK, I skip this one.

After a very maximalist run of tracks, “Ikaw Ikaw” sticks out like a sore thumb. The reverb‑heavy guitar solos overstay their welcome, and the back‑and‑forth belting doesn’t sell the adventure nor the emotion after so much joy elsewhere. On the bright side, sitting near the end helps as a calm down from all the maximalist production.

Budots meets hyperpop here and VVINK doubles down on cheesy and camp in the best way: tiwtiw FX, bouncy snare‑kick combo straight out of Davao producer and budots pioneer DJ Love’s playbook. The crucial stumble is rapper Pio Balbuena crashing in to promote his TAMBAY clothing line mid‑verse, which sours an otherwise ridiculously fun track. There’s a massive disparity in terms of quality here where the budots parts have gelled well with the choruses while the rap parts of Balbuena doesn’t add to the flair this track already has. Remove the shameless plug and “Baduy” really thrives on its own camp.

This is VVINK’s official debut single, released in July 2025, for better and, honestly, for worse. It’s good that they debuted with it because the production and delivery that “Tulala” harnesses are the core ideas of VVINK, both sonically and visually. At the same time, if you listen to this track in the context of the album, it doesn’t quite live up to the crazy run of songs that come right after it. I know, it still has the trap-instrumental curveballs, the glittery production that the group describes as “Y2K,” and the infectious “uh-oh!” ad-libs that eventually act as a motif throughout the album. But there’s no convincing me that this track is better than the rest of the record when it comes to the variety of songwriting quirks on display.

“Para tayong may sariling mundo,” the girls sing, a philosophical intro to a tamer, fundamentals‑first P‑pop ballad. Written by FlipMusic mainstay Nica Del Rosario, “Kailan Ka Aamin” pushes VVINK vocally with a uniform sing‑song pop form and fewer chaotic production tricks. However, those vocal flourishes end up all over the place, where the delivery relishes on belts with one member singing after another to its own detriment. Compared with the brighter, more magnetic cuts, this one doesn’t hit the same.

The dance genres of Miami bass marries Jersey club in “Tulog Pa Si Ganda.” Members Jean and Mariel sing the verses as connective tissue so the track doesn’t jag or snap when it swings back into the chorus or flips genre gears. Thematically, it barely touches upon the concept of “dreams” instead you get a fever dream of dance music aggressively throwing you one massive snare drop. It’s the most hyper track that VVINK is involved in production‑wise and writing‑wise, but not their strongest explosive hook.

“Ikaw Lang Ang Kulang” harkens back to the 2010s pop music songwriting cues. While it still screams nostalgic to some faithful JaDine or Donnalyn Bartolome listeners, it is actually song VVINK could proudly hone on their own. The track opens on an arpeggiated synth line straight out of 2010s FlipMusic, which is a massive shoutout to chief producer Jumbo “Bojam” de Belen. VVINK slides into the style almost flawlessly. The chorus tags an intensely catchy “Yeah!” before Ayaka and Angelika fire tight, architectural rap verses. This is the part where VVINK’s got the P-pop formula perfectly.

The second interlude ushers in the album’s elemental core, asking listeners to close their eyes and picture a beautiful world — then “Tatlong Hiling” turns it into a magic‑carpet ride. Jean and Ayaka lay melodically rich verses; the sparkly‑bright chorus counts up to wish number three and bursts into a candy‑coated hook. Think of Alladin’s energy to show you the whole world, but instead as a girl group playing genie, wishing for your smile. It’s peak chemistry and pizzazz for the album’s thesis: having fun in love. This is how quirky works.

The track is a pun on the government agency, and it rules. “Pag Ibig Fun” hits the bullseye with its chorus: “Ang pag‑ibig mo ay fun / ’cause I’m your only one.” This is a combination of the bit‑pop era of Kero Kero Bonito meeting Pinkpantheress U.K. garage 2‑step percussion with VVINK’s care-free delivery. It’s funny, charismatic, and very on‑brand for P‑pop’s core idea: it should be fun and packed‑to‑the‑brim with serotonin. Only VVINK could pull off something this catchy. If a Filipino pop fan wants something new and witty, start here. This is a quintessential entry point.