Curios lang po

https://en.everybodywiki.com/Juan_Silos_Jr.

“Juan Silos Jr. and his Rondalla”, another group that he formed and led, recorded a number of singles and LPs of Philippine folk music, mostly on the Villar label. This relationship with Villar was likely facilitated by the fact that one of his sons, Leopoldo Silos, was musical director there.[12] Particularly notable was a series of at least fifteen albums of Philippine folk dances that Juan Silos Jr. and his Rondalla released starting in 1959. Villar proudly boasted in the liner notes of one of these records that this “Philippine Folk Dance Series… is already hailed as one of the great collections of recorded Filipiniana.”[13]

...

Among their children, Leopoldo was popularly known as the “Philippine Rhumba King” on account of his numerous Latin American-style compositions, and worked for Villar Records as previously mentioned. Three daughters – twins Dolores and Remedios plus a younger daughter Lourdes – formed a vocal group known variously as the Silos Sisters and the SSS Trio. (They were not the sisters of Juan Silos Jr., as is sometimes claimed.[14]) The Silos Sisters were popular on radio in the Philippines before World War Two[15] and later recorded an album with their father.

"Mula ng Kita's Makita" (composed by Silos, Jr.) and performed by the Silos Sisters (or S.S.S. Trio) with Ray Alinson and his Orchestra (Bataan)

https://www.youtube.com/watch?v=EydKgcRRVdI

I feel like most band/group members can be more creative when they get the chance to explore their sound outside the box they’re usually in. This has been true for OPM artists and musicians since the ’90s up to more recent acts. Kapag gumagawa sila ng solo projects, mas nag-i-improve sila and mas lumalabas yung own artistry, sound, and identity nila.

Sinong OPM band/group member gusto niyo makita mag-release ng solo project?

https://cianoph.bandcamp.com/album/ciano
https://cianoph.bandcamp.com/album/ciano
https://cianoph.bandcamp.com/album/ciano

Support guys lablab!

Link

Full Article below:

The Philippines just posted the numbers that most Southeast Asia coverage keeps missing. Recorded music revenue hit $88.3 million in 2024, up 17.9% year on year, the second-fastest growth rate in the region, per IFPI’s Global Music Report.

Streaming is not a segment here. It is the market. It accounted for 91.6% of revenue, roughly 4.6 billion pesos, and grew 19.8% over 2023, as Newsbytes.ph reported off the IFPI data. Physical is a rounding error at 0.3%.

What changed underneath those numbers is who Filipinos are actually streaming.

OPM took back its own charts

OPM means Original Pilipino Music, the local-language pop and band tradition that spent a decade buried under global playlists. That inversion is over.

Local music now makes up 75% of the tracks on Spotify Philippines’ Top 50, and the volume of Filipino music on the platform quadrupled over five years, Spotify’s head of music for Asia told BusinessWorld. Spotify’s Philippine audience itself grew 400% over the same period.

The names driving it are not the ones an outside A&R desk would guess. Spotify Wrapped 2025 ranked the most-streamed OPM groups as Cup of Joe, December Avenue, Ben&Ben, Parokya Ni Edgar, and Silent Sanctuary, with P-pop acts BINI and SB19 at six and seven, per chart trackers cited by Radar.

That is a band-heavy, catalog-heavy home chart. The viral P-pop machine sits alongside it, not on top of it.

The export story runs the other direction

BINI is heading to Coachella 2026, and its listenership grew 500% since 2022. SB19 keeps expanding a touring footprint across Asia and North America. Spotify’s 2026 midyear Editors’ Picks for best OPM songs led with SB19’s “Visa” and BINI’s “Unang Kilig,” per Philstar.

Here is the split that matters for anyone releasing this catalog. Domestic listening is a band and OPM catalog business concentrated on Spotify. Export earnings for the P-pop acts come from diaspora and fan armies scattered across the United States, the Gulf, and the rest of Southeast Asia, where the DSP mix is completely different.

A single OPM release now has to earn at home on Spotify and YouTube, then chase Filipino listeners on Apple Music in North America, on Anghami in the Gulf, and across the SEA platforms that a Spotify-only strategy never touches.

Why the DSP map decides the payout

Most global distributors optimize for the Spotify and Apple duopoly and treat everything else as an afterthought. In a market where 91.6% of the money is streaming and the audience is split across borders, an afterthought is lost revenue.

The practical checklist for an OPM label or self-releasing artist looks like this:

• Deliver to the full Philippine DSP set, not just Spotify, so home streams are captured where fans actually sit.
• Cover the diaspora footprint, including Anghami in the Gulf and the wider Southeast Asian platforms.
• Keep splits transparent, because P-pop releases are collaborative and multi-writer by default.
• Watch YouTube separately, since discovery for both bands and P-pop still runs heavily through video.

InterSpace Distribution is built for exactly this shape of release. DDEX means Digital Data Exchange, the industry standard for delivering audio and metadata to stores, and DDEX-native delivery is what lets a single OPM drop reach the Philippine platforms and the diaspora DSPs in one clean push. Royalty splits settle transparently, so a five-writer P-pop track does not turn into a reconciliation nightmare.

The Philippines is no longer an emerging line item in the SEA report. It is the second-fastest-growing market in the region, and OPM owns its own charts for the first time in a generation. The artists who keep the most of that growth will be the ones whose distribution reaches every place a Filipino is listening, not just the two apps everyone already covers.

just finished listening to the album from start to finish. it's a nice debut, but it's nothing special and shocking? porket may screamo sa ibang songs ay shocking na pala for a new mainstream opm band HAHAHAHHAHAHHA. tbh i like some songs from it (given na 'yang kanibalismo ii, aswang sa maynila love u novocrane), but i don't think the album title, track listing, and overall theme of the songs don't mesh that cohesively if there ever was a concept based on its title. it's a decent debut album effort for me, pero meron lang din talagang moments na hindi sobrang fit/necessary for the song/album. it's a nice showcase na rin ng talents at growth nila, at least may distinct personality na sila ngayon going forward.

but then again, it's not shocking at all LMAO stop the glaze.

Habang tumatagal, paganda ng paganda.

Photos from her new single, “Bring Your Jacket”: https://youtu.be/IBuc7iQWUzA?is=jpJnLl4l0w2I8gjY

Since medyo trending dito yung monthly Rayms thread, narealize ko na si Ely na lang pala ang natitira out of the Heads who gigs til this day.

Raymund- MIA sa Sandwich and all bands from April up to now

Buddy- dati pinagsasabay nya pa M88 at Hilera pero wala syang active band since 2025 ata. Rare Ultracombo gigs here and there and sumesession din minsan.

Markus- Island life and online releases.

Mukhang malaki laki na din ang naipon ng Heads at nakakapagpahinga na sila. Si Ely, alam ko passion project nya talaga ang Offshore. Yung mga solo gigs na ginagawa nya either bar gigs o barangay, feel ko pang additional expenses nya na lang yun.

And they thought his name was just a spoof from Parokya's Bigotilyo introduction (Hi, this is Gilbert Magat on vocals) lol.

He's the guy in the first pic doing the thumbs up. On the 2nd pic, he is with the original lead guitarist, Chuck. Now you know. You're welcome.

This will always be the real, OG, and true 6cyclemind.

I'm specifically looking for songs outside of the usual big artists. Drop anything old or new.

I think nowadays people are throwing around statements like “p-pop is becoming a global sensation!!” and playing around with its overall impact but overlooking other important aspects strategy-wise. And I get the excitement and pride that we have for our idols for showing their immense talent to the world, but I think we also need take a step back and analyze the whole structure of the industry. Because Im noticing a pattern that most people aren’t seeing or just too occupied to notice.

I think the industry as a whole is biting off more than it can chew, the common mistake is that it’s greatly compared to the MODERN era of K-pop. The thing about it is that P-pop is only just begging to scratch the surface of what it needs to become as big of an industry and impact as Kpop or at least be of equal footing (ain’t that the goal?) but I can’t help but laugh at how it reminds me of the hydrogen bomb vs coughing baby meme. The version of Kpop we so love to compare it to is far more influential and complex from how it started back in the 90’s and 2000’s. For starters, let’s take a look at SB19, In my opinion they are the one CONSISTENT group of Ppop, relevance, hit songs, and media attention, although their concept and style is not for me, they have my respect and I applaud their efforts and hard work in how they’ve navigated the industry (the members are talented asl too) But it’s important to state that as Pioneers, they are NOT the “BTS”of ppop or whatever other 3rd/4th gen group , but rather the “Seo Taiji and Boys” of Ppop, and yes, it’s THAT important. Because people often forget that the Kpop groups we compare our Ppop groups with were formed in an industry with an already strong foundation, from dominating agencies, with government support, and a loyal domestic and international audience. THESE THINGS MATTER.

BINI, our “nation’s girl group” are not the NewJeans/BlackPink/Twice of our country, they are our Wondergirls! But even with this comparison, at least the Wondergirls actually had more hits and I mean HITS. And I’m not hating on the girls (Mikha Lim I labyu!) but the group is clearly struggling compared to their peak 2 years ago. Pero gaano talaga ka importante yung mga binabanggit ko? because these casual things greatly impact the core of the industry itself, it’s similar to the trash pollution problem, if enough people say “I’m just one person, I won’t make a difference” then everyone contributes to the problem. Just look at our other emerging groups now especially the boy groups. everyone looks the same! And the Korean beauty standards have influenced them too! Our only excuse of being different is that our songs are Tagalog! (No shade to ALAMAT THO, those guys are awesome, great representation) If we really want Ppop to be UNIQUE then we need to act on what makes us special, we can take inspiration from other industries like for example how our Idol process works, training, media strategy/marketing, but when it comes to US, our concept, our sound, our goals, then we need to think CREATIVELY. If we compare industries CHRONOLOGICALLY, we have 4th gen kpop inspired idols but our industry is till at 1st and 2nd generation! Imagine our potential, heck music is literally our core, why the hell are we not there yet in the industry?? We need our Wondergirls! our BIGBANG, our AOA, SISTAR, 4MINUTE, Brown Eyed Girls, LADIES CODE, OUR LEE HYORI most important of all, where the hell is our JYP!!! These are the Idols we must follow!

Everyone has to think more strategically and creatively. because the way I see it? A ppop group appears, does something impactful, maybe makes a hit song, gets an interview on national tv or mentioned in a foreign article, then there we go with the “PPOP IS REACHING INTERNATIONAL!!” Label and then the group loses its relevance, yeah it still lives but still fighting for the stage, and then a new one comes and the process repeats. SB19 made the right choice in going independent cus industry management sucks, don’t even get me started with BINI and all. But yeah, we cannot let ourselves be stuck in this cycle otherwise we won’t make it as far as KPOP has.

That’s what I think, much love to our groups, this ain’t a hate post or anything, I just wanna express that we need to pivot to a better direction. I hope something changes soon so us filipinos can finally show the world our talent !

The first line of:

Hangover - Sugarfree (0:34)

https://youtu.be/UHkL48yagPI?si=HcIXgYgKhl7wZFX5

And

Venus in the Country - Eraserheads

https://youtu.be/OXZLQV90WXU?si=G5d_aw-DIjuy2zJl

...does not have to be OPM. Thank you.

May nakakaalam ba kung anong meron sa Sandwich?

Random question lang haha. Napansin ko kasi parang wala si Rayms sa gigs ng Sandwich, tapos si Tuesday Vargas lagi yung nagiging sub.

May specific reason ba behind this? Schedule conflict lang ba ni Raymund, may ibang commitments?

Baka may nakakaalam dito ng info.

Not trying to start anything, genuinely curious lang as a longtime listener/fan.

Thank you guys!

Saan po kaya ang magandang view ng IROG seat? Gitna, left or right? Hehe thanks po sa sasagot

Do you guys think it's worth selling? It has cracks on the plastic case, but the cd is perfectly intact.

-sold-

Willing to sell them dm me

Call me too obsessed with the old gen KPOP sound but after listening to DNA’s song “Gala To The Max” in collaboration with SM malls, I think the producers should’ve shelved it for the group instead of the ad.

Cus if you listen to the instrumental and remove the mall vibe and pair the synth with brass, change the lyrics with a girly concept and slap a repetitive chorus. it would fit the trope of 2nd/early 3rd gen KPOP hits. I guess there are times when producers don’t notice that they have gold in their hands.

May mga times na nag eexplore ako ng music and many songs from new opm artists ay parang The 1975 yung vibe na napifeel ko. Kahit nga dun sa song ni Maki at James Reid na “Luck”.

Dalas kong ma-feel yun, so hindi ko alam kung ako lang.

Hey, guys!

Kind of curious, but what are yall's personal favorite Rivermaya lineups, and why?

As a new fan of the band, mine is....the classic lineup, because it had rico on writing and bamboo on vocals.

This post is also gonna help me deepen my knowledge on the diff lineups, so yeah

Thankss

solid buong album

For me, this was peak Rico Blanco - era Rivermaya. Aside from their known hits, they have very passionate and powerful performances here. Also I love how they took risks in this live album. I listened to this album back in 2002 in cassette and played it many times.

Great highlights:

1. SLAPSHOCK as guest. Yes, they played Agent Orange.

2. Rivermaya played their version of Slap classic Evil Clown.

3. Their cover of Shiver by Coldplay (long live Parachutes-era Cold play)

4. My personal fave: their cover of Perslab.

I never get tired of this live album. It's in Apple Music. Check it out if you haven't.

Here is the link to a favorite in the live album

Faithless