Marga Jayy unveils a decade-in-the-making release that blends R&B, soul, jazz, and organic instrumentation into a cosmic listening experience

Filipino neo-soul artist Marga Jayy marks a triumphant return with her new single “Buhul-Buhol,” co – produced with Gab Dandan, mixed by Enrique Santamaria and mastered by Grammy-winning mastering engineer Gerard Hairston.

Her latest bop pairs R&B-laden vocals with organic instrumentation and suave, jazzy arrangements, taking her thoughts to a cosmic plane of consciousness. Heavily inspired by Hiatus Kaiyote, Marga Jayy penned “Buhul-Buhol” in 2015 while contemplating resigning from her corporate job to focus more on her first love: music.

“It took over a decade to finally get the song to where I wanted it to be,” shares Pinay soulstress. “Gabe Dandan has been a longtime friend and has played guitar on some of my previous releases, but this is our first time working together with him as a producer. It’s also the only track we’ve co-produced that I’ll be releasing so far, so hopefully there’ll be more to come!”

According to Marga Jayy, “Buhul-Buhol” is about meeting people and encountering things over and over again across different lifetimes and universes. Growing up in a Catholic family with a conservative background, she didn’t believe in reincarnation, but reading ‘Many Lives, Many Masters’ by Brian Weiss changed her perspective—and inspired her work in music. “It opened me up to the idea that some experiences and connections might go beyond what we can explain logically.”

She adds, “During the pandemic, when I was dealing with anxiety, I also started exploring holistic approaches to health. My doctor practices past-life regression, and I watched his videos sharing stories of clients who were able to resolve their depression and other personal struggles through the process. Hearing their experiences made me more open to the idea. I haven’t figured out my own intention for trying it yet, but it’s something I’d like to explore someday.”

Another notable aspect of her comeback single is the cover art by Filipino artist RS08, created by hand during a time marked by AI’s dominance. “I’d love to highlight that part of the release as well and give the artwork and the person behind it some love.”

Buhul-Buhol is released in partnership with Liga Artist Group and distributed via Ditto Music Philippines.

Marga Jayy’s new single “Buhul-Buhol” is out now on all digital music platforms worldwide via Sony Music Entertainment.

Distribution scheduled for November 2026 combines greater emphasis on actual music usage with the collective management organization’s first use of SoundSys by BMAT for Producer royalty processing

Philippines Recorded Music Rights Inc. (PRM) is preparing to distribute ₱13,033,983.29 in royalties to producers and performers for its 2025 distribution cycle, marking a milestone in its efforts to deliver timely, accurate and transparent remuneration to rights holders.

Scheduled for November 2026, the distribution will be Philippines Recorded Music Rights Inc.’s first royalty distribution to meet its scheduled timeline. During its initial years of operation, the CMO relied on manual processes to consolidate licensed music usage reports, verify rights information and calculate royalty allocations. These steps took time to complete and contributed to longer processing periods.

This cycle marks Philippines Recorded Music Rights Inc.’s first use of SoundSys by BMAT (Barcelona Music and Audio Technologies) to support Producer royalty processing, helping streamline the work previously handled manually. Alongside this system improvement, the updated allocation approach gives greater weight to music actually played in licensed establishments.

The distribution covers royalties collected in 2025, including payments received for earlier licensing periods. Philippines Recorded Music Rights Inc. is completing its final review of music usage records, ownership details and royalty calculations before releasing payments.

“This November 2026 distribution marks a defining moment for Philippines Recorded Music Rights Inc. We are preparing to distribute royalties on schedule and, for the first time, use SoundSys by BMAT to support Producer royalty processing. These improvements reflect our commitment to accuracy, transparency and reliable service. Most importantly, they support our work to ensure that performers and producers receive the remuneration they have earned,” said Ace Acosta, General Manager of Philippines Recorded Music Rights Inc.

Giving greater weight to music actually played

For the 2025 distribution cycle, Philippines Recorded Music Rights Inc. has increased the weight assigned to music usage reports submitted by licensed establishments, including hotels, restaurants, gyms and other businesses. Compared with the previous 2023–2024 distribution, the weighting has increased from 70% to 84.23% for Producers and from 70% to 77% for Performers.

The approach links royalty allocation more closely to documented music use, giving greater recognition to recordings regularly played in businesses, including those that may not feature prominently on popularity charts. The Official Philippines Chart by the IFPI (International Federation of the Phonographic Industry) and radio data from BMAT continue to serve as supplementary reference information.

SoundSys supports PRM in matching reported music usage with registered recordings, checking ownership information, flagging conflicting claims and calculating Producer royalty shares. It also supports clearer reporting, helping trace royalty allocations to individual recordings and usage records.

For this cycle, SoundSys supports Producer royalty processing, while Performer royalties are calculated separately by Philippines Recorded Music Rights Inc. All results remain subject to PRM’s review and verification before payment.

Philippines Recorded Music Rights Inc. is coordinating with 14 record labels and music rights partners for the distribution. Performer categories covered include featured artists and non-featured artists such as session musicians. Individual Performer recipients and the final recipient count remain subject to completion of Performer royalty calculations and verification.

Philippines Recorded Music Rights Inc. will present the distribution developments at its Distribution Press Conference and Showcase on November 12 at Backspacer Records in Pasig City. The event will bring together media, members, artists and industry stakeholders, with performances by LEYO and Jarlo Bâse of Sony Music Philippines.

Through timely distribution, stronger verification processes and continued investment in its systems, Philippines Recorded Music Rights Inc. aims to give rights holders greater confidence in how their royalties are calculated and accounted for, while supporting the growth of the Philippines recorded music industry.

ORGANIZATION FACT SHEET

WHO PRM IS

Philippines Recorded Music Rights Inc. (PRM) manages rights relating to the use of recorded music on behalf of producers and performers. Through licensing, royalty collection, and distribution, the organization works to ensure that rights holders receive remuneration for the use of their recordings and recorded performances.

WHO PRM REPRESENTS

Philippines Recorded Music Rights Inc. also coordinates with music rights partners to administer royalties for the repertoire they represent.

WHAT PRM DOES

• Licensed recorded music use within the rights and repertoire it administers, including use in hotels, restaurants, gyms and other businesses.
• Collects licensing fees that generate royalties for eligible producers and performers.
• Reviews reported music use, recording information and ownership details.
• Calculates royalty shares and verifies claims before releasing payments.

MUSIC LICENSING AND ROYALTIES EXPLAINED

A music license gives businesses permission to use music within the rights and repertoire it covers. Philippines Recorded Music Rights Inc. handles rights in sound recordings for producers and performers. FILSCAP, or the Filipino Society of Composers, Authors and Publishers, Inc., handles rights in the musical compositions for composers, lyricists and music publishers. These cover different rights, so businesses may need licenses from both organizations.

Royalties are payments to rights holders for the use of their music. Philippines Recorded Music Rights Inc. collects licensing fees and distributes royalties to eligible producers and performers.

The music played in licensed establishments helps determine each recording’s royalty share, subject to verified rights information and the distribution methodology.

WHY IT MATTERS

Music contributes to the experience businesses create for customers. Licensing recognizes the work behind that music, while royalty distribution enables producers and performers to receive remuneration for its use.

DISTRIBUTION FACT SHEET

Philippines Recorded Music Rights Inc. (PRM) is coordinating with its member record labels and local and international music rights partners. Performer categories include featured artists and non-featured artists. Individual Performer recipients and the final recipient count will be confirmed once royalty calculations and verification are complete.

PERIOD COVERED

Royalties collected in 2025, including payments received for earlier licensing periods.

PAYMENT STATUS

Philippines Recorded Music Rights Inc. is completing its final review of music usage records, ownership details and royalty calculations before releasing payments. Distribution is scheduled for November 2026.

WHAT IS DIFFERENT THIS CYCLE

November 2026 is scheduled to mark Philippines Recorded Music Rights Inc. (PRM)’s first on-schedule royalty distribution and first use of SoundSys by BMAT for Producer royalty processing.

PRM has increased the weight given to music usage reports from licensed establishments.

These percentages describe the weighting assigned to licensed music usage reports in the methodology. They are not payout rates.

The Official Philippines Chart managed by the IFPI (International Federation of the Phonographic Industry) and radio monitoring data from BMAT (Barcelona Music and Audio Technologies) continue to provide supplementary reference information, including where establishment reports are unavailable.

HOW PLAY BASED ALLOCATION WORKS

Within a particular royalty fund, a recording’s documented plays help determine its share. More reported plays generally mean a larger share of that fund, subject to the applicable methodology and verified ownership rights. This gives greater recognition to recordings regularly played in licensed establishments, including music that may not feature prominently on popularity charts.

WHAT SOUNDSYS DOES

SoundSys, provided through BMAT, supports PRM in matching reported music use with registered recordings, including likely matches where titles or artist names differ in spelling. It helps check ownership information, flag conflicting claims, calculate Producer royalty shares, and produce reports that trace allocations to recordings and usage records.

For this cycle, SoundSys supports Producer royalty processing. PRM reviews and verifies results before payments are released.

PHILIPPINES RECORDED MUSIC RIGHTS INC. COMMITMENT

PRM is and will continue to strengthen its systems, verification processes and member services to support timely, accurate and transparent royalty distribution for producers and performers.

The announcement follows the success of “ako ang bagyo,” which has amassed nearly 30 million Spotify streams

Fresh off the breakthrough success of his hit single “ako ang bagyo,” rising Filipino singer-songwriter SHEAN has announced his first headline concert, Pag-ibig Sa Sama Ng Panahon, happening on December 18, 2026, at the Music Museum.

The show will give audiences the opportunity to experience SHEAN’s original compositions in a concert setting, featuring a full band, expanded arrangements, and more elaborate production. The performance will serve as a launchpad for debuting his new songs live from an upcoming body of work, which the young artist is preparing to release in the coming months.

“It’s going to be a special experience for me because, for the first time, I’ll get to perform the songs I’ve written with a full band for the first time, alongside a bigger setup and more elaborate production. More than anything, I want to thank everyone who has believed in me and supported me since day one. This concert is my way of giving back and celebrating with all of you,” SHEAN shares.

Preparations for Pag-ibig Sa Sama Ng Panahon are already underway, with the artist and his team working on a production that reflects the creative direction and binding theme of his music releases. SHEAN is particularly looking forward to bringing the show to life and sharing more details with his growing audience in the coming weeks.

“I can’t wait to share more details with everyone, especially a collaboration with one of my favorite artists. I’m really looking forward to bringing this all to life,” he shares.

The concert announcement comes at an important time, as “ako ang bagyo” takes the spotlight as one of the year’s notable Filipino music breakthroughs. The debut single held the No. 1 position on the Spotify Philippines charts for 10 consecutive days and counting, accumulated nearly 30 million streams, and reached a new peak of No. 59 on the Spotify Global chart dated November 7, 2026. The track also peaked at No. 1 on YouTube Philippines’ Trending Music Videos chart.

SHEAN’s “ako ang bagyo” is out now on all digital music platforms worldwide.

The first Asia-based edition of KEXP’s celebrated Live on KEXP series features 12 independent artists from across Southeast Asia

motifs, Live on KEXP. Photo credits: Carlos Cruz

AXEAN Festival has joined forces with KEXP, the internationally renowned Seattle-based public radio station and music discovery platform, to introduce the region’s eclectic, diverse music landscape to a global audience. The collaboration marks the first time that KEXP’s celebrated Live on KEXP series has traveled to Asia for an on-location recording project.

Filmed in August in Bali, Indonesia, during AXEAN Festival, the historic project features 12 exclusive live sessions from independent artists across Southeast Asia, challenging conventions of Asian music through uniquely compelling performances and a strong sense of individuality. Curated by Diana Ratsamee, host of KEXP’s Eastern Echoes, the sessions began rolling out on October 20 through the platform’s official Live on KEXP YouTube channel. Selected artists from the region include Indonesia’s Numeron, The Panturas, Çudamani, and Basajan; Singapore’s motifs and sub:shaman; Thailand’s TONTRAKUL, Yellow Fang, Hariguem Zaboy, Inspirative, and Slowwves; and Malaysia’s Commemorate.

Shared Ambition

For AXEAN Festival co-founders Piyapong Muenprasertdee (Py) and David Siow, the partnership represents the realization of a shared ambition to place Southeast Asian music firmly within the international music conversation. Having followed KEXP’s work for years, the AXEAN team found a natural point of connection through Eastern Echoes, which has consistently championed music from Asia and its diaspora.

“Being chosen as KEXP’s partner is an honor,” Py reveals. “KEXP has run these sessions with festivals like Trans Musicales in Rennes, France; Iceland Airwaves in Reykjavik; and BIME in Bilbao, Spain. Being added to that list tells us our work is being taken seriously and that KEXP sees Southeast Asia as a scene worth documenting, not a novelty, as we hope the rest of the world will too.”

For David, the collaboration reflects AXEAN Festival and KEXP’s shared commitment to creating meaningful opportunities for participating artists to be heard globally. “It means so much more to the 12 Southeast Asian artists featured! I remember seeing the drummer of Basajan in tears after recording his set. That was truly such a beautiful moment to witness.”

TONTRAKUL, Live on KEXP. Photo credits: Carlos Cruz

Right Partnership

The decision to bring Live on KEXP to Asia had long been an aspiration waiting for the right partnership. KEXP’s Chief Programming Officer Chris Kellogg explains that AXEAN’s commitment to showcasing the region’s finest independent music and bringing communities together made it an ideal collaborator. “Our mission knows no bounds. Sometimes, it takes the right partnership at the right time to drive our work forward, and that’s exactly what happened with AXEAN,” he shares. “Just like so much of the world, the music scene across Southeast Asia is deep and rich, and AXEAN was the best partner to help us bring some of that music to the global KEXP audience. Their commitment to the music was clear from the outset.”

In the new Live on KEXP series, there’s a deliberate effort to represent Southeast Asia beyond familiar regional stereotypes and genre classifications, considering it a hotbed of underrated finds and exemplary talent. Diana Ratsamee, whose work on Eastern Echoes has helped introduce Asian artists to KEXP’s international listenership, approached the curation with an emphasis on musical individuality, cultural identity, and creative expression.

“We wanted to challenge the idea that Southeast Asian music can be defined by any single sound and introduce KEXP audiences to the incredible creativity coming out of the region,” Diana says. Featuring 12 artists from Indonesia, Thailand, Singapore, and Malaysia, the sessions traverse an expansive musical spectrum, from post-rock, shoegaze, and metal to traditional folk and culturally rooted contemporary expressions.

Yellow Fang, Live on KEXP. Photo credits: Carlos Cruz

Going Global

The collaboration also highlights the importance of creating more equitable pathways for independent artists to go global and find their footing in music communities outside of their turf. By bringing its production team directly to Southeast Asia, KEXP addresses geographical and logistical barriers that have traditionally limited opportunities for regional musicians to record at its Seattle studios.

While the immediate spotlight is on the 12 participating acts, both organizations envision a more visible impact for the music industry in the region in a lot of ways, including encouraging international listeners to explore the region’s independent music ecosystems, expanding opportunities for touring, distribution, and licensing, and strengthening connections between Southeast Asian artists and the global music industry.

Positive response

The response to the sessions has been unanimously positive so far, with audiences across KEXP’s international listenership and the Southeast Asian music community embracing the performances and discovering artists they may not have encountered otherwise. YouTube comments and social media conversations show an improving appreciation for the region’s musical diversity, with listeners expressing excitement about new discoveries from the globally respected platform. Chris Kellogg adds, “Just as we had hoped, the sessions are helping create connections and spreading the joy of music across borders.”

Diana Ratsamee likewise sees the audience response as an encouraging indication of the appetite for more music from the region. “One of the most exciting things about this project has been seeing audiences discover artists they may have never encountered otherwise,” she shares. “There’s no shortage of talent in Southeast Asia, but there is a need for more platforms to share it with the world.”

As the sessions continue to reach listeners worldwide, AXEAN Festival and KEXP are helping ensure that Southeast Asia’s musical voices are not simply discovered, but heard, recognized, and celebrated on a global stage.

Catch the ongoing Live on KEXP x AXEAN Festival collaboration here.

“How much can a heart take before it breaks forever?” – Ruby Bell

Maxton Hall S3 Information and Assets Available HERE

Prime Video has unveiled the official trailer for the highly anticipated third season of Maxton Hall – The World Between Us. Premiering on December 9, the final chapter will bring viewers around the world back to Maxton Hall College for one last time. As the global hit series reaches its conclusion, fans can expect an emotional roller coaster filled with heartbreaking betrayals, unexpected twists, and intense moments as Ruby and James fight to hold on to their love and friendships. The season will also deliver a heartfelt ending to their much-loved love story.

The six-episode final season will premiere exclusively on Prime Video, with its first two episodes dropping on December 9, 2026. Two new episodes will follow each week, leading up to the highly anticipated series finale on December 23.

Watch the trailer here.

Maxton Hall – The World Between Us is available exclusively on Prime Video in over 240 countries and regions. Prime Video is included with Amazon Prime membership and is available to members in the Philippines for just PHP 249/month or PHP 1,669/year.

Here’s what’s next for Maxton Hall – The World Between Us:

Ruby has been suspended from Maxton Hall College. Her dream of going to Oxford is slipping away, but she refuses to give up. Together with James, they fight to prove her innocence. The closer they get to the truth, the more it threatens to tear everything apart. Friendships are tested and secrets they never expected come to light. In the end, they must decide – is love enough?

The third season of the series, produced by UFA Fiction, is based on Save Us, the third installment of the bestselling trilogy by author Mona Kasten, published by LYX.

Alongside returning lead stars Harriet Herbig-Matten and Damian Hardung, the third season will also feature familiar faces, including Sonja Weißer as Lydia, Eidin Jalali as Graham, Ben Felipe as Cyril, Fedja van Huêt as Mortimer, Runa Greiner as Ember, Esmael Agostinho as Wren, Justus Riesner as Alistair, Govinda Gabriel as Kesh, Andrea Guo as Lin, Frederic Balonier as Kieran, Eli Riccardi as Elaine, and Dagny Dewath as Ophelia.

Martin Schreier is back in the director’s chair, while Ceylan Yildirim, Markus Brunnemann, and Eike Adler return as executive producers. Sandra Stöckmann and Ceylan Yildirim lead the writing team for the final season, joined by additional writers Catharina Junk, Marlene Melchior, and Aylin Kockler. Valentin Debler serves as the producer, with the series receiving support from the German Motion Picture Fund (GMPF).

For more information on Prime Video, visit www.amazon.com/primevideo.