Entertainment

Ben&Ben’s new single “Di Ka Sayang” managed to surpass expectations when it trended at No.1 worldwide on Twitter and debuted at the top spot of Spotify Philippines’ top 50 overall chart upon release and now available on YouTube.

Following its massive debut on Friday, Ben&Ben’s “Di Ka Sayang” continues to spread its winsome streak as it drops the official music video on November 9, Monday at 6pm. Helmed by JorelLising, the band’s frequent collaborator and the director behind their hits “Pagtingin” and “Nakikinig Ka Ba Sa Akin,” the visual accompaniment of the song follows the band performing in random intimate spaces with ‘Kintsugi’ artform as the backdrop.

Ben&Ben

According to vocalist and guitarist Paolo Benjamin, the inspiration behind the pottery repair method as the binding theme came from their production designer, Ms. Dianne Khu. “During the planning of the video, things came together in a very organic kind of way and we thought it fit the concept perfectly,” Paolo said in a statement. “Kintsugi is the Japanese art of piecing together broken parts of pottery with gold glue. By doing this, brokenness is made whole in a way that is much better than it previously was. Our percussionist Andrew even has a tattoo of ‘wabi-sabi,’ which is the Japanese philosophy of accepting and finding meaning in the imperfections in life and nature. We really saw Kintsugi as a powerful way to represent self-acceptance.”

Honoring the importance of embracing one’s flaws and accepting brokenness as something that you need to display with pride and not hide, the song sends a vital message to listeners who are going through difficult challenges in life, especially with the pandemic crisis taking a toll on everyone’s mental health. Vocalist and guitarist Miguel Benjamin points out, “This year has been the toughest year for many people from our generation, and a lot of us are in this state wherein a lot of plans, dreams, hopes, and goals were compromised, cancelled or rather ‘sayang.’ Even for us personally as a band, we had a hard time dealing with these same struggles. What we wanted to share however, is that we are never alone in our hardships, and that there is still hope in a better tomorrow.”

This Wednesday, Ben&Ben will be releasing a special BBTV episode on their YouTube channel, which to date has more than 1.2 million subscribers.The award-winning nine-piece collective will also be performing at Lazada SuperShow 11.11 on November 10 (Tuesday) and at Wishbus Exclusive on November 12 (Thursday).

The master rapper Gloc-9 contributed a verse on the acoustic version of UE Jam Sessions’ aptly retitled track,“LalabanTayo (The Renewal of Honors).” With a rousing message that champions the unwavering spirit of Filipino bayanihan during the pandemic crisis, the award-winning hip-hop artist called for solidarity in a bid to rise above the uncertainty of the times.

As Gloc-9 effortlessly put it in summary, “At kung hindinamakalakad, ika’yaakayin / lagimongtandaannamakakaasa ka sa akin.” As featured main artists, the UE Jam Sessions delivered astripped-down but empowering take on an anthem that serves as tribute to the unsung heroes: our frontliners.

“UE Jam Sessions is here to remind everyone to stay safe in the comforts of your homes for it would be of great help to all our frontliners who have their hands full at this time of pandemic,” Executive Producer Tommy Tanchanco said. “Amidst COVID-19, we must keep our spirits high and face the battle head-on. Hence, through music, we extend our gratitude to our modern-day heroes.”

In a collective statement posted on their social media pages, UE Jam Sessions also dedicated the song to the people behind the outreach programs and donation drives, and those who offered voluntary services: “We salute and applaud your continuous dedication to serve our fellow countrymen during this difficult time. Thank you for all the sacrifices that you have been putting over the past months. Lalaban at lalaban pa rintayo.”

UE Jam Sessions’ “LALABAN TAYO (The Renewal of Honors)” Feat. Gloc-9 is now available on all streaming platforms worldwide.

PhilPop takes the competition to an entirely impressive scale with the official release of songs from the North Luzon clusters.

The latest batch balances compelling drama and introspection as it gravitates toward themes of unrequited love, romantic dissolution, and abusive relationships. Produced with professional polish and help from PhilPop, the newest selection includes “Paos,” composed by Angelic Mateo and interpreted by Keiko Necessario; “Balikan,” composed by Lolito Go and interpreted by Benj Manalo and the Collective; and “Agsardeng,” composed by TJ Paeldon and Abby Esteban, and interpreted by Miss Ramone.

Distributed by Warner Music Philippines, the homegrown songs are now available today, November 6, 2020 (Friday) on all digital and streaming platforms worldwide via PhilPop.

Paos: The beauty of unspoken emotions

Beautifully written with tenderness and warmth, “Paos” documents the repressed feelings of being tried and lost, but still wanting to be found. According to its composer Angelic Mateo, the song speaks about the aching truth in our everyday lives and the reality behind the unspoken emotions that reflect one’s bottom points.

“This song is a way to remind people that everyone fights a unique battle.” Mateo explains  in a statement. “Moreover, it hopes to emphasize how people must not forget to genuinely understand what the other one is going through because reaching the bottom thorns and wanting to pause does not make a precious soul weak.”

The subtly produced track is interpreted by acclaimed singer-songwriter Keiko Necessario, who gave her own incredible spin on the serene pop ballad. Despite her own vocal inflection and stylistic take, Necessario remains faithful to the underlying message of the song, careful not enough to blur its intentions while owning the material with genuine understanding on what it’s all about.

Balikan: a dissolution of romance

“Balikan” is a post-breakup anthem that laments on the irreversibility of the past and mocks the prospects of reunion. According to composer Lolito Go, the song was inspired by his friend Jake Vargas’ split with actress Bea Binene.

“I was challenged to write a song about it and that’s the time I wrote the first draft of Balikan,” the singer-songwriter shares. “The song revolved around a couple of lines I originally wrote 7 years ago for a popular ‘Hugot’ page on Facebook back when I was one of its content writers.”

The early iteration of “Balikan” leans on the acoustic ballad side, and was set to be performed by Jake Vargas. But after being selected as one of the fellows for PhilPop bootcamp, Go had a change of heart, and the song underwent changes in terms of how it was arranged and produced. The final version is reimagined by Benj Manalo and the Collective, whose Motown-inspired, funky feel deserves props.

Agsardeng: breaking the cycle of abuse

“Agsardeng” is an empowering song that tackles the breakage from the cycle of abusive relationships. According to Abby Esteban, one of the composers of the emotionally penned track, it follows the story of a person who is stuck in recurring domestic abuse, and finally decides to emancipate from its trappingsto start anew. ”We wanted to write a socially relevant yet easily digestible pop song that could hopefully serve as a voice and inspiration to those who have survived and are still experiencing gender-based and domestic violence,” tells Esteban. “This is their story we are amplifying.”

Esteban and her co-composer TJ Paeldon used Ilocano and Filipino lyrics in its attempt to convey both the regional and global appeal of their entry, while catering to contemporary listening standards. Paeldon adds, “We are also aiming on promoting the Ilocano dialect mixed with our National language which is Filipino, for us it’s all about bridging the gap between Filipino and our Ilocano dialect so everyone can appreciate this song and also appreciate the beauty of the Ilocano language which makes a very large portion of the North Luzon cluster.”

As for the overall sound, Esteban and Paeldon are very particular with melding Ilocano native instruments with vintage-sounding synthesizers to recreate their version of a modern lullaby. Interpreter Miss Ramone adds her sultry and soulful take on the intricately nuanced jam, while making sure to keep up with the ambition of its sound design.

“Paos,” “Balikan,” and “Agsardeng” are are now available on streaming and digital platforms worldwide via PhilPop and Warner Music Philippines.

Ben&Ben, Filipino folk-pop outfit marks a definitive new era in music with the release of their new single, “Di Ka Sayang,” out November 6 (Friday) is now available on all digital platforms worldwide via Sony Music. The nine-piece collective drops an empowering anthem that respects individuality without prejudice. As the band takes on the challenge of uplifting their listeners with more confident than ever with their newfound direction.

Empowerment in the face of adversity

According to guitarist and vocalist Paolo Benjamin, “Di Ka Sayang” was inspired by a conversation with his brother Miguel Benjamin in a hotel room last year during one of their out of town shows. “Migs and I were having a conversation on our career choices and how hard it was to fight for who we really are and what we want to do in life, amidst societal and family expectations,” Paolo explains. “A year later, we decided to release it, at a time where we feel it is most timely, with everything tough going on, and with many of our dreams being crushed by the pandemic and other circumstances.”

Inspiring confidence and fearlessness in the face of adversity, the MTV Europe Music Awards-nominated band confronts everyday challenges of life with light and motivation. But instead of perpetuating the erasure of our collective struggles, their song “Di Ka Sayang” encourages listeners to get out of the rut and be in charge of their own decision matters, no matter the costs.

A massive statement

Written by Paolo and Miguel Benjamin and produced by Jean Paul Verona along with lead guitarist PochBarretto, percussionist Toni Muñoz, keyboardist Patricia Lasaten, and violinist KeiferCabugao, the anthemic rocker arrives with a massive statement: tribal beats and esoteric details that evolve into a soaring, pop-rock production, but whose unrelenting energy and sonic ambition feel like a natural progression from their past releases.

Pat Lasaten recalls how the arrangement and production of “Di Ka Sayang” challenged the team to have fun and explore an entire new world of possibilities in terms of lyrics and musicality. “Our goal from the start is to create a vibe and sound like no other song of ours before: one that would immerse the listener into the message of the song, and into a mood that we wanted the message to be experienced in.”

This creative mindset allows Ben&Ben to hone their trademark sound without rethreading into past themes and venture into ideas outside of their comfort zones, especially now that the band has all the timeto make new music under one roof.

Vocalist and guitarist Miguel Benjamin shares in a statement, “We’ve also been exploring new soundscapes and writing about themes other than love and heartbreak, and we’ve been having a lot of fun in the process. Liwanag, and everyone who listens to us can expect more of these things to be shared to anyone who is willing to listen.”

Acclaimed indie-folktronica artist VANNA has finally dropped her debut EP, High Hopes today, November 6 (Friday) on all digital and streaming platforms worldwide via Umami Records.

VANNA’s 5-track debut EP High Hopes has been 3 years in the making, and is produced by Roy Avital of Tel Aviv-based, indie-electronic trio Garden City Movement and mastered by Matt Colton (James Blake, Muse, Coldplay). Delivering a delicate fusion of indie electronic, pop, and folk influenced by artists like RY X, Oscar and the Wolf, SYML and Sóley, VANNA’s latest EP maps her personal journey into falling in love and hurting, rediscovering her inner self and unearthing past traumas, owning up to her sexuality, and speaking up about issues that are close to her heart.

The eclectic record is accompanied with the release of a brand new single called “All I See,” an ethereal tapestry of sounds that seemed free from commercial expectations.

“All I See” tells her personal story of overcoming fear and shame to show her true self: “For me, the most powerful sentence in the song is: ‘Telling lies for being safe, the only way that I could chase my dreams, I’m glad that I’m alone.’ For years, I felt I needed to lie about a lot of things about myself. I felt ashamed and suffered from low self esteem. I was scared to come out of the closet in front of my family, and it was my own fault. When I finally did come out, I felt so happy and free to be able to be myself with my loving family and friends.”

“All I See” is VANNA’s last release of 2020, culminating into a hard-earned process that documented her journey so far as a struggling artist trying to make a name for herself: “Before I started, I didn’t have any specific sound. The turning point came when I went for auditions at the Conservatorium van Amsterdam. I passed the first audition and took a plane there to the second audition which I failed. They said my recordings were great but I needed to overcome my stage fright in live performances.”

Unperturbed, the rejection motivated VANNA to work hard to achieve her dreams. “I came back to Israel and started to listen to new music 5 hours a day and discovered so many cool artists that helped shape my musical identity.”

Listen to VANNA’s debut EP High Hopes via Umami Records: https://www.umamirecords.sg/high-hopes-ep/

Them Bloody Royals revisit the glory days of ‘80s synth pop with the release of their new song “We Children Of The Night.” Bringing effervescent joy back to the dance floor, the Filipino four-piece band’s new single struts confidently around pulse-pounding rhythms, sparkly synthesizers, and angular guitars in an effort to knock the walls down—at least for the entire party run.

Outside of its jagged spirit and blissful retro appeal, “We Children Of The Night” is more than just swagger and sweat; it’s an attempt to capture the feeling of losing one’s self in the moment, drunken and ready to dance the pain away. Lyrically, it showcases “the excitement of meeting new people, flirting with strangers, and having fun,” as vocalist Sib Sibulo puts it.  “The song dances around with the idea of falling love, the thrill of it, but also not wanting to fully commit to anything.”

Behind the incessant groove that repeatedly thumps on ‘We Children Of The Night” is a common sentiment shared by broken people trying to escape from their personal horrors. Sibulo has a better way to describe it: “You can be so broken and jaded with the idea of getting into serious relations, that you just wanna say, “fuck it, I just wanna have fun.”

On the happy-sappy chorus, the lead singer even pleads, “Here we are / Wishing this night would never end / We fall in love, we fall apart,” as if finding refuge ephemeral romance would make you forget about your struggles in life and love.

Production-wise, the song in general – the entirety of it – is the result of Them Bloody Royals’ attempt to reinvent and outdo their previous work. “We wanted to see if we could come up with a legitimate banger, and set a good pace for the next things down the pipeline,” Sibulo shares.

Written and produced by Them Bloody Royals, and recorded at Pointbee Multimedia, “We Children Of The Night” is out now on all streaming and digital platforms worldwide via Lilystars Records.

Marian Carmel releases her first single ‘Rose’ from her upcoming debut concept album on Friday, 6th November 2020 via Singapore-based indie label, Where Are The Fruits. Inspired by the phrase “rose-tinted glasses”, ‘Rose’ is about the blessing and the curse of being too optimistic. This single is a form of catharsis for the 23-year-old singer-songwriter, as she makes peace with her personal growth. She sings ‘I have grown a little older, I have learnt a little more / but whatever happens, hope it’s not forgotten / or seen with glasses tinted rose’. With lush and enveloping harmonies, ‘Rose’ is the first single kick starting Marian’s musical journey in the next few months leading up to her album release.

The album is centered around the concept of letters. ‘Rose’ being the first letter of the album, is a reply to her debut single entitled, ‘Might Never Get Better’ – where Marian shares about the frustrations she faced around her journey towards healing. Marian quotes, “Rose’ is about being okay with that; including the mistakes you’ve made, whatever your coping mechanisms are, and giving yourself credit for your growth. Something I wish I knew back then, but I’m happy to know now.”

The single release of ‘Rose’ is accompanied by an AR-activated postcard for her fans to participate in the album’s theme. Illustrated by Beverley Ng (@madebybeverley), and engineered by Samson Sim (@samson.img), Marian hopes that the postcards inspire her fans to send letters to their loved ones. The postcards are available on Marian’s website here: https://www.mariancarmel.com/store

‘Rose’ by Marian Carmel is available on all digital streaming platforms here: https://orcd.co/mariancarmel-rose

About Marian Carmel

Born in the Philippines and based in Singapore, singer-songwriter Marian Carmel has an innate ability to evoke emotions. Her ethereal vocals breathe life into the melancholic nature of her songs and are influenced by the soulful R&B tunes of Emily King, Lianne La Havas, and Sabrina Claudio.

The 23-year-old has also collaborated with many artists around the globe, including Japanese electronic-pop outfit Tokimeki Records, Boston-based Singaporean singer-songwriter LEW, and Indonesian electro-jazz duo Mantra Vutura. Her debut solo single, an upbeat track called ‘Might Never Get Better’, was released in late-2019, and debuted on 10 Spotify-curated playlists all over the world.

Marian’s first release was ‘Thursday’, a feature co-written and performed with Axel Brizzy. On top of being dubbed “Best Song to Sing Along to” at the Singapore Youth Music Awards 2019, the tune has garnered close to a million streams on Spotify. In 2016, Marian was a mentee in Singapore’s Noise Music Mentorship Programme under the guidance of Jack Ho of Jack & Rai, and has participated in competitions such as MTV Asia’s Project: Aloft Star where she was flown to Bangkok, Thailand to compete in the Top 5 Final; and Yamaha Asian Beat, where she emerged as the 1st Runner Up in Singapore.

Most recently, Marian participated in The Great Singapore Replay: Season 2, a talent development programme presented by Temasek Holdings, where Marian worked with established artists and producers such as Charlie Lim and Evanturetime. She came out of the programme with an original song ‘Still Here’, which crosses lyrics echoing Singapore’s colonial history with an indie sound.

About Where Are The Fruits

Sowing seeds, tilling the soil, and watering the plants, Where Are The Fruits is a Singapore-based label that is founded on a singular purpose: To help our musicians reap the fruits of their labour. Part-question and part-exclamation, WATF provides distribution, publishing, and marketing services tailored to the needs of emerging artists within the Southeast Asia region.

jaye

Unlike others, this clown re-haunting is a much-welcomed one: TOMORROW’s comeback is in reciprocation to popular demand and audiences’ growing morbid enthusiasm. This time however, the clown returns in tandem with ‘Tomorrow the Game’ – a hypertextual PC horror game adaptation dedicated to expanding the TOMORROW universe.

The game of the same name will be released free-of-charge for promotional purposes and to inspire good thrill this coming Halloween – along with attendant social media scare cam activations. The mechanics involve you having to rescue your kidnapped bunny from jaye (Tomorrow’s Killer clown) and escape a derelict shut-down New York Subway station before getting mauled by him. To find it, you will require the discovery of new tools to progress through the gamescape. Trust your peripherals, as the clown ​will​ be trailing you.

The TOMORROW experience morphs phantasmally from format to format converging into a resonant audio-visual-physically reflexive one at the end. This enables audiences to immerse themselves in an expressionist experience of jaye’s warped world when it was on edge, at an atmospheric level.

In its own right, game reception has been ahead of its time. In a 1 month pre-release trial, the game garnered over 1K downloads and spawned YouTube reaction videos raking in about 498K in visibility. Likewise, the track democratizes anesthetic mental health-related issues such as suicidal ideation, anhedonia, alter-ego conflict and disinhibition in a way that prizes emotional experience over the physical. This allows audiences to visualize everything classified as “more than meets the eye” aka in the thick of that inner existential pain, making it less of a one-man terminal feeling but a universally-relatable one.

In prior gamification history, the artist crystalized his gaming aspirations with an ​IG filter game linked to his latest single ‘ADHD’ – which also brought forth a 4-part interactive and somewhat ​gamified MV​.

Recap

To recap, jaye’s ‘TOMORROW’ is an alt-pop single that alludes to his own history with suicidal ideation. The young artist had contemplated it so many times that he considers himself lucky to be alive. The lead up began when jaye enjoyed freedom living overseas but too much of that good turned sour, forcing him to return home. Eventually, heavy drinking became the only way to numb his ensuing home ground loneliness and later, the prospect of abandoning his mother once more in her old age as he needed to move out. Depression and filial guilt enveloped jaye, triggering memories of his doldrum moments – all of which fuel the depraved carnival tuned alternative track.

This had ultimately caused him to no longer fear death and everything else – including their consequences – hence the tagline, “the greatest fear of all is really fearing nothing at all.” In so feeling, he experienced something far worse than fear: apathy.

The music video is on a dark scale to signal the fact that this is a dark and self-aware “comedy” with a narrowed binary perspective of death and life that is also tempered by delirium and themes of escapism. Upon regular watching, it converts to become a surprisingly liberating and humanizing experience.

The ‘TOMORROW’ MV has amassed 1.2 M views on YouTube thus far and the single has 121K streams on Spotify to date. Most aptly, merch proceeds from the release went to the non-profit Samaritans of Singapore in support of suicide prevention.

‘TOMORROW’ was co-written with ​The Click Five​’s frontman, Kyle Patrick, and co-produced with him and Will Snyder. The chaotically tasteful music video was directed and conceptualized by bless7up, paying homage to the infamous super villain, ​The Joker,​ in the film directed by Todd Philips.

Meagan Trees

Meagan Trees has always brought an understated sense of spontaneity into her storytelling approach, leaving plenty of room for both personal awakening and introspection to take off and not miss a mark. On her latest single, “Take Me Away,” the Dumaguete-based singer-songwriter reflects on the importance of being vulnerable and taking risks—something that most of us aren’t willing to become.

Delicately produced and delivered with heart-stopping quietness, “Take Me Away” inhabits wisdom beyond years. There’s nothing messianic about it; no platitudes to feed the ego, and no gate keeping of moral ascendancy to prove a point. What makes the song truly human is that it’s willing to embrace every bit of the experience—be it good or bad, and that there’s beauty in wanting to wake up your inner child and be open to possibilities, no matter where it takes you.

According to Meagan Trees, the song was based on a late night adventure with a friend. “We went to the beach at 3am and I thought that was such a cool, wholesome, happy experience which then led me to write ‘Take Me Away’ the next day,” the folk songstress shares.

In terms of the production details, “Take Me Away” doesn’t feel like an intuitive concept or a meticulous foray into sound design. “This song was pretty much free flowing,” Meagan Trees points out. “A few good friends, Simon and Jorbas, pitched in their ideas, I explained how I wanted this song to feel, and we came up with something very simple yet euphoric. My brother then added the guitar parts which I think made the song very youthful.”

Its impulsiveness birthed an ethereal folk ballad that’s lovingly spare but filled with emotional resonance, a song that values the ‘journey’ more than the destination itself.

Meagan Trees’ “Take Me Away” is now available on all streaming and digital platforms worldwide via Lilystars Records.

PhilPop, the country’s premier songwriting competition, returns with an eclectic set of new releases from the finalists of the Visayas cluster.

The sophomore batch takes regional pride to unprecedented heights with its sterling showcase of contemporary pop songs representing authentic Visayan expressions through language, culture, and experience.

Distributed by Warner Music Philippines, the homegrown tracks are available today, October 30 (Friday) on all digital and streaming platforms worldwide. The entries include “Suyo,” composed and interpreted by Noah Alejandre and Reanne Borela also know as the duo reon; “Hinungdan,” composed by Michael Catarina and interpreted by James Gulles; and “Ayaw Na Lang,” composed by JerikaTeodorico and interpreted by Lourdes Maglinte.

Suyo: Love beyond cultural differences

Breaking cultural barriers, “Suyo” tells the story of quarreling lovers from the opposite sides of the country. Over the course of the intricately produced jam, composers Noah Alejandre and Reanne Borela exchange sweet banters to win each other back in Bisaya and Tagalog, respectively.

“This song breaks the norms of OPM songs having only one language and giving emphasis on couples who are from different parts of the country,” Alejandre explains the inspiration behinf the new tune. “Both of us never really experienced being in a relationship, yet we made the song as if we were in one and took inspiration from our imaginations. Reanne took inspiration from her friends who were in relationships and have witnessed how they would fight about the simplest things and get back together right after. They took this as an opportunity to create a playful song that resulted into the song.”

With its understated charm and infectious pop songwriting, “Suyo” stands out for putting a new spin on the classic love song template. It seamlessly blends the charm and tension points of two different languages, showcasing a pure kind of love that goes beyond cultural and geographical differences.

Hinungdan: Subtlety done right

Weaving folk-pop instrumentation with striking vulnerability, “Hinungdan” brings back earnestness and subtlety at the forefront of the songwriting process, allowing words and melodies to wander into the open space and take off.

Cebu-based composer Michael Catarina cites British singer-songwriters Ed Sheeran, Passenger, and James Bay as major influences in writing “Hinungdan”—a song about “a person who is having a hard time telling his feelings for someone.”

Catarino relates to the universal appeal of the self-penned composition, sharing how he felt the same at some point in his life: “I can’t deny but I have personally experienced this as well. Way back then, when I wrote this song, I was just embracing the moment of being frustrated by writing the things that I couldn’t say.”

Ayaw Na Lang: Sultry jam for the lovelorn

According to PhilPop finalist JerikaTeodorico, “Ayaw Na Lang” is a Bisaya phrase that translates to “never mind” in English. “The lyrics are from the perspective of a lovelorn person slowly acknowledging and accepting the fact that although her love interest seems to return even a fourth of the feeling, a romance between them just won’t do,” the Cebuana composer and songwriter reflects. “It’s a very confusing feeling to deal with, and as a songwriter and a person who has a hard time processing my thoughts and emotions, I felt compelled to make a monument out of that half-joyous, half-torturous moment. It was also me trying to assure my love interest that it was fine, and there were no hard feelings after that night.”

From a musical standpoint, there’s nothing over-the-top about “Ayaw Na Lang” in terms of production and arrangement, but its charm lies on the gritty, throwback vibe that arranger and co-producer AnjeloCalinawan brought to the mix, making it sound like an ‘old-meets-new’ kind of jam. The overall product is something that Amy Winehouse or Duffy wouldn’t mind singing their hearts out, but in the entry’s case, it’s songstress Lourdes Maglinte filling in the shoes to interpret this smoky, jazz-pop original with both sass and soul.

“Suyo,” “Hinungdan,” and “Ayaw Na Lang” are now available on streaming and digital platforms worldwide via PhilPop and Warner Music Philippines.