(this review also appears on http://philmusic.com)

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Popularly known for their messianic hooks, anthemic-feel and powerful stage presence, Bamboo surprised us when they released the all-covers album, We Stand Alone Together a few weeks ago. Although fellow arena rockers Rivermaya and 6 Cycle Mind did the same tribute modus which scopes on influences and major label intrusion, Nobody else thought Bamboo would do the same thing injecting personal touches on classics and pop gems – while mixed reactions from critics and fans continue to storm mailing lists, music forums and classroom discussions. It's like a make or break for them, since we are expecting an all-original repertoire on their third album.

Please don't be thrilled in case you realized that it's a two-disc album: the first disc is for the revival luggage and the other is for the CD extra (minus Vic, minus Ira, minus Nathan WTF?). The first disc, which is at least tolerable – contains the band's take on OPM classics, cult rock archives, and solo pop icons with Grammy degrees. There are a lot of garnishing and embroidering when it comes to their sonic makeover with the tracks, while they still stalwartly marginalize it on anthemic stance and same old Bamboo histrionics.

The result is almost good: neatly arranged, well formulated into orchestral and jazzy pop-rock to exude something stadium-sized, charismatic and gospel-oriented. But that doesn't certify that it's good within bounds of a good album. A true good album seeks for the impossible, the daring and the sincere – and not for making an album for the sake expanding the discography or strategizing on commercial value with record companies as masterminds. It also attributes on how the songs should be strategically laid on the album (final track, "Tatsulok" contains scattering bonus tracks) and how they'd patch it into sounding consistently terrific and bearable at the same time. In We Stand Alone Together, the notes above are some of the concerns, but don't totally devalue its major strengths.

The tagalog tracks are the strongest points of We Stand Alone Together, creating a room for moving themes and mainstream acceptance which is akin to their early hits "Noypi," "Masaya" and "Hallelujah." The first track "Probinsyana" is all-out funky and heavy, the energy's splashed into utmost level with all the shoving horns, Vic's drumwork wits and the lethal guitar-bass intermarriage courtesy of Ira and Nathan. The 1979 Metropop winning piece, "Umagang Kay Ganda" is Bamboo in its most positive and non-aggressive shape. Backed by a children's choir, a tight rhythm section and an uplifting pop chorus, it is by far Bamboo's most affecting rendition in the album. The current radio hit "Tatsulok," a Buklod original also strikes a chord with its definitive statement against social pyramid and Bamboo's commanding interpretation which soars with conviction and sincerity.

I don't really enjoyed some of the reworked tracks, particularly Sting's "Englishman in New York," a hidden track, Pearl Jam's "Alive" and Seal's "Prayer for the Dying," not because of the song itself, but because of Bamboo's lackluster interpretation. It's soulful rock without the signature spank the song's known for. Also it's bland and derivative of what they've done before that's overly anthemic and imposing. 

I must say though that Bamboo did a great job with their cover of the Carole King ballad, "So Far Away." With its lilting piano and poignant melody, it brings to mind Bamboo's early hit, "Much has been said." Among the English tracks, their intense performance of Paul Simon's "50 ways to leave your lover" is one of the album's major highlights. Tiptoeing on jazzy chords, pumping keyboards, choral singing and pure seduction, Bamboo triumphantly nailed the song with suave lyrical interpretations and the over-all feel of the rhythm is just scorching and solid as the original. It's like U2 with gospel choir at the annual Live 8 fests, only that they're up for soul and the seething funk than grandiose anthems.

We Stand Alone Together might be disappointing, dreary or just pure lackluster, but what we have here are old songs interpreted the way Bamboo would do on their future releases. I'm glad that they didn't shrink too much on copying the melody note by note. Instead, they make the songs their possιder. Their tenencia. Their proprio. Their own. Maybe that's the reason why I still have a tinge of respect with the band's working ethics. They are always up for expanding their creativity whether on doing originals or revivals. And for me, that's so enough.

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Colorful, poised and dazzlingly theatrical – Skarlet's debut solo record, The Powder Room Stories mints into strong Montmare cabaret-biographical sketches, a courtesan diva's tale of desperate love, and lustily musical interpretations either Broadway guru Baz Luhrman or jazz saxophonist Charlie Parker wouldn't mind listening to shortly and have a cup of tea. Whether it's the silken vocal flexes that borders from strong, powerful and mesmerizing or the distinguished diva presence, Skarlet's voice is the defiant element that makes The Powder Room Stories simply a clear-cut Broadway jazz opera donned in spunky rock chic.

A cross between Sarah Vaughan and Nina Simone, Skarlet's vocal style has precise sense of rhythm and has a chameleon-coat towards slow and fast tempos, scat singing, standard ballads and falsettos. In "Birdy bop" she hops, leaps and frantically plays on random notes and improvised syllables like cold ice melting on suave, summer heat; while on "Anguish," the gentle cover of "One way ticket to the blues," and the dreamy temperament of "Stay with me," Skarlet sings like Billie Holiday in 30's nightclub suit gracefully weeping soul, black n' white drama and romantic sincerity.

 She absolutely knows how to tone down, embellish or establish vocal theatrics within certain limits that doesn't overlap the genius of the horn and rhythm section, and yet it sounded as if her vocal presence is the heart and soul of the entire song. Thus, Skarlet proves that she is more than just an overnight fixation, but an epitome of real class and feminine power.

In The Powder Room Stories, Skarlet is also at her best subdued to swingy jazz anthems and bouncy numbers particularly the opener track "Skarlet," a name with spangled equivalent to Broadway chanteuses Satine and Roxie.  The title track flirts over blaring trumpets and sax, lively and piercing drums and subtle piano with Skarlet's voice just as plain and acrobatic on conviction. The fact that she has mastered unlikely similar terrain with her ska endeavors Put3ska and Brownbeat All Stars makes it easy for Skarlet to tap vocally on the upbeat, the danceable and the melodically vigorous.

Fashionably controlled and flexed, Skarlet's vocal designs are also worth mentioning in the swingy yet steadily soulful tracks like the Edgar Avenir arranged "The Way that you do" and "Joy," which she lets loose and strangely avoids the signatured meticulous crooning. The result -- a sizzling vivid, completely honest performance that showcases her chops for topform versatility.

The only tagalog track on the album, "Babae ka" pimps on latin tropicalia rhythms, gentle samba beats, stripped down guitars and subtle orchestral arrangement that elegantly rolls like a ball of yarn. It's one of the fine moments of the album, not because of its marginal beauty and unsophisticated appeal but for the reason that its sincerely written and interpreted in the course of a dignified woman aiming for equality and change. Skarlet's raw but carefree emotion also stirs to the song's conviction; her treatment goes beyond just the powerful showcase, but real deal sincerity of what it is to be society's dictate of a woman – often delineated, oppressed and subjected as sex objects.

Even on the last track, "Words behind the tears" unarguably in her most depressing tone, Skarlet achingly ponders as if she rolls cocaine and intensely yet clearly sings out of a realization of her desperate love. It's deeply affecting how Skarlet interpret the closing track with such evident pain that you are left wondering why her final narrative in The Powder Room Stories has to be miserable and depressing. Maybe, just maybe – hurt is the price for love. And it defines The Powder Room Stories, as a tragic opera of big band sounds and Skarlet's search for her fictional portrait as a woman in love.

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My limited knowledge to blues music confines on teasingly climactic guitars set on twelve-bar structures and virtuoso stints, unexplainable music force that makes you bop and scratch the invisible strings on your tummy, and anything with fiery passion with regards to guitar playing.. Although I admire the blistering solos, the grinding vocals, and the passionate slow burn-sensations the music makes – it's not the music I'd play the most during chilling nights and mercy hours. In simpler term, not my soundtrack material.

However, my least liking for blues music didn't deter me for grabbing a copy of what could be the first local blues compilation ever, BLUESKRIEG Original Filipino Blues Music. I've been listening to it for a week now, and instantly found new admiration for all its striking pinoy sensibilities, caffeine spell-charms and well-verse synthesis of various music styles influenced primarily by blues music. Featuring obscure blues artists like Plug, Snakecharmer, Firebottle, Dahon and Kulukati – BLUESKRIEG Original Filipino Blues Music consists of 15 tracks, each with compelling moments that recall early blues guitar heroes Jimi Hendrix, Stevie Ray Vaughan, Carlos Santana and B.B King; established pop acts John Mayer, Jack Jackson and Eric Clapton; classic rock icons The Rolling stones and Fleetwood Mac; even our very own Juan Dela Cruz band.

While there's enough diversity and subtlety to the entire mood of the record, there are times when you feel exhausted with its repetitive, bluesy quality and rasping groove that borders from mild, rock-ish and funky. I'm not complaining, and there's no way around the corner to justify the bore feeling since it's a compilation album of entirely blues music soaked in guitar solos, arousing rhythms and soulful interpretation of bobbing notes which leaps and soars through grinding shuffles. The dreary setbacks are inevitabilities in every compilation albums, but the main draw here are the favorites or the most likely sufferers of the repeat button mode. With Plug band explosively commencing the album compilation with the "Tumbling down the devil's game," a smoking song that has deep baritone voice smoothing over jazz standard-statements and catchy but sensuous blues harmonics, it sets the skyline for expectation and thus the songs that followed suffer from too much expectation despite being acceptably good tunes.

 

But there are enough fine moments to keep you glued. Snakecharmer's yodeling cowboy-funk "My Slow Draggin' Week" depicts littered cigar butts, sunny days and weekend bum-around. Just enough funky music crooned through soulful lament and slackening harmonica. Another Snakecharmer's song, "Suklob" sounds like a lift from 80's protest folk ballads, only cheesier and akin to an aching love ode that makes you reminisce that special someone on that hot, scorching roadtrip to nowhere. Its delicate piano tunes are nicely laid all through out the song, bringing the element of fogging gentleness to the coarse vocal texture. While Firebottle's "Di na lang sana" sounds like a B-side to "Suklob," its subtle melody is still one of the compilation album's most deluxe suit. Dahon and Kulukati showcases the more raw streamline of blues through hard rock and straight rock n roll numbers "Monster within me" and closer track, "Taga sa bato."

To sum it up, BLUESKRIEG Original Filipino Blues Music is a tedious but rewarding listen. It gives us a little background of pinoy blues and its seamless possibility to take toll in the music industry in the near future. Blues might have a hard time penetrating the scene, but the passion and virtuosic playing will forever keep the blues aficionados to their toes. it's not all about the money, as they put in clichι.

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2004's Panic in the Skies accomplished a level of grandstanding from emo/post-hardcore/metal diehards, producing minor rock radio hits like the pensively written, romantic ode "Half of 8" and the slit-wrist painful "Harakiri." The album's most sacred revelation more than its music was Alexis Sarmiento's crafty poetic sensibilities, which is far from thwarting and awful just like most emo lyrics.

After those stellar write-ups and raves, the effort to topple the success of Panic in the Skies must have challenged PDTS to gear on a charismatic departure from the debut record's strident, fueled intensity. The Campaign to Capture, their brand new album still maintains its action-packed histrionics, paranoid hardcore grooves and technical well-verse but leaves more space for sonic punk rock energy, melodious singing and less of wailing and the guttural shrieks which they are known for.

Although furious and promising, The Campaign to Capture has abandoned the distinct lyrical profundity of its debut and instead maximizes on bigger, gloomier concept of an epic war whose storyline from beginning to end is pretty conventional. It's like Final Fantasy or Black Hawk Down on defiant sonic blast, only that it is poetic and less visual. But as they say it in music scores – it's the atmosphere that lets you feel the most more than anything else. In PDTS' The Campaign to Capture, it's also their drive to make you listen to their hurtful but thriving stories that passes off for commendation, even though the whole saga accounts relativity with almost all war films with machine guns, suspense plots, and what else of blood and gore. Think of Coheed and Cambria, minus the cheese, the prog-rock virtuosity and the annoyingly whiny vocals.

Each tracks in the album serves as chapters, with a flashback narrative account evident on opener instrumental title-track "Campaign to Capture" which serves as the introductory sample to the finale "A Halt to hallucination," also an instrumental track with moody and sober vibes. "The Elements of fire," "Flowing lakes and kindness," "Dogfight (He who fights true stands forever)" and "The Elexir must be consumed" represent the early fight scene stages, where sturdy dynamics becomes rapid, intense and more action-packed. The well-calculated marriage of double guitars with aggressive but catchy beats, the nice shift from steady punk to aggressive and the incorporation of gang vocals and sax interlude ("The Elexir must be consumed") makes the build-up of musical dimension to the war visual - more exciting and more car-of-a-chase to watch.

The time you reach "Transmission to Error," "Trapped in flames between gardens and meadows" and "Sights reminiscing falling," "We stand together on the grounds of doom" and "A 5 day dance with danger" – the emerging climax materializes problem concerns, defeat and victory. "Closer (In the memory of those who leaves us behind the battle)" is the album's most melancholic moment and also its centerpiece. It's a nice little tribute enough to break hearts and bring sunlit smiles to our faces.

The story goes on with the victory prelude "Waves Calling to Embrace,' a quirkily done hardcore and noise that combines rhythmic genius with tambourines, percussions and jumpy chorus-quality; the pop-metal shtick of "Liberty to the Prisoners of the sun" which connotes triumph and success on the long war; and the celebration cum tribute of sorts, "An anthem for those who survive."

 In just 54 minutes, the epic saga of The Campaign to Capture challenges you to sit on the corner and listen to its unraveling success story. The storytelling might just be plain, lackluster and banal – who cares? It's the whole listening experience to die for, in the first place.

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More than the innocence of the lyrics and the multiple interpretations of its album cover featuring a young boy of Malay-Chinese descent either sucking on a gory, intestine-flavored ice cream or doing his best to scare people with his swollen tongue pestered by countless pus, toxic contamination, something that would pass for horrifying monsters –the hazily vintage-feel of Sleepyheads' debut, (Don't let our) Tuneless Moaning (Go to Waste) kept me thinking how a boring sound which I earlier dismissed as pretentious and derivative, end up to be a promising anthem.

 Just like their idols Velvet Underground and The Modern Lovers, The Sleepyheads trio Jayvee Del Rosario, Erick Encinares and BJ Esber maintains a balance between lyrical simplicity and emotional imprecision, casting doubts of whether the entire mood of the album showcases happy, light-hearted thoughts or just pure ramblings of geeks and losers with suicidal tendencies. Like on the repeat button darling, "I'm not good enough" which sounds like a weeping of a sexless, unattractive guy whom all the girls in town will never learn to like no matter how he tried hard to look good. Sleepyheads tries to echo pity, but it does sound as if they're playing around merry beats, skipping guitar lines, steady bass and gamely vocal harmonies as cuddly as The Monkees or let's say, The Mamas and Papas. "Janitor fate" and "Underdogs of sunshine" while not really a cup of tea on the album, are yet another losers' rant in disguise of jangly guitar strums and melodious pop rush. Whether the duo are real life scum of a loser or just Napoleon Dynamite avids, it really works especially for the lo fi sound, cracking vintage and innocent.

The occasional casio-tones of the toy piano and synths, the twangy to jangly chord shapes of its guitar sound, droning basslines, the straightforward banging of drums and the vocals of Jayvee being slightly buried to the mix as to presume all kinds of technical devoid and minimalism, ensues into repetitive melodies with similar chases and paces while still knocking distinguishable form per songs. Album opener "Addiction" kicks off the hooky, energy-vibe and gracefully persists with the pandango slash church-organ rhythms of "Can't go to Church," the sheepishly addictive quality of "Dead poets," the tribute to 50's music of "Excitement calls" and the geek anthem, "I'm not good enough," heading into a good first half of enthusiasm, sarcasm and explosive, classic pop marathon.

The other half of the album leaves more space for variety, but wanes in comparison with the first because the songs hardly confluence or flow naturally when being consecutively played. "Man who wasn't there" and "Monotone melody" might pass for gray instead of dark with its unreceptive surges and tunes that turn sharply over its dusting vinyl pop sound, but hardly makes impressionable encounters to both casual and nitpicky listeners. "Positive for negative," though a pleasant song with enough decent hooks still isn't a strong single to deserve a slate for radio and music channel airplay. Only when they rely their drowsy heads to 60's pop, boy harmonies, The Beatles, The beach boys and anything summery with their songs  "Rescued," "Nature love is like" and the twee pop cuteness of "Tuneless Moaning" does Sleepyheads regain its fluid contour.

Regardless of the bad first impressions, Sleepyheads' latest record (Don't let our) Tuneless Moaning (Go to Waste) still is one or if not the best, one of the most unique releases of 2006. Sleepyheads not only gave us a full makeover of what it is to be pop, vintage, refined and strikingly pretentious, but also have proven to us that the next cool is uncool and that the long running battalion of geeks are the next thing to conquer the world.

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Sound's paradoxical, cityscape portrait and potion-smearing fusion of acid jazz, funk, drum n bass, electronica and bossa nova has pummeled bombastic reviews and critical raves with 2002's debut, Bossa Manila. Four years passed, and Sound with all its grit and experimental brouhahas, throws in once again the laidback cum club-banger poison of its debut and welcomes eagerly the atmospheric morose of confusion, emotional outbursts, rain, masks and all inevitable dark…but all lightened up by smooth and somber rhythms, lounging ecstasy and magic-hour glow of hearts emblazoned and hopes awakened and revived. Which brings us to Sound's sophomore pop-jazz/beat fusion release Blue Monsoon, a sketching metaphor of what it is to be sorrowful, miserable but at the same time, hopeful. Again, emphasis on Sound's penchant for paradox.

Routing on Ibiza-Manila-Rio with the slouching chill-out beats that vibes and electrifies through magnetic keyboard arrangements, campy-jazz improvisations, the rhythm section's laidback but sterile form and Sach's steady yet iceberg-melting crooning – Sound impressively taps between the blurred lines of classic and modern elegance. However, the tightness of Sound's distinctive, sonic glitters slackens off as you radiate too much from its similarly explored territories and it's corrupting vagueness – sure enough that your uncool sister would dismiss it as "the songs sound the same" and "lackadaisically boring."

There's unbearable truth with most of Sound's songs echoing identical patterns with each other and tending to be boring sometimes (boring is the new cool). From the commencing instrumental exercises of title track "Blue Monsoon" to the slackening caress of "Maskarahan," Sound hardly strays away from the crisp, laidback electronica-tinged jazz that brings the beach people, the hipsters and the conyo party ravers in one ceiling. But no one's complaining since with all its charming music fusion and chillax vibe – Sound opens the salvo for more than a heap of satisfaction, but also the challenge to make the similar template-sounding, GROUNDBREAKING.

Sound's Blue Monsoon has nothing to do with intelligible lyrics and enough know-how on philosophical gray areas, but what they lacked in profound catchphrases are decomposed on inventive musical ideas, pensive and deepening melodies and languid sound gestures so perfect it suggests vertigo effects. "Bagong Siglo," the eerily atmospheric "From A to B" and the tribute to Manila Sound, "Maynila" lets its listener to stick into its grooves and overpowering charisma that hooks into a dance of somber and mental exercise. Same goes with Jamiroquoai-approved "The trouble with me" and the hypnotically arresting, sleep-while-awake anthem "Idlip," which clocks out so shortly, that you missed out the passing of minutes with a glint of innocence. Blue Monsoon does its control of gravity towards the people who dares to listen, and its tough to get away from a strong magnet of force that hugs you comfortably like one soft pillow. Really it's not just a great sonic experience, but also a physical one that makes you stay on your bed for years and wait for someone to drop by and quench your hunger for love, solace and an intimate dancing partner in bed.

It doesn't hurt to listen to deep, laidback grooves that sound all similar as long as it's Sound who's brewing the right ingredients. Whether it's hypnotic discos made elegant by jazz and urban undertones or the straight-up soulful funk reminiscent of 70's Motown – Sound is all else that's hooking and vibrant, which makes waking up early in the morning and going to bed after that exhaustive work – a chillaxing experience. No need for illegal medicines and coffee.

* Out of laziness, I quoted the list with some highlights of my past reviews.

* Late December releases from Salindiwa, Radioedito and Sound aren't in the list for they are reserved for the best-of catalogue of year 2007.

* No Typecast, The Ambassadors, Slapshock and Mano Mano on the list.

* It's a personal list, but everybody's free to cuss and react.

30. Cafι Bossa – Sitti

"From the album title itself, you could easily hint Sitti's sound: easy listening music made for coffee shops and breakfasts on bed. Then you look to the tracks on the album, half of which are murdered by acoustic artists on their performance sets elsewhere in restos, bars, and name all the relaxing, candlelit spots in the Metro; the other half are the timeless Standards your parents wouldn't even deny liking. It's all predictable for sassy, bossa-peacock Sitti, who's accused of rampant jazz-poseurism, of pimping herself into a Major label experiment, of apparently hiring a Portuguese language teacher to enthuse her vocal patterns in strong Rio de Janeiro-accent, of vulgarly displaying her know-it-all with Sergio Mendes and Astrud Gilberto, or of simply telling that such Oriental country like the Philippines is very open for the bossa nova scene while the only difference between the ever-complex jazz, jazzpop or fusion with bossa nova is derivation itself. Bossa nova is samba-derived Jazz. The beats of bossa nova are more latin-inspired and earthly, with the still soothing jazzy melody everyone's familiar with. The roots are very Portuguese-Brazilian, and Sitti of East Indian name and of Filipina breed is trying her luck of introducing bossa nova to mainstream acceptance."

29. The attack of the horns – Sunflower day camp

Punk-ska with definitive pinoy sensibilities.

28. Blush – Imago

"Imago just like The Strokes still remains a vital force in the rock music community despite the few backlashes surrounding their ill-fated third releases. Imago's third album, Blush categorically doesn't even constitute half the bad records made this year. In the female-fronted bandwagon, Blush is still way better than Session Road's Bakit Hindi or any recent releases from Cherry Cornflakes, Mojofly, or the Barbie Almalbis band. But it declines assessment when compared to Narda, Chillitees and Up Dharma Down. No longer are the days when Imago was a stunner in every critic's cookbook; yet in most people's hearts – their songs will always be cherished forever."

27. Chicosci – Chicosci

"It's not a surprise to hear Chicosci dabble on what everybody calls as "emo" or "melodic hardcore." Even on their previous work with Methods of Breathing and the subtly-improved Icarus, there are already tinges of melodic, guitar-driven quality and some straightforward, nasal singing. It's just that the kind of emo they display today are much open to possibilities like the band's injection of atmospheric and buzzing synthesizers, engaging vocal harmonies, and recital fillers hooked on song-intros. But then again the conventional features of an emo-sounding record are heavily felt on their new self-titled offering, most especially the anthemic-feel that leads into a headrush of pop-choruses and me-against-the-world drama."

26. Rock n Roll Death Toll – Lokomotiv

"Loitering on the combined lump of bluesy metal, grunge, Sex Pistol-clad punk, 70's rock (The Doors, Led Zeppelin, AC/DC even Pink Floyd) and a whole lot of speed and energy, Lokomotiv dares to invite its listener to a torturous but self-gratifying road trip on probing what this dark side (grief, poverty, corruption, sin) of the world has to offer. With its explosive gang-bang beats and its swift-like-a-speeding-runaway-train melodic structures, Lokomotiv's debut release, Rock N Roll Death Toll is a living proof that fun and angst could get along together, intentionally."

26. Color it Red – Color it Red

"From the debut Hand painted sky (1994) to the sensible hooks of Pop Fiction (1999), Color it Red's tight musical orientation has kept them going through the cavern of the ever-changing band scene in the P.I. A couple of line-up changes, the Color it Red today remains to sound Color it Red when we first heard "paglisan" and "na naman." I don't know if it's a good thing or not, but try to stick your ears to some local albums in the same vein that is female fronted pop-rock, you hardly hear the difference. Ok, they were one of the pioneers. The problem is, you expect them to grow and bring you new, eclectic offering to satisfy your longing. After all they haven't released any material for about seven years. I don't want to conclude that this album was made to join the hype and success of the current booming of the pop-rock scene. Cooky Chua and her cohorts are all established artists, and there's no way in Earth for a man like me to disrepute this comeback album."

25. Point Click Kill – Point Click Kill

"In a spin or two, you could right away accuse Point Click Kill of cloning Skindred's debut album, Babylon. The centerpiece of both lies on their fine brand of hooky reggae-metal soaked in militant beats, uncanny arrangements, monolithic guitars that sound like speedy, steering helicopters, and System of a Down-esque heavy rock grooves. But after incessant playing over a busy weekend overhaul, claiming that Point Click Kill is derivative of Skindred seems to be an overstatement. After the affair that I had with Point Click Kill's self-titled CD, the impression has changed. I noticed that while Skindred boasts epic-hood on most songs, PCK focuses on dynamism, rhythmic patterns and complexities. Also, the lyrics (though some are of Visayan dialect) on the PCK album are bald, straightforward and less pretentious as to compare with the ones in Babylon, since PCK attests to the personal level e.g. anger, life and death."

23. Transit – Sponge cola

"Though not as grandstanding as the brilliant pop-rock reinventions of The Itchyworms and Sugarfree, the songs in Transit are melodically rich and affecting enough to receive enthusiastic ovation. It's stories while still containing the same cheese in Palabas, takes you to a thrilling yet moving ride to large, outside projectors playing tragically romantic flicks, lovers strolling the moonlit beach, and card and candy shops flourishing the streets with the atmosphere of love. The ride actually made me Transit's cheesy, drunken driver. With all pride, I stand firm to admit – Transit has the road to Sponge cola's fervent maturity."

22. Hilera – Hilera

"Riotous, catchy and deliriously punk-tastic, Hilera's debut record is definitely this year's biggest revelation. Theirs is made to be stadium-sized just like when Greenday started out with the neopunk revolution album, Dookie, but with lesser amount of raunchiness and more of honest-to-the-bones integrity. Their loose punk-energy huddles through giant choruses and grenade of inventive pop hooks and melodic sensibilities. It's like pegging them to be the punk Eraserheads, only to find out that they're still underrated and quite immature."

21. Five on the Floor – Sandwich

"There are no leftovers in Five on the floor. From disc opener "Sugod" to the last track, "let your celphone shine" - no place is a whole lot cooler and hipper than staying inside the house, cranking up the volume of your resident stereo, listening to the bewildering, animalistic selections on Five on the floor. You don't need pot sessions to enjoy this. Five on the floor is already seventh heaven with a twist of humans spewing mints and lads n' chicks dirtily grooving to big, paranoid disco-punk beats."

20. Manila High – Kala

"The narratives in Manila High, the new record from newbie band Kala is best seen in wide-screen melodies; crinkling photographs in expensive black and white visuals, romantic atmosphere that steps in climax during happy moments and dives underground with the relentless ranting over the same, old situation we have here in Manila. This is no Lino Brocka or Ishmael Bernal on music; it's just some obscurely unknown escape artist whose interpretations on Manila are limited to a one-sided, partially influenced perspective. But this does not make Manila High, a self-important album. In fact, its narratives are easily understandable. One could simply relate to its stories, its day-to-day lessons, yet finding something "high" in Manila High, is a sure tough challenge."

19. DRT – DRT

"The fact that they are an offspring of veteran rock outfits Wolfgang, Razorback, Dogbone and Gnash makes it more intriguing and scalpel-sharp to comparisons, since it's blatant in the ten-track record that the lads are dexterous and well versed on technical aspects. From Daniel Crisologo's varied guitar playing to the over-all quality of the stoner rhythm section, DRT succeeds in casting their machismo at measured decibels that's plain great and insufferable to the mediocre types of growl-sing-shriek songs made in meaty-puppet videos. Indeed, they make music with the urge of innovation and cunning."

18. Conflagration – COG

"It takes panicky riffs, tower-charged energy and class to deliver a distinct heavy metal record with considerate spank and charisma. Conflagration does it with no sweat."

17. All Seats are taken – The Pin-up girls

"Their latest collection of tragicomic punchlines and visceral narratives, All Seats are taken boasts oddly-flipped pop that's self-aware of its boundless melodic passages and its soaring-soul, jangling guitars that form light-hearted caresses to your head upon stressful attempts of vandalizing orc-filled Mendiola. Easily you can spot the same old british-inspired twangy noodlers Morrisey and company pioneered two decades ago, and the feverish, clever tunes that cloaks between various emotional terrain. It's sensibly raw yet unoriginal. But to say that it's a throwaway would just make you one feign of a bitchy snob. "

16. Isang ugat, Isang dugo – Rivermaya

"Just like the all-cover songs concept of Tori Amos' Strange Little Girls, Rivermaya decided to put garland on its local music influences way back 80's and recorded this rare-find elitist of a song on a slight copy-paste configuration, but with the band's drive to intricately weave modern textures and maintain its signature arena-rock touches. With the exception of one song written by Rico Blanco "Isang Bandila," Isang Ugat, Isang Dugo covers the critics' pet from the 80's: from the 'socio-conscio' folk genius Joey Ayala, to the post-punk darlings Identity Crisis, Deans' December, Ethnic faces, Violent Playground, Silos and the distinctive vintage-punk of The Jerks and Wuds, these songs from a thirty-something music enthusiast's playlist were awakened and relished to the heightened cravings of the new audience discovering the genius of The Cure's Disintegration and those bands under the 4AD label.:

15. Philippine Phenom – Nimbus Nine

"Both a poet laureate and a beat-rhyme linguist, Nimbus Nine shows his emblazoned rap cred on Philippine Phenom, an anthemic narrative that knocks through the life, obscurity and observation of a country abandoned by a seer of good fate. With a mudflow of honesty turned into virtue and integrity, Philippine Phenom molds and casts so naturally into near pitch-perfect that by the tick of its bombastic intros and sweeping samples, loops and kinetic street vibe – everyone's subdued to listen, riot and bare intimacy to Nimbus' bullet wound speeches."

14. Soul Up! – Juan Pablo Dream

"Swingy, Sunny and whole lot more of positive vibes, JPD's latest mod-pop offering makes waking up early in the morning an engaging calisthenics, and driving the highway a rush of joyous, high-spirited experience."

13. Of Tongues and thoughts – Sugar Hiccup

"Of tongues and thoughts, on successions of listening can give you a rheumatic effect on senses, since it captures blurry melodies and abstracts that are unlikely hypnotic. Textures are eerie in nature, yet emotions are of the difficult level. It's like a return to innocence; you're counting days backwards until you reach early stages of human development. This is undoubtedly a continuation of Womb: only that it's the feeling of the child outside her Mother's Womb. And then there's this other shtick that tells me that Of tongues and thoughts, is just a satiric or if not, a poetic passage to the band's rebirth. Whatever it is, the third Sugar Hiccup installment still is as reflective as the previous albums."

12. Luha – Kapatid

"Their gunshot, sophomore album LUHA is profoundly sincere, toned by emotions and reflective ideas about love, experience, politics and tragedies. The album's statement is obviously a retrospect of Chico Molina's suicidal death with a more mature leaning and improvement on the quality of sound, songwriting and experimentations on funk, reggae, blues, drum & bass, modern rock, and Manila sound. Definitely, the huge improvement from the first album was brought by the inspiration Chico Molina has left with the band. The drama forever resides, and with the drop of tears – Kapatid is all set to provide fire and water with Luha, and shock all longtime fans with their new visceral, rich sound."

 11. Endless Swoon – Skies of Ember

Darker and more atmospheric than Sheila and the Insects, Endless Swoon is morose post-punk reinvention with penchant for suicidal and 'under the influence' kind of lyrics.

10. 2 Step Marv – Kjwan

"2Stepmarv, Kjwan's latest album contains imposing yet effortless production and arrangements that appeal not only to old fans but also the cynic-minded. Compared to the previous album, 2Stepmarv details a stroke of pensive musical ideas, technical furry and drumwork-wits that build a surreal soundscape of the deep, the minimal and the cutting-edge."

9. Translating the gongs – Bob Aves

"With dusts of 2000's Inner Country and a grand salute to wed Philippine indigenous music with western jazz styles and 70's fusion, Bob Aves' sophomore album Translating the Gongs intimates into a blithe exotica stir of calculated synchronization, militia reaction of gongs, New Age meets spiritual vocal chants, and quirky orchestral assault that results into either disharmonic splendor or a lasting steel-factory music festival. The multi-rhythmic effect of the gong sets (kulintang, saronay, gandingan, agong, babandir) dynamically choreographs into the groovy integration of the rhythm and horn section particularly the gentle strums of Bob Aves' octavina guitars, offering a nirvana of strange, cultural pot-derived melodies and an incandescent hook either Spyro Gyra and Pinikpikan would be proud of."

8. The Future of ear repair – Faspitch

"They're the next Urbandub. Call it silly or hype, Faspitch lives up to the heavy-rock drama once initiated by the Gab Alipe-led melodic hardcore quartet, but with lesser anthemic choruses and more esteem on the dark, ambient side of life. It was a silent release with Faspitch's debut ticket to stardom, yet there's visible hype gawking around the indie scene circuitry. With brooding and dreamy rock arrangements and subtle electronica textures, TFOER recall a magical merge between Nine Inch Nails and A Perfect Circle, only with much more ghost and gleaming eeriness. If there's such thing as whimsical and dreamy piece of punk-metal, then Faspitch might be the one who fiercely delve into its rich terrain."

7. Discotillion – Narda

"Heavily accompanied by bizarre synthesizer palettes, old Narda-handclaps, speckled guitar-styles, and Katwo's dynamic singing and irritable oral gestures – Discotillion is more than just a quick jump from its predecessor album, Formika albeit having the same charm and spank. While Formika showcases finesse, grace and poised witticism, Discotillion borders nowhere from the expected territory. If Discotillion were a perennial, female character then she would've been the rebellious, the party riot girl with liberal ideas and ultramodern sense of freethinking. She's obsessed with love and unpitying desire to be loved. She kills. She's crazy, a sex vermin, and victim of a haunted past. Everything looks so unreal yet her daily rants on self-loathing, mounting of gasoline price and egotistic love are becoming inexorable to the point that you're getting used to it minute by minute…Then you realized how beautiful she has become."

6. Extra Rice – Chillitees

"Chillitees music is easy and fun to describe: downer soul in lingerie-evoking guitar brushes, with languid to jazzy rhythms and smooth beats. It's the same initial reaction when you brew classic Marvin Gaye attitude with pop sensibilities and modern love themes. Add up the layer with occasional flutes, wurlitzer and even sax, what you have is a sensual brew, a dreamlike mosaic of lusty music sung in tagalog."

5. Talaarawan – Sugarfree

"I'm having a hard time describing Sugarfree's latest album, Talaarawan. It still reminds me of the previous two albums, only that I'm more hooked and pierced to the storytelling of Ebe Dancel, the sensitive frog prince who views the world as a haven for quirks, losers and hopefuls. Maybe, it's just the charismatic simplicity of the album that made me fall in love with it, a tryst of human experiences and its emotional encounters surpassed – just like every frigging fairytale. But it comes in small, simple packages: easy and charming melodies, Ebe's expressive singing, the hopping of songs between slow to fast pace, the lyrical interplay between happiness and melancholy, and the beautiful stories being effortlessly told…"

4. Flipino – Dong Abay

"Flipino is a collection of sung razor-sharp poetry, simple words interlocked with questions and punditry. Witty, satiric, and ingenious – the vivid pictures depicted on the amorous verses are socially relevant, dug through holes of everyday life and cynicism. Dong Abay explains it all with his philosophies, his backlash on the country's rotting situation, his fluid rhymes that make listener's sweat on their pants. 14-track Flipino (originally titled Farmeryano) also is a reformat of Sampol; a limited release EP containing seven songs, all of which acoustic and raw."

3. Strangely Paired – Outerhope

"Strangely Paired qualifies as heavenly, and its elegant pop mysticisms often end up as downer sing-alongs made for absent-minded and photograph-loving geeks. Lyrically, it's quaint and feverishly dreamy. References on sunlit skies, cars, highways, cornfields, and trees imply in-the-middle-of-the-road fondness These guys have the penchant for traveling or tickling their minds of driving escapades."

2. Queso – Queso

"Acquiring a resumι of technical virtuosity and a deranged cult-followers consisting of tattooed potheads, runway Mohawks in their leather-best, black-tee groupies wandering free open-field events with Cueshι and Bamboo on the top bill, and some mutated beings close to the semblance of a destructive and injurious rodent known as a RAT, Queso formerly known as the ever-legendary Cheese returns with another scale of anti-prosaic, layered crunch of a wall-of-sound hazard that makes predecessor effort Pilipinas a bad, tempest warning to apocalypse. Some call this prophesy, a triumphant exploration of sights and sounds; the attack of the creepy-crawlies, infesting rats and roaches swagger in direct rule outwitting mankind in a change of fate, while decibels blare in its maximum potentials, leaving some in momentum and some who consider everything as the next replica to hell – in disdain and by few minutes, death. Quite odd to my very persona, it's me being possessed by a ganja of whirring sounds that once rekindle in Emily Rose, but thinking of the complex possibilities, I've been watching nothing but clips of Cannibal sequels and a bunch of voyeur films. Perhaps, this feeling that I have with Queso best describes all the ill visions."

1. Fragmented – Up Dharma Down

Consciously done potpourri of explosive music that sprang from the dirty kitchen-lab experiment of noise, techie-pop music, dose of soul and heart, guitar shimmers and an advance timewarp 100 years from now.

100. PARA, Wolfmann – A feel-good pop song from the deceased electronica whiz.

99. PSYCHO SYA, Giniling Festival – Terno comic metallers' robust description of their music.

98. TARALETS, Imago – Jumpy, riot Christian song that quick-cashes into mainstream.

97. WALANG KADALA-DALA, Sandwich – Second single from fourth album, Five on the Floor.

96. SUNDO, Imago – Not as moving as "Akap" and "Alay," but still as lovely as every power ballads penned by Aia De Leon.

95. DO BI DOO, Kamikazee – The APO-stoner that launch a thousand moshpit, the Kamikazee way.

94. WILL YOU EVER LEARN, Typecast – Hopeless romantic ballad that keeps emo kids swooning.

93.  PAG-ALIS, Barbie Almalbis – Vintage Barbie's Cradle track recycled and inch its way to the pop charts.

92. PARTY SONG, Coffee break Islands – Beach bash of barking dogs, bonfires and lovely women.

91. NENE, Mano Mano – A tragic song involving an underage whore.

90. A LITTLE MORE TIME, Wateverittakes – When funk rock and disco, house music collides.

89. REIGN, Neruda – A further proof that there's more to Neruda than its great band moniker.

88. DVDX, Sandwich – Reminds us of the Cambio hit, "Divisoria."

87. MANILA, Amber – A catchy hiphop-R&B number and a shout out to the PI's finest commercial district.

86. TUYO, Dong Abay – Dong's latest wordplay about environmental awareness.

85. FLICKER, Up Dharma Down – A cool electro-genre clash ditty that serves as OST to indie flick, Ang Pamana.

84. ANG IYONG PAALAM, The Dawn – The entire twenty-year career summed up in three minutes.

83. HIT THE G-CHORD, Prank Sinatra – a dose of psych, a dose of 60's pop and a lilting melody to begin with.

82. LIHIM, Orange n Lemons – Bulacan faux-brits single about keeping a dangerous secret.

81. KAIBIGAN, Reggae Mistress – Breakthrough pop-reggae song inviting doppelgangers to the ganja-burning party.

80. AMORPHOSIS, Sin – Metal neurosis so charmingly loud and edible.

79. FURLAN, Queso – Queso's most mainstream-rock potential, snubbed at major radio stations.

78. BURNING, Monsterbot – Downtempo vocals, synth-peppered punk, a song on cussing your ex and learning to move on.

77. IMPYERNO, DRT – Hard rock worth a salute to Wolfgang and Razorback.

76. YAKAP SA DILIM, Orange n Lemons – Makes you somber in bed after that wonderful sex.

75. ALAALA NI BATMAN, Radioactive sago project – Here Lourd rave about Gotham's finest superhero.

74.  BITIN SA'YO, Up Dharma Down – Sexed up Electro-funk remake of a 70's pop hit.

73. PAANO NA YAN, Sunflower day camp – Punk ska-meets-early Eraserheads worries about fatherhood and future.

72. DEFINE, Hilera – The song that launched Hilera to mainstream acclaim.

71. A PROMISE, Chicosci – When Miggy promised us of less infuriating singing, for a drama-ode dedicated to his beloved grandpa.

70. NABABALIW NA ANG PAYASO, Aizo – Dark, chamber-pop that launch a thousand metaphor for a thing called clown.

69. POSITIVE FOR NEGATIVE, Sleepyheads – Confused between lo fi and trying hard to be lo fi.

68. TALA, Rampqueen – APC clones take their gloom rock exam… And passed.

67. BEAUTIFUL DAYS, Kyla – Don't mess with a sweet R&B ballad that breaks gravity and force in the name of love.

66. HELLO HELLO, Radioactive sago project – Poet avant-gardes target phone commercials to the bull's eye.

65. 100 TAON, Narda – The attack of aliens and a hundred years waiting for salvation and true love.

64. ARIBA, Point Click Kill – Samba and earthly beats mash up with metal, hardcore and town fiesta.

63. BLACK MASS, Sultans of Snap – Melodic, punk-metal whose gang-vocals explode in big paranoia.

62. PINTURA, Kjwan – This is "Daliri" part two, but less sexier.

61. AVENUE, Daydream Cycle – When indie pop explodes in a galaxy of trance-inducing dreams.

60. I KNOW I KNOW, The Members – Moody, guitar pop that either sounds The Housemartins or Morrissey.

59. BITIW, Sponge cola – Feel Yael Yuzon's pain, after the toilet bowl-chorus and a power pop hook everybody's humming nowadays.

58. BOSYO, DRT – Sounds like Fuseboxx-leftovers, only that it is sung in a male perspective.

57. FRAILTY, Urbandub – Anthemic teen-rock that doesn't suck.

56. DIANETIC, Pupil – When Ely shows his love for Dianne.

55. LET GO, Mon David – Pampangga's best donning a hat for drunken love-jazz.

54. DOG FIGHT, Plane Divides the Sky – A definitive potpourri of hardcore, emo and poetry.

53. INGAY, Pin-up girls – Sensitive pop that considers noise - sweet and ear-candy

51. ENDLESS, A SILENT WHISPER, Urbandub – The War-of-the-Worlds epic rock anthem to destroy giant asteroids and continue the never-ending journey of love.

50. KONTI NA LANG, Pedicab – Intense, disco-punk chorus that has preppy hipsters dancing to its hooks.

49. KUNG AYAW MO NA SA AKIN, Sugarfree – The reason why some girls like guys with penchant for romantic wisdom.

48. PANALO, Color it Red – Reference on nature's herb and the natural high it gives.

47. SKY HIGH BLUE, Outerhope – When boring angels play heaven-eerie pop.

46. RITMO BATIDA, Nyko Maca – Portuguese tongue twisters in electro-samba rhythms and gibberish, tribalized funk.

45. PSYCHO LOVE, Kapatid – Motown funk soaked in backbeat guitars, bop-bass and an obsession more than love lyrics.

44. SUMAYAW NA, Chillitees – Chill-out club banger with somber beats hypnotizing you to go to bed and have some kinky, love-sex.

43. OUT OF CONTROL, Boy Elroy – Howling punks knows how to cross hardcore when menace arises.

42.  PARA SA AKIN, Sitti – The song that made Bossa Nova, the new acoustic.

41. ISANG BANDILA, Rivermaya – Rico in united-Philippines campaign once again.

40. GASOLINE, Cosmic Love – The combined efforts of 70's soul and the sensuous rhythms of the 90's 'new jack swing' R&B groupies.

39. 241 (My Favorite Song), Rivermaya – Gentle rock ballad that your heartbroken friend weeps off during nights of reminiscing and cursing.

38. RHYME WITHOUT REASON, Hilera – Finally, a punk rock song that discovers the beauty of catchy chorus, panicky riffs and the senselessness of the world.

37. MY HYPOTHALAMUS, Shoulder State – Pinoy's answer to Death Cab for Cutie.

36. TRUTH, Bamboo – Enough funk to steal the attention of South East Asia-EMI execs.

35. YEAH YEAH YEAH, Juan Pablo Dream – 60's, 70's, a genetic cross between The Stooges and Jerry Lee Lewis, or perhaps the easy way to call it would be just "fun rock n roll."

34. REACH FOR THE STARS, Pikaso/Francis M – Two hiphop geniuses in one ambitiously great track.

33. LOVE TEAM, The Itchyworms – A satirical love song who could've rank higher if it were released earlier than mid-December of this year.

32. KAPALARAN, Radioactive Sago project – A laugh-all-you-can story about the unluckiest person in the world who ends up in jail, and finds the comfort of his life through a lusty, prisoner.

31. FUTURE, Urbandub/Dicta License – Presenting… The Philippine equivalent of Bono and the band.

30. CLEVER AS YOU, Sheila and the Insects – Reflective post-punk as mope as your sad, bastard sensitive-pop track.

29. FIVE ALIVE, Lokomotiv – The chorus that caused the fiercest riot of the year.

28. END TO THE FULL MOON, Nerissa Del Carmen Guevarra/Aia De Leon/Zach Lucero – Downtempo electro-ballad atmospheres into surreal world of dreams, haunting illusions and strange creatures.

27. 16 HOURS, Dream Kitchen – Reminds me of the songs from Radiohead's Pablo Honey album. 

26. ALL UNDER HEAVEN, Faspitch – Caught between dreamy and harsh.

25. ALIVE, Frio – Showband-turned-wannabe rockers, shoots at the top of every Manila radio charts with the Ryan Cabrera-sounding nasal ballad that's better off sung while being attacked by a swarm of bees.

24. WAKE UP, Mojofly – Founder Ricci Gurango quits, Lougee and matinee-idol drummer boy rejoices and recycles the moniker for another quick-bucket pop song.

23. IGALAW MO LANG, Ritchie Paul/D' Coy – Best remembered for the sleek video with hotties Chynna Ortaleza and Bianca King, this is a sure turn-on – just put the volume down baby! Trivia: Ritchie's career as a rap artist was short-lived due to his showbiz mogul-mom's commitment to turn his Gutierrez sons (how many are they?) into teleserye actors. The horror!

22. ALIPIN, Shamrock – If not for its airplay exposure on the Korean TV series-export Jewel in the Palace during Jang Geum and Kapitan Jung Ho's tweetums moment, it will never be destined as a monstrous, household hit. And oh, Shamrock should thank Love radio's Tambalang Balasubas-Balahura morning radio show for playing this track minute by minute. That's what I get from riding on jeepneys for a daily basis. Haha…

21. STARS, Calla Lily – Pubescent boys confused between copying Brandon Boyd's phraseology or instinctively cloning the Ney Dimaculangan-throaty vocal style to create the pseudo-rocker anthem of screaming underage ladies who loves TRL pop-punk regulars, Hollywood posterboys and Mark Herras.

20. WE BELONG, Toni Gonzaga – Dubbed as the ultimate rip-off of the year, "We belong" gatecrashes into Utada Hikaru's First Love and ultimately ruin the J-pop diva's most priced love ballad by stealing not only the entire tune but also the fed-up, oriental accent.

19. NANDITO LANG AKO, Shamrock – This time around, Shamrock owes it to Richard Gutierrez and his million-peso Captain Barbell suit. If there's one perennial music artist made to fill-in most of the soundtracks slated for rubbish television shows, then it must be Shamrock. Faith Cuneta ranks second.

18. DAHIL IKAW, True Faith – A disappointing comeback single by 90's pop romanticist, True Faith. Are we just tired of artists repeating themselves or artists whose creativity has declined through absence in the music industry for years?

17. BEH BUTI NGA, Mark Bautista/Anne Curtis – I always admire Anne Curtis for her finesse and charming persona. And her taste in music too! I've read somewhere in a Broadsheet, Entertainment column interview that she's a big fan of foreign indie rock acts especially the likes of Elliott Smith and Death Cab for Cutie. But after I heard her WTF-rendition of "Beh Buti Nga" with primo Viva-balladeer Mark Bautista off the cash-bucketing Hotdog tribute album, I was like speechless for three-minutes or so. She sounds cute with the flirtatious backing, but Mark's boring interpretation ruins every efforts of my dear Anne. It could've been Anne's precursor for her career detour in music – and possibly, the end of the world.

16. BUMALIK KA NA, Julia Clarete – Julia traded Hollywood Dream-career in the States for a minor radio hit that doesn't leave even a slight mark to the already disinfected, mainstream music industry. Wrong move, Julia. You're better off doing smart indie films and doing funny spiels at Eat Bulaga than fulfilling such destructive rockstar fantasies.

15. TIGIDONG – Ali Sotto should take legal actions for the alleged voice who mimics her strange, singing antics to create such a public stir that ruins her integrity both as a news anchor and as a woman. Although, people must admit that the explicit lyrics remind them of a little, crazy thing known as guilty pleasure.

14. MAHIWAGANG PAG-IBIG, Aldred Gatchalian – Plucked from the "actors" of Pinoy Big Brother Teen Edition, Aldred Gatchalian sold his life to Star Records and records an infectious teenybopper hit that's horribly strained under the Jesse Mc Cartney-Teddy Geiger territory.

13. ISAMA MO, Sexbomb Singers – Former pin-up fantasies resort into desperate attempts to revive fading careers. They became weekend talkshow-regulars for creating all the necessary showbiz-gimmicks and decided to resume the whole music thing in just an instant after discovering that all they have now is a single, afternoon television show. This time, The Sexbomb singers ditched their distinct novelty-dance trademark in favor of a more serious, R&B-leaning pop. For the Sexbomb girls it's serious, for us – It's a running joke.

12. SABIHIN MO NA, Top Suzara – Top Suzara left pop-R&B auteur, Freestyle for a selfish, solo career and a do-or-die endeavor to live out his rocker-spirit. "Sabihin mo na," his crucial attempt on a suicidal, rock ballad staple must have boost his ego but to the people, he will always remain as Freestyle's lead singer – an imprint he could never erase.

 11. MANILA, Cherry Lou – Following a controversial music video of two chicks kissing each other and a whole lot of sexually-provoking scenes, There is definitely more to Cherry Lou's MTRCB-rated X video, "Manila" that caught the attention of the people: the short-lived singing career of the svelte actress-turned-singing Calendar girl.

10. TITO TITA, Makisig Morales – The spirit of Christmas is not all about giving, but also forgiving. It makes sense to me so I already forgave little kiddo Makisig Morales for putting out a silly Christmas song about bragging gifts from your Uncle and Aunt. The Kids bop-turned bakya-Xmas carol "Tito Tita" is so senseless and irritating, but kids love it very much. My younger nieces and nephews gamely sing to its now-eternal chorus "Tito, Tita ang regalo ko" so furiously that there's a huge force of gravity that makes anyone including me to reach for their pockets. Despite the irritable quality this song has, "Tito Tita" is still way better than the rubbish Aegis-Christmas song, "Christmas Bonus," making it the second worst local Christmas song/jingle I've heard in my entire life.

9. MISKOL, Craeons – With overflowing cheese and horror combined, "Miskol" deserves the top slot for 2006's most irksome chorus. Casper giggly sings, "Isang Miskol mo lang, Ako'y nabubuhay sa isang pangarap kahit simple lang" and confuses listeners if she's an R&B singer or yet another pop-rock impersonator.

8. PANG YAO, Kim Chiu – How come a cutie reality TV-show contestant exposed a cheesy, friendship song to mainstream acclaim while half the verses were sung in Mandarin nobody really understands? Tell me; are the deadened souls of F4 and those funny-looking Taiwanese boybands still roaming in this country ruined by telenovela trends of the Mexicans and chinky-eyed Asians? Googling the English translations of every word to the lyrics can really be tiring, so why not dump the obsessive idolatry for those crappy, foreign songs when our country boasts a diverse music of its own? And for Kim – Chinese-blood and public's clamor for chinoys and chinoy-looking should never be an excuse.

7. ONLY YOU, Sam Milby – By messing up with the ultimate standard of all standards and turning it into crash-course of how to be a rocker with a sucking voice, Frank Sinatra should rise from his graveyard and teach Sam Milby a lesson he could never forget. Sam who falls flat on notes from the first line up to the end of the song, should rest his voice and just concentrate on his modeling/Pin-up career. Music won't do him good and so as acting except maybe for some quick, hot cash. But as the reality in Philippines showbiz goes: In order to survive, you should learn how to sing, act and dance. For me, just leave the acting for "real actors" and singing for those who could carry a tune.

6. NGAYONG GABI, Jeans band – Jericho Rosales was so eager to record an alt-rock album of sorts, that he dreadfully used his popularity in Malaysia (after his two Soap opera with Kristine Hermosa were shown in the said country and became instant hit) to get a recording deal for his band, Jeans. EMI Malaysia released his debut album, Loose Fit and has reached the Philippine shores early September. But it failed here tremendously. I guess record consumers nowadays are smarter than ever. They realized that serious actors who cracks on establishing a music career are desperate bunch of show-offs, and has nothing to offer except for their ugly experiments. God bless the music industry.

5. KEYS ME, Alyssa Alano – Alyssa owes Youtube a lot. Without the widely accessed file on the video-sharing site featuring her messing up with the lyrics of Sixpence None the Richer's breakthrough hit single "Kiss me," the ex-Viva Hot babe wouldn't be experiencing a successful comic career in television where she spiels into grammar erratum just like crazy Angelica Jones, and almost disarrays every notable, pop lyrics a kid could sing to. But after watching her win on a karaoke challenge-show where contestants guess on blurred words in their respective screens, it seems to me that she's been fooling people since day one. I wonder if she's secretly laughing at the banks while being such amazed because a lot were hooked on her trap.

4. YOUR LOVE, Erik Santos – Erik Santos, a self-confessed weirdo luckily found Ruffa Mae Quinto to save himself from the public backlash that he's gay, rehashes the tunog kalye-karaoke favorite "Your Love" and croons like unapologetic neighbor cranking volume at hazardous level of decibels. Poor nearby houses dump grenades and bombs, but not enough to kill the karaoke addict. So what's next in your revival repertoire, Erik?

3. BOMBERA, The BayWalk bodies – With shampoo names like Palmolive, Rejoice, and Pantene, scandals that enraged the Nursing Board and Lito Atienza, and released double-meaning songs that made the MMDA traffickers secretly dancing at, The BayWalk bodies are the latest-gimmick trippers to invade public's consciousness. Their music – a mix of nonsense novelty-ABC's and whorish costumes, gave them the radio hits "Kiliti" and "Bombera." The latter song sounds like every political platform I've been hearing for the last decade or so. The girlies jointly sing, "Kami ay bombera, ang pag-asa ng masa," with hearts on their sleeve. If that's the case, then I'd rather die than live in a world filled with morons and stupid people.

2. MAJIKA, Kitchie Nadal – What seems to be a solid reputation ends in cheesy, three-minute song about super powers and the freaks who love it. Ok, it's sort of declined after she became Mc Donald's makeover poster-chick and when she instantly romps on making several more commercial jingles and television soundtracks.

1. BOOM TARAT TARAT, Willie Revillame – The neo-Macarena have made every Filipinos dancing to its easily rhyming but definitely pestering lyrics, its unarguably sing-songy quality. The grassroots could easily consider this the anthem of their lives and so as their source of happiness to the dire problems of poverty and ignorance. But it's pretty ironic that a powerful man who drove hundreds to death over a stampede incident, who continues to persuade millions of people that the only way to get out of poverty is to come over and line up to his silly Noontime show contests, who beats his wife and threatens to kill their baby, who is just an addition to growing population of freaks and consciously mental retards – still breathes and makes good public image to most; while he saves himself from the hell that he's within.