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Could it be for legacy? This is also dubious, because legacy is not a finite thing. SB19 doesn’t have an exclusive claim on it. Any group with vision, dedication, creativity and talent can leave a lasting legacy, whether they’re the first in the game or the new kids in town.

Is it purely for money, then? This might be the simplest explanation , after all, money is the root of all evil, right? If SB19 or some other group that’s making waves is denigrated enough to extinction to benefit another group, then all lucrative endorsements would be snagged by the last group standing. They will monopolize gigs, corner the market on merchandise sales, bag profitable partnerships and of course, lord it over all charts (not only Spotify). All these will line the pockets of the group’s investors, and, hopefully 😉, of the artists themselves.

While the simplest explanation is more likely the real one, my paranoid, overthinking self can’t help but wonder if there’s a deeper, almost darker, motivation. Are these exertions to belittle, even erase, the achievements of SB19 intended to scare off a small company with big dreams from messing with big, established media companies? Is this a case of a Goliath trying to teach little David a lesson?

As a barely-a-year-old A’tin, I’m so looking forward to SaW alongside millions of, er, 250 other A’tin.

It’s gonna be my first time witnessing an SB19 comeback. I’ve read discussions about how much of a bombshell the Pagtatag CB was, that everyone was completely caught by surprise when the teaser dropped. There were clues leading up to it, that I gathered, but like thieves in the night, the boys still managed to one-up even the most rabid, inquisitive (in the best possible way) A’tin.

I’m actually anticipating not just the CB, but the buzz that will be surrounding it. Even at this early stage, I can already feel the electric atmosphere. It’s giving calm before the storm, like nothing definite is happening yet, but every hair on your body is starting to stand on end.

Before SB19, my playlist consisted of music from the likes of The Maccabees, Frightened Rabbit, Bloc Party, Gary Clark, Jr. , Laura Marling, and Yoyo Ma, to name just a few. There were days when I put opera classics and some Hindi music on repeat. And there was a stretch when I played nothing but the entire Hamilton soundtrack. Oh, and don’t get me started on the Kendrick Lamar and Drake beef, during which I tried (and miserably failed) rapping to Euphoria and Not Like Us. So, yes, eclectic is the right word to describe my taste in music.

Should anyone then be surprised that I’m now into SB19? Well, actually, I myself am. After all, I wasn’t even into KPop, which was supposed to be the inspiration for PPop. But then, thinking about the genres that SB19 and its members in their solos have showcased, and slayed, in their bodies of work, it’s actually not beyond reason that I’m now all in for SB19.

What other group can boast of a discography that includes the rock operaesque Mana, the touching lullaby MaPa, the anthemic What?, the lusty I Want You, the acoustic yet full of angst Ilaw, the soaring, orchestral Liham, and the confident rap diss track Kalakal? Let’s not forget the iconic monster that is Gento, which mixes rap, dubstep and - wait for it- snake charming flute riffs.

And these are not even half of their songs.

Missing some genres? The members’ solos got most of them covered. If you’re looking for bopping dance tracks, heartbreaking ballads, dreamy, ambient vibes, emo/punk, metal, hip-hop, trap, drill, and chopper rap, more sexy R&B, just check out the individual works of Stell, Justin, Josh, Felip and Pablo. These men are stretching the boundaries, pushing the envelope, blazing the trail- think of all the cliches for fearlessly expanding musical horizons through creativity and artistry - they’re doing it. But make no mistake - they’re the farthest thing from cliche.

When I listen to an SB song, I experience several stages of enjoyment. Initially, I get drawn in by the harmony of their voices. Someone (can’t recall who) likened it to puzzle pieces that fit perfectly well together, and I totally agree. Their individual tones are so distinct that the layers that they give the song are so unbelievably rich and satisfying.

Then I get sucked in by the melody and structure of the song. Whether it’s a hype number or a ballad - with its exhilarating build-up, unpredictable beat drop, surprising pickup and breathtaking climax - it always makes me want to give it the fullest attention. Every time I listen, I notice little nuances that I didn’t catch before, so it often feels like I’m hearing it for the first time.

While the aural experience of listening to SB19 is already thoroughly enjoyable, the lyrics and messages of their songs are what make me root so hard for these men. Their discography, composed of soaring anthems to passion and perseverance, love songs that would thaw even the iciest of hearts, diss tracks that elevate uncompromising authenticity, and heartfelt ditties of sincere gratitude to actual parents, parental proxies and yes, to fans, is a gift to listeners who don’t only seek temporary entertainment but also profound inspiration. Their songs are not mere ear worms, but nourishing fodder for the brain and the soul. When I listen to an SB19 song, I feel truly driven- to work, to live and to love harder.

Don’t care who reads this but I’m just about to burst from the thoughts I’ve been keeping to myself. Ever since the Wish Awards nominations came out, I’ve seen posts that made me roll my eyes, seethe, roar in angry laughter, curse, and even throw up a little in my mouth.

Because I’ve been happy stanning sb19 and interacting online with moots who share my admiration for the group, I’ve forgotten that a fandom is comprised of people of all ilk. Just like any community, including its ‘suburbs’, it has smart people, extroverts, introverts, opinionated loudmouths (ahem), and unfortunately, idiots and assholes.

I wish to address two of these creatures. Just guess which ones (if the shoe fits, wear ‘em).

To those who, for unfathomable reasons, decided to share their choice for AOTY with the statement: Sisiw ako pero bigay na natin kay Pablo kasi malaki ambag nya sa group or he was the one who shaped Ken to be what he is. What compelled you to preface your statement with “Sisiw ako pero”? To lend more weight to your argument? You can’t lend weight to an argument based on a fallacy. The category is for solo artists, so Pablo’s work for the group or what he did or didn’t do for Ken doesn’t have any bearing here. Even if you didn’t begin with that useless yet explosive (you know what happened, right?) preface, you would still lose the debate. What’s worse is that, however specious it is, it’s painfully insulting to BOTH Felip and Pablo.

Now, if you used that preface to a sounder argument, say, “I like the albums of Pablo more”, my question is WHY begin with that at all? What’s the purpose? Do you just want to brag that you have a bias but you’re not a blind follower, that you exercise keen judgment and critical thinking?Sure, whatever makes you sleep at night. But then, guess what creature you are.

To the group who came out with that fateful list- you probably realize by now that the list, supposedly for use as a mere guide, is extremely MISGUIDED. Are your members toddlers that need to be spoonfed? Let them think for themselves.

To those who are now pouncing on this issue to push the narrative that there are dark forces out to “sabotage” Felip’s chances to bag the award, destroy his career even, stop watching melodramas. The brain rot is showing. You’re making Ken sound like he’s a helpless, spineless orphan being abused by his stepmother and her wicked daughters. He’s FELIP, for fuck’s sake! And also, hold back just a tad on the corny, sappy posts. Please. They’re so cringe.

Freedom by SB19 is, on surface, a pretty straightforward song about gratitude.

The singer is thanking someone for the freedom he is enjoying because of the love and support he has received - the love and support that he needed to break out his wings so he can fly. “Pagkat pakpak ko'y 'yong binuka, Lilipad nang malaya kasi nga You are my freedom”

At the same time, the singer also admits to a heart wrenching vulnerability, expressing fear that the love and support will be withdrawn: “Silakbo ko ng pagsamo na sana ay walang magbago, Baka 'di ko kayanin, oh, mawalay pa sa iyo”.

The song, as fans who are aware of the group’s story will know, also touches on SB19’s courageous journey towards artistic and creative freedom by establishing their own company. SB19 attribute their courage to the fans: “You are my freedom, Brought out the best in me, Forever I'm in debt of you, of you”.

Freedom takes on a whole new level of poignant as we find out that when they premiered its “fun, lighthearted” MV, they were undergoing a crisis that threatened to take away their very identity. Now that this has purportedly been resolved, it’s the opportune time to appreciate the song again.

I made the mistake of reading a thread critical of A’tin for defending SB19 against claims of “unprofessionalism” when they dealt with the technical mishaps that marred their BBPH performance. The thread said that A’tin are hypocrites for this, as they themselves mocked another group when a member, after a failed performance, asked for a repeat to make up for her error. The thread included very valid rebuttals by A’tin, but what struck me was a comment by someone who said that he/she doesn’t hate SB19 , but will never support the boys because of A’tin’s arrogance. My fear is, are people purposefully tuning out SB19 because (gasp) they hate the fans?

I myself posted snide comments about the vocal deficiencies of the gg, mainly as a counterpoint to blatantly false claims that SB19 threw a tantrum and walked out of the stage because they were afraid their vocal weakness (non-existent, of course) would’ve been revealed due to the tech glitches. I qrt’d videos of the unflattering performances of the gg, cheered other A’tin for parodying Kalakal with lyrics that seemingly taunt the gg’s voices, even spoofed the words to another SB19 song to do the very same thing. I still feel justified in doing so, because the other side’s narrative, though inane, is downright insulting.

However, I’m on the fence right now if I should continue standing up to assertions, whether merely misguided or deliberately malicious, that could easily be proven false and laughed off. Will I be antagonizing potential new fans if I remain reactive? Should I attempt to engage them in a mature discourse in the hope I can steer them to the right path?

But then I remembered how I became a fan of SB19. I just stumbled upon them on YT. Nobody convinced me to listen to them. I became a fan because they’re a fantastic group, with an impressive discography that boasts of profound themes and heavenly vocals, not because they have a wonderful fandom. I became a fan because they are so worth it.

Thus, I will continue to say what I feel I should say to defend them from naysayers, truth-deniers and rabble-rousers. I do promise to be selective, though, and try not to be triggered by anything posted by people with obviously underdeveloped brains.

Stanning SB19 is an education. An ongoing one. I thought that appreciating a group simply involves enjoying their music, MVs concerts, merch and content. Never did I imagine that it would also entail:

1. Critical Thinking to help you spot misleading claims that one group is superior to another, based on certain metrics that could be manipulated against self-managed groups with no big media backers

2. Debating Skills to counter attempts to minimize, downplay, or even deny the contribution and legacy of SB19 in terms of carving a bigger role for PPop in the global stage

3. Researching ability to collate receipts needed to debunk malicious rumors or narratives intended to drag down SB19 members

4. Sociology/ Psychology for insights on how to identify behavioral patterns of trolls incentivized to advance some hidden agenda by triggering you

5. Budget Management to make you more effective in stretching your funds for concert tickets and merch of SB19 the group and its 5 members who are also solo artists

6. Religious Studies to guide you in finding the wellspring of Buddha-like self-restraint when dealing with toxic airheads, either fans of another group or of just one member of SB19, who unhesitatingly make their laughably specious opinions public

Stanning SB19 is an education. An ongoing one. I thought that appreciating a group simply involves enjoying their music, MVs concerts, merch and content. Never did I imagine that it would also entail:

1. Critical Thinking to help you spot misleading claims that one group is superior to SB, based on certain biased metrics that are skewed against self-managed groups with no big media backers

2. Debating Skills to counter attempts to minimize, downplay, or even deny the contribution and legacy of SB19 in terms of carving a bigger role for PPop in the global stage

3. Researching ability to fight malicious rumors intended to drag down SB19 members, with receipts

4. Sociology/ Psychology to help you identify behavioral patterns of trolls incentivized to forward some hidden agenda by triggering you

5. Budget Management to make you more effective in stretching your funds for concert tickets and merch of SB19 the group and its 5 members who are also solo artists

6. Religious Studies to guide you in finding the wellspring of Buddha-like self-restraint when dealing with toxic yet laughably specious airheads.

The song that sealed the deal for me. When I saw #SB19 perform this on the Wish Bus, I was FLOORED.

While I was anticipating the lyricism and heavenly harmonies I have come to expect from the group, it was the song’s sonic cornucopia that first captured my attention. That hard, angry intro by Ken followed by Pablo’s gritty vocals had me glued to my seat.

It may just be aural hallucinations , but the song reminds me of Queen’s Bohemian Rhapsody. The beat changes, the theatrical flourishes, the almost operatic runs, the rap lines and, of course, the maniacal laughter mixed into the track evoke pieces from a dark musical, or a rock opera.

I saw a reaction video on YT where the reactor stopped the song mid-track to comment about how the song is fun even if it’s repetitive and doesn’t have much chord progression. The point where he resumed listening was when the beat suddenly dropped and Ken bellowed in his menacing underworld voice, “Aswang ba kaya kinatatakutan…” , only to be later contrasted by Stell’s long, piercing high note. Oh, how delicious it was to see the reactor practically throw his hands up in surrender as he backtracked on his comment.

That there has already been much discourse on the song’s lyrics is a testament to its artistic value. It is a song that uses a mythical creature from Philippine folklore to convey that one may soar high but still keep one’s feet firmly on the ground. At the same time, it’s a clapback to the non-believers and naysayers who doubted the group’s talent and tenacity.

It may only be me, but another thing that made a deep impression is the fact that this has no music video. If there’s any song that could inspire a myriad of ideas for an MV, it’s this. I guess SB19 was concerned that adding visuals to the already insane production of the song might cause the viewers sensory overload.

If Alon was Pablo surfing on crests of rage then being wiped out by waves of self-doubt and recrimination, Laon is Pablo as the tsunami himself- a force of nature confident of his own power and clarity of vision, ready to wreak havoc on all that hinder his path. WHAT AN ALBUM!

I had posted a theory that Alon was Pablo’s way of introducing his younger self to us - someone prone to rage and bluster then to self-doubt and isolation, and that Laon will give us a glimpse of where Pablo is right now, mentally and emotionally.

By my first listen, it already became crystal clear that Pablo is now where he should be -in Alpha mode, snug and secure in his own vulpine skin. He is no sheep and lucky for us, he has finally embraced this.

For me, the album is a big FU to ignorant hate, artistic prejudice and narrow-mindedness, and disrespect for creativity. While raising the proverbial middle finger, it’s also a reminder to be grateful for what you have, to ignore the noise and not lose sight of your dreams, whatever that may be.

What’s more remarkable is the multiple genres that we are gifted with in a single album. We get cheeky, poppy vibes from Neumun, Puyat and Blessed, Blink-182-reminiscent angst on Don’t Care, EDM/Rap on Butata, Afro-beats/Gospel/Blues mash-up on Tambol, marching band, even rock opera beats on Micha. I may not get the genres exactly right, but you get my drift. The album is thematically cohesive, but its sound is deliciously DIVERSE.

Alon closed with Breathe, a promise of respite. Laon delivered with 7 tracks of liberating anthems. Pablo, the wolf, is finally free.

Since L’Officiel PH came out with an article about Filipino songwriters, which includes Pablo, allow me to share my thoughts about his opus, Liham. The Wish Bus performance of this song was the one that sent me spiraling down the #SB19 rabbit hole. Not at all a fan of ballads, but the transcendent vocals and arrangement transported me to another world.

And oh, the lyrics! The pure poetry of the lyrics! This isn’t your typical love song - it’s something so much more elevated AND elevating.

“Ako’y binuo ng mabuti’t masamang karanasan, puno man ng mantsa’s tinuring karangyaan”: isn’t this verse such a powerful expression of how true love accepts both the light and dark sides of one’s humanity?

How my mind was blown when someone pointed out that the words “sa layo ng bituin, ang tingnan ito’y pagtingin sa nakaraang di gunitang tunay” is a reference to how light travels (sorry I can’t recall who posted it). Yes, you heard me right: that’s astrophysics in a Ppop song.

Let’s not forget the line: “Ito ang aking paumanhin, habang buhay kitang mamahalin “. Endless love as payback for the joy and peace that the addressee provides the singer: how profound is that appreciation?

The fact that this song has been interpreted as a love letter to God, to a spouse or partner, or to the fans of SB19 makes it all the more awe-inspiring. But the listener doesn’t have to pick a perspective. Liham is all of these.

What an apt title for the album. Each song is like a wave of emotion that you either crash against, ride on, or drown in.

La Luna and Presyon will drag you in a riptide of pressure and rage - against being forced to conform and the system’s standards that discourage originality. This is particularly constricting for an authentic poet-warrior such as Pablo.

Then, seemingly exhausted in the struggle to regain the surface, Pablo lets himself get pulled down by self doubt and isolation in the tracks Wala and The Boy Who Cried Wolf.

In Kumunoy and Kelan, we see Pablo on the verge of surrender, continuing to question himself, yet desperately clinging to his lifeline that is his faith- in his own strength born out of his struggles, in his dreams and in God.

DITW carries on with the theme of drowning in self-doubt, this time dealt by a romantic love gone wrong.

Alternating between dark and light, rage and surrender, despair and hope, drowning and resurfacing, Alon is dive into one man’s internal dialogues and conflicts. Even the last track, the instrumental Breathe, is a study in contrast, starting off with an almost ominous tapping of a few piano keys, then opening up to a melody that rings in a sense of freedom and liberation.

There are so many rant-worthy thoughts running around in my head: trolls, irresponsible reporting, malicious agenda, toxic OT1s. But I need to get my priorities straight.

I have to talk about Pinuno’s body of released solo work before he overwhelms me with his musical and lyrical mastery on his upcoming albums.

Even before this highly anticipated news came out, it was already my opinion that Pablo’s lyrics need to be studied. In universities. By literary experts. Just one example: he incorporated astrophysics in the song Liham. Astrophysics in a PPop song of a “boy group”? Yeah, Pablo did that.

So, apologies in advance for this loooong yet woefully deficient rambling that no one asked for✌🏼:

LA LUNA

In La Luna, #Pablo introduces his vulpine alter-ego, someone who lets his dark side out in the open, with his rap skills on full display. Initially, he seems to be expressing conflicting emotions about the duality he needs to maintain as the leader of a highly visible and representative PPop group, while keeping his seething rage at bay - rage at the disrespect he and his group is getting for staying true to their art. Towards the middle of the song, the duality is abandoned and the wolf emerges howling.

I think of it this way: in #SB19, he claps back at haters in a PG manner, but no longer holds back in La Luna: “Dugo'y dadanak na sa mga kaluluwang mapanghusga

Ito'y hinding-hindi magtitimpi”.

In this song, the Alpha was born.

DETERMINADO

Pablo continues unleashing on Determinado, where, with his brother Josue, he threatens those who doubt his commitment to his craft with a skull bashing, though by his verses.

Oh, the bars! The bars in this track are dizzying! Let’s take one example:

“Katumbas ako ng dalawa na ipo

Bawat suntok ay may bigat na mala-hippo

Kahit si Aeolus, hindi ako mahipo

'Pag nag-dempsey roll, bira mo'y sa anino”

This verse has alternating references to wind and boxing. Dalawang ipo is IPOIPO, which is whirlwind or tornado in English. The second line translates to “Every punch has the weight of a hippo”. The third line goes back to the wind reference, saying, even Aeolus (the ruler of wind in Greek mythology) can’t touch him. The final line in the verse roughly translates to: “if I do the Dempsey roll (a boxing move), you’ll be punching at a shadow”. Guess who is supposedly known for using the Dempsey Roll as a signature technique in boxing? IPPO Makunouchi, a Japanese slugger. If that’s not a full circle of bars, I don’t know what is.

Need I mention the fire bars? (Yes, they ARE 🔥). A whole verse of references to fire: matchstick, toasting, burning, Prometheus, blazing cities, ignite, heat.

Schools probably need to dedicate several sessions just for this song.

AKALA

Akala, or“assumption “ in English, is a song that, from its first line, may make you think that it’s just straight up (pun intended) about drinking. “Paabot naman ng alak, halika pare walwalan”

It is, and it isn’t. It did popularize “Shat!” even more as the go-to invitation to drink. It cautions against the pitfalls of turning to alcohol as a means to deal life’s realities. “Alak akala ko mawawala lahat ng aking problema”.

But that word play on alak and akala is not gratuitous witticism: it lays the groundwork for the song’s transition to its more central theme - the struggle against assumptions that could imprison a person in doubt and insecurities while trying to live an authentic life:

“Di ko na malaman ang gusto niyo

Gusto ko lang subukan na maging ako

Ng walang panghuhusga sa mga mata niyo”

EDSA

Leave it to Pablo to discuss the travails of survival without losing sight of your goals under the guise of an upbeat plaint against traffic and the usual mishaps traversing EDSA.

He even humorously brings up holding back the call of nature while dealing with EDSA’s usual congestion.

But in its heart, the song is really about not giving up on your dreams despite the roadblocks.

“Marami ma'ng aberyang hadlang sa 'yong daan

Patuloy lang ang andar sa 'yong pupuntahan”

So grateful to MYX Global for airing their #Felip special. I can finally post something about my #SB19 bias that won’t seem out of nowhere (as if that stopped me before). So, I’m sharing my belated take on Felip’s 7Sins album.

First, a note on Felip’s vocal versatility. The album perfectly showcases this with songs that flaunt his signature luscious bass, his “pinched”voice effects and his ability to convey whatever emotion the song needs - menace, rage, desire or raw vulnerability. For this reason alone, the album is already worthy to be queued on loop.

But Felip also has a deep story to tell that matches his deep voice. Bookending the tracks pertaining to the actual 7 sins with Foes and Ache was a master stroke. Foes, the explosive opener, sets the tone for the whole album’s theme : one’s internal and external conflicts.

On Foes, Envy, Wrath and Pride, Felip calls out his critics and the so-called purists who gatekeep genres and are slaves to type. He may brag about his Balenciagas and Pradas and Rovers, but the real flexes in these tracks are his authenticity, innovation and uncompromising passion for his art. You don’t think his music belongs? Well, see him break the mold and create his own genres as he sneers in Envy, “Hope you mf’ers get offended, coz I don’t care about your feelings”.

On Greed, Lust, Gluttony and Sloth, Felip tackles the inner demons that humans, at one point or another, battle. He sings about being the victim of relationship greed, about vacillating between lust and a deeper connection, about succumbing to addiction as a way of dealing with struggles, and about obsessing over something at the expense of everything else. In essence , Felip is chronicling human frailty, admitting in Gluttony: “I’m just a man and I know …that I’m flawed “.

The closing song Ache is a heart wrenching anthem of hope and resilience, a perfect ending to an album about the wars that one wages without and within. While the song and his voice drips with pain and despair, he screams , “stand up, stand up!”to those who fall, including himself.