Category: Music

In his six-track release, the acclaimed rapper expands his sonic palette and tackles themes of maturity, identity, and creative freedom.

Rising Filipino artist Young Cocoa asserts his place at the forefront of the alternative hip-hop scene with the release of his highly anticipated EP, STILL COCOA, under Sony Music Entertainment. The six-track project is a boldpiece of work that embraces new influences while honoring the distinct sound that first put him on the map.

Known for incorporating chill, hypnotic grooves with inescapable rhythms and off-kilter production choices, Young Cocoa sharpens his signature sound with renewed clarity and purpose. Produced by Brido, Jayson Franz, Joseph Gregory, Luke April, and up-and-comer chocolateman, the EP weaves together fan favorites such as “inboxxx,” “Cheap Thrills,” and “Raspberry” alongside surefire bops and rarities designed to push the boundaries of alternative music, rap, hip-hop, and bedroom indie. 

The young hip-hop act explains, “Outside of the message I’m trying to share in this era, STILL COCOA is really my way of planting a flag and cementing my lane as a pioneering alt hip-hop artist. This marks an evolution of my previous project, liv, luvv, cocoa, with clearer messaging and topics that hit closer to home. This time, I’m more focused on experimenting and being more intentional with my sonic and production choices.”

Thematically speaking, STILL COCOA serves as a self-reflection piece on holding onto youth while confronting the realities of growing older. Young Cocoa describes the new record as the start of a new chapter in sound, writing, and storytelling. 

“The project explores the in-between of youthfulness and maturity, something that people rarely talk about,” shares the multi-talented rapper. “Some people just fall into adulthood, and some people take time. I’m part of the latter. Each song reflects what growing up has taught me.”

The lead single “STILL COCOA (fly)” represents a pivotal personal and artistic shift, ultimately choosing liberation over limitation. The song addresses the expectations and pressures that have shadowed his early success while reinforcing the EP’s central themes of self-belief and reclaiming one’s narrative. 

“I’ve held myself back for so long because many people associated me with one song,” he admits. “It kept me from exploring my full potential. Writing this song made me realize it was time to let go of any inhibitions and fully embrace my sound, whether people understand it or not. STILL COCOA is really an invitation to follow me on the rest of my journey as an artist and serves as a reminder to people that although I’ve changed look-wise, sound-wise, and personality-wise, I’m STILL Cocoa.”

The EP also features new tracks such as “WHEN DO I GET OLD?,” a candid confrontation with ageism in the music industry, and “flew2bali4ahug,” a personal musing on growing distant from brothers.

“Both tracks really spoke to deep feelings I had that were only shared with my girlfriend and anyone in my tight-knit group of friends,” he says. “Sharing these feelings with the world is both scary and exciting. Who knows? Someone out there might be able to relate. That’s a thought that comforts me.”

Young Cocoa’s new EP, STILL COCOA, is out now on all digital music platforms worldwide via Sony Music Entertainment. 

Catch him at the STILL COCOA EP and Music Video Launch on December 5, 2025, from 6 pm to 10 pm at Shutterspace Studios in Quezon City. Entrance is FREE! 

Register here: https://YoungCocoa.lnk.to/stillcocoalaunch

Album tie-ins include an e-book and plush collectibles of characters from the TTAD story.

In celebration of the first anniversary of the release of The Traveller Across Dimensions (TTAD) concept album, the country’s biggest folk-pop band Ben&Ben is taking it to the next level by releasing various album tie-in materials and merchandise to bring the album to life. 

The 2025 Awit Awards Album of the Year honoree was released on November 29, 2024, and went on to produce a number of hits such as “Autumn,” “Could Be Something,” and “Triumph,” which received the Best Performance by a Group Artist nod from the same awards program.

They mounted the first TTAD concert on December 14, 2024, playing to a sold-out crowd at the SM Mall of Asia Arena. The show was packaged as an animation-concert hybrid that combined live music and animation to tell the story of Liwanag, the album’s titular character. Since then, the band has brought the show to various parts of the country, including Cebu City, Bacolod City, Baguio City, Davao City, and Cagayan de Oro City, with the last stop for the year happening in Iloilo City on December 7.

To reach an even wider audience, the band last month released an e-book companion to the TTAD album, which fleshes out Liwanag’s story in greater detail. Liwanag belongs to a race of inter-dimensional beings called Travellers, whose goal is to reach a place called the Duyan Dimension—a place where all Travellers are said to achieve perpetual inner peace.

In her journey, she goes through three Dimensions: Light, depicting innocence; Energy, depicting struggle; and Feel, depicting maturity. She writes 12 songs along the way, which relate her experiences in each of the Dimensions. In every step that she takes, she tries to answer a fundamental question: “How must we live?” After many adventures and both good and bad experiences, she eventually reaches the Duyan Dimension, her ultimate goal.

Liwanag’s songs—the 12 songs in the TTAD album—reflect the various experiences of the band members over the past several years and showcase their growth as people, as songwriters, and as musicians.

While the songs themselves reflect the whole TTAD narrative, the companion e-book gives the story more flesh. 

To make the TTAD universe even more tangible, the band has also launched the Traveller Plush Series, featuring four characters from the TTAD lore: Liwanag, Mahiwaga, Puhon, and Dilim. These are advocacy-driven collectibles inspired by the TTAD story’s message of being “present with love.”

“In the story of The Traveller Across Dimensions, to be ‘present with love’ is what is generally known as mindfulness, or being aware of our thoughts and emotions, and responding to the present moment with love and kindness. As you listen to the songs in the album and read the e-book to get a more detailed story about the Traveller, you will be taken on a journey through the three dimensions to discover what it means to be present with love,” Ben&Ben said.

Join us in our journey into the TTAD universe. Let us never forget to always be “present with love.”

To read the TTAD story, go to thetravelleracrossdimensions.com/story 

About Ben&Ben

Ben&Ben is a multi-awarded Filipino band known for their anthemic sound and electrifying live performances. With critically acclaimed albums that set records in streaming and sales, the nine-piece collective explores personal, emotional, and socio-political themes with underlying messages of human connection, courage, hope, and vulnerability. In less than a decade, they’ve managed to shape an entire generation’s cultural awakening through music that uplifts, inspires, and invites introspection. The band’s songs also serve as both a mirror and a compass, which guide listeners on a journey of self-discovery.

Available globally starting today, these exclusive one-take recordings mark another trailblazing achievement for the P-Pop supergroup.

Sony Music Entertainment announces the official worldwide release of THE FIRST TAKE versions of “DAM” and “Time,” two of SB19’s most celebrated hits. Starting today, music fans across the globe can stream the new versions on all digital music platforms.

Both “DAM” and “Time” were originally showcased in exclusive one-take performances on THE FIRST TAKE, which premiered on November 3 and November 24, 2025, simultaneously. The releases mark SB19’s notable return to the influential Japanese YouTube channel, where they hold the distinction as the first and only Filipino and Southeast Asian act to perform and the first ever to do so twice.

THE FIRST TAKE is a Japanese YouTube channel that invites artists to perform for only one take. Some of the artists who have appeared on The First Take include BTS’ V, Harry Styles, Stray Kids, and Hitsujibungaku—to name a few.

Representing the Philippines on a global stage remains a milestone the group deeply treasures. Pablo shares, “We are happy and honored to be back in TFT. It has always been our goal to champion Filipino talent and perform on a globally recognized platform. This is a huge opportunity and honor for us, and we are excited to share our passion with the world.”

For Stell, the opportunity to perform on a prestigious platform like THE FIRST TAKE is an achievement worth celebrating.  “Our first appearance already made an impact, and this return makes us even prouder. Performing on THE FIRST TAKE is a huge achievement. It may not be a trophy, but it is an honor to share our music and represent our country. We hope that more Filipino artists will have the opportunity to perform on that stage and share the richness of our music with the world.”

Josh adds, “We used to daydream about performing there, and now we’ve grown and are finally doing it, not just for SB19 but also to show what real Filipino talent is.”

Performing on THE FIRST TAKE is unlike any other stage. Ken emphasized the pressure and pride involved in performing for the global platform. “Although the performance is similar to what we’ve done before, we did the song in a single take. It really is a true one-take recording, and the first take is what they used. We put in a lot of hard work to give our best and perform without mistakes. We are truly grateful for the opportunity and feel proud that we were able to share this moment with everyone.”

Apart from their record-breaking stint at THE FIRST TAKE, SB19 also made history as the first Filipino group to chart on Billboard Japan, debuting at No. 17 on the Top Album Sales Chart with Simula At Wakas EP, released in September 2025. Additionally, their song “Time” previously reached No. 1 on the Line Music Japan World Music Top 50 chart, while “DAM” holds the record for being the second most viewed Filipino music video within 24 hours after its release. 

SB19 is also the first Filipino act to make it into The Official MENA (Middle East & North Africa) Chart, entering the UAE Top 10 at No. 7 and the Saudi Arabia Top 20 at No. 17.

“We are very happy and proud to represent Filipino talent and to showcase the skills of Filipinos around the world,’ Justin explains. “Being part of TFT for the second time is such an honor because we know this show is recognized globally. This opportunity brings us one step closer to our goal.”

THE FIRST TAKE versions of SB19’s “DAM” and “Time” are now available on all digital music platforms worldwide via Sony Music Entertainment.

Follow SB19 on their socials:

• Website: https://www.sonymusic.co.jp/artist/SB19
• YouTube: https://www.youtube.com/channel/UCm4v7afBTnJKRm4SlfHJzyg
• X: https://twitter.com/SB19Official
• Instagram: https://www.instagram.com/officialsb19
• TikTok: https://www.tiktok.com/@officialsb19

Following the massive success of their smash hit “Kinakabahan,” which dominated social media trends and music charts, Filipino band LILY is back on November 21st with a poignant new single, “OSA.”

A Love Letter That Transcends Death

At first listen, “OSA” (the reversed spelling of “Aso,” or “dog”) may seem like a heartfelt track written for a friend who passed on. However, the song holds a deeply personal and bittersweet narrative penned by LILY’s bassist, Aaron Paul Ricafrente.

“OSA” is Aaron’s raw, emotional tribute to his beloved furbaby who passed away on the exact same day his third child was born. This profound collision of life and death, joy and grief, forms the core of the song’s meaning, exploring the enduring nature of love even after death.

The creation of “OSA” came from this place of profound duality. Speaking about the incredible
juxtaposition of events, Aaron shared the complex emotions that fueled the song:

“Losing my dog—my best friend for years, the one who saw me through the hardest times—and then welcoming my new daughter, all on the same day? It was a gut punch and a blessing, all at once. It felt profoundly ironic. His death broke my heart, but holding my baby in my arms made me see things clearly: the love he gave me didn’t just disappear. That love is what ‘OSA’ is about. It’s not just a sad song about grief; it’s about believing that love is so strong, it can whisper from heaven and tell you, ‘Hey, Dad, I’m still watching over you. Don’t worry.’ It’s the most raw and honest thing I’ve ever put down on paper.”

While the song’s origin is intensely personal, the sentiment behind “OSA” hits closer to home than just grief. It taps into the universal feeling of being loved completely, the kind of unconditional bond we share with our closest people—the friends who never judge, the family that always shows up, and yes, the pets that see us through everything.

“It’s about that feeling of knowing you’re not alone, even when the person isn’t with us physically. Those connections don’t come with an expiration date, they don’t come with conditions. They don’t come in when you’re high up there or at your lowest. They teach you what true, selfless commitment looks like.” adds LILY Frontman, Joshua Bulot.

This kind of pure, selfless love doesn’t just go away; it leaves a permanent mark on our hearts. “OSA” reminds us that these profound connections act like anchors when life gets choppy. The song ultimately celebrates this quiet, strong, enduring force, promising listeners that the strength we draw from these bonds isn’t lost, but simply transforms into a resilience that helps us face every new day and every new beginning.

The Enduring Promise of Connection

The track embodies the steadfast belief that the thread of love remains intact between the living and the loved one who has passed on. It is a comforting message from the “other side,” assuring the grieving heart that they are not alone. This sentiment is beautifully captured in the lyrics:

Verse 1:
Nandito lang naman ako, nakatingin sa langit
Minamasdan ang ‘yong mundo Bumubulong sa hangin
Chorus:
Huwag mag-alala,
Nandito pa rin ako
Tunay na kaibigan mo
Hindi mag-iisa,
Sa tuwing kailangan mo,
Darating ako

Rhythm Guitarist Nathan Reyes and Drummer Ezra Decinal echo Aaron’s reflection on enduring love, emphasizing the idea that a relationship truly never ends.

“Anyone who has experienced the deep heartbreak of losing someone close knows that the grief doesn’t mean the love is gone. We feel that presence every day,” says the band.

“It’s not a physical thing, but a sense of peace that they left behind—that continued love and ‘presence’ is what helps you transition from mourning to healing. It’s the assurance that their love is enough to carry you forward.”

A Shift in Sound and Vision

As LILY transitioned from the viral energy of “Kinakabahan” to the quiet intimacy of “OSA,” the band deliberately adjusted their sonic landscape. Lead Guitarist Alden Acosta highlighted this intentional shift:

“For ‘OSA,’ we intentionally pulled back a bit from the upbeat energy of ‘Kinakabahan.’ The instrumentation is meant to be a warm embrace—tender guitars, a grounding bassline, and drums that feel like a steady heartbeat. We wanted the music to sound like a comfort, a whisper from a distant friend.”

This shift from a chart-topping track about nervous excitement to a deep, emotional ballad about enduring love showcases LILY’s commitment to exploring the full spectrum of human emotion.

Discussing their future direction, the band expressed their continued evolution:

“LILY’s goal has always been to be an open book of human emotions. ‘Kinakabahan’ was the excitement; ‘OSA’ is the quiet, enduring love. We want to keep challenging ourselves, perhaps even exploring a more anthemic rock sound or a collaboration with a folk artist next—to show the full spectrum of our musical identity.”

“OSA” is more than just a song; it’s a profound assurance. It’s a testament to the powerful, unconditional bond shared between a human and their loved one, a bond that continues to send comfort long after saying goodbye. LILY invites listeners to find solace in the promise: Huwag mag-alala, Ako’y nandito PA~ (Don’t worry, I am still here.)

Get Ready for “OSA”!

“OSA” will be hitting all major music streaming platforms this Friday, November 21st. Then, mark your calendars! The official “OSA” visualizer will premiere exclusively on the LILY YouTube channel on Wednesday, November 26th, at 6:00 PM.

Forged in friendship and fueled by freedom, the album reflects their evolution from breakout stars to generational rock icons.

Filipino pop-rock powerhouse IV OF SPADES marks their long-awaited comeback with the release of their sophomore album, Andalucia, arriving on November 5, 2025, on all digital music platforms worldwide via Sony Music Entertainment.

After a six-year hiatus and seven years since their last full-length album, CLAPCLAPCLAP! (2019), the iconic quartet reunites with a record that captures the essence of friendship, artistic maturity, and rediscovered unity. Cementing their legacy as one of the defining acts of modern OPM, Andalucia reveals softness that exists in codes, articulating scenarios and moments in cryptic but poetic exquisiteness, never finding the need to explain or elaborate.

Following a surprise reunion last July through the double release of “Aura” and “Nanaman,” IV OF SPADES presents Andalucia as the full realization of their creative rebirth. “We needed to prioritize ourselves and our relationship first before working on a new project while we weren’t okay,” the multi-awarded band shares in a press statement. “It would’ve felt meaningless if we hadn’t fixed our bond before returning to making music.”

Co-produced by the Aura act with Brian Lotho and Emil Dela Rosa, Andalucia features twelve tracks that traverse genres and emotions while maintaining the band’s penchant for introspective songwriting and subtle sonic experiments. Leading the record is the explosive focus track “Monster,” a vibrant yet gritty rock anthem that fuses retro influences with modern edge. Other highlights include “Aura,” the first song the band wrote together after reuniting; “Nanaman,” featuring Blaster Silonga on vocals; “Suliranin,” an escapist anthem that invites listeners to leave their worries behind and eventually lose themselves; and “Konsensya,” a crossover tune with ‘90s alt, indie, and Britpop influences.

The chart-topping band explains, “Thematically speaking, we talk about things in life: flaws, people, and topics that often aren’t discussed openly. It’s more fun now because we have more songs. The direction is clearer, and the process is more collaborative.”

In making Andalucia, IV OF SPADES approached production with spectacle grounded in authenticity. “We wanted a sound that we could play live,” they share. “The production is ambitious, so we started by jamming the songs before recording them.”

After years apart, the band found their chemistry intact, perhaps stronger than ever. Their creative process was guided not by ego, but by intuition and respect.

Behind the music, moments of simplicity reminded them why they started making music together in the first place. “What truly matters are the small things. Eating together. Whoever’s late buys the coffee. Sometimes we’d turn off the aircon, so we’d all be sweating while recording.”

The release of Andalucia coincides with the band’s sold-out December 12, 2025, concert at the Mall of Asia Arena, with December 13 recently added due to overwhelming demand. Presented by Karpos Multimedia, these shows will feature IV OF SPADES performing new material for the first time alongside reimagined classics—a celebration of their journey and their future.

ANDALUCIA track list:

1. Tara
2. Monster
3. Paru-paro
4. Nanaman
5. Konsensiya
6. Tamis ng Pagkakamali
7. Aura
8. Karma
9. Tangerine Boulevard
10. Kabisado
11. Rewind
12. Suliranin

IV OF SPADES’ new album, Andalucia is out now on all digital music platforms worldwide via Sony Music Entertainment. 

The two beloved artists turn quiet moments into symbols of joy and connection in a heartfelt visual narrative.

Even the simplest moments in life can carry the deepest meaning if we take the time to notice them.

This realization lies at the heart of “Rainbow,” the latest single featuring Asia’s Romantic Balladeer Christian Bautista and Indonesian pop icon Raisa, whose newly released music video paints a tender portrait of hope, connection, and the beauty of the ordinary.

Filmed in an idyllic café in Jakarta, the visual narrative unfolds with both artists savoring a quiet reprieve from the bustling chaos of modern city life.

“The video is about how the simplest, most ordinary moments in our day can actually become the ‘rainbows’ we need — small sparks of hope that make a big difference,” shares Christian Bautista. “The music video was directed by Jonathan Tal Placido of Toothless Productions. He and his team flew to Jakarta to make this vision come alive, and they captured that message beautifully.”

Delicately crafted, the music video mirrors the song’s lyrical warmth with cinematic grace. Every frame invites viewers to rediscover fulfillment hidden within everyday experiences: coffee shared between friends, laughter exchanged across a table, and the peace found in simply being present.

Beyond its narrative, “Rainbow” also celebrates harmony between cultures. The collaboration between Christian Bautista and Raisa bridges Filipino and Indonesian artistry, and the choice to film in Jakarta infuses the visuals with an authentic sense of place and emotional truth.

“The city added warmth, texture, and authenticity to the visuals and helped us reflect the connection the song celebrates,” he explains.

Christian and Raisa first worked together in a recent 13-city ASEAN concert in Japan for more than a month, where they got to share the stage as fellow performers. Their chemistry in the project both as performers and friends translates effortlessly on screen, adding sincerity to the music video’s heartwarming storytelling.

“It was so exciting,” Bautista adds of working with Raisa once more. “Our biggest challenge was really scheduling — but once it finally happened, we were both thrilled to bring this project to life. Seeing it all come together after months of planning was such a rewarding moment.”

The “Rainbow” MV is a celebration of everyday beauty and the unspoken bonds that unite people across borders. Through this collaboration, Christian Bautista and Raisa reminds listeners that joy doesn’t aways come from the grand or extraordinary; it often shines brightest in the smallest details of our days.

“Rainbow” by Christian Bautista and Raisa is now available on all major streaming platforms worldwide via Sony Music Entertainment. Watch the music video on Christian Bautista’s here.

Following the massive online success of his soulful renditions of Ogie Alcasid’s “Ikaw Sana” and “Nandito Ako” — which have collectively racked up millions of views and countless contents and duets across social media — young hitmaker Rob Deniel returns with a heartfelt tribute to Original Pilipino Music through his latest project, “RD Covers (Live).”

Set for release this October 29 under Vicor Music, the four-track EP breathes new life into OPM’s golden era, featuring timeless hits such as Ogie Alcasid’s “Nandito Ako,” “Ikaw Sana,” and “Bakit Ngayon Ka Lang,” as well as Jaya’s “Wala Na Bang Pag-Ibig.” Each track is performed with Rob’s full band and recorded live, capturing the heart, vulnerability, and personal touch that make his sound uniquely his own.

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A post shared by Rob Deniel (@robdeniel)

Known for his effortlessly smooth delivery, feel-good nostalgic vibe, and modern-retro aesthetic, Rob continues to charm audiences with his unique ability to blend heartfelt storytelling from these OPM classics with today’s fresh musical sensibilities. “RD Covers (Live)” stands as both a love letter to the classics and a testament to Rob’s evolving sound — bridging generations of Filipino music lovers through emotion-driven performances and timeless melodies.

Fans can also look forward to the release of exclusive live performance videos on October 29, bringing the soulful experience of the EP straight to the screen. Meanwhile, visualizers for each track are slated to drop throughout November, further extending the journey of “RD Covers (Live).”

With this project, Rob Deniel proves once again that great music transcends time — and that the new generation can carry the torch of OPM with both reverence and style.

Legends of P-Pop ALAMAT has officially announced the release date of their much-awaited comeback album, Destino, which is set to drop on November 21, 2025.

During their performance at the MassKara Music Festival in Bacolod City, ALAMAT members Taneo, Mo, Jao, Tomas, R-Ji, and Alas gave the audience a sneak peek of their carrier single, wearing balaclava masks that appear to be part of the song’s concept.

The snippet features a rap-heavy track with ALAMAT’s signature ethnic instrumentals that highlight the rich multicultural roots of the Philippines, reflecting how the members themselves come from different local ethnicities across the country.

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A post shared by ALAMAT ᜀᜎᜋᜆ᜔ 🇵🇭 (@alamat_official)

Following the announcement, ALAMAT Alas revealed in a post that he produced the track, while ALAMAT Jao shared in a separate post that he choreographed the chorus, which he completed back in June.

ALAMAT’s year-long hiatus has been a recurring topic in the P-Pop community. Now that they have announced their comeback, Magiliw fans, who have been longing long enough for their 6inoos, expressed their utmost support on social media as they anticipate Destino’s release.

BARQ channels Y2K energy and modern swagger in his first official release.

The next generation of the Magalona lineage is poised to make his mark. 

Arkin Magalona claims his place into the limelight with BARQ, joining the esteemed ranks of exceptional artists at Sony Music Entertainment.

Coming from a family with a well-meaning music, film, and entertainment background, the rookie rapper launches his music journey in style with the release of his official debut single, “Shake Dat Thang.”

Produced by Kyleaux, the upbeat banger belongs to the Y2K revival wing: cinematic in its breadth but filled with sonic surprises. 

BARQ shares, “We were vibing to music from the 2000s:Neptunes, 50 Cent, Timbaland, Pharrell, Kanye, and all the greats. It was our first time working together, and we just bounced off each other’s energy until everything fell perfectly into place.”

The youngest son of the late Francis Magalona reveals that he picked “Shake Dat Thang” as his lead single because it embodies his intent to disrupt, redefine, and celebrate modern hip-hop with authenticity and flair. 

“I chose this as my debut single because I wanted to make a statement that I’m here and ready to shake things up in the scene. I want listeners to have fun, let loose, and enjoy this different side of me.”

He adds, “Shake Dat Thang represents that playful yet fresh sound I want to be known for. It’s about reminding people that having fun is one of the most important parts of making anything in life.”

BARQ recently debuted “Shake Dat Thang” at Balabagan saMic, an urban music event, delivering a performance that highlighted his charisma, stage presence, and talent. The short but powerful stint affirmed his arrival as an artist to watch, making every last moment count.

“I’m just getting started, and I can’t wait to share more songs, more collaborations, and a more confident version of myself with everyone,” BARQ points out.

BARQ’s “Shake Dat Thang” is out now on all digital music platforms worldwide via Sony Music Entertainment. Watch the music video on Barq’s YouTube channel on Oct 24, 12PM.

With lush, experimental production and disarmingly honest lyrics, Owusu delivers a compelling mixtape about heartbreak, loss, and identity

Filipino-Ghanian artist Jewel Owusu has released her new mixtape project, the end of everything on all digital music platforms worldwide.

The eight-track EP captures the fragility, resilience, and transformation that come with endings—be it ordinary or life-altering—but experienced through the turbulent lens of youth.

At once poetic and piercing, the end of everything explores what it means to come undone and be rebuilt, weaving existential reflection with sonic experimentation. Owusu’s songwriting unearths the nuanced devastation of loss, heartbreak, and disillusionment, but with hope still clinging behind the trail.

“When you’re young, everything from minor inconveniences to life-shattering moments can feel equally devastating, as if the world is collapsing around you,” shares the Australia-based pop act. “This project captures the journey of coming to terms with an imperfect reality, uncovering the cracks in relationships, worldviews, and expectations that once seemed unshakable.”

The art of endings

Across its eight songs, the end of everything transforms endings into a kaleidoscope of emotion and experience, with each track serving as a mirror for the different ways we lose and rediscover ourselves. From the grief-laden stillness of “this is the end” to the aching surrender of “don’t let me go” and the existential unraveling of “self-importance,” Owusu delivers a collection that feels deeply personal and universally resonant.

Described as the project’s anchor points, “slip away” and “self-importance” reveal a more vulnerable side of Jewel Owusu. “The former captures the sonic and emotional atmosphere I wanted for the EP,” she says. “It conveys isolation and the feeling of being out of place while growing up. The latter, on the other hand, reflects on how humans create meaning to cope with existence and death, and how those beliefs can sometimes lead to a heightened sense of ego.”

The recurring motif of the mouse threads through the project’s conceptual heart,  a metaphor for fragility and endurance amidst chaos. In Owusu’s world, the mouse represents tact and survival, a symbol of power within powerlessness. It embodies the emotional landscape of the record: the tension between fear and resilience, control and surrender.

A sonic evolution

Produced alongside a cohort of talented collaborators, including HAMLEY, Dylan Guy, Aria Wood, Dugong, and Jarrod Jeremiah, the EP marks a remarkable pivot for Owusu in terms of songwriting and sound. Known for her genre-blending approach and tender storytelling, she expands her sound on the eight-track mixtape through textured production, layered vocal effects, and experimental arrangements, all while retaining her pop appeal.

“This project is definitely an evolution of my sound. I experimented a lot with vocal production, pushing my voice in new ways,” Owusu reflects. “My collaborators and I played around with different types of distortion and layered a lot of FX into the backing vocals, which is something I had not explored as deeply before. A great example is the final track, ‘cut my hand,’ where so many of the textures were created using my voice.”

Working closely with HAMLEY, who also mixed the entire project, gave the EP a unified, cohesive sound while preserving its emotional volatility. The result is a collection of songs the feels cinematic yet intimate, built from a palette of melancholic synths, subtle percussions, and affecting vocal performances that oscillate between fragility and defiance.

Following the shimmering, playful tones of her previous EP, Jool Wave, Owusu now ventures into darker, more introspective territory. “Jool Wave was a lot more experimental and leaned into a cute, bubbly sound,” she shares. “The End of Everything has a grittier sonic soundscape that matches its themes. I feel like I’m growing into an artist who is more honest in their writing—unafraid to say exactly what I think.”

That honesty is what makes the end of everything so arresting. Each track feels like a page torn from a private journal,  confessional set to soundscapes that shimmer between melancholy and transcendence. Whether reflecting on the end of belief, love, ego, or belonging, Owusu reveals the moment when endings give birth to renewal—the realization that even in the ruins, something soft remains.

“I hope that listeners feel a sense of hope on the other side of whatever they’re going through,” she says. “Even the darkest moments will eventually pass.”

Track list – the end of everything:
1.     this is the end
Written and performed by Jewel Owusu
Produced by Jarrod Jeremiah and Jewel Owusu
2.     don’t let me go
Written and performed by Jewel Owusu
Produced by HAMLEY
3.     mouse
Written and performed by Jewel Owusu
Produced by Jewel Owusu, Dylan Guy and Aria Wood
4.     spark
Written and performed by Jewel Owusu
Produced by Aria Wood
5.     slip away
Written and performed by Jewel Owusu
Produced by Jewel Owusu and Dylan Guy
6.     self-importance
Written and performed by Jewel Owusu
Produced by Dugong Jr
7.     bed
Written and performed by Jewel Owusu
Produced by HAMLEY
8.     cut my hand
Written by Jewel Owusu and Craig Bishop Ngatupuna

About Jewel Owusu

Jewel Owusu has always felt like she lives in the space in between—between sounds, between cultures, and between versions of herself that are constantly shifting.

As a Filipino-Ghanaian artist and producer, she’s forging a new path in alternative electronic pop—one that’s as unfiltered and dynamic as she is.

Born in Hong Kong and raised in New Zealand, Jewel’s music is a melting pot of influences. Combining elements of electronic, dance, indie pop, rock, and more, her sound blends every experience that inspires her.

Now based in Melbourne, Australia, Jewel has been garnering eyes through international shows, showcases at SXSW Sydney and Music Matters in Singapore, national tours, and an overflowing headline show.

She has been recognized as an artist to watch, won Triple J Unearthed’s collaboration competition, and caught the eye of major outlets such as Rolling Stone, Complex, Colors Studio, MTV, Triple J, and TikTok.

In Jewel’s world, music and visuals are more than just art—they are spaces for transformation and self-expression, where imperfection is not only welcomed but celebrated.