Filipino music refused to be boxed in this 2025, defying expectations at every turn.
From unexpected comeback records to vibrant genre-bending track lists, the year’s best albums were anything but predictable. Whether it was vivid pop record that quite literally engulfed you in kaleidoscope of colors, or a long-awaited rap album that marked the beginning of an era, Filipino music continuously kept us on the edge of our seats all year long.
As we approach the end of 2025, we look back and celebrate 25 of the best Filipino albums and EPs, as selected by the Billboard Philippines team.
KOLORCOASTER — Maki
Maki makes a splash with his debut album, making a bold choice to embrace who he is as an artist rather than conforming to what is expected. KOLORCOASTER is the culmination of Maki’s years-long artistry — a 10-track concept album led by his chart-topping hit single, “Dilaw,” showcasing the the singer-songwriter’s growth and blending different pop sensibilities.
Throughout other singles such as “kahel na langit,” “Namumula,” and “Bughaw,” listeners can hear Maki’s personal storytelling sprinkled across a journey through the colors of the rainbow, proving that he is no one-hit wonder. Although some tracks, such as “Turning Green,” could have benefited from a longer runtime, there is still much to appreciate across the entire album. — Ralph Regis, Lifestyle and Culture Writer
Project A — Gloc-9, Abaddon
For their latest project, Filipino hip-hop heavyweights Gloc-9 and Abaddon brought out their A-game with the eleven-track full-bodied feature Project A. Strong and impactful, the two rappers showcase their expertise in Filipino rap with their excellently written lyrics and rapid hard-hitting bars.
Here, the duo collaborates with both fresh and veteran local acts like Shockra, Smugglaz, Tuglaks, Hero, and more. Poising one of Filipino hip-hop’s greatest with Abaddon, who can be seen as the up-and-coming talent, the album oozes with the energy that Gloc-9 and Abaddon feed off from one another, passing inspiration from the legend to the young. Overall, Project A highlights the strength of Filipino rap through honest storytelling, craft, and boundary-pushing chemistry.
As a showcase of Filipino hip-hop’s evolution and a sign of where it’s headed, Project A has easily landed itself as one of the most impressive albums to come out this year. — Rome Saenz, Regional Writer
For Years — Kremesoda
Good things definitely take time – a fact greatly evident with Kremesoda’s debut album For Years.
Released nearly a decade into the band’s existence, this 8-track record is an ode to their journey over the years. Here, each passing song stands as a fine indicator of the band’s beautiful evolution, from what many people have come to know them for to the musicians they’ve grown into. What results is a sonically coherent album that feels comforting and familiar while being one that speaks of artists with musicalities clearly refined.
With eight tracks tastefully blending soft rock, folk, dreampop, and other laidback playful elements, For Years is the perfect look into who Kremesoda are now and the world they’re building — one you wouldn’t mind staying in, well, for years. — Mayks Go, Writer and Photographer
Sun Blanket — Megumi Acorda
Local dream pop favorites Megumi Acorda kept a low profile in 2025 (save for a monumental appearance at Mongolia’s Playtime Festival in July), following a very busy 2024 in which the band toured Japan and China as well as other cities in the Philippines, thanks to the acclaim received by their excellent debut LP, Silver Fairy. That said, their new EP Sun Blanket came as a surprise, and does not disappoint. Showcasing a more jangly, indie pop sound compared to the denser sonics of their past material, it’s a satisfying record that works as both a creative experiment and a stopgap release. At the very least, fans are happy that a studio version of live staple “Copeland Heights” finally exists, and that the band has made sure that we don’t miss them too much. — Jason Caballa, Managing Editor
The Dissection Of Eve — G22
Following a string of singles interspersed throughout the past three years since their debut, G22 have finally released their long-awaited album with The Dissection of Eve –– and boy, was it well worth the wait.
It’s clear that the P-pop trio, comprised of Ajay, Jaz, and Alfea, really took their time with this one, given just how cohesive and refined the entirety of the record sounds, especially with their involvement as the co-writers and co-producers of every song on the album. Even as it traverses through a variety of genres and sounds, such as hip-hop, trap, ballad, and even ‘90s-inspired R&B, each song is very much reflective of their identity as the ‘Female Alphas of P-pop.’
Even as a large chunk of the record perfectly highlights the more empowering side of the group (especially with its first few tracks “Pa-Pa-Pa-Palaban,” “LAKUMPAKE,” and “Super Saiyan”), G22 also showcase their versatility and powerhouse vocals with a more sensitive, if heartfelt, side of themselves on ballads like “First,” “Until When (Kinakaya Ko Pa),” and “KIAK (Kung Ikaw At Ako),” which deserve far more attention. The Dissection of Eve is a promising and polished debut record that (rightly) puts G22 at the forefront of the growing P-pop movement, building anticipation for what else lies in store in their future as a group. — Gabriel Saulog, Lead Writer
Himig At Pag-Ibig — Earl Agustin
In Filipino music today, there’s no one that can conjure up feelings of love as vivid as Earl Agustin. When his chart-topping single “Tibok” first broke through the mainstream earlier this year, it felt like the exact warmth OPM had long been missing. With Himig at Pag-ibig, Agustin not only builds on that momentum but expands his musical range, delivering a collection that is both tender and expansive. Each track feels like a heartfelt conversation, the intoxication of a whirlwind romance, and the warm and fuzzy feeling of a love that feels like home.
Serving as an ode to Agustin’s love for music and romance, the aptly titled record a refreshing tapestry of soulful ballads and pop-infused melodies that that effortlessly captures the nuances of love and longing. With Himig at Pag-ibig, Earl Agustin doesn’t just make an album about love; he makes an album that makes you feel love in its purest and most profound form. — Franchesca Basbas, Digital Editor
LAB SONGS NG MGA TANGA — Janine Berdin
Janine Berdin’s long-awaited debut album is nothing short of a great first impression. After more than seven years in the industry, the Cebuana singer-songwriter embraces her growth and full freedom of expression in her debut record. As the title of the record suggests, LAB SONGS NG MGA TANGA captures her at her most vulnerable and honest, with songs reflecting her experiences with heartache, self-love, and life’s lessons.
For fans of Berdin long before, this is where she truly gets to exercise her artistry and capabilities within the wider realm of the local music scene. For her, gone is the Janine who started in the industry as a contestant on Tawag ng Tanghalan — a chapter she described in our track-by-track interview as a beautiful moment in her life. But as the years went by, the experiences, growth, and changes she encountered proved that she’s only just beginning to fully express herself as an artist, and the world of OPM definitely needs more of this. — Ralph Regis
Suyen Imnida — SUYEN
If first impressions are very important, then SUYEN absolutely didn’t waste hers when she dropped her debut EP, Suyen Imnida.
An in-your-face introductory set of songs from the rising alt-rock musician, this six-track effort is a catchy indie whirlwind from start to finish. Here, SUYEN pushes us head first into her universe — one chock full of crunchy guitars and bursts of high-octane, mosh-inducing chaos. Add in just the right amount of nostalgia and lighthearted musings on life and love? You get a record that’s as emotional as it is electrifying, letting you know exactly why SUYEN should absolutely be on your musical radar. — Mayks Go
BACKSHOTS — Waiian
When the past year has been an exciting time for the local hip-hop scene, Waiian kickstarted this new age of alternative hip-hop with his well-acclaimed full-length album, BACKSHOTS. Released on March 14, 2025, the record contains nine tracks — one of them (“MAN IN THE MERROR”) nominated for the Hip-Hop Song of the Year Award at the Filipino Music Awards 2025.
Authentic, raw, but nonetheless charming and humorous, BACKSHOTS by Waiian is an unfiltered portrayal of Waiian as he settles into his life in contentment. While many a rapper would write about the typical “gains,” ambition, and the like, Waiian shares appreciation for the simple and slow life. In “SI LODS NA BAHALA,” he proudly proclaims, “I’ve got the same friends since 2013 / I don’t live with my mama but mama lives with me.” Furthermore, songs like “SOFTIE” with Nicole Anjela prove that when the norm pushes rappers to put up a front of toughness, love tears that wall down to make space for being your authentic and true self. — Rome Saenz
Andalucia — IV OF SPADES
IV OF SPADES made their highly anticipated sophomore album a culmination of years of growth, memories worth reflecting on, and a significant moment in their lives — not just as artists, but as people who have rebuilt friendships and relationships that have contributed to the album. Andalucia brings together the flavors and sounds that make each member unique, leaving room for individuality while blending seamlessly with the band’s newfound harmony.
The album showcases not the band of old, but a group poised to continue making music that captures a generation of listeners who have grown up with their earlier releases, while looking forward to the future. Kickstarted by “Aura,” the band’s rebirth continues with a collection of standout tracks, including the guitar-heavy “Monster,” the moody “Tangerine Boulevard,” the feel-good bop “Rewind,” and the infectious “Konsensya.”
With Andalucia, IV OF SPADES continue to shake up their artistry without compromising themselves or succumbing to expectations. In doing so, the band delivers a complete album that embraces the best of their past while offering something entirely new. — Ralph Regis
It Was A Moment — SOS
SOS’ 2017 debut album Whatever That Was may have the edge in terms of cohesiveness and that some of its tracks, like “Perfect,” “Favoritism,” “Sweden,” and “Magic” still stand the test of time, but its highly anticipated follow-up, It Was A Moment, deserves a spot on this list just for the fact that you can actually hear the band evolve on this record. Granted, It Was A Moment is stylistically all over the place — there’s lounge pop (“Roses”), R&B grooves (“French Exit”), electro-pop (“Money”), yacht rock (“Yumi & The Apocalypse”), and Stevie Wonder-esque funk (“Seryoso”) — but the album’s stellar production and more mature songwriting somehow hold it all together. Just like growing up, it’s often ambitious and sometimes a bit messy, but it works out in the end. — Jason Caballa
tell me how you f(e)el — (e)motion engine
Explosive from the get-go, tell me how you f(e)el by (e)motion engine lives up to the band’s name, delivering a collection of songs that are as unapologetically heavy-hitting in every sense of the term as they are honest and heartfelt.
Bending together pop-punk, alternative rock, grunge, emo, and even bits of new wave, this six-track EP lets us know just exactly who (e)motion engine are, exemplifying them as one of our local scene’s most exciting up-and-coming indie rock acts. — Mayks Go
Love On Loop — Lola Amour
Less than a year since the release of their pop-rock debut album, Lola Amour make a sharp pivot with their sophomore outing, Love On Loop — and finding their sound in the process.
Leaning fully into funk’s elastic grooves, the band delivers a sleek, immaculately paced album that traces love’s cyclical highs and lows with precision. While their debut thrived on youthful rambunctiousness, Love On Loop opts for restraint — with its pleasures found in locked-in rhythms, polished horn arrangements, twinkling synth keys, and frontman Pio Dumayas’ vocals (that have never been better), resulting in one smooth, seamless, and glossy collection of tracks.
While the involvement of collaborators CUURLEY and Hyuk Shin has certainly added a new layer of sheen to their work and sharpened the album’s edges, the real triumph here is how self-assured Lola Amour sound as a collective. Perhaps it’s because they’ve established their own groove as a unit, but their sonic chemistry is unmistakable ––having that cohesion extending itself to the songwriting (which favors emotional clarity over melodrama), allowing the album’s themes to resonate without overstating their case.
Yet by the time that Love On Loop reaches its final moments (or its final loop per se), it’s clear that Lola Amour aren’t merely experimenting with funk-pop any longer — as they’ve mastered it this time around. Though the record doesn’t abandon the best aspects of their signature sound, it’s undoubtedly a refined, if confident, statement of purpose, one worthy of recognition as an example of contemporary funk-pop excellence. — Gabriel Saulog
Next Episode — Kyla
Kyla’s Next Episode marks an exciting new chapter in the career of one of Filipino music’s most enduring voices. With her distinct sultry tone and impeccable vocal control, Kyla has been a standout in the local R&B and soul scene for the last 25 years. But with this new album, she takes bold strides into a more dynamic, genre-blurring territory that is as refreshing as it is captivating.
The record, which features collaborations with with Ace$ and Nyoy Volante, is an alluring blend of the R&B sound we’ve all come to know and love from Kyla and a dynamic modern pop sound that’s both exciting and catchy. Next Episode proves that Kyla is not just an icon of the past, but an artist still evolving and pushing the boundaries of Filipino R&B. — Franchesca Basbas
HAPPY ACCIDENTS VOL. 2 — PLAYERTWO
PLAYERTWO’s HAPPY ACCIDENTS VOL. 2 is a self-assured display of the alternative hip-hop collective at their cheekiest and most effortless selves. Dropped on November 14, 2025, the sophomore album follows the playful vibe of their debut piece, turning bars and verses into infectious grooves. Additionally, the eleven-track album contains some of the group’s most well-known pre-release singles like “LET ME!” “Fresh,” and more, all the while introducing new tracks like “P2000,” “Moodswings,” and the like.
Furthermore, the deluxe edition of this highly anticipated record involves high-energy collaborations with hit-making funk pop band Lola Amour, “In The Morning” and “Take It To The Roof.”
With that, PLAYERTWO’s HAPPY ACCIDENTS VOL. 2 has an energy that feels equal parts chaotic as it does catchy and charming – one that’s bound to get everyone in the function on their feet and dancing along. — Rome Saenz
Metabolic — Kubra Commander
With Metabolic, Cebu’s Kubra Commander (the solo project of local scene veteran Bobbi Olvido) has cemented himself as the country’s best Britpop act. While previous records have drawn mostly from Oasis’ psychedelic side, his third long-player channels post-1995 British rock references like Doves (“There’s Something On My Mind”), Kula Shaker (“On The Outside”), early Coldplay (“Life On The Moon”), and The Verve (“So Don’t Fade Now”). But what ultimately makes Metabolic succeed is Olvido’s natural ability to craft dramatic buildups and climactic choruses, not skimping on synths, strings, and other instruments he could add to achieve the desired effect. Meticulously produced and melodically rich, it’s a record that deserves to be immersed in. – Jason Caballa
Silakbo — Cup Of Joe
2025 kicked off with the release of Cup of Joe’s 10-track debut studio album, Silakbo. The Baguio-based band made a strong presence in the local music scene, showcasing their ability to blend heartfelt storytelling with the five stages of grief going hand-in-hand with catchy and also sad songs.
Silakbo pulls from the band’s introspective ballads to high-energy tracks, giving listeners a glimpse into their experiences and musical versatility. The album’s title, translated from Filipino as an overwhelming outburst or surge of emotion, perfectly captures the intensity and honesty woven throughout its 10 personal tracks. From the opening track “Bagyo” to “Pahina,” “Multo,” and the titular closing track, the album takes listeners on one emotional journey that catapulted the band to become Billboard Philippines’ No. 1 Artist of 2025. — Ralph Regis
RARARA — Dilaw
Dilaw’s RARARA is a trip — no, literally. The “Uhaw” hitmakers channel a spirit of adventure in their first full-length album, which is also centered on creating connections with people. As the band embarks on its own journey toward self-discovery, the idea of a trip leading to a destination, one they ultimately call home, is represented throughout the album’s 10 tracks. The opener, “ALL IN,” immediately pulls listeners in, setting the tone with the kind of feeling and music you’d want to listen to on a road trip.
This era was kickstarted by “BLACK N’ WHITE,” and despite the lack of color suggested by the title and the song’s music video aesthetic, the band’s songwriting and production offer something vibrant to it all. The band isn’t focused on creating instant hits but instead, they embrace storytelling that is personal and uniquely their own. The closing track, “AMISTAD,” brings the journey full circle, inviting the listeners who have supported the band along the way to step into their home. — Ralph Regis
247 — Flow G
Flow G’s 247 may have been long in the making, but its impact over the Philippine soundscape isn’t one to be taken for granted. Exploring multiple genres in one twelve-track album, the well-beloved emcee delves into an all-new era of beat-making and lyricism, with a full dedication to his craft.
In tracks like “8080” and “Telebabad,” the artist’s songwriting talents come to the forefront. On the other hand, “Una Lagi” and “247” highlight the artist’s ability to innovate his sound, and craft rhythms and melodies that stick. Since the record does not involve any features, it brings Flow G with his lightning-paced, hard-hitting bars to the forefront.
Surely, with all this said, Flow G’s 247 can surely be cemented as one of the best albums to come out of 2025. The record proves to be a project that feels true to who he is, while still pushing him somewhere new. — Rome Saenz
Last Fool Show — BLASTER
As bold and adventurous in sound as its lyrics are candid and intimate, Last Fool Show is not merely a reflection of Blaster’s evolution as a musician, but a grand highlight of his prowess as a songwriter.
In this eight-track release, the hitmaking rock artist masterfully melds the most nostalgic of sounds, putting together elements of slow rock, old school pop, and even hints of classic J-rock – all held together by complementary synth-laden soundscapes that feel both haunting and adrenaline-inducing at the same time.
Polished in creation yet enjoyably gritty in character, this record is nothing short of showcasing an artist who knows the sounds he wants and isn’t afraid to bend them to his will. — Mayks Go
Harana: The Sound Of Us — Troy Laureta
Troy Laureta’s Harana: The Sound of Us is a dazzling, star-studded celebration of the ballad form, buoyed by an impressive roster of collaborators that spans numerous generations and genres.
Enlisting Ice Seguerra, Nicole Scherzinger and Regine Velasquez, Morissette, Jeremy Passion, AJ Rafael, Pia Toscano, and others, the record ensures that each featured artist brings a distinct voice and emotional depth to Laureta’s reimagined set of OPM favorites, making every track feel fresh yet familiar enough to connect with audiences.
What makes this record so compelling is how Laureta’s lush arrangements and masterful compositions harness the full expressive range of the ballad — from tender, intimate moments to soaring, cinematic swells — breathing new life into classic material. His ability to tailor each arrangement to the unique strengths of his collaborators is not merely a commendable feat, but keeps the album vibrant and engaging throughout, proving that the timeless appeal of the ballad can still evolve and resonate globally. — Gabriel Saulog
Simula At Wakas — SB19
Nobody knows how to conjure up a unique and immersive world of their own like SB19 can.
With the release of their latest EP, Simula At Wakas, the Kings of P-pop have (once again) achieved such a feat — inviting listeners far and beyond to experience the mythology they’ve built up through its visual imagery, while their intricate lyricism tells a cleverly woven story of its own. The record spans a number of hard-hitting and empowering anthems, yet it also delves deeper into themes of struggle, resilience, and legacy — highlighting their maturity as storytellers.
Still, that doesn’t mean that the EP is as heavy as you’d expect from a project of this nature. SB19’s ability to craft bangers and ballads out of such topics stands as a testament to their talents, both individually and as a group. Coming after their respective debuts as solo musicians, one could very much feel each member’s unique pulse on certain tracks off the record, yet the entirety of these seven tracks embraces (and embodies) their respective strengths into one collective sound.
Simula At Wakas marks a fitting capstone to a musical trilogy that only seems to get better with every release (following PAGSIBOL and PAGTATAG!) — though it also stands as a bold, if exciting, promise for what else lies ahead for Pablo, Stell, Josh, Ken, and Justin in the very near future. — Gabriel Saulog
ANTAGONISMS — hazylazy
One of Antagonisms’ tracks is entitled “FLAMING SLIP,” a play on the iconic American indie-psych band, Flaming Lips — and why not, because hazylazy’s long-awaited full-length debut is nothing short of a psychedelic masterpiece, and ringleader Jason Fernandez could very well be the Mow’s scene’s Wayne Coyne. In Antagonisms, the erstwhile post-rocker crafts an audio collage of wall-of-sound guitars, off-kilter synths, lo-fi beats, tape loops, and heavily reverbed vocals that form endlessly listenable songs that explode at the right moments. The end result is an album that offers melody, texture, ambience, and chaos in satisfying doses, and bears repeated listens. – Jason Caballa
rOe — ena mori
There’s a beautifully haunting feeling that ena mori’s EP rOe leaves you with long after the final song concludes.
Born from a deeply personal journey in the confines of enriching solitude, this six-track collection of songs from the sonically experimental rule-breaker is not simply another vulnerable peek into her ever-changing colorful realm. Rather, with the creatively redefining experiences the avant garde artist has had in the past few years, she has managed to craft a series of songs that speak to the heart, while serving a mesmerizing offering of tasty electronic elements and atmospheric soundscapes unlike anything she has ever done before. — Mayks Go
FLAMES — BINI
It’s been long in the waiting for BINI to come out with more Tagalog music, and when the Nation’s Girl Group came out with their latest album, FLAMES, they surely delivered.
With its title FLAMES being inspired from the classic childhood game, the album reflects a nostalgic energy that exudes a feel-good vibe. Leading with the chart-breaking “First Luv,” the record leans into a vision that’s young and bright, full of that bubblegum pop sweetness that brought BINI to the limelight.
From the dreamy infatuation of “Sweet Tooth” to the warmth of lasting friendship in “Infinity,” and the longing of “Katabi,” the record blends bubblegum pop and R&B with breezy melodies that feel both youthful and polished. With this in mind, FLAMES shows BINI at their next stage of growth in their artistry, while equally highlighting their vocal chemistry and evolving sound. — Rome Saenz