- Could you share the thoughts and ideas behind this mix?
I wanted to share some songs highlighting the musicality and the feel-good vibe of the Manila Sound era, which was considered as the golden age of Original Pilipino Music (OPM).
- Could you explain what kind of music OPM refers to?
OPM (Original Pilipino Music) is not a genre but a general term for pop music from the Philippines. The acronym was coined by Danny Javier of APO Hiking Society.
- Would you say that OPM is a familiar and deeply rooted sound for people in the Philippines?
Yes, definitely. OPM as a whole is deeply rooted in the Philippines. Manila Sound in particular is still being covered and played everywhere back home. But not everything I played today was a hit. I mixed in some hidden gems too—tracks that weren’t necessarily big chart songs, but just sounded really good. That’s why I wanted to share them.
- At the time when OPM was developing, what other kinds of music were popular in the Philippines?
From what I know - the Philippines was following American and British pop charts.
- We strongly sense an affinity between OPM and Japanese city pop in terms of sound. City pop developed under the influence and admiration of American genres such as soul and jazz/fusion at the time.
I think OPM and Japanese City Pop have the same influences! American pop, soul, and jazz that were popular around that time.
- In addition to city pop, we also sense a mood in OPM that resonates with Hawaiian AOR/Soft Rock (e.g. Kalapana, Country Comfort and Sea Wind.) There’s a breezy, seaside warmth to the sound. Do you think this atmosphere is connected to the Philippines being a tropical island nation?
That’s a great observation, and I definitely think there’s a connection between the environment and the overall musical atmosphere.
- Are OPM lyrics primarily written in Tagalog, or are other languages commonly used as well?
Tagalog, English and other Filipino languages - we have many, and not just dialects.
- What inspired you to focus on promoting OPM as a DJ? Was there a particular moment or experience that led you in this direction?
After I moved to the US from the Philippines, music and food from home helped ease my homesickness. I used to carry VST & Company’s first LP in my DJ bag all the time. I have been digging for these records for decades, partly out of nostalgia, but also because I genuinely love this sound.
The real catalyst, though, was the pandemic. I DJ full time, and when I suddenly lost all my work, I started streaming on Instagram, Mixcloud, and eventually Twitch. Filipinos from all over the world would tune in, and you could feel how happy people were to hear OPM. That led to OPM Sundays, which I started with my friends Mark Anthony and Joel Quizon. We played OPM+, roots, pop, and covers from the Philippines and the diaspora, often with a Filipino film playing in the background. It became a way for us, and for our listeners, to stay connected.
- Aside from OPM, what other genres of music have shaped you as a DJ and as a listener?
I have a very eclectic taste in music but growing up, aside from OPM, I was really into New Wave, Euro Disco, the songs on the radio that my Mom would tune into when she wanted us to take a nap - Soul/AOR/Mellow/Easy-listening type music.
- As you are based in Washington, D.C., how is OPM received in the United States? Are there other DJs there who specialize in OPM as well?
In my experience, OPM is received pretty well when I play it out, and not just by the Filipino American community.
Yes! In the US, particularly in the West Coast - my friends ET of Astig Sound, Waxstyles of This Filipino American Life, and Joel Quizon, my OPM Sundays collaborator.
- Is it difficult to obtain OPM records today, particularly original pressings?
Yes
- Out of the records you played today, were there any tracks you were especially eager to share with the audience? Could you highlight a few selections and tell us why you chose them?
Of course, all of the records I played today are my favorites, but let me highlight a few.
Long Espina “Mahal Kita.” For example, this one is kind of funny—the label is actually my handwriting (laughs). A friend had an extra copy, so I bought it from him, but mine was a blank label. He sent me a photo of his copy of the record, and I wrote the artist name, record label and catalog number myself (laughs). This track is a cover song, and I’m not sure if it’s on YouTube or Discogs. I’m really grateful to have it.
Another one is by Marvic (Sotto) “Ipagpatawad Mo.” It’s a different version from the VST & Company LP, and it’s such a great song, so I included it in the set.
And I also want to highlight Jacqui Magno’s “Capture the Changes.” Her voice is beautiful, and she’s popular in Japan too. This single was released on the Horizon label.
- What personally draws you to OPM? What makes it special or meaningful to you?
Well, I’m Filipino. I grew up in the Philippines during the Martial Law era, and this music is the sound of my youth and childhood, so it’s very nostalgic. Even songs I didn’t know growing up still carry that familiar sound. To me, it feels warm and beautiful. I love OPM, and I love sharing it. Wherever I go, wherever I’m on tour, I always bring Filipino music with me.
- Besides DJing, what stimulates your creativity?
Digging is a big one for me. It feels meditative, same as when I’m cleaning and listening to records. Travel also fuels me, even though it can be quite exhausting. Community and collaboration as well.
- What plans do you have for 2026?
I just want to live (and find more records)!
