October 17, 2025

Sammy Virji’s 1st Asia Tour Brings UK Garage Heat & Basslines to 6 Cities

by: The Beat Asia

Photo by Sammy Virji/ Instagram

October 17, 2025

by: The Beat Asia

Even if you’re unfamiliar with UK garage (UKG), an electronic dance music genre originated in England in the 1990s, you will without a doubt be moved by a Sammy Virji set.

It’s the bounce, the bass, and the cheeky grin behind the decks that will move even a non-dancer. And towards the end of the year, the British DJ and producer is bringing that unmistakable energy to Asia for the first time, with a multi-city tour that’s already sending shockwaves through the region’s underground music scene.

Official poster of Sammy Virji's Asia tour — Instagram/ Sammy Virji

The tour kicks off November 28 in Kuala Lumpur and continues through Singapore, Tokyo, Bangkok, Hong Kong, Bali, and Jakarta, making it one of the most expansive debuts by a UKG artist in Asia to date.

Notably, two of the stops will happen within two of Asia’s electronic music events: 808 Festival in Bangkok and Djakarta Warehouse Project in Jakarta, bringing his signature sound to massive, diverse crowds.

Virji’s rise has been meteoric. From sold-out shows across Europe and North America to commanding major stages at Boiler Room, Coachella, Glastonbury, and Tomorrowland, he’s become a defining voice in the new wave of UK electronic music. His sets are known for their technical precision and emotional punch, weaving garage, house, grime, and bassline into a sound that’s uniquely his.

Sammy Virji in a previous show — Instagram/ Sammy Virji

Adding fuel to the fire is his latest album, "Same Day Cleaning," released in September 2025. The project features collaborations with heavyweights like Skepta, Flowdan, Giggs, and Chris Lake.

Tracks like “Cops & Robbers” and “If U Need It” have already become club staples, with the former breaking into the UK Dance Top 10 and the latter earning Gold certification. The album showcases Virji’s ability to evolve UKG without losing its soul, layering vocal grit, melodic hooks, and dancefloor heat into a package that feels both familiar and fresh.

Sammy Virji in his previous shows with other artists — Instagram/ Sammy Virji

For fans across Asia, this tour is a cultural moment. UK garage, once confined to London’s pirate radio stations and sweaty basement clubs, will be echoing through the streets of Tokyo, the rooftops of Kuala Lumpur, and more like a bridge built between scenes, generations, and cities.

To stay in the loop and receive updates on ticket drops and exclusive content, sign up via the Asia tour’s official website. For festival dates, fans can purchase passes directly through the websites of 808 Festival and Djakarta Warehouse Project.

For updates, follow Sammy Virji on Instagram and Facebook, and listen to his tracks on Apple Music and Spotify.

Sammy Virji’s Asia Tour 2025 in Kuala Lumpur Rex KL Fri, November 28
7:00 PM onwards Experience Sammy Virji’s Asia Tour 2025 live in Kuala Lumpur on Nov. 28, 2025, at Rex KL. Tickets from RM250.

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Asia/ Vibe/ Pop Culture

October 15, 2025

Screen Test: ‘Genie, Make a Wish’ — A Spellbinding Start or Slow Burn?

by: The Beat Asia

Photo by Netflix/Website

October 15, 2025

by: The Beat Asia

Did a new show pop up on your Netflix watchlist? Or maybe there's a new Asian drama making its rounds on social media? Stop scrolling before you fall into the spoilers black hole and let us help you decide if it's worth watching.

From Hollywood sitcoms that tickle your funny bones and thrillers that keep you on the edge of your seats to romantic K-Dramas that make your heart skip a beat, The Beat Asia is taking a first look at the latest series releases for your viewing pleasure.

So, sit back, relax, and enjoy the review!

“Genie, Make a Wish” Episode 1

Run Time: 54 minutes

Rating: 16+

Genre: Fantasy, Romantic Comedy

Subtitle Availability: English (CC), English, Filipino, Korean (CC), Korean

Audio Availability: Korean [Original], English, Japanese

Warnings: Contains violence

*SPOILER ALERT! This section contains details from the first episode of “Genie, Make a Wish.”

Series poster — Photo from Website/Netflix

Nearly a decade after the 2016 melodrama “Uncontrollably Fond” had us swooning and sobbing in equal measure, actors Kim Woo-bin (“Black Knight,” “Our Blues”) and Bae Suzy (“Vagabond,” “Start-Up”) reunite onscreen in Netflix’s latest original series. How fitting it is to say that some wishes really do come true!

In “Genie, Make a Wish,” Kim Woo-bin plays a mysterious, mischievous genie who wakes up after a thousand-year nap when a cool and detached young woman named Ka-young (Suzy) ends up with his magic lamp. As tradition goes, a genie must grant its master three life-changing wishes, but this familiar fantasy takes a darker turn when it’s revealed that the genie is actually Iblis — the leader of devils and the very embodiment of temptation and corruption — who harbors a deep disdain for humankind.

Their unlikely partnership quickly spirals into chaos, turning Ka-young’s world upside down and pulling her into an unexpected and dangerously intoxicating romance with the devil himself.

With the series being written by Kim Eun-sook, who has penned some of the most acclaimed K-Dramas of the past decade, including “Guardian: The Lonely and Great God,” “Descendants of the Sun,” and “The King: Eternal Monarch,” expectations were naturally high. And with its fantasy rom-com premise, it felt like the perfect show to dive into just in time for spooky season.

However, after watching the first episode for a Screen Test, we couldn’t help but feel a little underwhelmed. The characters, while promising in promotional teasers and synopses, came across as rather shallow and hard to connect with. The episode also struggled to establish clear stakes early on. For a drama with only 13 episodes, three fewer than the typical K-Drama series, the pilot felt weighed down by filler scenes that could’ve been better used to build tension or deepen the conflict.

Here’s a closer look at our thoughts.

A Fantasy Comedy with a Devilish Twist

Compared to “Bon Appetit, Your Majesty,” which starts on a high note with the introduction of a critical moment in the storyline, “Genie, Make a Wish” begins with Once Upon a Time. We suppose it is fitting for the genre, allowing the story to unfold like the opening chapters of a novel.

The first scenes began with a deep dive into the genie’s origin lore, with Iblis narrating how he was created by a Supreme Being from smokeless fire. After the genies’ creation, some of them tried to go against their creator, which led to a war that lasted for 300 years. Iblis found it a waste of time and waited it out inside a lamp. After the war, the creator made the first humans and ordered angels and genies to bow to them, to which Iblis strongly refused.

Just as he was being cast out from heaven, he begged the Supreme Being to allow him to corrupt humans and send them to hell, wanting to show how pathetic the mortals were. The creator agreed, but on the condition that if he encounters a pure human soul, he will fall deeper into isolation and despair. This worked well for him for many years, easily tempting humans, until he crossed paths with a girl who used all her wishes to save others. He took some of her remains before she passed and vowed to seek his revenge once he was freed by a new master.

The show’s mythology draws heavily from Islamic lore, and we commend the writer for creatively blending the genie myth with the story of Iblis, who’s also known as Satan. The world-building is detailed and ambitious, which works both for and against the series. On one hand, it provides a rich origin story for the genie and sets a strong foundation for the leads’ past relationship. On the other, the heavy exposition makes the opening feel overwhelming, with too much information to absorb in just a few minutes.

Kim Woo-Bin — Photo from Website/Netflix

The lore monologue is intercut with present-day scenes of Ka-young, allowing viewers to learn about Iblis’ history while visually being reintroduced to her, hinting that she’s the same girl he once met centuries ago.

Ka-young is introduced as a cold, emotionally detached woman whose backstory reveals that she was abandoned by her mother at a young age because of her psychopathic tendencies. The show hints at her inner turmoil through scenes that highlight both her violent streak and her suicidal impulses — most notably when she’s shown diving into the sea or submerging herself in a bathtub, holding her breath underwater for long minutes.

Her journey takes her to Dubai to confront her estranged mother, and much of the pilot is set there. It’s during this trip that she stumbles upon Iblis’ magic lamp buried in the desert sands, just as in the familiar tales of “Aladdin.”

We always appreciate a good destination drama, but seasoned K-Drama viewers will likely recognize the pattern: the exotic setting rarely lasts beyond an episode or two, as seen in “Vincenzo” and “The Legend of the Blue Sea.” The story will almost certainly shift back to Seoul, Ka-young’s home base. Still, the Dubai backdrop effectively establishes the genie’s origins and ties the story neatly to its mythical source material.

Ka-Young, as expected, is disbelieving of the mythical spirit that she awakened, thinking him a stalker or a homeless man with long hair. This was followed by a series of comedic scenes where the genie is trying to prove himself as a powerful being, all the while pushing her to make the three wishes. She tries to get rid of him by selling off the lamp and throwing it away, but all her attempts fail, and Iblis returns each time.

At the same time, Iblis also learns a little bit more about the modern world, clearly fascinated and often bewildered by how much has changed, from technology to towering skylines. This adds another layer to his character and sets up plenty of opportunities for lighthearted, comedic moments throughout the series.

Ka-young only starts to believe him when she gets caught talking to thin air by some tourists, realizing that only she could see the genie. He then takes her to fly across the city — Superman style — to impress her and prove that he is indeed who he says he is. They land on a helipad, where he once again asks her to make a wish.

The episode takes a dark turn when she gives in to her violent impulses and pushes him off the building. Iblis survives the fall, healing his broken body with magic, but the attack enrages him. He retaliates by choking her and demanding that she make a wish to save herself. Unfazed, she only laughs and taunts him, asking if the fall hurt and admitting she’s having fun. The episode ends with his hands around her neck and her feet dangling above the floor.

There were moments in this episode that were promising, such as the way the Islamic lore was woven into the genie story and the heart-drumming cliffhanger at the end, where Suzy’s crazed laugh gave us chills. The initial scenes were the present-day scenes of Ka-Young going through her daily routine, gave us glimpses into her life while still being strung along by the genie’s voiceover as he narrates his origins, which we believe hit two birds in one stone, providing audiences with mystery and clarity at the same time. However, this can also be confusing for some with how the scenes would often switch. It builds up, then lets you go, making it a challenge to keep one’s focus on the scene. We also thought the lore was heavily placed at the start, which could be overwhelming.

While the episode showcased stunning visuals and top-notch acting from the actors, a huge chunk of the runtime focused on the genie’s repeated, often comedic attempts to make Ka-young state her wishes. While the humor was intentional, it took up space that could’ve been used to develop Ka-young’s character. We learned she’s been violent since childhood, yet the show doesn’t explore the reasons behind it, making it difficult to feel empathy for her so far. It may be too early for more flashbacks, but we do hope they name these reasons earlier in this series.

Korean actors — Photo from Website/Netflix

Given the density of the lore, the writer kept the supporting cast minimal for the pilot, providing a balance. Aside from the leads, we meet Ka-young’s grandmother (Kim Mi-kyung), who helped her manage her violent tendencies and her estranged mother. There’s also a brief glimpse of the genie’s minion (Go Gyu-pil), though little is revealed about him. As far as casting goes, we think Woo-Bin fits the role of the mysterious but also goofy genie, and while Suzy doesn’t look like someone who enjoys violence, we thought it gave room for her to showcase her acting skills, so we’re looking forward to seeing this side of her more as the story progresses. We also saw wonderful costume designs, which were inspired by Emirati styles like long cloaks and colorful, sparkly sashes, which truly gave that magical fantasy vibe.

Special effects were also done well, with most of the magical aspects and scenes hardly looking cartoony. Overall, the pilot sets up the mythology and the leads’ fateful encounter nicely, laying the groundwork for what’s to come.

Final Verdict

It’s always refreshing to see two stars reunite on screen, and Suzy and Kim Woo-bin’s chemistry instantly reignites that spark, even when they’re literally trying to kill each other in this episode. Watching them navigate an enemies-to-lovers dynamic will no doubt be exciting, and we can only hope this story doesn’t end with one of them in hell. Then again, if K-Drama fantasies have taught us anything, it’s that humans and mythical beings rarely get their Happily Ever After. But with a writer like Kim Eun-sook behind the script, we’re keeping our hopes up for a more satisfying ending this time.

Given its fantasy premise, it’s only natural for the show to lean into a few far-fetched moments, but hopefully, it balances that out with some real, human emotion. So far, it hasn’t quite found its hook, but the good news? All 13 episodes are already out on Netflix, making it super easy to binge. The bad news? That same convenience might make it just as easy to drop, especially since the pilot didn’t clearly show what’s at stake, leaving us wondering if we should hit “Next Episode.”

Still, if you’re in the mood for a fun fantasy with a touch of darkness and a sprinkle of otherworldly romance, this one’s worth a shot. And with Suzy and Kim Woo-bin’s chemistry? We’re confident the romantic sparks will more than deliver since it’s not their first rodeo as on-screen lovers.

Watch “Genie, Make a Wish” on Netflix today.

For updates on the latest movies and series, follow Netflix on Facebook, X (Formerly Twitter), TikTok, and Instagram.

Enjoyed this article? Read more of our Screen Test reviews here.

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Asia/ Vibe/ Pop Culture

October 13, 2025

The Performative Male Starter Pack: Aesthetic or Identity Crisis?

by: The Beat Asia

October 13, 2025

by: The Beat Asia

He’s sipping his iced matcha latte with oat milk, quoting bell hooks between Clairo and Laufey tracks, with a Labubu keychain dangling from his thrifted tote. You’ve seen him. Maybe dated him. Definitely scrolled past him. The Performative Male is everywhere, and he’s curated to perfection (or so he thinks).

But before you fall for the soft lighting and lowercase captions, ask yourself: Is this lifestyle lived, or just liked?

And before we dissect the deeper meaning behind this curated persona, let’s take a closer look at the visual and cultural cues that define him. From his beverage of choice to his Instagram grid, here’s what makes up the Performative Male starter pack and why it’s more than just a vibe.

Iced Matcha Latte

The iced matcha latte with oat milk is totally a declaration. Cool, green, and photogenically layered, it’s the beverage of choice for the Performative Male, signaling taste, restraint, and just enough obscurity to feel elevated. It’s the emotional prop: a sip of sensitivity, a swirl of aesthetic empathy, and a subtle nod to the soft masculinity he’s trying to embody or at least emulate.

Tote Bag

The tote bag is his armor. Usually thrifted and screen-printed with a cryptic slogan or feminist quote, it swings from his shoulder like a badge of ideological alignment. Inside, you’ll likely find a pristine copy of The Will to Change by bell hooks with its spine uncracked, message unpracticed.

And of course, it’s bell hooks because her work on masculinity is radical yet readable, the perfect citation for signaling emotional depth without confronting it. Bonus points if you have a carabiner attached showing off more of your possessions.

Wired Earphones

His earphones are wired, of course. AirPods are too mainstream, too corporate. Wired headphones suggest nostalgia, intentionality, and a rejection of tech conformity. They’re part of the look, just like the iced matcha, which he holds like a fashion accessory because the mood matters.

Labubu Keychain

Then there’s the Labubu keychain, a strange, goblin-like creature that’s become a cult symbol among Gen Z aesthetes.

Is it ironic? Is it cute? Is it a cry for help? No one knows. But it dangles with purpose, signaling a kind of niche cultural fluency that says, “I’m in the know, but I don’t take myself too seriously.”

Feminism

He’ll talk about feminism. He might even post about it on Instagram. But when pressed on the actual labor of allyship, listening, unlearning, and showing up, he often retreats into ambiguity. The feminist literature is there, but the internalization is missing. It’s less about the message, more about the optics.

Clairo, Laufey & More

His playlist is a soft swirl of Clairo, Laufey, and sad girl indie. He knows every lyric. He’ll tell you he “feels deeply.” But when it’s time to talk about his own emotions, he deflects with irony or disappears entirely. Vulnerability is aestheticized, not embodied.

The Outfit

Timothée Chalamet in performative male outfit in Paris — Instagram/ Timothée Chalamet

And then there’s the outfit. Oversized button-downs in muted tones, sage green, dusty rose, off-white, paired with wide-leg pants and worn-out sneakers.

Wireframe glasses perch on his nose, even if he doesn’t need them. A single silver ring glints on his finger or a chain on his collarbone. His skincare routine is immaculate, making him glow, but is it from within?

Instagram Grid

His Instagram grid is a visual diary of performative vulnerability.

Soft lighting, vintage filters, captions in lowercase introspection. Every image is a calculated gesture toward emotional availability, engineered to appeal to the progressive gaze as persona-building. "It keeps me up at night knowing women have periods every month."

Where the Problem Lies

Ken playing the guitar at Barbie, The Barbie Movie (2023) — Photo from "Barbie" Film (2023)

Let’s be clear: nothing in the Performative Male starter pack is inherently problematic.

Listening to Laufey, reading feminist literature, sipping iced matcha, or wearing wireframe glasses are all valid, even beautiful, expressions of taste and identity.

The issue isn’t the aesthetic; but often the intention behind it. The problem arises when these choices become tools of performance rather than reflections of genuine belief or curiosity. When emotional openness is curated for romantic appeal, and feminist quotes are posted without personal accountability, the result is a hollow mimicry of progress. So, it’s not the matcha, it’s the motive.

In a culture that rewards surface-level virtue signaling over substance, the Performative Male becomes a mirror for a broader dissonance: the struggle to be sincere in a world that prizes the appearance of depth more than the work it takes to get there.

Yes, it’s encouraging to see men embrace softness, feminism, and emotional openness. But when these traits, or any other traits, are leveraged for social capital, especially romantic validation, they lose their sincerity.

Rejecting toxic masculinity is progress but replacing it with a new performance doesn’t take away the mask. Loving Laufey is lovely. But using her lyrics to seem sensitive while dodging accountability is just aesthetic empathy.

The Performative Male isn’t the villain but the symptom. A product of a generation caught between dismantling old norms and grasping for what comes next. It’s identity confusion dressed up as cultural fluency. And while it’s tempting to laugh it off, it points to something deeper: a need for real emotional literacy, not just curated vulnerability.

So, if you spot a performative male in the wild, don’t rush to judge. But do ask: is this softness sincere, or just another facade?

For those who may be facing an identity crisis or looking for a positive emotional outlet, check out local counselling services near you or an online platform.

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Asia/ Vibe/ Pop Culture

October 08, 2025

Off-Grid and Into Reality: ‘TRON: Ares’ Flips the Digital Script

by: The Beat Asia

Photo by Disney Philippines/Website

October 08, 2025

by: The Beat Asia

More than two decades after the original “Tron” introduced audiences to the neon-lit realm of the Grid and its Programs — and 15 years since “Tron: Legacy” delivered a visually stunning journey through that digital frontier — Disney is once again pulling us back into the game. This time, however, the studio flips the digital script, sending Programs “off-grid” and bringing the fight into our world.

“TRON: Ares” puts the spotlight on Ares (Jared Leto), a highly sophisticated Program sent into the real world on a dangerous mission, marking humanity’s first face-to-face encounter with AI beings. The film follows his journey from a digital warrior built for battle to a sentient being learning what it means to feel. It’s part action, part self-discovery, with a premise that feels surprisingly timely.

Directed by Joachim Rønning, the film takes audiences on an action-packed journey filled with neon-lit motorcycle chases, brutal on-and-offline battles, and a surprisingly thoughtful character arc that carries a touch of Disney heart. It also boasts a stellar and diverse ensemble cast, including Greta Lee, Evan Peters, Hasan Minhaj, Jodie Turner-Smith, Arturo Castro, Cameron Monaghan, Gillian Anderson, and Jeff Bridges, who reprises his iconic role as Kevin Flynn — the founder of Encom and creator of “Tron.”

Given how fast technology is evolving and how AI has become such a hot topic, revisiting the “Tron” universe now feels like a smart move. “TRON: Ares” explores both the bright possibilities and darker dangers of AI, imagining a future where digital beings don’t just live in The Grid, but walk among us. It’s a timely concept brought to life through jaw-dropping visuals, thrilling battle sequences, and a pulsating score that amps up the tension.

That said, while the movie delivers on spectacle, it stumbles a bit when it comes to emotional depth. The fast-paced plot often overshadows Ares’ character development, which is a shame since he’s the emotional core of the story. What could’ve been a powerful journey of an AI learning to feel sometimes gets lost in the noise of all the action.

We had the chance to see the film ahead of its world premiere on Oct. 10, and here’s what we thought.

TRON:Ares poster — Photo from Website/Disney

‘TRON: Ares’: Big Action, Small Emotion

Ares is the brainchild of Julian Dillinger (Evan Peters), grandson of Ed Dillinger — founder of Dillinger Systems, as introduced in the previous films in the franchise. Just like how his grandfather wrote the Master Control Program (MCP), Julian made Ares an unstoppable MCP, one that is able to learn, grow, and adapt, making it the ultimate weapon. Julian currently has access to generative lasers that reconstitute digital beings into the physical world. Just think of it as a very advanced 3D printer with massive lasers.

In the film, Julian plans to sell the Program to the military, but just like how today’s Generative AI is still in its early stages, the tech here also has some major flaws; one being that it is unable to perform what it’s originally programmed to do, as everything the laser creates disintegrates in 29 minutes. This defect can only be rectified by the so-called “Permanence Code,” which was created by Kevin Flynn and rediscovered by Eve Kim (Greta Lee), Encom’s current CEO. This becomes the catalyst that sends Ares moving in the real world.

In an attempt to properly rectify this flaw, Julian sends the MCP on a mission to capture Eve and retrieve the code, which basically means to kill her. But upon their encounter, Ares is bombarded with mass data filled with life experiences that made him grow curious, as he’s introduced to certain “feelings.”

The film opens with an impressive hook, using a montage of news headlines to deliver a thorough backstory and quick recap — a clever nod to “Tron: Legacy,” which used a similar device. Although “TRON: Ares” was designed as a “soft sequel” that can stand on its own, this opening is a nice treat for longtime fans. It situates the story within the larger Tron timeline, helping viewers pinpoint exactly where this chapter fits.

Early on, the film draws another smart parallel to Legacy. The sequence where Julian infiltrates Encom’s servers in search of the Permanence Code mirrors Sam Flynn’s daring break-in at the start of the 2010 sequel. But this time, the perspective is flipped. Instead of a human sneaking into the system, we see Programs infiltrating through the digital space. The film visualizes hacking not as lines of code but as a full-blown battle on The Grid — transforming a simple digital breach into an intense, cinematic showdown. It’s a fresh and visually exciting way to reinterpret a familiar moment from the franchise. And coupled with the invigorating techno score by Nine Inch Nails’ Trent Reznor and Atticus Ross, it’s easily one of our favorite parts of the film.

AI robots — Photo from Website/Disney Philippines

With the film leaning heavily on action sequences, we felt that the score gave each scene its own unique identity, equipped with high-stakes emotion and emotional undertones. This film definitely had better music compared to its predecessors.

The plot was fast-paced, keeping audiences seated and attentive. Tron has always been known for its Light Cycles, and while seeing them on The Grid was a spectacular experience, nothing could have prepared us to see these magnificent vehicles on an actual road, which proved just how fast these motorcycles could be. The chase scene between Eve, Ares, and the equally lethal Program Athena (Jodie Turner-Smith), across the city, had our hearts racing!

More than the Light Cycles, the other modes of transport introduced here were also spectacular, from the planes to the winged suits akin to Marvel’s Iron Man. It was a treat to see different kinds of weapons apart from the iconic disks.

Futuristic planes — Photo from Website/Disney Philippines

While this sci-fi adventure delivers on thrills, it falls short when it comes to character development — especially with Ares. The film’s core premise revolves around a digital being learning to feel, but that transformation happens too quickly and without much depth. His emotional awakening is mostly conveyed through the data he processed, like glimpses into Eve’s life: witnessing the loss of her sister and discovering “Frankenstein,” where he latches onto the line “I am fearless and therefore powerful.” This moment sparks his break from Julian’s control, and not long after, he abruptly decides he wants to become “permanent.” From there, he strikes a deal with Eve: he’ll protect her in exchange for the Permanence Code.

While it’s charming to watch him encounter new sensations and emotions, the film doesn’t fully explore this journey. It could have benefited from more moments — both subtle and significant — to trigger his growth and deepen his emotional arc. This issue is amplified by Jared Leto’s performance, which remains fairly one-note throughout the film. He’s brilliant at embodying a Program, but once Ares begins to feel, there’s little visible shift in his expressions or demeanor to mark that evolution. As a result, the emotional core that should have anchored the story feels underdeveloped, and made the ending feel cheesy.

On the other hand, the antagonists in this film were noteworthy. We especially loved Evan Peters’ performance as Julian. He was the kind of villain you hate, but also can’t help but feel impressed by. He might be reckless, power-hungry, and a thief, but the fact that he coded Ares shows his brilliance. Similarly, Athene started as a minor character who transformed into a full-blown villain. We had hoped we had gotten to see more sides of her apart from being a lethal weapon, especially after seeing a glimpse of her hesitation upon her first contact with rain. But again, the film failed to explore this further and instead focused on the action.

Jodie Turner-Smith as Athena | Photo from Website/Disney Philippines

Greta Lee’s performance was also good, and she had a clean and well-structured character arc. However, we hoped her character had been utilized more to amplify Ares’ evolution. It would’ve been better to see their relationship grow deeper — not necessarily in a romantic sense, but simply as two people learning to accept and manage complex emotions.

Meanwhile, Jeff Bridges’ participation was a treat for fans of the Tron films, and seeing the game in its 80s version was definitely fun. But his scene with Ares wasn’t as impactful as we’d hoped. It did, however, give us some good quotes, like how the Permanence Code should have been called “Impermanence” because compared to a Program with thousands of cycles, a human only has one. This highlighted the ephemeral aspect of our lives and how being able to feel things and make our own choices is still better than being an all-powerful immortal with a hollow center.

Final Verdict

Expect “TRON: Ares” to take you on a thrilling ride of action on and off-grid. But while the premise promises to highlight the evolution of an AI entity learning to feel, it lacks impact and falls short on its emotional connection.

At first watch, it may be easily overlooked as you’re bombarded with non-stop action sequences equipped with stunning visual effects and great music, but for those who are more inclined to enjoy character-driven stories, this might feel a little hollow. However, it was amazing to watch on the IMAX screen, so if you were to watch it in theaters, we recommend seeing it in 3D for the full experience.

“TRON: Ares” is now showing in cinemas in the Philippines and the rest of the world on Oct. 10, 2025!

Follow Walt Disney Studios on Facebook, X (Formerly Twitter), and Instagram for more Disney movie magic.

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Asia/ Vibe/ Pop Culture

October 06, 2025

Album Review: 'The Life of Showgirl' by Taylor Swift Misses Cabaret Sound

by: The Beat Asia

Photo by Taylor Swift

October 06, 2025

by: The Beat Asia

Only a few weeks after she broke the internet with her engagement news, Taylor Swift has once again caused a tsunami over the internet with the release of her highly anticipated 12th studio album. Yes, this is not a drill. We have officially entered a new era!

After weeks of incredible concept photos showing the pop icon clad in glitter and feathers, and multiple vinyl and CD editions that truly sold the Showgirl vibes and aesthetic, the curtain rises on “The Life of a Showgirl,” a shiny and new pop compilation set to take over the airwaves.

Everything about this album screams glamorous, from the concept down to its marketing, which consisted of pop-up takeovers, listening parties, and even a cinematic premiere for “The Fate of Ophelia” — the album’s lead single — which had fans flocking to theaters to get a first watch on the music video. Aesthetic-wise, Taylor might just have released her most beautiful album yet, with the concept photos truly capturing cabaret vibes, taking us front row and center to her very own “Moulin Rouge.”

The Life of a Showgirl album cover — Photo from Facebook/Taylor Swift

However, as the first drum beats of “The Fate of Ophelia” echoed from our speakers, followed by pop tracks layered with Taylor’s signature instrumental hooks and infectious melodies, it quickly became clear that the Showgirl aesthetic we anticipated was conveyed more through the album’s themes than its sound. In short, if you’re expecting theatrical trumpets, precision choreography in musical form, and big-stage cabaret glamour, “The Life of a Showgirl” doesn’t deliver the sound of what happens on stage. Instead, it spotlights the spectacle of a showgirl’s life behind the curtain.

We gave the album a thorough listen, and here’s what we mean.

‘The Life of a Showgirl’: More Pop Show than Cabaret Glow

One of the highlights of this album is Taylor revealing that she’s once again working with songwriters/producers Max Martin and Shellback. For those who don’t know, they’re just some of the singer’s most important collaborators, having worked with her in some of her most iconic eras, including “1989,” “Reputation,” and “Red.” If we were to find a common denominator between these albums, it’s that Taylor has defined new sides of her music in these records, from creating genre-bending tracks to fully changing her sound or immersing herself so deeply into a concept that it has taken on a life of its own. These two producers have helped her release some of her biggest hits, such as “Shake It Off,” “I Knew You Were Trouble,” “Blank Space,” and “…Ready for It.”

So it’s safe to say that we had high expectations. After an incredible run of her past eras, with her Grammy-winning albums “Folklore,” where she revolutionized the indie sound, the bedroom pop-clad “Midnights,” and even the mammoth of a record “The Tortured Poets Department” where she released a total of 31 songs, which can easily be describe as her most lyrically thought-provoking and heart wrenching album to date, the singer-songwriter makes a sharp pivot in this new record as she returns to her pop roots. But while some expected it to be “1989” Pt. 2, “The Life of a Showgirl” sounds a bit more like how “Midnights” looked, but with a dash of “1989’s” euphoric vibe.

“The Fate of Ophelia” opens the album with a dramatic flourish, but not the kind of showgirl entrance we were expecting. Instead, she leans into the Shakespeare reference, giving us a story that perfectly captures how she was “saved from her fate” of drowning in the tides of her sadness and previous pains — whether caused by personal relationships or her career. It’s theatrical and narrative-heavy, which we believe was a great start, as it was the kind of music that’s familiar to her avid listeners.

In “Elizabeth Taylor,” the singer turns to an Old Hollywood motif as she references the late actress. In her introduction of the song on Amazon Music, she described it as “a love song kind of through the lens of the motif of what she had to go through in her life and sort of the parallels that I feel in my own life.” The song felt posh and glamorous, and definitely gave us a glimpse into the girl behind the makeup and sparkly dresses.

Taylor channels her inner pop princess with “Opalite” as she delivers a catchy dance tune, which embodies the essence of happiness. Out of all the tracks, we believe this song captures where the musician is at the moment the most. In several of her radio interviews in the UK, she had openly expressed how it was the first time that she was releasing an album that mimics the current state of her life. And how juicy it was to know that Opal also happens to be her fiancé’s birthstone. We’re sure this song will soon become a TikTok dance hit.

“Father Figure” interpolates George Michael’s 1988 hit of the same name and talks about power dynamics. It’s an interesting track, but slightly less memorable compared to the previous ones. Taylor continues her tradition of putting her most vulnerable and gut-wrenching songs on track 5, and “Eldest Daughter” was the most emotional of the bunch, lyrically and sonically. The song reflects the role of the eldest daughters, listing their core traits, which makes this song one of her most relatable ones. Lines, “When I said I don't believe in marriage, that was a lie. Every eldest daughter was the first lamb to the slaughter, so we all dressed up as wolves and we looked fire,” were a crowd favorite and have since been circulating online. However, it may also be less memorable as it's more stripped down, with only piano and guitar in the instrumentation, a sharp contrast to the pop-heavy tracks on the record.

“Ruin the Friendship” had us scratching our heads a little bit, because it strays away from the showgirl or celebrity life motif and instead was more nostalgic in parts as it talks about a teenage romance and the “what ifs.” Sonically, it was catchy enough with a laid-back pop beat, but lyrically, it sounded like something you would be hearing in “Fearless” or even her debut. Taylor then returns to the theme in “Actually Romantic,” which ironically is anything but romantic as it has a lot of bite and quite possibly a diss track directed at another artist. The sound is sassy, seductive, and shady at the same time. We love the electric guitar strumming in the beginning, which is reminiscent of the 2000s pop-rock era.

A showgirl — Photo from Facebook/Taylor Swift

We believe “Wi$h Li$t” is a shimmering highlight on the album, as it cleverly juxtaposes people’s extravagant desires with more personal, simple longings. Staying true to narrating stories behind the curtain, we think Taylor got personal in this one, sharing her own desires of wanting a family (“I just want you. Have a couple kids, got the whole block looking like you.”), which presents a contrast between public personas and private wishes. The music is also catchy and is our favorite so far — even Taylor revealed in an interview that it was her favorite song on the record!

“Wood” might be her most controversial track ever, with some saying it might have been a risk to put it in there as it’s very provocative and woven with so many sexual innuendos. For long-time Swifties, it’s definitely different and bold. However, it did remind us of Sabrina Carpenter, who has made these kinds of songs popular in the past year, like “Tears” and “Juno.” Production and sound-wise, it’s giving Jackson 5, so we weren’t sure if Taylor sounded Taylor in this at all.

The dark sound of “CANCELLED!” is reminiscent of her “Reputation” days, which we love, and plays around with the idea of cancel culture. It has a cathartic feel and dark energy that will surely get a spot on our “on repeat” playlist. In contrast, “Honey” is as sweet as it sounds and is probably the most romantic song here, with a 2000s pop vibe. However, like “Ruin the Friendship,” it felt a little off-theme.

Closing the album is “The Life of a Showgirl,” which features Sabrina Carpenter. The lyrics do go all out theatrical, leaning heavily on the showgirl image, but sound-wise, you can hear a bit of country (guitars), pop synths, and everything in between. Many musicals have big, bold finales, but this sounded more like a credits song or perhaps a curtain call, giving the album a more gentle end note.

Final Verdict

“The Life of a Showgirl” may not be Taylor’s most consistent album, but it is undeniably bold and daring — traits that have long defined her music. She has always pushed the boundaries of her sound, fearlessly reinventing genres and making them her own. While this might not be her strongest body of work, it’s infectious enough to keep listeners hitting replay.

In a recent interview, Taylor openly shared her dark fear that her writing had always been tethered to pain and torment. It’s an open secret that poets and songwriters often draw from their deepest, saddest emotions, and she’s turned that vulnerability into some of her most powerful songs, like “All Too Well,” “Exile,” and “Tolerate It.” But she’s also given us moments of pure joy in tracks like “ME!,” “Enchanted,” and “Karma.” TS12 might just be the happiest we’ve ever seen her. She’s quite literally at the peak of her career and personal life. And as parasocial as it may seem, fans or even distant observers can't help but join her in her happiness and would gladly dance to “Opalite” all night long.

True, it’s not her most emotionally layered album, nor does it boast the understated lyricism and subtle storytelling of her previous work. But joy often brings simplicity and directness, and that, in many ways, is the essence of this record. Still, the album could have soared even higher had its sound leaned more into the theatrical, bombastic “showgirl” aesthetic it promises.

At the end of the day, it’s a fun, vibrant listen with plenty of standout moments to love.

The album is currently on sale on her website. You can follow Taylor Swift on Facebook, X (Formerly Twitter), TikTok, and Instagram.

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Asia/ Vibe/ Pop Culture

October 03, 2025

Screen Test: ‘Marvel Zombies’ Delivers a High-Stakes Feast for Fans

by: The Beat Asia

Photo by Disney/Website

October 03, 2025

by: The Beat Asia

So, sit back, relax, and enjoy the review!

“Marvel Zombies” Miniseries

Run Time: 35 mins.

Rating: 15+/TV-MA

Genre: Animation, Horror, Action-Adventure, Superheroes

Subtitle Availability: English [CC], Arabic (Modern Standard), Hebrew

Audio Availability: English

Warnings: Contains violence and gore

*SPOILER ALERT! This section contains details from the first episode of “Marvel Zombies.”

What if...Marvel characters became zombies? Marvel Animation Studios just dropped a Spooktober special with the release of a new miniseries that’s giving superhero action some bite.

“Marvel Zombies” is a spin-off of the animated series “What If…?” (2021-2024), set in the alternate timeline introduced in the first season (Episode 5: “What if…Zombies?”), where a mysterious virus has turned the majority of the world’s population into zombies, including the Avengers. The series picks up from where it left off, following a group of survivors on a journey to save the world from superpowered zombies.

Created by Bryan Andrews and Zeb Wells, the series was first announced way back in 2021 and had been revealed to be a spin-off of the “What If…?” series rather than a direct adaptation of the comic book series of the same name. Despite having only four episodes, this miniseries is packed with a star-studded voice cast, with most of the original characters voicing their animated versions, including Elizabeth Olsen, Paul Rudd, Florence Pugh, David Harbour, Tessa Thompson, Simu Liu, Awkwafina, Hailee Steinfeld, Wyatt Russell, Randall Park, Iman Vellani, and Dominique Thorne.

The zombie genre has seen its share of highs and lows across film and television, with hits like “The Walking Dead,” “Night of the Living Dead,” and “World War Z” carving out their own space in the dystopian landscape. Now, the MCU takes its turn with a zombie-infested world — a fascinating premise, especially since it’s not just ordinary humans who exist here, but also powerful superheroes and supernatural beings. The thought of their powers twisted in zombie form instantly raises the stakes, making them even more terrifying adversaries.

Still, as with any good zombie story, compelling character arcs are key. With “Marvel Zombies” limited to just four episodes, there’s some concern: can the series balance fast-paced action and gory thrills with meaningful character depth? Or will it fall short in the chaos?

For this Screen Test, we dove into episode one to see if it’s worth your while to step into the land of the dead.

Marvel Goes Undead but Alive with Action

The pilot episode gets right into the zombie gore as the first scene shows us a zombie wobbling through a sunlit forest before getting shot by an arrow through its head. The second shot shows us our first team of Marvel heroes, consisting of Kate Bishop (Hailee Steinfeld), Riri Williams/Ironheart (Dominique Thorne), and Kamala Khan/Ms. Marvel (Iman Vellani). At first glance, it may seem like a strange trio of young heroes, but it’s a known fact that a zombie apocalypse can bring anyone together — even a banged-up Iron Man suit with a Teddy Bear head controlled by Tony Stark’s AI, F.R.I.D.A.Y.

The four characters were scavenging in a deserted New York City when they saw a Quinjet fly past and crash into the street. Riri finds a single signature on the aircraft, which turned out to be inside the zombie pilot. After losing to a game of rock, paper, scissors, Kamala ends up reaching into the zombie’s gut to retrieve a pocket-sized device. Shortly afterwards, the first OG Avenger makes an entrance. A zombie Hawkeye is currently terrorizing the city and starts shooting at the three women. They survive, with Kate even managing to steal one of his trick arrows.

Back in their base, we discover that the device will become the catalyst for a quest, with it being a transmitter created by SHIELD for a Transgalactic broadcast. Riri explained that it had been shrunk using quantum energy to be able to hide it. She further revealed that it was part of Project Lifeshot, SHIELD’s attempt to save the planet, and that she would need the motherboard to access it. The plan to go to SHIELD’s base in Ohio takes form, and after a short back and forth, they all decide to leave and save the world.

Meanwhile, back in the city, we see zombie Okoye (Kenna Ramsey) with an army of zombies, including Hawkeye, whom she invites to join her queen and become her scion. His eyes then turn red, insinuating mind control.

From the beginning up to this scene, it’s impressive how the show was able to set the stage for the zombie landscape and establish the conflict all under nine minutes. On their way to Ohio, Riri slams on the brakes when they come across a gaping hole in a mountain range. Driving through the valley was uneventful until a storm seemed to be catching up to them. Soon, they are thrown into chaos as lightning begins to strike around them. They discover shortly after getting out of the vehicle that the storm is being caused by two beings fighting: Ikari, the former leader of the Eternals, and Carol Danvers/Captain Marvel, who F.R.I.D.A.Y. confirms to be a zombie. From there, even more chaos ensues when the group is suddenly surrounded by zombies.

This action-packed scene gave us a deeper look into the animation, which has been visually stunning from the beginning. There’s something about the design that gives it a nostalgic feel while still looking modern. Character movements were fluid, and the dark atmosphere was balanced with bright colors that come from their supernatural powers, like the glowing eyes, lightning flashes, and bright explosions.

The series’ TV-MA rating meant it didn’t hold back on the violence, and there were a lot of intense and brutal fight sequences, as well as major character deaths throughout this episode alone. When F.R.I.D.A.Y. took Kamala out of the fray and proceeded to return to the zombie horde, saying, “I lost my first owner. I won’t lose another,” it was clear that Marvel intends to not only break zombie bones, but also our hearts — seamlessly weaving tragic emotions into the scenes.

In the second half of the episode, Kamala wakes up from a nightmare where she saw a mysterious long-haired foe with red eyes, which was later revealed to be Wanda Maximoff (Elizabeth Olsen). She joins forces with Blade (Todd Williams), who has taken over the role of Moon Knight and is an avatar for the Egyptian god, Khonshu. He helps her get to the SHIELD base, a run-down building, with an army of zombies blocking it — currently being mind-controlled by Melina Vostokoff (Kari Wahlgren). Also with her are her adoptive family, Alexei Andreovitch Shostakov/Red Guardian (David Harbour) and Yelena Belova (Florence Pugh). Their meeting quickly escalates to an attack when the zombie horde catches up to them, led by Okoye and a bunch of other superhero zombies, such as Hawkeye, Ghost, and Captain America — well, half of what’s left of him.

The fight sequence is fast-paced and brutal, truly the most entertaining part of the entire episode. It climaxed into a terrible but noble death, however, and when Yelena said, “We will honor her by taking this planet from the dead,” we felt goosebumps! As the group becomes motivated by their losses, it’s clear that there will be a whole lot of hell to pay in the next chapters of this story.

Final Verdict

The pilot episode was an incredible start to the series, providing a balance of action, heart, and zombie fun. The stunning animation made these zombies look as horrific as their live-action counterparts, while the voice acting for each of the characters was phenomenal across the board — not surprising considering most of the original actors reprised their roles for the show.

“Marvel Zombies” delivered an entertaining ride, impressively expanding on the MCU’s zombie-infested world, but it isn’t without its flaws. The character dynamics between Kamala, Riri, and Kate were engaging yet fleeting, leaving little room for meaningful development. With the current pacing, it seems the series will lean heavily on plot, which may limit viewers’ emotional connection to the characters who will play key roles as the story unfolds.

Still, there’s hope that Kamala and the other survivors introduced in the first episode will receive more fleshed-out arcs as they lead the charge to defeat the Queen of the Dead and save humanity from the zombie threat.

We’re giving it 4 BEATS for its fast-paced plot, engaging character dynamics, and for having a good balance of action and heart. We definitely recommend watching this perfectly bite-sized binge this Halloween season.

“Marvel Zombies” is now streaming on Disney+.

For updates on the latest movies and series, follow Disney+ on Facebook, X (Formerly Twitter), TikTok, and Instagram.

Enjoyed this article? Read more of our Screen Test reviews here.

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Asia/ Vibe/ Pop Culture

October 03, 2025

Rediscover the Monchhichi Doll and Its Retro Charm

by: The Beat Asia

October 03, 2025

by: The Beat Asia

Lisa of BLACKPINK has once again put the spotlight on a nostalgic collectible, this time taking us back to the 1970s with a retro favorite from Japan.

Behold the Monchhichi doll, which is instantly recognizable for its monkey-like face, thumb-sucking pose, and fuzzy charm. Unlike the Labubus and other POP MART favorites that only burst into the scene in the 2010s, Monchhichi has already enjoyed decades of popularity, particularly in Japan and Europe, where it has become a beloved companion for many.

Now, thanks to the K-Pop star who’s arguably the queen of collectible hype, Monchihichi is experiencing a global comeback.

If you’ve seen this toy popping up on your feed and wondered what the fuss is all about, don’t worry, we’ve got you! Here are five things you need to know about Monchhichi and why it’s stealing hearts all over again.

Made to be Your Best Friend

One of the main things you need to know about this nostalgic toy is that it was originally made to become “love companions” that could inspire friendship, love, and happiness in children and adults. For such a small toy, it sure carries a big purpose!

The original Monchhichi toys came out on Jan. 25, 1974, designed by Yoshiharu Washino and manufactured by Japanese toy company Sekiguchi Corporation. The toys are characterized by small furry bodies and round, freckled faces, with their thumbs often posed as if sucking. The name comes from the French words "Mon,” which means “my,” and “petit” (small and cute). In other explanations, it was also derived from the English word “Monkey,” combined with the Japanese onomatopoeic sound for sucking, which is “chi-chi.”

Monchhichi Dolls — Photo from X (Formerly Twitter)/Monchhichi

According to their official website, the design was noted to be a mix of two existing products from the toy company: the Kuta Kuta monkey plush and the Gege thumb-sucking fashion doll. The toy was launched as twins, a boy and a girl, and was available in various sizes from tiny 10cm fuzzy charms to giant 80 cm versions, providing a variety of options for collectors and fans. Apart from having birthdays, the dolls don’t have a specific backstory like those of POP MART’s collectibles, so they can adapt to the feelings of the person who owns them, taking on unique personalities.

These toys quickly became instant hits in Japan, and by 1977, the lineup expanded to include accessories, playsets, dollhouses, and outfits. Safe to say that the outpouring of love they received truly brought them to life, making them feel even more like everyday lovable companions.

They Were Barbie’s Cousin For a Time

Its cute and cuddly charm captured the hearts not only of the Japanese but also of people from all over the world. In 1977, the dolls conquered Europe, gaining popularity in France, Germany, Italy, and the UK. They later crossed over to the US, where they were licensed by Mattel — the creator of one of the world’s most iconic fashion dolls, Barbie — until 1985.

One quirky fact about Monchhichi is how it picked up different names around the world. A true global icon with many names, the doll was once known as “Kiki” in France; “Moncicchi” in Italy, and in the UK it went by the cheeky name “Chic-a-Boo.”

But in 2014, for its 40th anniversary, Sekiguchi stepped in to take charge of global distribution, uniting all these identities under one name. From then on, no matter where you spot it, this cuddly little friend is proudly and universally Monchhichi.

Kimono — Photo from X (Formerly Twitter)/Monchhichi

Monchhichi is a TV Star

Another boost to the toy’s popularity came from the small screen. Monchhichi didn’t just star in one animated series, but inspired five different shows from different regions, each bringing its cast of charming characters to life.

The first was a Japanese anime produced in 1980 by TV Tokyo called “Futago no Monchhichi,” which was followed by the American cartoon series “Monchhichis” (1983) produced by Hanna-Barbera Productions, the French cartoon series "Kiki, le Kiki de tous les Kiki” (2001) by Ben-J Productions, the Japanese stop-motion series “Monchhichi” (2005) by Kids Station, and the French CGI series “Monchhichi Tribe (La Tribu Monchhichi)" produced by Technicolor Animation Production in 2017.

From Plaything to Collectible

These TV shows were more than just entertainment, but a way for the company to showcase its new characters and variants. Over the years, Sekiguchi has released countless variations, from the Bebichhichi, which are the baby versions introduced in 2004, the Boutique (Monchhichi dressed in various styles), Chimutans (Monchhichi with long bunny ears), the Mother Care, which are Monchhichi with a tiny baby in her front pocket, and other anniversary and theme editions. These dolls also came in a variety of sizes, ranging from 10 cm, 15 cm, 16 cm, 20 cm, 45 cm, and 80 cm.

Its many models turned from a child’s plaything into a treasured collectible for many people, with original pieces with tags or packaging especially prized by collectors.

Chimutans | Photo from X (Formerly Twitter)/Monchhichi

Mother Care | Photo from X (Formerly Twitter)/Monchhichi

Still Going Strong at 50

Last year, Monchhichi celebrated its 50th anniversary with special edition releases and features at international toy fairs. A “Monchhichi Exhibition” was also recently held at Matsuya Ginza in Japan, containing over 500 exhibits of various plush toys and valuable documents throughout its 50-year journey. Original merchandise was also on sale at the venue.

Some of the standout exclusive items Sekiguchi released for their golden year include the large “Let’s Party Monchhichi” plush, the revival of the Shibuya Gal style Monchhichi, the keychain versions of the original boy and girl Monchhichi models with throwback elements like bibs, laces, and special eye designs, and the 50th Anniversary Limited Babychhichi gold keychain.

Monchhichi has been redesigned and relaunched multiple times, giving fans something to enjoy and collect over the decades. These revamps don’t just include new outfits, styles, or colors, but also formats, with the brand expanding to blind boxes and variant keychains.

One other standout venture is their themed collaborations with other pop culture toy icons, such as the Monchhichi HIPPERS x Sonny Angel, which turned the dolls into adorable tiny hanging monkeys, and Monchhichi x Hello Kitty, where Monchhichi is dressed up in a full Hello Kitty costume. They even collaborated with designer Sandy Liang, which gave the toy a sweet and stylish look with the designer’s signature uniform skirt, checkered fleece, ballet pink scrunchie, and red Mary Jane double strap pointes. This shows that the doll is more than just a toy, but a canvas for fashion and style crossovers.

Monchhichi x Hello Kitty | Photo from Website/Sanrio

Where to Get Them?

Monchhichi can be found in several online and offline stores across the globe. In Asia, you can access the Japanese official website and browse through all the latest releases.

In Hong Kong, you can find them at the online Sekiguchi shop or at Atelier. Official online Sekiguchi stores are also available on Shopee in Singapore, Malaysia, and the Philippines. You can find more information on their global stores here.

Never miss a moment with Monchhichi by following this furry friend on Facebook, X (Formerly Twitter), YouTube, and Instagram.

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Asia/ Vibe/ Pop Culture

September 25, 2025

New Music Radar: 8 September Drops You Can’t Miss

by: The Beat Asia

Photo by The Beat Asia

September 25, 2025

by: The Beat Asia

We’re stepping into the -BER months with a wave of fresh releases to set the tone for the rest of the year, right up to the holidays!

The OPM scene is abuzz with a bunch of new tracks. Singer-slash-beauty queen Dia Maté spreads good cheer through an inspiring track while indie favorites Cup of Joe drop a special surprise for their 7th year anniversary. September also brought out standout collaborations: Filipino singer Aubrey Caraan and South Korean artist Daewon Lee channel all the K-Drama feels in “Selfish Guy,” and Italian singer-songwriter Damiano David joins forces with two Grammy-winning artists.

From feel-good pop anthems to soulful ballads, here are eight new tracks that deserve a spot on your September playlist.

“Ako Lang” by Dia Maté

Filipino singer-songwriter and reigning Reina Hispanoamericana 2025, Dia Maté, channels early 2000s pop vibes with her new single, “Ako Lang.”

Co-written with her producers Jgreg Marasigan and Dom Guyot, the campy pop tune retains her signature style of marrying powerful lyrics with a humorous delivery, with a message that aims to inspire listeners to express themselves assertively and maintain a strong sense of self-worth.

We caught up with the artist when she launched the single last Sept. 12, which was celebrated alongside her birthday at Radical Company Studios in Mandaluyong City, a brand-new music label.

“I love it. I guess I watched a lot of cheerleading movies growing up, like ‘Bring it On,’ and I just love that theme of high school and everything, so we wanted to create this type of sound.” Dia told The Beat Manila. “It kind of just came naturally. When I was working with my producers, I wanted a completely different direction, but as we were making it, we realized it was more fitting to make it the way it is now.”

The artist gathered some of her closest friends in the music and pageant industries, and gave them a first look at the fun lyric video of the song.

“I have been writing music to empower other people and communities, but what I haven’t done in such a long time is write something for myself that would empower me. I’m not saying that my other songs like ‘Ganda Gandahan’ don’t empower me, but I did write it for other people,” she explained when asked what sparked the idea for the song.

“I wanted to create something for myself that other people can relate to. That’s what I used to do when I was younger — all of the music I would release before was from my experiences and who I was as a person at that time. I want to do that again and bring it back in a more fun and campy way with that nostalgia feel. It was really just inspired by coming from being insecure and unsure about myself to finally being confident in who I am and what I want.”

Listen to “Ako Lang” now. Follow Dia Maté on Facebook, X (Formerly Twitter), TikTok, Instagram, and YouTube.

“Sandali” by Cup of Joe

Chart-topping OPM band, Cup of Joe, celebrates their 7th anniversary with a surprise single drop!

According to the official press statement, “Sandali” is a comfort reminder of the band’s signature mix of melodious storytelling and youthful energy, but this time, each member contributes to the songwriting, highlighting the band’s unity and growth through the years.

Currently, the group has reached new heights in their musical journey with fan-favorite hits “Multo” and “Tingin” (with Janine) continuing to resonate with listeners worldwide, racking up millions of streams on various platforms. The band held a two-day concert highlighting their latest album “Silakbo” earlier this year at the Smart Araneta Coliseum, and is currently gearing up for their third major solo concert “Stardust,” happening on Oct. 10 to 12, 2025. And yes, it’s already sold out! Yet another proof that Cup of Joe has cemented themselves as one of OPM’s most in-demand bands.

Listen to “Sandali” now. Follow Cup of Joe on Facebook, TikTok, Instagram, and YouTube.

“PARALLEL” by Labit

Filipino-American singer Labit is giving fans a first taste of his upcoming album, “SOL,” with the release of his latest single, “PARALLEL.”

The song captures that sudden moment of realization when love has been right next to you all along. Paired with a striking music video that highlights the invisible ties between strangers, “PARALLEL” offers a heartfelt look at love’s surprises and sets the tone for what’s to come on the new album set to release on Oct. 17 2025.

“This song is such an uplifting, a-ha moment type of song. I wanted it to portray the feeling of when someone catches you by surprise. The moment where you realize the one you need has been right there all along,” Labit said.

Listen to “PARALLEL" now. Follow Labit on X (Formerly Twitter), TikTok, Instagram, and YouTube.

“Selfish Guy” by Aubrey Caraan and Daewon Lee

Aubrey Caraan & Daewon Lee — Courtesy of Viva Communications Inc.

Singer-actress Aubrey Caraan teams up with South Korean artist and former OFFROAD member Daewon Lee for “Selfish Guy.”

After six years, the Korean artist returns to the Philippines with a heartfelt and personal track about sacrificing a romantic relationship for a meaningful career. In an official statement, the former idol expressed how much he had missed the country and how he did not hesitate when the opportunity to return was presented to him.

Meanwhile, Aubrey is a talented child actor who has been in multiple projects since she was 10 years old. She’s mostly known as the singer of “How You Feel,” a theme song for the Viva One series “Avenues of the Diamond.”

The music leans toward the classic South Korean ballad, similar to tracks we’d often hear in the early 2000s K-Dramas. Sang in both Korean and Tagalog, this collaboration track highlights a balanced and beautiful partnership, with each artist showcasing their vocal skills by singing each other’s languages. The collab also kicks off a new partnership between Viva Communications, Inc. and Milagro Korea, opening doors for more creative exchanges between the two countries.

Heart-wrenching and emotional, “Selfish Guy” lets you feel the pain and conflicting emotions of having to choose between two things you love.

Listen to “Selfish Guy” now. Follow Aubrey Caraan on Facebook, X (Formerly Twitter), TikTok, Instagram, and YouTube, and Daewon Lee on Facebook, TikTok, Instagram, and YouTube.

“say my name” by Rol3ert

Rising Japanese singer-songwriter Rol3ert releases his first-ever alternative ballad co-produced with Yuto Uchino, the lead vocalist of acclaimed Japanese indie band The fin.

“say my name” is composed of weeping guitar riffs, live drums (performed by Yusuke Okada of indie pop band BROTHER SUN SISTER MOON), and shimmering synths that complement the singer’s vulnerable vocals in a quiet yet powerful soundscape. The song explores themes of life, death, and symbolic love, as well as reflecting on the desire to leave a lasting impression. Lines like “I don’t wanna leave but I can’t fight it. It’s all in the past, I can’t rewrite it,” also show the emotional weight of memories.

The nineteen-year-old singer usually crafts near-complete demos on his own, but for this track, he brought in Yuto to finish it, adding depth and atmosphere to the sound. He’s also described it as one of his proudest works to date.

Listen to “say my name” now. Follow Rol3ert on Facebook, X (Formerly Twitter), TikTok, Instagram, and YouTube.

“Voicenotes” by Sam Wills

Going through a rough breakup? British R&B artist Sam Wills just released a soundtrack that fully captures the lonely aftermath — when all is said and done, and missing them becomes all you could think about.

Taken from his highly anticipated sophomore album, “Speak,” which comes out Oct. 3, 2025, “Voicenotes” explores the lingering memories from a previous relationship. The song was co-written with the singer’s long-time collaborator, Phairo, with whom he created a melody that radiates longing and nostalgia reminiscent of old jazz vibes and a timeless sound inspired by the classics like Nat King Cole and Billie Holiday, as well as Prince and Bobby Caldwell.

“Voicenotes is about missing someone you’ve parted ways with, lying awake at night lit by the blue light of a phone, listening to old voice messages from them," explained Sam.

Listen to “Voicenotes” now. Follow Sam Wills on Facebook, X (Formerly Twitter), TikTok, Instagram, and YouTube.

“Talk to Me” by Damiano David feat. Tyla & Nile Rodgers

Damiano David and Tyla — Courtesy of Sony Music

Italian singer-songwriter Damiano David delivers an explosive single with two Grammy-winning artists.

In “Talk to Me,” Damiano channels his signature emotive lyricism and blends it with Tyla’s distinctive vocal style and the unmistakable groove of Nile Rodgers. The song is part of the Deluxe Edition of his album, “Funny Little Fears (Dreams),” which he announced at the start of his first solo concert tour in Warsaw, Poland. The album gained five new tracks with “Talk to Me” as its lead single.

In an official press statement, Damiano shared, “As the tour was approaching, I unexpectedly felt a new wave of inspiration that led me to write ‘Talk to Me’. What made this spark even more exciting was knowing that the legendary Nile Rodgers thought the song worthy of adding his solo guitar. I always felt this song should be a duet, and since I've recently been listening a lot to ‘Water.’ I was completely blown away and really wanted to have her sing it with me.”

“Damiano sent me this record and I instantly fell in love with how nostalgic it felt,” Tyla added. “I heard myself on it straight away. Excited about how new it feels for me, my tygrs gonna luv ittt.”

Listen to “Talk to Me” now. Follow Damiano David on Facebook, X (Formerly Twitter), TikTok, Instagram, and YouTube.

“Rainbow Gal” by Cavetown

British singer Robin Skinner, or more popularly known as Cavetown, just released a shimmering new single from his upcoming album, “Running With Scissors,” set for release on Jan. 16, 2026.

Inspired by his personal relationship story, “Rainbow Gal” is built on 8-bit textures and glitchy vocals, reflecting the grounding comfort his partner brings to him when they’re apart. The artist quoted how the song is like “a light display turned into a song” and how his partner “brings all the color into my life.”

This release is a follow-up to his single “Baby Spoon,” and came out with a dreamlike music video. The album is reported to be threaded with family themes like intergenerational tension, familial excavation, and mirrors the artists’ recent life changes, such as falling in love with someone he could see himself starting a family with and the birth of his first sibling, with whom he shares a 26-year age gap.

You can pre-save and pre-order his new album here.

Listen to “Rainbow Gal” now. Follow Cavetownon Facebook, X (Formerly Twitter), TikTok, Instagram, and YouTube.

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Asia/ Vibe/ Pop Culture

September 22, 2025

The Conjuring Universe Explained: A Deep Dive into the Horror Saga

by: The Beat Asia

September 22, 2025

by: The Beat Asia

It all started in 2013. “The Conjuring,” a supernatural horror film starring Vera Farmiga and Patrick Wilson as real-life paranormal investigators Ed and Lorraine Warren, spawned various installments. What began as a retelling of the haunting surrounding the Perron family in 1971 has evolved into one of the longest-running horror franchises in history, comprising sequels, prequels, and spin-offs.

The franchise, to say the least, hasn’t been exorcised of its appeal. And the box office numbers don't lie. Its latest outing, “The Conjuring: Last Rites,” now ranks as the biggest horror movie opening in history, according to Variety. Although the franchise has had its fair share of mixed-to-negative critical reviews, with 2018’s “The Nun” being the lowest-rated installment in the franchise, its ability to scare moviegoers remains unmatched.

Multiple Stories Within a Single Artifact Room

Vera Farmiga as Lorraine Warren in The Conjuring — Photo from YouTube/Warner Bros.

From the very beginning, the story has always been poised to expand with the Warrens’ artifact room, filled with occult items. It’s no surprise that all the films in the franchise exist within a shared universe, as each item in the room is packed with backstories, all connected to the Warrens’ past cases. It’s like the Marvel Cinematic Universe (MCU) if you think about it — but with supernatural entities and a whole lot of jump scares.

Created by James Wan, the same filmmaker behind Saw, The Conjuring Universe has nine installments so far, with a total of four included in the main film series. While “Last Rites” will likely be the final installment focusing on the Warrens, the franchise is still expected to expand further. And given the franchise's solid financial performance, that possibility seems quite likely. In fact, a series set in the world of “The Conjuring” is currently in development at HBO Max, although other details about the project are still being kept close to the vest.

We get it: in one film, there are the Warrens, and there’s a haunted doll in another, while a terrifying nun is wreaking havoc in another installment. And then there’s La Llorona (The Weeping Woman). “The Curse of La Llorona” is technically not part of The Conjuring Universe. Although it takes place within the same realm, it is not necessarily integral to the overall franchise.

It can be confusing, considering there really are plenty of stories to unpack within the cinematic universe. But if you’re curious about how each story is connected, here’s your guide to the ever-expanding The Conjuring Universe.

Watching The Conjuring Movies by Release Date

“The Conjuring” (2013)
“Annabelle” (2014)
“The Conjuring 2” (2016)
“Annabelle: Creation” (2017)
“The Nun” (2018)
“Annabelle Comes Home” (2019)
“The Conjuring: The Devil Made Me Do It” (2021)
“The Nun II” (2023)
“The Conjuring: Last Rites” (2025)

The Conjuring Universe in Chronological Order

“The Nun” (2018)
“Annabelle: Creation” (2017)
“The Nun II” (2023)
“Annabelle” (2014)
“The Conjuring” (2013)
“Annabelle Comes Home” (2019)
“The Conjuring 2” (2016)
“The Conjuring: The Devil Made Me Do It” (2021)
“The Conjuring: Last Rites” (2025)

'The Nun'

At the core of the film series have always been the Warrens, with "The Conjuring," “The Conjuring 2,” “The Conjuring: The Devil Made Me Do It,” and “Last Rites” serving as the main installments. But although the franchise officially began in 2013, the story actually traces back to 1952 in Romania with “The Nun.” After a nun takes her own life to prevent Valak (Bonnie Aarons), the evil nun, from ultimately claiming her soul, the Vatican sends Sister Irene (played by Taissa Farmiga) and Father Burke (Demián Bichir) to investigate.

Along their journey, they meet French-Canadian Maurice "Frenchy" Theriault (Jonas Bloquet), who would later help them in their investigation. As they confront the demonic force, they also risk their faith, their souls, and their lives. They did succeed in sending the nun back to hell. However, unbeknownst to them, there’s an inverted cross mark on the back of Frenchy’s neck, a detail that later becomes crucial in the plot of "The Nun II."

'Annabelle: Creation'

Set in 1955 California, “Annabelle: Creation” tells the origin story of the cursed doll Annabelle, who audiences first saw in “The Conjuring.” That doll, iconic as she is, is undeniably creepy — one you wouldn’t have as a toy, even as an adult. The story revolves around a dollmaker, Samuel (Anthony LaPaglia), and his wife, Esther (Miranda Otto), whose young daughter, Annabelle, died in a car accident.

Years later, Samuel and Esther open their home to six orphaned girls. It is then revealed that they enlisted the help of a supernatural entity in hopes of seeing their daughter once again. From the film’s first moments, it seems like their daughter’s spirit is trapped inside the doll. However, Annabelle is merely a figure used by a demon to manipulate her parents into transferring a demonic spirit into Samuel’s doll, making it easier for the demon to find a human conduit.

The doll then put all the orphans in immense terror, with the demon possessing one of them: Janice (Talitha Bateman). Still possessed, Janice manages to escape the house and later finds new adoptive parents, whom she ultimately murders years later in a scene first shown in 2014’s "Annabelle."

'The Nun II'

“The Nun II” takes place after the events of “The Nun,” set in 1956, making it the third movie in the chronological order of The Conjuring Universe. It follows Sister Irene as she once again faces a demonic force, after the mark on the back of Frenchy’s neck is revealed to be a demon mark, which means Valak was able to transfer its essence to him.

The movie offers a brief origin of Valak, who was once a fallen angel determined to regain their power. Valak then seeks the eyes of St. Lucy, a powerful Catholic relic that would help the demon restore its power and strength. It was also revealed that Sister Irene and Lorraine Warren’s uncanny resemblance wasn’t just a coincidence (not to mention they are portrayed by real-life sisters). Sister Irene is confirmed to be a descendant of St. Lucy, while Lorraine shares the same bloodline. This connection makes the link between "The Conjuring" and "The Nun" even clearer, as we know Lorraine would eventually face the same demon in her own timeline.

'Annabelle'

There really is something horrifying about vintage dolls, and “The Conjuring” franchise has used that to its advantage. Characters in this franchise often seem gullible when inviting new items into their humble abodes, even when those items look like they carry something sinister. “Annabelle,” the first movie from the haunted doll’s lore, is set in 1967, 12 years after the events of “Annabelle: Creation.”

The story follows John Form (Ward Horton), who gives his wife Mia Form (Annabelle Wallis) what he believes is the perfect present: a vintage doll. The real Annabelle (originally named Janice, as revealed in “Annabelle: Creation”) and her boyfriend break into the Form’s house shortly after killing her adoptive parents. Their attempt to make the Forms’ lives a living hell fails when Annabelle’s devil-worshipper boyfriend is killed by the police, and Annabelle slits her own throat. The Forms are safe — or so they think. With Annabelle’s host dead, the demon returns to its original vessel: Samuel’s porcelain doll.

'The Conjuring'

This is the movie that started it all — and objectively, the best. It currently holds the highest critics’ score in the entire franchise, boasting an 86% rating on Rotten Tomatoes as of writing. The characters are based on the real-life paranormal investigators Lorraine and Ed, whose ghost-hunting adventures reportedly inspired “The Amityville Horror.” What makes the film even more hair-raising is its “based on a true story” label, as it follows Ed and Lorraine being called in to help the Perron family escape a demonic entity named Bathsheba. The witch had been terrorizing the family, particularly Carolyn (Lili Taylor), whom the witch possessed.

“The Conjuring,” set in 1971, also saw the Warrens lecturing on demonic possession, with the subject being, guess who: Frenchy. It was during his exorcism that Lorraine first encountered Valak, which forms the main plot of “The Conjuring 2.” This is also the movie where Annabelle was first introduced, albeit briefly.

'Annabelle Comes Home'

Annabelle inside the Warrens' artifacts room — Photo from YouTube/Warner Bros.

Set in 1972, “Annabelle Comes Home” centers on the Warrens’ young daughter Judy (McKenna Grace), who — along with her babysitter Mary Ellen (Madison Iseman) — is left alone at home after her parents embark on another case. Now, everything that transpires in this movie falls on the Warrens. Why would they entrust their young child to a teenage babysitter in a house filled with hundreds of cursed, demonic artifacts?

Unsurprisingly, it resulted in chaos. After Mary Ellen's friend, Daniela (Katie Sarife), accidentally released Annabelle, several evil forces were unleashed, including the Ferryman, the Bride, the Samurai, Feeley Meeley, and the Black Shuck. All of them survived in the end. But it was, to put it mildly, quite a night.

'The Conjuring 2'

While the first movie provided a brief introduction to Annabelle, “The Conjuring 2” originally introduced the evil nun, who would later have their own prequel years afterward. Set in 1977, the second movie in the main Conjuring series follows Lorraine, who is having visions of the demonic entity as well as premonitions about the death of her husband, Ed.

Somewhere in Enfield, England, the Hodgson family is being terrorized by a poltergeist named Bill Wilkins. But due to her visions, Lorraine hesitates to help the family, even if she wanted to. But Ed is always willing to step in. As it turns out, Bill Wilkins isn't the real threat, as the ghost is being manipulated by the evil nun. Lorraine must obtain power over the entity to send it back to hell. But to do so, she must first speak its name. Luckily, during her countless psychic visions, she connects the dots and utters the demon’s name, allowing her to banish it. That demon is, of course, Valak.

'The Conjuring: The Devil Made Me Do It'

Loosely based on the real-life trial of Arne Cheyenne Johnson, who was involved in the 1981 murder of his landlord, Alan Bono. Johnson claimed he was possessed by a demon and pleaded not guilty for that very reason. Known as the “Devil Made Me Do It” case, which inspired the film’s title, the trial was the first in the United States to use demonic possession as a legal defense.

In the movie, the demonologist duo is, of course, drawn into the case. They both believe the demon they exorcised from a young boy has transferred to Arne (played by Ruairi O'Connor), the boyfriend of the boy’s older sister. In the end, Arne is found guilty of manslaughter and sentenced to five years in prison. Still, it’s a bittersweet ending for the Warrens, who share a kiss in the same spot where they first kissed, just before the credits roll. But as we know, there really are no happy endings for these two, given their line of work. Hence, the next movie.

'The Conjuring: Last Rites'

Hailed as the final installment in the main Conjuring film series (or at least the last centered on the Warrens), “The Conjuring: Last Rites” opens in 1964 with a harrowing moment: Ed and Lorraine’s baby is born still. But just moments later, the child is miraculously revived, thanks to Lorraine’s desperate prayers. That baby is Judy (played by Mia Tomlinson). Fast forward to 1986, Judy is all grown up, engaged, and now faces terrifying supernatural forces that threaten her very existence.

The film draws inspiration from the true story of the Smurl haunting, which involved a family plagued by demonic activity in their Pennsylvania home. As Judy confronts her own demons, the Warrens are once again pulled into a dark, dangerous world. While “Last Rites” pales in comparison to earlier installments (plot-wise), it still delivers the franchise’s signature blend of horror, highlighting the enduring appeal that has kept audiences hooked for more than a decade.

All eight films in The Conjuring Universe are currently available to stream on Max, with “The Conjuring: Last Rites” expected to arrive on the platform later this year. "The Conjuring: Last Rites" is now showing. Check the film's official website to find a cinema near you.

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Asia/ Vibe/ Pop Culture

September 19, 2025

Laufey Spins Tales of Chaos and Beauty in 'A Matter of Time'

by: The Beat Asia

Photo by Emma Summerton | Courtesy of AWAL

September 19, 2025

by: The Beat Asia

Known for her lush orchestral arrangements and storytelling steeped in romance and nostalgia, Laufey’s new album marks a subtle but striking evolution.

The Grammy-winning instrumentalist returns with “A Matter of Time,” a record that quietly dismantles the fairytale castle she has long sung within. In its place rises something more intimate, raw, and achingly human — yet still undeniably Laufey (pronounced lay-vay) with her signature blend of jazz influences, old-world charm, and contemporary sensibilities. This time, though, the castle doors are flung wide open, welcoming new sounds that broaden her artistry. The result is an invitation to step deeper into her truth, all without losing the magic at its core.

“I’m constantly thinking about classical and jazz, how to properly preserve them and pay homage,” said Laufey in an official press statement, explaining how, for this album, she continues to crystallize her signature sound while also noting her desire to create something different.

“I just wanted to let my heart wander. People expect a pretty façade of girly clothes, fantastical stories, and romantic music. This time, I was interested in seeing how I could draw out the most flawed parts of myself and look at them directly in the mirror,” she added, on experimenting with possibilities, bending and twisting like an acrobat as she explores heavier themes and sonic arrangements we’ve never heard in her catalogue before. She teamed up with a pair of co-producers to bring her concept to life. Steven Spencer, who worked with her on her first two albums, bringing that comforting and familiar sound we’ve come to know and love, and Aaron Dessner (Taylor Swift, Ed Sheeran, Sabrina Carpenter), a newer partner but one who has been known to help artist revolutionize their sound.

While love remains as the core theme of the album, similar to her previous records like “Everything I Know About Love” (2022) and “Bewitched” (2023), “A Matter of Time” feels sonically unrestrained, mimicking the experience of authentic love, from the sweet beginnings and heartbreaking endings to the bittersweet epilogues and everything in between.

First Listen: Laufey Measures Love and Life in Minutes

“A Matter of Time” sounds as gorgeous as its art cover, with 14 tracks including a sweeping orchestral interlude that provides a lovely break in the middle of the record. After a first listen to all of the songs, we can say that this is Laufey at her most daring and playful, which either manifests in the sound or her lyrics.

She welcomed listeners with “Clockwork,” an aptly named track that matched the record’s name, which sings about catching feelings for someone close to you, like a friend, as the song suggests. It’s a clever play on the imagery of a clockwork to portray that sense of inevitability, which is coupled with her vulnerable lyrics highlighting feelings of anxiousness and fear of ruining the friendship. Here, we get a first glimpse into the dark clouds shadowing the album.

The further we dive into the music, the more shadows follow us through the halls. We imagined this album to be like a forgotten castle in the woods, dilapidated but still standing majestic against time. Its honesty is unfiltered, but somehow the artist remains poised in revealing these chipped pieces of truth through glorious music.

“Snow White” is the most emotional and stripped-down song on the record. The singer opens up about her insecurities and how she’s affected by society’s beauty standards, singing lines that say, “The world is a sick place, at least for a girl. The people want beauty; skinny always wins. And I don't have enough of it. I'll never have enough of it.”

In an interview with Rolling Stone, Laufey revealed, “It was written at this moment where I just felt like how I look or how my body is mattered more than my brain, and that’s a really disgusting feeling. I realized when I’m feeling bad about myself, no one can really talk me out of it.”

In “Carousel,” she captures the chaos fame has brought into her life. The song opens with a warning, “My life is a circus. Hold on for all I bring with me,” before unraveling her flaws through circus imagery. Set to a romantic waltz that mimics a carousel’s tune, it trades childhood wonder for raw honesty, showing the beauty of revealing one’s true self and hoping to be accepted. Lines like, “You signed up for one hell of a one-man show. Tangled in ribbons, a lifelong role. Aren't you sorry that you fell? Onto this carousel,” perfectly capture that emotion.

“Castle in Hollywood” is a standout track, and is something we haven’t heard from the artist before. It’s a lot more upbeat with a quick acoustic progression that leans towards a more pop-country sound. Co-produced with Aaron Dessner, Laufey reflects on a past friendship with this track, proving that friend breakups are just as devastating, if not worse, as romantic ones.

The retro lounge track, “Silver Lining,” stands out as one of our favorites on the record, simply because her vocals shine here. The love song captures the reckless and all-consuming nature of love, where even bad habits or lust feel worth it if shared with the right person. Although the lyrics invoke dark imagery, such as punishment, hell, and sin, the sweetness of the melody reframes them, turning them into a promise: no matter what happens, we’ll go down together.

Laufey delivers a track from the male perspective in “Too Little, Too Late,” which showcases the writer’s ability to tell a personal tale even from an outsider’s point of view. This emotional track crescendos all throughout, which caused us listeners to hold our breaths, anticipating what happens next as the story unfolds. The soaring music successfully mirrors that feeling of being consumed by regret and how it starts small but swells and spreads until it consumes every part of you. The song then climaxes into a dramatic and devastating end: a wedding scene, where the man realizes he had lost the love of his life for good.

The second part of the record serves up more experimental music, such as “Tough Luck,” which has a more pop sound, but is woven in with those familiar orchestral strings in the background. The upbeat track mimics the singer’s resentment, showing how an angry or bitter side of you can easily be brought out by being with the wrong person. This narrative continues in “A Cautionary Tale,” where Laufey reflects on a draining relationship and how it has changed her. In the opening verse, she warns her next lover: “Oh, heavens, hear my story, a cautionary tale. Of how I came to be loved, and how it came to fail. A first time for lovers, a first time in agony. The truths you will uncover will knock you on your knees.”

In the album’s second and twelfth tracks, Laufey returns to the bossa nova-inspired stylings of her earlier hits like “From the Start.” These are the most upbeat and fun-sounding songs in the compilation, easily becoming fan-favorites. While the former sings about the funny way the tables have turned — transforming Laufey from a "never-fall-in-love" kind of girl into a lovesick “Lover Girl” — the latter, “Mr. Eclectic,” pokes fun at performative males, when she encounters a suitor who is pretentious and insufferable, more than he tries to be impressive.

Laufey shared during a live performance of “Clean Air” that she wrote it over the holidays in Iceland, and how it was to be taken literally as the country’s air was really clean, but also metaphorically, as it also described feeling down because of the dark winter atmosphere, but also hopeful for the new year. The song captures that situation of resetting yourself to face the world anew.

The album ends on an unexpected high note with “Sabotage,” which we believe was aptly placed in the lineup and encapsulates the record’s sense of chaos in a hypnotizing and spine-chilling melody. The interesting part about it was the angry strings, which at first was a jump scare, but after another round of listening, we realized it perfectly evokes the feeling of being sabotaged — how it creeps up on you when you least expect it. We also love how Laufey was able to complete a love story timeline, having sung about falling, being, and falling out of love, to regretting it, and now feeling betrayed to the point that it makes you angry and pushes you to the edge of sanity. This song is definitely different, with a creepy undertone as Laufey warns her love to “prepare for the impact.” It then reaches its peak with a loud instrumental storm before suddenly sabotaging itself by ending abruptly.

Final Verdict

Listening to “A Matter of Time” was definitely an experience. As casual Laufey listeners, we have always known her music to be on the gentler side with an old-school sound coupled with modern lyrics that sing about romance, yearning, and heartbreak. This record opened our eyes to a different side of the artist, showing us that more than her ability to revive classic sounds, she can also be raw and unapologetically human with her music. So in terms of expanding her artistry and delivering something new, we believe the singer has done a great job.

While some songs blurred into the background for being too similar to her previous releases, such as “Clockwork,” “Forget-Me-Not,” and “Carousel,” the bolder, more experimental tracks like “Sabotage” and “Castle in Hollywood” gave this record an edge that shows us how expansive Laufey’s music can be.

The recurring motif of time was also very cleverly infused in each track, which can either be taken literally or metaphorically. For example, “Too Little, Too Late” likened love to a ticking clock that eventually runs out, while “Clockwork” describes the inevitability of falling for someone. Words and phrases like “overdue,” “countdown,” “spend hours and days,” and even “it’s just a matter of time” are also littered across the record.

Safe to say that this is one of Laufey’s most well-compiled and produced albums yet, and we expect fans and new listeners would agree. Have a listen here:

Laufey is currently touring North America and will soon be in Europe, bringing “A Matter of Time” to life on stage. She will also be taking her jazz and bossa nova tunes to the desert in April 2026 as a performer at Coachella Music and Arts Festival.

For more information, visit her website or follow Laufey on Facebook, X (Formerly Twitter), TikTok, and Instagram.

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