Local sound production house FlipMusic is behind several OPM hits, including Bini’s “Pantropiko” and the entire “Talaarawan” EP
2024 has been quite the year for Bini so far. Since their hit single “Pantropiko” rose to the top of the charts, the eight-piece girl group has broken barriers and records—from performing on the Chinese reality program “Show It All” to becoming the most streamed OPM artist on Spotify Philippines.
More recently, they also made history as the first P-pop group to perform at the KCON Los Angeles pre-show.
While much of their success can be attributed to the virality of the summer hit and the popularity of their other songs such as “Salamin, Salamin” and “Karera”—not to mention the growing following of each of the group’s members—in reality, those behind the scenes are deserving of just as much praise.
READ: BINI delivers sweetness, spice with new single ‘Cherry on Top’
Behind each great singer is a group of songwriters, composers, and producers. And in Bini’s case, it is local production house FlipMusic, particularly Jumbo “Bojam” De Belen, Pow Chavez, and Angelika Samantha Ortiz, the primary producers and songwriters of “Pantropiko.”
They are not only behind the summer hit and the whole “Talaarawan” EP but also the ones responsible for further building the group’s bubblegum pop sound.
The making of “Pantropiko”
According to De Belen, the president and head producer at FlipMusic, “Pantropiko” began with an instrumental he made. “I usually produce beats on a regular basis. We have what we call ‘vacant beats’ for songwriters to write on.”
De Belen credits the tropical sound associated with the local hit to DJ/producer Mat Olavides who he enlisted to hop on the track for his expertise in tropical house.
As for the rest of the track, much of it began at a song camp FlipMusic conducted. During this, they invite several songwriters to collaborate with their pool of producers. “It took us about four months to come up with a bunch of songs that we presented for Bini and ‘Pantropiko’ was one of them,” says De Belen.
He also explained that the whole camp was specifically directed to craft songs for the girl group. “We came up with 12 to 16 tracks and they chose six, which eventually made up the entire ‘Talaarawan’ EP.”
In that same song camp, De Belen invited and asked Ortiz to write what would eventually become “Pantropiko.” And though this was the first-ever song written by the 22-year-old senior from CIIT College of Arts and Technology, it apparently only took her five days to write the demo track. Ortiz credits the presence of De Belen, Olavides, and Chavez whose veteran expertise guided the young talent.
Ortiz, under the stage name Angelika Sam, is also an artist under FlipMusic. She also just recently released her debut single “Ningning,” which, according to her, refers to the feeling of being transported into outer space whenever you look at the one you love. The song was composed by Ortiz, John Michael Conchada, and De Belen.
The little things that made “Pantropiko”
“The original version was simple because Angelika was not used to making vocal arrangements for groups so I asked Pow to help us out,” says De Belen.
Chavez, a partner at FlipMusic and the secondary songwriter for “Pantropiko,” first gained popularity when he finished in the top five of the first season of “Philippine Idol” in 2006. After pursuing a solo career, he started FlipMusic in 2011 together with De Belen, who he had been working with since 2007, and CEO Jellica Mateo who also participated in the same season of “Philippine Idol” Chavez was in.
“Especially for a group song, Bojam is very particular na kailangan malagyan ng harmonies—kasi walo yan—kailangan makakanta lahat. It has to be balanced as well,” explains Chavez.
As the song’s secondary songwriter, Chavez primarily handled vocal arrangements as well as added the various adlibs scattered throughout the track. His most important contribution according to him was the “Pantropiko, pantropiko, oh” in the post-chorus.
“I felt that it was something I could add because initially, it wasn’t there. It was originally all instrumental.” Chavez adds, “In a regular gig that I would do live, I would normally hype people in between those lines. That’s how it came about.”
Working with eight voices too was a challenge on its own. With a song only lasting for so long, part of the problem was figuring out how to ensure everyone got sufficient exposure. Those versed in the K-pop scene would understand how it feels for your bias to have barely any lines on a comeback.
But beyond each member’s screen time, another thing to consider was the kind of lines they would get. Jhoanna, Maloi, and Colet are known for their powerful vocals. Meanwhile, Gwen, Aiah, Stacey, and Sheena have softer tones. Not to mention, Mikha has a thick and rich vocal. Part of a producer’s responsibility is carefully picking the lines that best match each member’s strengths. After all, you wouldn’t assign Mikha to sing Jhoanna’s parts. It’s not like she can’t, it just so happens it’s a better fit for Jhoanna.
“It’s really challenging working with eight voices kasi kailan mo sila palilitawin. And we have to find out what the range is and even who is good at adlibs. It’s important to be familiar with those,” says Chavez.
As the primary songwriter, Ortiz also recounts some of her key contributions to the track. “My phrasing before was more on the past tense, so ‘Felt like summer when I’m with you,’ which became ‘Feels like summer when I’m with you.’ So more on the present, which is much better to say especially for those listening—mas ma-fe-feel nila at the moment ’yung meaning nung kanta.”
She also points out that the “Oh, shucks” in “Oh, shucks, ito ba’y pag-ibig na?” was added because she ran out of ideas for the song, and that she didn’t expect it would make the final cut.
OPM on notice
Chavez recalls that they once had difficulty pitching songs to other artists and management teams. He remembers even being told, “Hindi pa ready ang mga Pinoy para diyan.” And while he never believed such a sentiment, there was truth to it.
“There was a time na puro ballad—I’m sorry, but it’s just facts.” But in that same breath, he explains, “There were also a lot of covers when we know that people are hungry to release their original songs. And there are people out there who are hungry for new music, who are hungry for something they can dance to.”
The rise of Bini and several other groups and artists, and the growing popularity of P-pop, rap, folk, and other genres that weren’t historically associated with OPM indicates local music’s ongoing evolution. It’s not to say the typical ballads and love songs will go out of style. No, it’s an indication that the public is finding a greater appreciation for artists who venture into the arenas of internationally loved talents without being called baduy or try-hards.
OPM will always have its fair share of belters and lovesick romanticists to fill the charts. But in truth, who expected today’s top Filipino artist to be an eight-member girl group with a bubblegum pop sound?