P-Pop powerhouse BINI will be releasing an album, F.L.A.M.E.S., tomorrow (20 November). It’s only their third full-length record, but the octet have put out lots and lots of songs in their several years of being a group. As we eagerly await the album, we’ve decided to rank all of BINI’s pre-F.L.A.M.E.S. songs so far… not based on numbers, awards, or popularity, but purely based on each track’s technical merits, in our opinion. (“Shagidi,” “First Luv,” and “Paruparo” (Butterfly) are excluded, as they’ve been announced as tracks on F.L.A.M.E.S.)
[All in last place] “Fit Me Fresh Tint” (2023), “Super Crush” (2023), “Gandang Vitakeratin” (2024), “Laging Fudgee” (2024), “Work It Sis!” (2025), “Ikaw Ang Idol Ko,” (2025), “Payless Sakto” (2025), and many other ad songs
The music videos are gorgeous. The girls look stunning. Their vocals are great as always. Main vocalists Colet and Maloi have awesome high notes here. There’s nothing else to say about these ad songs, most of which are incredibly overproduced and overprocessed, for some reason. For example, compare the studio version of “Ikaw Ang Idol Ko” for CDO hotdogs to Colet’s much more enjoyable sing-along version, showing off her amazing raw vocals and making the disco instrumentals easier to appreciate.
36) The Christmas songs (“Joy to the World,” “Our Stories Shine This Christmas”)
While both of them are pleasant and well-sung, there’s also not much to say about these holiday tunes, especially “Joy to the World,” a remake of the classic that brings nothing new to it.
35) “Top” (2025)
“Top” is on the better end of BINI’s ad songs and Colet’s high note is great. It also sounds strangely sluggish and should be around 25% faster than it is. There’s not much else to say.
34) “Up!” with BGYO (2022)
The disco throwback instrumentals are nice, but the topline writing is a shrill mess.
33) “Hairkada, Ilugay Mo” (2024)
This unfortunately short R&B/hip-hop song for shampoo brand SunSilk is a lot catchier than it needs to be. Bonus points for the ever-reliable “MaColet” (Maloi and Colet) duo channelling their inner Ariana Grande with those ad-libs near the end.
32) “Pit A Pat” (2022)
This song is fun and certainly not as bad as some fans make it seem, but it’s a bit over all the place. There’s a sample of a radar going off in the background that does absolutely nothing for the song, unlike in LOONA’s “Why Not” (2020) or Kep1er’s “Yum!” (2025), where the sound adds narrative and intrigue. These fierce Taglish (Tagalog mixed with English) lyrics are fantastic, though.
31) “Love Yourself” (2022)
Like “Pit A Pat,” “Love Yourself” has sassy, empowering lyrics that we love. There’s a lot to like here. For example, the song has a great outro, in which the girls chant “Lemme hear you say B-I-N-I / Love my body and my style / I am worthy, I am free / Don’t care what you say, just wanna be me” like cheerleaders. But production-wise, it’s a bit cluttered. With a sleek house beat like that, less is more…
30) “Icon” (2024)
…as this simple yet effective track proves.
29) “8” (2021)
It’s a bit cheesy… then again, it was composed and written solely by Colet when she was about 14 years old, originally meant for her Year 9 graduation (Grade 8 in the Philippines, hence the title). Creating this track is still an impressive feat for a kid, though, and there’s a lot to like in BINI’s pretty vocals here, especially that stratospheric sustained B♭5 sung by none other than Colet herself. It’s the highest note recorded in any BINI song next to Stacey’s whistles, yet it’s so healthy, a testament to Colet’s top-notch vocal technique.
28) “Ang Huling Cha Cha” (2024)
We absolutely love that the song’s title is a reference to Ang Huling Cha-cha Ni Anita (Anita’s Last Cha-cha), a Filipino film about a young lesbian’s journey to self-acceptance in a sleepy small town, as confirmed by songwriter Nica del Rosario. But this track’s lyrics don’t really have anything to do with that movie, instead talking about your typical toxic romance push-and-pull. Musically, it also sounds like the less energetic sister of “Like This” by STAYC. It’s not bad at all, but a much better version of it already came out in 2020.
27) “No Fear” (2022)
“No Fear” is a B-side from the Feel Good album. It’s perfectly pleasant, but rather generic dance-pop; not so memorable, besides the stripped-down bridge where Jhoanna delivers stunning vocals. This song is great for hyping the crowd up live, though.
26) “Blink Twice” (2025)
Engineered by an impressive team including Grammy-nominated producer Leather Jacket, “Blink Twice” is too glossy to be bad. Still, this repetitive, monotonous tune lacks the punch and speed that its charming lyrics call for. It’s cute, but not a great fit for BINI.
25) “Pantropiko” (2023)
“Pantropiko” (Tropical) is enjoyable and competently made, but musically not too interesting. Elevating the song’s generic marimba-driven backings are main dancer Sheena’s choreography, Angelika Sam (now a member of girl group VVINK)’s adorably rambling Taglish lyrics, and the members’ all-around great vocal performances (spanning a wide range of D♯/E♭3 to F♯/G♭5), like lead vocalist Gwen leaping from smoky lows to flute-like upper notes in her unforgettable verse. Like “No Fear,” however, “Pantropiko” is awesome as a live performance song.
24) “Kabataang Pinoy” with SB19 (2022)
The original version of “Kabataang Pinoy” (Filipino Youth) by Filipino rock band The Itchyworms has been covered a billion times, but this is definitely one of the most memorable versions. The BINI and SB19 members’ voices mesh together really beautifully, making this 19-year-old track their own. Highlights here include Stacey’s whistle notes, with the BINI rapper soaring all the way up to E6 near the end. Who else can say that?
23) “Secrets” ft. Eaj (2025)
“Secrets” is a solid and committed 90s R&B throwback. The choir of eight distinctly different voices all representing one girl speaking to their boyfriend (brought to life by Korean-American singer Eaj) makes the song’s attempts at creating an intimate atmosphere fall flat, however. This would’ve worked much better as a duet with just one female vocalist and one male vocalist, but props to lead vocalist Jhoanna for those incredible high notes.
22) “B HU U R” ft. Kritiko (2021)
Dancey and fun “B HU U R” is a fabulous nu-disco track with loud catchy synths and the perfect balance of vocals and rap. Moreover, BINI and Kritiko blend together so seamlessly on the track, we’re surprised this is the rapper’s one and only studio collaboration with the girls. Particularly Mikha, due to her tone and rapping ability, sounds fantastic next to Kritiko in their rap verses. As it should, “B HU U R” has become a queer anthem over the years, with Maloi once including a link to the song in her Pride Month support post and the members performing it with drag queens at the Grand BINIVerse last year. It also holds the distinction of being one of their only multilingual songs. While most of the group’s discography is in Tagalog and/or English, the raps here incorporate other Philippine languages like Aklanon, Chavacano, and Waray.
21) “Da Coconut Nut” (2020)
20) “Na Na Nandito Lang” (2024)
“Na Na Nandito Lang” (Just Here) is an uplifting number chock-full of comforting affirmations. The song shifts to half-time tempo in the prechoruses, giving the illusion of elongated time during BINI’s encouraging words: “‘Wag nang mangamba, hindi ka nag-iisa” (Don’t worry, you are not alone). The electronic elements in the chorus are bassy but tasteful, and make the song just that bit more interesting. Its ballad version BINI performed on their BINIverse World Tour only served to reshape an already good song into another good, but different, song. We can’t deny the power-packing ad libs (courtesy of the vocal line Colet, Maloi, Gwen, and Jhoanna) throughout the original take the cake, however.
19) “I Feel Good” (2022)
The title track from their Feel Good album pretty much uses the same ingredients as their later single “Salamin, Salamin” (2024): funky instrumentals paired with delightfully fast-paced bubblegum brightness and twinkly metallophone accents. However, the stronger structure and melodies of “Salamin” put it above “I Feel Good,” though this one is very nice too. Its most notable moment is the incredible bridge led by Mikha, Aiah, and Stacey. The song is also more vocally demanding than some might assume from its rainbow-coloured packaging, the pitches here ranging from Gwen’s D♯/E♭3 to Maloi’s climactic E5 (overall, a little over two octaves).
18) “Bata, Kaya Mo!” with PLAYERTWO (2023)
Another multilingual collab with rappers, BINI and PLAYERTWO utterly transform Inigo Pascual and Ron Henley’s reggaeton-inflected “Bata, Kaya Mo!” (You Can Do It, Kid!) into a much sleeker hip-hop banger. The addition of flutey reed sounds, tight harmonies, and awesome new self-written lyrics like Colet’s Cebuano rap section come together to enhance their rendition. As if that weren’t enough, there’s an absolutely killer synth breakdown near the end.
17) “Here With You” (2021)
Big-room synths magnify the majesty of a banger with a beating heart in “Here With You.” Despite their obvious vocal power, the girls know when to restrain themselves gently to amplify emotion in its beautifully harmonised chorus: “Let’s paint the sky / In different lights / Holding on to all that we could be / Gonna make it right.”
16) “Born to Win” (2021)
The title track on their debut album of the same name, “Born To Win” demands your attention with a vibrant and quick-changing instrumental. There’s an array of instruments involved that give it that tropical vibe so popular in 2010’s dance-pop, but still, no instrument is more powerful than these girls’ voices. As the official debut song of the group since their Star Hunt Academy run, it does well to set the girls up for success: maxing out their abilities’ potential, and serving them on a song that is rightfully brimming with confidence.
15) “Golden Arrow” (2021)
The first track on Born to Win, “Golden Arrow” is a well-constructed piece of music elevated with the girls’ overflowing talent. If you need any assurance of the girls’ vocal power and harmony, let Maloi and Jhoanna take you through their crash course with their explosive belts. Mikha’s sugary sweet tone is also perfect for the spoken pre-chorus: “Grab the ice cream, go turn the clock / Dance ’til midnight, nobody knock.” The song’s breathful tempo between each piano house beat lets every moment be enjoyed to the fullest.
14) “Out Of My Head” (2025)
A B-side from BINI’s polarising first all-English EP BINIverse, “Out Of My Head” serves up exuberant Eurodance excellence. It features one of BINI’s best rap breakdowns and an impeccable bridge to final chorus build-up. This sleeper hit received hardly any promo, but Drag Race chose it as the first BINI track on the franchise for a damn good reason. Appearing as the “lipsync for your life” song in episode six of Slaysian Royale‘s first series on 17 September, this is indeed a bop you’d sing and dance along to as if your life depends on it.
13) “Blooming” (2024)
One of BINI’s (many) Coca-Cola endorsement songs and one of the best, “Blooming” encapsulates BINI’s concept and limitless appeal. The production (especially in the chorus) is as magical and flowery as you’d expect a BINI song called “Blooming” to be.
12) “Karera” (2023)
“Karera” (Race) is a delectable slice of disco-infused dance-pop. Each BINI girl is utilised well here: Stacey opens the song with her signature rich low notes, Aiah’s soft vocals shine in her iconic outro, and everyone else soars in the chorus with upper belts (notably, those sustained D5s). Add in some 8-bit synths and electronic keyboard, and you’ve got one of the world’s catchiest mental health anthems. Who knew anxiety could sound so good?
11) “Kinikilig” (2021)
“Kinikilig” (Giddy) is about innocent first love, but its romantic funky bassline is oh-so-serious. The song is structured around Colet and Maloi’s powerful belts. Although MaColet are on heavy duty here, rapper Mikha also surprises and delights with her breathy falsetto runs adding to the heart-fluttering vibes. The track makes youthful crushes feel absolutely epic.
10) “Kapit Lang” (2021)
Angelic, harmony-rich vocal melodies and super clean electropop production take “Kapit Lang” (Just Hold On) to another level. Aiah’s self-written rap completes this charming Taglish song, which is inspirational and uplifting without sounding cheesy at all.
9) “Oxygen” (2025)
Another banger courtesy of Coke Studio Philippines—where on earth does Coca-Cola Philippines find such amazing producers? The Orchestra of the Filipino Youth’s classical contributions work perfectly with the song’s steady drums and bright melodies. Further reinforcing the track’s pop-rock sensibilities is an interpolation of “With A Smile” by Filipino rock icons the Eraserheads, where Colet puts a melismatic spin to the latter song’s “Lift your head / baby, don’t be scared” line. Despite all of the song’s different elements such as a trap breakdown, it still ends up sounding cohesive. The lyrics also hint at poignant themes, with the narrator repeatedly going, “Woke up, thank God / Didn’t think I would make it this far.” But they push past the dark cloud of (presumably) depression, with the music itself capturing the words’ euphoric celebration of life.
8) “Strings” (2022)
This is another one of their more experimental, genre-mashing tunes. A single from their Feel Good album, “Strings” has moody lyrics penned by BINI themselves and an intense, brash sound befitting its action-packed music video, where the girls transform into superheroes. Big-band swing hooks, tropical bongos, and deep bass create an innovative hip-hop/jazz hybrid. Suitably, the girls also sing their hearts out here from a low note of G♯/A♭3 to a peak of F♯/G♭5, with the MaJhoLet (Maloi, Jhoanna, and Colet) trio’s vocal gymnastics topping things off. Most mind-blowing of all is Colet’s highlight from 2:06 to 2:15, where she smoothly slides from an almost two-octave range of G♯/A♭3 to D♯/E♭5, singing 25 (separate but well-connected) notes altogether, in just nine seconds. Phew, the sheer vocal control needed for that!
7) “Salamin, Salamin” (2024)
The groovy bassline declares that enjoying “Salamin, Salamin” is mandatory. Its Tagalog-English bridge is a bombardment of peak BINI lines: Mikha’s “Mirror mirror, on the wall” (a line directly lifted from the Brothers Grimm’s original Snow White text) and “Please tell my Prince Charming I’m waiting for his call” (a Cinderella shout-out, obviously) followed by Stacey’s glorious embodiment of Eminem for a quick minute. Nothing beats the endless catchiness of the post-chorus however: “Salamin, salamin sa dingding / nasa’n na’ng pag-ibig?” (Mirror, mirror on the wall / where is the love?) sung in unison, like they’re casting a spell over you. No wonder some church groups in the Philippines panicked over “Salamin, Salamin” supposedly being a witchcraft song. This fast-paced bop is as enchanting as you’d expect from its fairytale themes. The song also demands stratospheric vocals with its lowest notes already in the fourth octave (C4, really not that low), peaking at F♯/G♭5.
6) “Zero Pressure” (2025)
This synth-pop banger makes us all feel like we’re invincible. The sonically flawless track is decorated with the girls’ strong resolve: “Never hold back, no / Give a little extra, always doin’ better.” Sheena, BINI’s main dancer and bunso (youngest), impresses with her haunting head voice runs throughout the song. Colet also shines in “Zero Pressure,” singing lower and higher harmonies alike and belting out the much-awaited high notes in the final chorus.
5) “Diyan Ka Lang” (2024)
BINI have had many collaborations with FlipMusic, but “Diyan Ka Lang” (Stay There) is perhaps the song that leans into the production house’s signature style the most. Bouncy rhythms, infectious chiptunes, and ad libs abound; it’s Filipino electropop at its finest. Keyboard-driven moments add a tender touch to the track, emphasising the lyrics’ romantic yearning. The key change in the final chorus brims with joy, concluding with 17 seconds’ worth of nonstop ad libs by Colet.
4) “Na Na Na” (2022)
First released as a track on their premier album and re-released as a single on 7 June 2022, “Na Na Na” is pure bubblegum goodness. Some might find it cheesy, but it’s also irresistible to sing along to. The nimble, deceptively sunny-sounding track is about a love story held back by the fear of vulnerability. The song becomes an outlet for all the messy feelings that come with love, the good and the bad. Maloi closes off the song with soaring belts and runs, perfectly representing the fireworks of emotion that someone experiences when they fall for another person.
3) “Huwag Muna Tayong Umuwi” (2022)
“Huwag Muna Tayong Umuwi” (Let’s Not Go Home Yet) has anguished yearning written all over it. Co-lyricist Nica del Rosario, an out and proud lesbian, would of course know about that, in a way only a sapphic can really deliver. But the longing goes beyond each poetic Tagalog word; it’s also embedded in this 80s rock-style ballad’s super-tight harmonies and shockingly gritty electric guitars present from start to finish. The track exquisitely builds up to an awesome guitar solo in the bridge and a final chorus ablaze with fervour.
2) “Cherry On Top” (2024)
For the past few years, the music industry has been inundated with a wispier version of liquid drum-and-bass, and other similarly clubby genres. These styles have roots in Black American and Black British communities, but this much lighter, floatier iteration was made trendy by the likes of K-pop group NewJeans. It’s tough to stand out when pretty much everyone else is releasing songs like this, but with “Cherry on Top,” BINI have achieved the near-impossible.
The UK garage instrumentals benefit from their addictively frantic, lively pace and amazing vocal writing placed above. The song is memorable despite how common the base sound has been lately. Its pristine production is to be expected from a team boasting names like Asian-American producer Shintaro Yasuda, who has crafted hits for Ariana Grande, among others. But it’s the members of BINI themselves who are truly the cherry on top of this song. For instance, Yasuda said that Maloi improvised her own marvellous high notes (peaking at a phrased G5). Jhoanna was the one who thought of singing the words “sweet” and “spice” in the chorus using a flirty falsetto.
None of this would be complete without Stacey’s “yeah, yeah, yeah” and “uh-huh!” ad libs either, or Aiah’s cool, airy delivery of “C-H-E-R-R-Y / Good ingredients are hard to find” in the bridge and ending. In “Cherry On Top,” the girls bring the narrator to life with aplomb. She asserts herself as a catch that any suitor would be lucky to date, but also an empowered woman overall. As they confidently sing and rap lines like Mikha’s “‘Cause you know who run the world”—clearly a reference to Beyoncé’s female empowerment anthem “Run The World (Girls)”—you can tell that each BINI member is fully feeling the message.
1) “Lagi” (2022)
Plenty of songs are good pop songs. Plenty of songs are good rock songs. To combine pop and rock so flawlessly, on the other hand, is rather rare, but this is what “Lagi” (Always) accomplishes. When you look at the song’s history, it should come as no surprise: it was composed by dance coach Louie Canaria and rock artist Ramiru Mataro back in May 2017. Of course, this meeting of minds would result in “Lagi,” which contains retro pop-rock trademarks like Mataro’s basslines and a good ole-fashioned drum kit; as well as public-friendly electropop elements like bubbly, fluid synths that bend to follow the melody of the vocals at some points.
The song simply works on every level. Beyond its musical brilliance, its Tagalog (mostly, with tiny bits of English like “oh, baby, baby”) lyrics organically convey the excitement of budding romance. From nervous, hesitant flirtations like “Pag-ibig na naman ang usap-usapan sa paligid ko / Ngunit kung nais mong malaman, ‘di naman ako nagrereklamo” (People around me are babbling about love again / But if you really wanna know, I’m not exactly complaining) and “Tipong ‘Magandang umaga,’ ‘kumain ka na ba?‘” (We text each other “Good morning,” “have you eaten yet?”), to charmingly confessional lines like “Umaawit mula kusina, hanggang sa sala” (You make me sing from the kitchen to the living room) and “Hanggang gabi, pauwi, at bago matulog nang mahimbing / Naiisip kita lagi” (Till the evening, when I head home, before I fall asleep / I think of you always) in the chorus.
“Lagi” brings out richer tones in each member’s voice, compared to their more firmly pop releases. With notes spanning from D♯/E♭3 to E5 (two octaves and one semitone), the vocal performances here are stellar, especially MaJhoLet’s. Jhoanna and Maloi’s passionate melismas in the bridge are superb, and undoubtedly some of the most memorable parts. However, the song’s centrepiece is its final chorus. In what may be the cleverest quasi-key change ever, the instrumentals stay the same, but Colet takes the chorus melody higher with her supremely powerful voice and nothing else.
She heightens the passion in “Mahal kita mula umaga / Mukhang malala na” (I love you from the morning / Looks like I’m in trouble), raising the last note from the original phrased G♯/A♭4s to a stunning sustained B4 belt (three steps higher). It’s a spectacular, star-making performance by Colet. The track ends strong, with the members singing together like a chorus of angels. We don’t use the word lightly, but “Lagi” is for sure a masterpiece.
F.L.A.M.E.S. will be out on 20 November. You can find BINI on Instagram.