There is a specific kind of bravery required to build a kingdom out of the things most people run away from. For Filipino bedroom pop artist Peej, that kingdom is a sprawling, melodic landscape of isolation, and he is ready to claim his crown.
With the release of his debut full-length album, King of Sadtown, Peej isn't just dropping a collection of songs; he is announcing his arrival as a definitive voice in the indie scene, one that finds power in the very silence of a bedroom studio.
The Architecture of Solitude
Peej’s journey to the throne began at eight years old with a guitar and a rendition of Extreme’s "More Than Words." But it wasn't until the universal catalyst of a first heartbreak in college that his true sonic identity began to crystallize.
While many artists seek the collaborative noise of big studios, Peej’s debut was forged in the quiet "later years" of the pandemic. Written, produced, and primarily mixed by the artist himself, the 13-track project feels less like a commercial product and more like a private diary left open on a nightstand.
"Writing songs is like a therapy session for me," Peej shares in an exclusive sit-down with Metroscene. "I’ll often sing out a random line during the writing process – and it’s only then I realise that this topic is something that has been eating me up inside – so naturally I have lots of things to say about it and the song slowly takes shape."
The Solo Sovereign
In a local scene that often thrives on "movements" and collectives, Peej remains a self-aware outlier. He admits to feeling a bit isolated from the typical gig circuit, preferring the autonomy of the solo act.
"I think it’s just in my nature to like doing things alone.," he explains. " Though I’ve always enjoyed the extra energy I get when playing in a band, I’ve always found it easier to write and play music on my own. I like not having to wait or depend on other people to practice, or change my playing style to make room for others. I also tend to overthink things when other people are involved. Being a solo act just makes things less complicated."
This creative process isn't just therapeutic; it's a driving, late-night obsession. Peej describes the act of creation as a physical necessity, a drive that transcends the typical 9-to-5 workday and spills into the early morning hours.
"Making music excites me the most," he admits. "There’s no better feeling than having to stay up till sunrise because I’m on the brink of finishing a song. Looking for that lyric, melody, or instrument that will make the song whole. To finish telling its story. It’s like an itch I just have to scratch and when I do it’s so satisfying."
While the foundation of King of Sadtown was built in solitude, its release represents Peej stepping out of his own head. For an artist who naturally leans toward doing things alone, the connection with an audience has been a grounding revelation.
“I really write these songs for myself, and I think I’d do it without an audience, but it’s really meaningful to know that these songs are appreciated and mean a lot to other people as well," Peej reflects. "Additionally, hearing from strangers who come across my music and expressing how much it means to them... It’s nice to be reminded that I don’t live in a bubble.”
For Peej, the "arrival" of this album isn't just about his own personal growth it’s about reaching out from the confines of his bedroom to find others standing in the same shadows. He views his music as a bridge, built from the very bricks of his own insecurities.
“In terms of my music - I’d like to be remembered as someone who spoke honestly and from a place of vulnerability," he tells us. "I’d like my songs to speak to people who are going through the same things I was going through when I wrote my songs, and make them feel they aren’t alone in what they’re going through."
This desire to be a mirror for the "lonely-but-fine" demographic is what gives King of Sadtown its weight. Peej isn't just singing about heartbreak; he’s documenting the universal experience of growing pains and the quiet, often overlooked strength it takes to sit with one's own thoughts. By airing out his own "therapy sessions," he provides a soundtrack for those who might not have the words to describe their own hollow spaces.
The Tracklist: A Tour Through Sadtown
The album is carefully sequenced to ease the listener into the "Sadtown" gates before submerged them in its heavier depths:
The Verdict: A Happy Guy with Sad Music
Despite the heavy themes, Peej is far from a tortured auteur. "I’m just a happy guy who likes writing sad music," he laughs. For him, the excitement lies in the "itch" of a melody that keeps him up until sunrise—a process that turns internal reckoning into something "Honest, Refreshing, and So-good."
As King of Sadtown, Peej invites us all to visit his world. It might be lonely there, but through his vulnerability, he ensures that neither he—nor his listeners—are never truly alone.
Join the community of Young, Empowered, and Creative! Like, Follow, Subscribe to metroscenemag.com and our socials Facebook, X, and Instagram.
.png)
