With a sound that blends heartfelt emotion, nostalgic melodies, and the spirit of the Filipino indie scene, Pet School has been steadily carving out its own identity through honest songwriting and memorable releases. Their music captures moments of vulnerability, youth, and self-discovery—resonating with listeners who find comfort in authenticity.
In this interview, we talk with the band about how Pet School came together, the inspirations behind their music, their creative process, memorable experiences as independent artists, and what lies ahead for them.
For readers who are discovering Pet School for the first time, can you introduce yourselves and tell us how the band was formed?
Hello, everyone! We are pet school, or you may simply call us Pet School. We are an electronic pop duo with a strong experimental art influence. We describe our sound as more experiential because we explore different styles while staying rooted in catchy pop songwriting and memorable melodies.
We split our time between San Pablo, Laguna, and Parañaque, Metro Manila.
I’m Don—I handle the vocals, production, and managerial duties. Mckai plays the synths and beats while also co-producing the band. We both live in San Pablo with our son, Ryu, and our rescued cats and dogs. We also spend time in Parañaque.
Why did you choose the name “Pet School,” and is there a story behind it?
It just sounds cute and fun, and it doesn’t really impose anything. It’s musically unrelated and doesn’t define the kind of music we make. That gives us the freedom to change our style whenever we want and allows us to stay open to exploring different artistic directions.
How would you describe your sound to someone who has never listened to your music before?
We are an electronic pop band with a strong indie-electronica influence. Our sound also draws from a variety of internet music micro-genres. From Japanese pop and bass-heavy Instagram sounds to the dreamy atmosphere of late-night “My Day” posts, we love incorporating those elements into our music.
Who are some of your biggest musical influences, both local and international?
That’s a hard question. Lol.
To be honest, since we’re both from San Pablo, we started out as an experimental rock band. The local scene there was built around DIY, self-reliance, and self-discovery. We kind of invented ourselves, and we didn’t really have any specific local or international influences in the beginning.
That said, we do love grunge bands like Soundgarden, the post-grunge band Our Lady Peace, as well as PJ Harvey and Blur. The K-pop group TWICE has also had a big influence on us, and even ’90s anime soundtracks have helped shape the vibe we have now as pet school.
We even have an unreleased acoustic English version of “Feel Special.” We might start playing it at our shows—we really love it.
Your songs have unique titles and a distinctive atmosphere. What inspires your songwriting?
I kind of mentioned that we’re an experimental band. By “experimental,” we mean that we dabble in all kinds of styles, sounds, and visuals. A big part of our songwriting, including our song titles and themes, comes from dreams, spirituality, current events, memes, and internet culture.
Whatever fits the sound and energy of a song usually determines what we call it. Sometimes it’s simply about the subject matter, and other times it’s just driven by the feeling and energy of the music itself.
Can you walk us through your creative process when writing and producing a new song?
Sometimes, when MC (Mckai) plays something, I already know what the words are supposed to be for that specific musical part she just created. Other times, the music comes from dreams, and it almost magically arrives with its own lyrics.
From there, we add beats with a big, punchy kick drum because we love groove-driven rhythms. We build our musical style around rhythm and melodic progression, creating songs that evolve rather than feeling like simple loops. We want our songs to move forward instead of sounding like they’re just cut and pasted together. That said, we’re not against that approach either—we use it when it serves the song.
We also love chord progressions that lift the mood and energy, much like a great pop song or even progressive rock. But when we come up with a melody that’s less pop or just plain weird, we focus on developing it naturally. We experiment with the vibe until we find the right musical hook, then build the beats and bass around it once the vocal melody and lyrics are in place.
How do ideas usually start within the band—a melody, lyrics, a conversation, or something else?
We usually start with a melody. Whatever kind of melody it is, sometimes when I hear it, it already seems to come with its own lyrics. So, we tend to write the melody first.
We’ve been playing together since Mckai was 16 and I was 17, so by now I can almost predict where her melodies or chord progressions are headed. I’ve learned to think ahead of the current chord or pattern.
Since I have stronger pop music instincts, I usually know how to shape the vocal melody, write the bass lines, or build a beat around both her current and upcoming melodic ideas or chords. From there, we keep talking about how to orchestrate the song, refine the arrangement, and eventually figure out the best way to bring it to its ending.
Among your released songs, which one holds the most personal meaning for you and why?
I’d say our old demo, “The Crying,” which was released on Spotify back then. It captures that youthful, melancholic, bittersweet vibe while also featuring an indie-dance progression with a touch of goth influence.
What emotions or messages do you hope listeners take away from your music?
Most of our songs have a bittersweet melodic touch. They carry a sense of fragility and childlike innocence in their melodies. We want listeners to feel that youthful, bittersweet, and deeply emotional atmosphere whenever they hear our music.
The Philippine indie scene continues to grow. How has being part of this community shaped your journey as artists?
Being part of the indie scene has really helped us connect with the right people and find the audience that truly resonates with our music, especially within the electronic music scene in the Philippines. It gave us a platform to express ourselves freely, share our music, and, most importantly, a sense of belonging.
Together with our friends who are also pursuing their own musical projects, we started our own platform called The NoFi Media, along with a program called Oddly Even, in collaboration with our friend shape/shift, an indie electronica live performer.
We organize events around Quezon City and Metro Manila, most often at Groove Cocktail Bar in Cubao, as well as in Los Baños with our community of music-maker friends. These events regularly feature both established and emerging electronic musicians, experimental sound artists, and beat makers.
There’s so much creativity happening within the indie scene, and we hope it continues to grow. In many ways, we think that growth is already happening. Through our platform, we’re not only giving ourselves room to evolve as artists, but also creating a space where other independent musicians can explore their creativity and begin their own artistic journeys.
What have been some of the biggest challenges you’ve faced as an independent band?
Rejection—definitely multiple rejections. Financing is always a challenge too, especially when you’re just a regular person trying to keep an art project or a band going. But money is something you can work for and eventually figure out.
Rejection and negative reactions, though, can really get the best of you. The only thing you can do is keep networking, keep creating, and keep building—whether it’s music or any other kind of art. You have to move forward, make more music, get excited about the next project, and not let setbacks define you.
Is there a particular performance or milestone that made you realize your music was connecting with people?
We’re happy to be releasing some of our music through Body Clock Records, an indie electronica label owned and operated by Mr. Diego Mapa (Tarsius, Eggboy, Pedicab, and more). It’s really cool to put out music under a label run by someone we deeply respect as both a producer and a musician. There’s a great energy that comes with being part of it.
We’re also grateful to perform at events with a more art-driven atmosphere, where we get to meet people who share the same energy and deep appreciation for music. It’s a different experience from anime or pop culture events, where the theme is already well-defined.
Our music can sound very experimental at times, and at other times, very pop. But we’re always working to refine our production while maintaining complete control over our sound and visuals. That creative freedom has helped us connect with the listeners we really want to reach—from the ArtCon, PopCon, and comic communities to the indie and electronic music scenes.
We’ve been fortunate to perform for mall audiences, PopCon organizers and attendees, GameCon visitors, and fans of electronic music. One of the most rewarding moments is after a show, when a shy fan comes up to ask for a photo, our Spotify link, or even an autograph. Those moments are incredibly flattering and remind us why we do this.
In a way, we live two musical identities: we’re both a fan convention/pop culture live act and an indie electronic pop duo. We’re truly thankful that we get to be part of both worlds and continue making the kind of music we love.
Another memorable milestone was when VICE Asia included our song “Eyesight” in one of its playlists, where it reached No. 15. It might not seem like a huge achievement to everyone, but for us, it was a really special moment and something we’re genuinely proud of.
Link Here
How do you balance artistic freedom with the expectations of listeners?
We tend to approach our live sets like a DJ would—we “read the room.” If we’re playing at a mall show or an ArtCon-themed event, we’ll usually perform our more pop-oriented tracks and songs inspired by J-pop and hip-hop. But if we’re playing at a bar or an event centered around electronica or experimental music, we lean into our deeper, more atmospheric tracks with a heavier, more eccentric energy.
Since we produce different styles of electronic pop music, we have songs that naturally fit different kinds of events. We curate each set based on the audience and the theme while staying true to who we are as artists.
We genuinely like all of our music, so it’s never about compromising our artistic freedom. Instead, we simply choose the songs that best match the atmosphere and energy of the event while remaining authentic to our sound.
What role does collaboration play in your music, and are there artists you would love to work with in the future?
We’d love to collaborate with other beat makers if the opportunity comes up. We’d also love to work with a live drummer so we can occasionally perform at drum- and guitar-driven gigs.
In the future, we’d really like to collaborate with some of our producer friends as well. They have so many creative ideas and unique sounds to bring to the table. Sometimes I catch myself daydreaming about jamming with them whenever I hear our new beats.
We don’t have any concrete plans yet, but it’s definitely something we’d love to explore down the line.
How has your sound evolved since your earliest releases?
We think our music has become more melodic over time. Production-wise, we still enjoy sharing all kinds of material—smooth and polished recordings, rough demos, finished songs, and even unfinished ideas. We’re simply excited to keep making music and performing our newest melodies.
At the same time, we always try to stay true to our original vision while continuing to grow and evolve as artists.
What does a typical day look like for Pet School when working on new music?
We usually head downstairs to our home studio and start with a melody. From there, I can almost magically come up with words and meanings. Once we have the melody and lyrics, we build the rhythm around them.
Then it’s time for a lunch or snack break. We check on our son, Ryu, and make sure he’s keeping up with his lessons. Sometimes we’ll take a break to play with our rescued pets, doom-scroll for a bit, or just relax before getting back to writing or reworking the song in the evening.
That’s pretty much our routine, although not always in that exact order. We repeat the process until the song feels right. Once the melody is memorable, the song has enough punch, Mckai can play the synth parts smoothly, and I can confidently sing and remember the vocal lines, we know the song is finished.
Mixing, polishing, and post-production happen separately on their own schedule since we record and mix everything ourselves in our DIY home studio.
We also love watching Netflix series and anime, usually during lunch or at night, and sometimes we even squeeze in an episode between songwriting sessions.
Are there any upcoming projects, releases, or performances that fans should look forward to?
Yes! We have a few exciting things coming up.
We’re currently working with our publicist friends to launch our new single across the mainland Asian region, so please stay tuned for that. In the meantime, you can check out the demo version of the track, “Sora No Taiyo (DnB X/O Version),” on Bandcamp, where it’s available to stream or download for free.
Here are our upcoming shows:
- June 12, 2026 – Front act for an album launch in Quezon City.
- June 27, 2026 – Live set at 7:25 PM on the Oddly Even Stage during Fête de la Musique 2026.
- July 19, 2026 – Anime & ’90s FanCon event in Cubao, Quezon City.
- July 25, 2026 – FOAR EVERYWUN FRM UNP, presented by @uglynproud.collective, at Teewang Cafe.
We hope to see you at one of these shows, and we’re excited to share more new music with everyone soon!
If you could describe the current chapter of Pet School in three words, what would they be and why?
I’d describe it as glitchy, cinematic, and mature.
Glitchy because we’re known for our glitchy pop sound (lol). Cinematic because we’re using more piano, with the melodies taking center stage and creating a more cinematic atmosphere. And mature because we feel our songwriting, production, and overall delivery have grown and evolved over time—or at least, we think they have.
What advice would you give to aspiring musicians who want to start their own band or creative project?
Do what you have to do, but don’t let music or art consume you to the point where your health starts to suffer. If you keep neglecting yourself, you won’t be able to enjoy doing what you love for very long. Exercise, eat well, and take care of yourself—you’ll know when it’s time to slow down and recharge.
Get a side job if you need to. Hustle for your money. We all need it. If you’re already financially comfortable, that’s great. But if you’re just a regular person with a big idea, build your network and connect with the right people.
Also, be kind to people outside the music and art scene. They may offer advice, opportunities, or perspectives that could end up helping your creative journey in ways you never expected.
Most importantly, be authentic—but learn to channel it. Stay curious. Stay wide-eyed as an artist. Enjoy the process. Accept life as it comes, but don’t forget to take action, because life is real.
Finally, what message would you like to share with your supporters and the readers of City Stories PH?
We really appreciate you taking the time to read this interview. Thank you to City Stories PH/City Writer for having us and for giving us the opportunity to share our story.
To everyone reading, thank you so much for your support. Don’t forget to follow us on Instagram—we’re most active there. We don’t use Facebook as much, but we do post updates from time to time.
Please also stream our music on Spotify, follow Body Clock Records, and continue supporting local artists. It’s always cool to do that.
Thank you, and we hope to see you at one of our shows soon!
Don/Mc. We out.
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