The category of Music/Other is rarely a neutral archival space, but rather a quiet repository for all the sound that defies the narrow, often colonial genre labels that shape how we encounter, categorize, and value creative work across the globe, holding pieces that refuse to fit into the preapproved boxes that archivists, streaming platforms, and music industry executives have spent decades refining to streamline consumption and classification. Rooted in the Philippines, a nation whose archipelagic geography has fostered thousands of distinct local creative traditions that layer and bleed into one another across island communities, that catch-all label takes on an added weight, marking a work that cannot be reduced to the simplified stereotypes often applied to sound from the region, that rejects the flattening of its complexity to fit a global audience’s narrow understanding of what Filipino music can be. At the center of this unclassifiable work sits its title, Kailan?