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Praning emerges from the Philippines, a sound that rejects the easy compartmentalization of mainstream genre frameworks, earning its classification as work that exists outside the prefab categories used to organize most commercial and critical music discourse. For far too long, genre labels have operated as a blunt tool, built to center a narrow set of Western creative traditions that were codified into industry systems decades ago, leaving any sound that draws from lineage-specific, context-rich creative practices outside of those limited frameworks to be lumped into the catch-all bucket of “other.
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