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{
    "id": 3612415,
    "uri": "https://api.kexp.org/v2/plays/3612415/?format=api",
    "airdate": "2026-02-02T21:47:09-08:00",
    "show": 65825,
    "show_uri": "https://api.kexp.org/v2/shows/65825/?format=api",
    "image_uri": "",
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    "song": "Charlie contra los monjes",
    "track_id": null,
    "recording_id": "b81e1706-ca03-43f1-bbe7-6fafce7f9c1f",
    "artist": "cacomixtle",
    "artist_ids": [
        "f67d9e96-6b94-4bff-8834-8340453b2a24"
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    "album": "Flora y Fauna del Estado de México",
    "release_id": null,
    "release_group_id": "e0eaa875-a398-44a3-833a-d0ce05ff8d82",
    "labels": [],
    "label_ids": [],
    "release_date": "2024-12-06",
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    "comment": "“Charlie contra los monjes” plays like a small myth with a sharp grin: one named figure pitched against a faceless order. That setup is inherently cinematic—conflict, hierarchy, and an underdog point of view—so the song reads like a story you enter mid-scene. cacomixtle’s approach favors suggestion over explanation, letting the title do a lot of narrative work while the track builds tone and attitude around it. The “monjes” can be literal, but they also function as a symbol: authority disguised as virtue, rules presented as morality, a collective that claims purity. “Charlie,” by contrast, is human-scaled—specific, imperfect, and therefore easier to root for. The song’s appeal is in that friction: rebellion that is not heroic in a glossy way, but stubborn and alive. As a band, cacomixtle is strongest when it embraces that feeling of DIY storytelling—songs that feel like scenes, not summaries. “Charlie contra los monjes” leaves room for interpretation while still feeling pointed, like a fable meant to be retold with different villains each time. \u2028Listen: https://cacomixtle.bandcamp.com/album/charlie-contra-los-monjes",
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}