Play Public List
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list: List of plays
retrieve: Information about a specific play by ID
GET /v2/plays/?format=api&offset=1940
{ "next": "https://api.kexp.org/v2/plays/?format=api&limit=20&offset=1960", "previous": "https://api.kexp.org/v2/plays/?format=api&limit=20&offset=1920", "results": [ { "id": 3635714, "uri": "https://api.kexp.org/v2/plays/3635714/?format=api", "airdate": "2026-03-30T20:51:20-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "", "thumbnail_uri": "", "song": "Desafiar", "track_id": null, "recording_id": null, "artist": "Mirror Revelations", "artist_ids": [ "8332c59d-1e0b-4ffd-9987-ad00d8be1a8f" ], "album": "Desafiar", "release_id": null, "release_group_id": null, "labels": [], "label_ids": [], "release_date": "2026-03-17", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "“Desafiar” introduces a new phase for Mirror Revelations with a title that means exactly what the song sets out to do: challenge, confront, push through. The Toluca, Mexico band, described in recent coverage as psych-krautrock and newly signed to Fuzz Club, released the track as the lead single from their forthcoming second album Ígnea. That context matters because “Desafiar” feels like an opening move, a threshold song announcing broader scale and sharpened intention. At nearly six minutes, it does not chase immediacy through brevity. Instead, it leans into patient development, building its force through repetition, atmosphere, and a widening sense of inner pressure.\nThe track’s strength lies in its refusal to separate propulsion from introspection. There is motorik persistence in the rhythm and a dark gleam in the surrounding textures, but the song never feels mechanical. It advances like resolve taking shape. The title frames the emotional architecture: not mere resistance, but active defiance, a movement toward ignition that fits the album name Ígnea perfectly. Mirror Revelations have a feel for long-form tension, and “Desafiar” uses that space well, letting the groove become a kind of argument. It is immersive, serious, and purposeful, the sort of song that reveals its power not in a single hook but in the cumulative weight of its motion.\nListen: https://soundcloud.com/mirrorrevelations/desafiar", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3635713, "uri": "https://api.kexp.org/v2/plays/3635713/?format=api", "airdate": "2026-03-30T20:47:50-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "", "thumbnail_uri": "", "song": "Ezezez", "track_id": null, "recording_id": "0370f696-5493-4bb8-b8cc-19b714f51852", "artist": "EZEZEZ", "artist_ids": [ "77b16e22-95d0-4513-a15d-793df8f6e23b" ], "album": "Katuzaldia", "release_id": null, "release_group_id": "69d4ca2e-cb17-4682-891d-adc18c90e071", "labels": [], "label_ids": [], "release_date": "2023-11-26", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "“Ezezez” works as both song and self-definition, a title track that distills the band’s identity into something wiry, self-contained, and forceful. EZEZEZ are a Basque band from Bilbao formed by Unai Madariaga, Eneko Ajangiz, Álvaro Olaetxea, and Mikel Irigoyen, and their profile is marked by an unusually complete DIY ethic: writing, recording, mixing, mastering, visuals, and presentation all handled within the project itself. That total approach matters when listening to “Ezezez,” because the song feels less like an isolated track than like an extension of a whole aesthetic world. The band’s materials emphasize a unique and forceful sound-image language, and this song plays like a thesis statement for that ambition.\nThere is a tautness to the track that suggests post-punk, noisy indie rock, and underground experimental pop without settling obediently into any one of those categories. The self-titled framing gives it a declarative quality, as if the band were spelling its own name into being through repetition, distortion, and groove. Because their work is so bound up with self-construction, “Ezezez” carries an added sense of authorship. It sounds handmade in the strongest sense: not rough for the sake of posture, but deliberate in every contour. The result is music with a hard edge and a clear point of view, the sound of a band making itself legible on its own terms.\nListen: https://open.spotify.com/track/2SI6t3yfaowDQrHPglxhvy", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3635712, "uri": "https://api.kexp.org/v2/plays/3635712/?format=api", "airdate": "2026-03-30T20:45:40-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "https://coverartarchive.org/release/a53c4b09-e23c-4381-a95d-43360a78885a/44218590198-500.jpg", "thumbnail_uri": "https://coverartarchive.org/release/a53c4b09-e23c-4381-a95d-43360a78885a/44218590198-250.jpg", "song": "Máquina Robot", "track_id": null, "recording_id": "ece909b1-97d8-4da3-a1a4-f62c8a104ca9", "artist": "Margaritas Podridas", "artist_ids": [ "599f26bc-ccdf-46e3-87a4-350532f782f8" ], "album": "Metales Pesados", "release_id": null, "release_group_id": "4f2949c5-f63a-4d2e-8c07-8c71932f8f04", "labels": [], "label_ids": [], "release_date": "2026-03-06", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "“Máquina Robot” finds Margaritas Podridas pushing their sound toward something even more metallic, hostile, and unnervingly exact. The Hermosillo band has become one of the strongest recent voices in Mexican noise rock and shoegaze-adjacent guitar music, and this 2026 track extends that trajectory with a title that already hints at mechanization, repetition, and psychic abrasion. Released as part of Metales Pesados, the song has been noted in reviews for its mechanical rhythmic logic and the way it mirrors dehumanizing structures through sound. That idea fits the band well. Margaritas Podridas have always excelled at making distortion feel expressive rather than decorative, and “Máquina Robot” sharpens that instinct into something colder and more severe.\nThe track’s impact comes from tension between rawness and control. The guitars still buzz and corrode, but the pulse underneath feels more rigid, almost industrial in its discipline. That gives the song a different kind of menace. It is not just loud; it is locked in. There is a sense of being trapped inside the machinery the title names, with voice and riff grinding against a system that cannot feel. Yet the song is not lifeless. On the contrary, its power comes from hearing a human band drag feeling through that metallic frame. “Máquina Robot” is abrasive, compact, and deeply physical, but it also carries an emotional charge that keeps it from becoming a mere exercise in texture. It sounds like resistance caught inside circuitry.\nListen: https://margaritaspodridas.bandcamp.com/track/m-quina-robot", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3635711, "uri": "https://api.kexp.org/v2/plays/3635711/?format=api", "airdate": "2026-03-30T20:43:40-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "", "thumbnail_uri": "", "comment": "", "location": 1, "location_name": "Default", "play_type": "airbreak" }, { "id": 3635710, "uri": "https://api.kexp.org/v2/plays/3635710/?format=api", "airdate": "2026-03-30T20:39:20-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "https://coverartarchive.org/release/3c3ba018-365d-489b-9ac4-493cdbd673bc/10732397252-500.jpg", "thumbnail_uri": "https://coverartarchive.org/release/3c3ba018-365d-489b-9ac4-493cdbd673bc/10732397252-250.jpg", "song": "Venezia", "track_id": null, "recording_id": "e74d4171-88cc-4173-b543-ac3b69794cc8", "artist": "Hombres G", "artist_ids": [ "8b1628a7-130a-4faf-96d8-2418bd9043c2" ], "album": "Hombres G", "release_id": null, "release_group_id": "41f5b28e-bfe0-3590-9ed1-fc68cb65e63a", "labels": [ "Grabaciones Accidentales" ], "label_ids": [ "8552891b-5b38-43bc-a32a-fe8533afb65e" ], "release_date": "1985-03-11", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "“Venezia” finds Hombres G leaning fully into the playful romanticism that helped define Spanish pop-rock in the mid-1980s. Released on their debut album Hombres G (1985), the track captures the band at their most buoyant—balancing youthful longing with an unmistakable sense of humor.\n\nDriven by bright, chiming guitars and a steady, unhurried rhythm, “Venezia” feels like a postcard from afar—dreamy, slightly ironic, and emotionally direct. The arrangement is deceptively simple, giving space for the melody to linger while the lyrics sketch out a romanticized escape to the iconic Italian city. There’s a lightness to the performance that keeps the sentiment from becoming overly sentimental; instead, it lands somewhere between earnest and tongue-in-cheek.\n\nVocally, the delivery carries that signature Hombres G charm—casual, conversational, and just a bit mischievous. It’s this tone that makes the song endure, transforming what could be a straightforward love song into something more distinctive and memorable.\n\nDecades later, “Venezia” remains a standout not because of complexity, but because of its clarity of mood. It’s a song that understands exactly what it wants to be: catchy, sincere, and quietly iconic.\n\nListen:\nYouTube: https://www.youtube.com/results?search_query=Hombres+G+Venezia", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3635709, "uri": "https://api.kexp.org/v2/plays/3635709/?format=api", "airdate": "2026-03-30T20:34:43-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "https://coverartarchive.org/release/55805caa-6767-4b47-8ee2-42fa2ea17874/43315491579-500.jpg", "thumbnail_uri": "https://coverartarchive.org/release/55805caa-6767-4b47-8ee2-42fa2ea17874/43315491579-250.jpg", "song": "En la ciudad de la furia", "track_id": null, "recording_id": "00843b29-d238-4c12-ba25-2d03a648fd67", "artist": "Soda Stereo", "artist_ids": [ "3f8a5e5b-c24b-4068-9f1c-afad8829e06b" ], "album": "Obras cumbres", "release_id": null, "release_group_id": "ba1a14cc-b7ad-3935-9427-dca1db82621d", "labels": [], "label_ids": [], "release_date": "2001-01-29", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "“En la Ciudad de la Furia” is one of Soda Stereo’s signature recordings and one of the defining songs of late-1980s Latin American rock. Written by Gustavo Cerati and released as the lead single from Doble Vida, the song is closely tied to Buenos Aires, the “city of fury” named in its title and echoed in its lyrics. It emerged during a period when Soda Stereo were refining their sound into something sleeker, more atmospheric, and more urban, and the track captures that shift perfectly. The production has air in it, but also drive; the guitars are expansive without losing tension; and Cerati’s writing gives the song its sense of altitude, danger, and metropolitan loneliness.\nPart of the song’s lasting power comes from its ability to make a city feel mythic without emptying it of human detail. It is not a postcard to Buenos Aires but a nocturnal identification with it, a song about becoming part of the very place that threatens to swallow you. The famous line about flying over the city turns urban alienation into something strangely ecstatic. Later live versions, including the celebrated rearrangement with Andrea Echeverri for Comfort y Música Para Volar, only reinforced how adaptable and durable the composition was. Even in its original form, though, “En la Ciudad de la Furia” feels complete: sharp, elegant, and restless, a rock anthem that moves with the weather system of an entire city.\nListen: https://open.spotify.com/track/7J2885UBOaG6x3LLkp2YGf", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3635708, "uri": "https://api.kexp.org/v2/plays/3635708/?format=api", "airdate": "2026-03-30T20:30:00-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "", "thumbnail_uri": "", "comment": "", "location": 1, "location_name": "Default", "play_type": "airbreak" }, { "id": 3635707, "uri": "https://api.kexp.org/v2/plays/3635707/?format=api", "airdate": "2026-03-30T20:27:30-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "", "thumbnail_uri": "", "song": "DIOSQUIERA", "track_id": null, "recording_id": null, "artist": "Gloory Hole", "artist_ids": [ "90c9e56f-3e8f-4a4b-9ad4-5338fb0b2db3" ], "album": "QUE SE JODAN SI NO PUEDEN ASUMIR UNA BROMA", "release_id": null, "release_group_id": null, "labels": [], "label_ids": [], "release_date": "2026-03-20", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "“DIOSQUIERA” arrives with the speed and volatility of something posted from the edge of a breakdown and a joke at the same time. Publicly available information on Gloory Hole is still limited, but the song appears as part of the 2026 release QUE SE JODAN SI NO PUEDEN ASUMIR UNA BROMA, and even that title gives a useful clue about the project’s aesthetic: irreverent, confrontational, unserious on the surface but carefully tuned to provoke. “DIOSQUIERA” sounds like a phrase torn out of everyday speech and turned into an exclamation, plea, shrug, and curse all at once. The track’s compressed runtime and raw presentation suggest an artist more interested in impact than polish, in leaving a mark quickly and moving on.\nWhat gives the song its charge is the friction between the sacred and the flippant. The title invokes a familiar expression, but the music pushes it into a louder, stranger context, where piety becomes slang and exasperation becomes rhythm. There is punk instinct in that move, even if the sound is not reducible to one lineage. “DIOSQUIERA” feels like a fragment of digital-age dissidence: impatient, theatrical, maybe a little absurd, but very aware of how language can carry both intimacy and attack. It is a short song with a strong profile, the kind of track that treats attitude as structure.\nListen: https://open.spotify.com/track/7ybh4a0MssJs3Pe6gWUQiK", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3635706, "uri": "https://api.kexp.org/v2/plays/3635706/?format=api", "airdate": "2026-03-30T20:24:30-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "", "thumbnail_uri": "", "song": "delirio de lujuria", "track_id": null, "recording_id": null, "artist": "delirio", "artist_ids": [], "album": null, "release_id": null, "release_group_id": null, "labels": [], "label_ids": [], "release_date": null, "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "“delirio de lujuria” is a title that arrives already overheated, and the song follows through on that promise with a raw, impulsive energy. Available release data places it on delirio’s 2024 album guácharo, issued through Casa Embrujada, and while broad public background on the band remains limited, the track itself makes a vivid impression. It sounds wired for restlessness, driven by the collision of desire, frustration, and youthfully messy intensity. A recent KEXP spin-history note identifies delirio as a trio from Tampico and points to the song’s gritty, emotional charge, which aligns closely with what comes through in the recording.\nThe song works because it does not try to clean up its feelings. Lust here is not polished into something glamorous. It is frantic, impatient, almost claustrophobic. The guitars carry a buzz that feels close to garage punk, while the rhythm keeps the track moving with a heartbeat-like insistence. There is swagger in it, but also exposure. That combination gives “delirio de lujuria” its pull. It sounds like someone trying to outrun their own mind and failing in a way that becomes music. The title names delirium and lust, but the song also contains the panic and vulnerability that often hide underneath both. It is a compact, rough-hewn track, and its lack of polish is part of the point. “delirio de lujuria” feels alive because it leaves the edges visible.\nListen: https://open.spotify.com/track/6hT4ZCTuZyipmdk0tqXSLg", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3635705, "uri": "https://api.kexp.org/v2/plays/3635705/?format=api", "airdate": "2026-03-30T20:21:30-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "", "thumbnail_uri": "", "song": "monigote", "track_id": null, "recording_id": "f0ef6164-d605-4144-bcc8-7e39ea1e7f98", "artist": "Demencia Infantil", "artist_ids": [ "4fe2a59f-df75-4251-b018-f9e4c90cffcd" ], "album": "Monigote Cualquiera", "release_id": null, "release_group_id": "03ef56d6-01a8-4f96-8ced-24ea6e062468", "labels": [], "label_ids": [], "release_date": "2025-07-20", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "“monigote” comes from Demencia Infantil’s 2025 album Monigote Cualquiera, a record that drew notice for its experimental, noisy, and strangely spiritual approach to rock from Mexico City. Reviews of the album describe the band as tuning into frequencies that feel more uncanny than conventional, and that description fits the title track well. A “monigote” can suggest a doodle, a puppet, a crude figure, something cartoonish or disposable. Demencia Infantil takes that unstable image and turns it into a portal for a sound that feels unstable in the best sense: absurd, dark, jazzy, noisy, and resistant to clean categorization.\nWhat makes “monigote” compelling is the way it plays with identity as something half-formed, distorted, and maybe even laughable. The title implies an object or caricature, but the music refuses flatness. It suggests a figure twitching under too many signals at once, a self broken into fragments by the very noise that animates it. That is where Demencia Infantil are especially effective. Their work does not simply experiment for the sake of novelty; it creates an atmosphere where instability feels meaningful. There is humor in the word “monigote,” but the song carries something eerier underneath, as if mockery and metaphysics were sharing the same room. The result is music that sounds handmade and uncanny, rough-edged yet deliberate. “monigote” invites the listener into a world where form is unstable, the ego is porous, and noise becomes a kind of revelation.\nListen: https://demenciainfantil.bandcamp.com/track/monigote", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3635704, "uri": "https://api.kexp.org/v2/plays/3635704/?format=api", "airdate": "2026-03-30T20:18:45-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "https://coverartarchive.org/release/148b47cc-df50-426e-b8f7-268018080c2e/30550793106-500.jpg", "thumbnail_uri": "https://coverartarchive.org/release/148b47cc-df50-426e-b8f7-268018080c2e/30550793106-250.jpg", "song": "Chilanga banda", "track_id": null, "recording_id": "1a1360c8-4c6d-4e11-8717-6cbc394400f8", "artist": "Café Tacvba", "artist_ids": [ "c2b37a39-c66a-44b2-b190-a69485ae5d95" ], "album": "Avalancha de éxitos", "release_id": null, "release_group_id": "a62d4b1a-adef-349f-9660-2511bb20dd82", "labels": [ "Warner Music México" ], "label_ids": [ "93c32583-8fe1-478a-ba07-6e6679f1585f" ], "release_date": "1996-10-25", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "“Chilanga banda” remains one of the most exhilarating celebrations of Mexico City language ever committed to tape. Café Tacvba included the song on 1996’s Avalancha de Éxitos, their album of covers and reinterpretations, but the song was originally written by Jaime López, whose version had already earned cult status. Café Tacvba’s take helped catapult it into a wider cultural orbit, turning a dazzling torrent of chilango slang into one of the most beloved and instantly recognizable songs in Mexican rock. The band’s version preserves the text’s linguistic acrobatics while sharpening its rhythmic kick, drawing on a hip-hop pulse and the group’s signature instinct for mixing popular traditions with alternative experimentation.\nWhat makes “Chilanga banda” endure is not just its humor or speed, but its absolute immersion in place. The song is language as city map, slang as percussion, identity as verbal overflow. Even listeners who do not catch every phrase can feel the exuberance of it, the pleasure of hearing local speech elevated into pop architecture without losing its street-level flavor. Café Tacvba have always excelled at treating Mexican culture not as museum material but as living sound, and “Chilanga banda” is a perfect example. It is witty, breathless, musically agile, and deeply rooted in urban character. More than a novelty or a linguistic stunt, it is a portrait of a metropolis speaking itself into being, one rapid-fire phrase at a time.\nListen: https://www.youtube.com/watch?v=F8z3Yq8c7dM", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3635703, "uri": "https://api.kexp.org/v2/plays/3635703/?format=api", "airdate": "2026-03-30T20:15:50-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "", "thumbnail_uri": "", "comment": "", "location": 1, "location_name": "Default", "play_type": "airbreak" }, { "id": 3635702, "uri": "https://api.kexp.org/v2/plays/3635702/?format=api", "airdate": "2026-03-30T20:11:21-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "", "thumbnail_uri": "", "song": "Cumbia Chilanga", "track_id": null, "recording_id": null, "artist": "Isidro Cuevas and Willy Cabanas", "artist_ids": [], "album": null, "release_id": null, "release_group_id": null, "labels": [], "label_ids": [], "release_date": null, "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "“Cumbia Chilanga” by Isidro Cuevas and Willy Cabanas is a vibrant snapshot of how cumbia continually reshapes itself across regions. Rooted in the genre’s Colombian origins but filtered through Mexico City’s unmistakable “chilango” identity, the track feels both traditional and playfully localized.\n\nFrom the outset, the groove is immediate—propulsive percussion, buoyant basslines, and melodic flourishes that nod to classic accordion-led cumbia while incorporating the textures more common in Mexican interpretations. There’s a looseness to the arrangement that gives the song its charm; it doesn’t rush, instead letting the rhythm stretch out and invite listeners into its sway.\n\nWhat stands out most is the sense of place. “Cumbia Chilanga” carries the pulse of the capital—dense, energetic, and full of personality. Even without parsing every lyric, the delivery communicates a street-level authenticity, as if the song is both a celebration and a lived-in portrait of everyday life.\n\nThe collaboration between the Cabanas and Cuevas feels organic, built on shared musical language rather than flash. The result is a track that prioritizes groove and atmosphere, rewarding repeated listens with its subtle rhythmic details.\n\nIt’s a reminder that cumbia’s evolution thrives in these local reinterpretations—where tradition meets the distinct flavor of a city.\n\nListen:\nYouTube: https://www.youtube.com/results?", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3635701, "uri": "https://api.kexp.org/v2/plays/3635701/?format=api", "airdate": "2026-03-30T20:07:29-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "", "thumbnail_uri": "", "song": "Satanas", "track_id": null, "recording_id": null, "artist": "La Tropa Vallenata", "artist_ids": [ "3c628066-9ace-4473-8837-7c551a3696f8" ], "album": null, "release_id": null, "release_group_id": null, "labels": [], "label_ids": [], "release_date": null, "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "“Satánas” by La Tropa Vallenata leans into the theatrical side of vallenato, where storytelling, humor, and moral tension collide. Rooted in Colombia’s coastal tradition, the track plays like a cautionary tale wrapped in playful exaggeration—using the figure of the devil less as a literal presence and more as a symbol of temptation, trouble, and human missteps.\n\nMusically, the song stays anchored in classic vallenato structure: bright accordion lines, steady caja rhythm, and guacharaca textures that keep everything moving with a danceable swing. But there’s an undercurrent of mischief here—the melodies feel slightly sharper, the pacing more insistent, as if mirroring the chaos suggested in the lyrics. That balance between lightness and unease is where the track finds its personality.\n\nVocally, the delivery carries a conversational tone, pulling listeners into the narrative as it unfolds. There’s a communal quality to it, as if the story is being passed along in real time, with equal parts warning and amusement. Even for listeners outside the genre, “Satánas” works because of its immediacy—its ability to communicate character and mood without needing translation.\n\nIt’s a reminder that vallenato has always thrived on storytelling, and here, the tale is as lively as the rhythm that carries it.\n\nListen:\nYouTube: https://www.youtube.com/results?search_query=La+Tropa+Vallenata+Satanas", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3635700, "uri": "https://api.kexp.org/v2/plays/3635700/?format=api", "airdate": "2026-03-30T20:04:19-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "", "thumbnail_uri": "", "song": "EL DUEÑO DE TU AMOR (Cumbia 2026) - REBAJADA", "track_id": null, "recording_id": null, "artist": "MAGIC SOUND WOLF", "artist_ids": [], "album": "EL DUEÑO DE TU AMOR", "release_id": null, "release_group_id": null, "labels": [], "label_ids": [], "release_date": "2026-03-04", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "“EL DUEÑO DE TU AMOR (Cumbia 2026) - REBAJADA” says almost everything about itself in the title, and that is part of its appeal. Released in March 2026 as a standalone single, the track presents itself openly as rebajada cumbia, invoking the slowed, bass-heavy tradition associated with chopped-and-lowered listening cultures and with cumbia’s long history of mutation across borders and sound systems. The release pages are lean on artist biography, but they clearly identify the song, its 2026 release date, and its self-contained format, which makes the most honest way into the track its own naming convention and sonic inheritance.\nWhat makes the song title so effective is its unabashed melodrama. “The owner of your love” is possessive, aching, old-fashioned, and huge. Add “rebajada,” and that emotional drama gets stretched into something heavier and more hypnotic. Slowness changes the temperature of longing; it makes desire feel more humid, more suspended, more public. That is why rebajada cumbia has always carried such a particular emotional weight. MAGIC SOUND WOLF taps into that language directly. The track feels designed for atmosphere as much as for dancing, for neighborhoods and gatherings where the song becomes part of the air itself. It is unabashedly romantic music, but romance here is not fragile. It is amplified, slowed down, and made communal, the heart translated into bass, drag, and shimmer.\nListen: https://open.spotify.com/track/6fRyJT748jNo68evmuPHth", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3635699, "uri": "https://api.kexp.org/v2/plays/3635699/?format=api", "airdate": "2026-03-30T20:00:40-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "", "thumbnail_uri": "", "comment": "", "location": 1, "location_name": "Default", "play_type": "airbreak" }, { "id": 3635698, "uri": "https://api.kexp.org/v2/plays/3635698/?format=api", "airdate": "2026-03-30T19:57:40-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "", "thumbnail_uri": "", "song": "Mujeres Unidas", "track_id": null, "recording_id": null, "artist": "SOLTERA", "artist_ids": [ "4209b32f-a9df-4c58-b945-7d05a6a69bd5" ], "album": "Mujeres Unidas", "release_id": null, "release_group_id": null, "labels": [ "dottidot" ], "label_ids": [], "release_date": "2026-03-05", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "“Mujeres Unidas” arrives with clarity of purpose before the first note even starts. Bandcamp credits show the song released on March 7, 2026, written and composed by Soltera and Sonido Sex, with contributions from Dolomedes and Jenna Thornhill and engineering, mixing, and mastering handled by a full supporting team. The project’s broader discography shows Soltera working consistently across independent electronic-pop and club-adjacent music, and recent promo text around the single describes it as a song about the exhaustion of existing under the male gaze.\nThat framing gives “Mujeres Unidas” both urgency and solidarity. The title is collective, not private. It suggests alliance, protection, and shared endurance, but also celebration, because unity in music often becomes movement before it becomes slogan. Soltera’s world has room for club textures, pop immediacy, and sharper emotional politics, and this song seems to bring those instincts together cleanly. What is especially striking is the way the title resists abstraction. “Women united” is not decorative language; it names a condition to strive for and a defense against the pressures the song invokes. The collaboration with Sonido Sex sharpens that energy further, giving the track a sense of scene, conversation, and mutual force. “Mujeres Unidas” feels like a song meant to hold both fatigue and defiance in the same body.\nListen: https://soltera.bandcamp.com/track/mujeres-unidas", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3635697, "uri": "https://api.kexp.org/v2/plays/3635697/?format=api", "airdate": "2026-03-30T19:53:06-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "", "thumbnail_uri": "", "song": "Chez toi", "track_id": null, "recording_id": null, "artist": "La bande-son imaginaire", "artist_ids": [ "eb92ba5b-89a3-4e4a-86af-d2e110bfe442" ], "album": "Synthetizer Magazine", "release_id": null, "release_group_id": null, "labels": [ "Tanat Records" ], "label_ids": [], "release_date": "2024-10-25", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "“Chez toi” is a beautifully economical title. In two words it offers intimacy, domesticity, invitation, and the quiet destabilization that comes with entering someone else’s space. Released in June 2023 as a standalone single and also appearing on Synthesizer Magazine, the track is credited on Bandcamp under La bande-son imaginaire, with Óscar Tanat listed in release metadata and rights information. That sparse but evocative frame is well suited to the music’s name itself: “the imaginary soundtrack,” a project title that suggests scenes, rooms, and internal cinema.\nThe phrase “chez toi” carries an emotional asymmetry that makes it instantly rich. “At your place” can mean comfort, seduction, refuge, awkwardness, trespass, or all of those at once. The lyric fragment visible on streaming pages — “You’ll come one day to my home… make yourself at home… pardon the dust” — deepens that atmosphere with tenderness and self-consciousness. The song seems to understand that intimacy is often staged through little imperfections: a room not fully prepared, an invitation extended anyway, affection made visible through hospitality. “Chez toi” feels built from that gentle tension. Its electronic framing and cinematic naming convention make it easy to hear as a small scene suspended in synth light, where closeness is measured not by grand declarations but by whether someone is welcomed into the unfinished everyday.\nListen: https://labandeson.bandcamp.com/track/chez-toi", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3635696, "uri": "https://api.kexp.org/v2/plays/3635696/?format=api", "airdate": "2026-03-30T19:49:40-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "", "thumbnail_uri": "", "comment": "", "location": 1, "location_name": "Default", "play_type": "airbreak" }, { "id": 3635695, "uri": "https://api.kexp.org/v2/plays/3635695/?format=api", "airdate": "2026-03-30T19:46:00-07:00", "show": 66324, "show_uri": "https://api.kexp.org/v2/shows/66324/?format=api", "image_uri": "", "thumbnail_uri": "", "song": "Autonomo", "track_id": null, "recording_id": null, "artist": "Bocafloja", "artist_ids": [ "d14eee5e-849e-4fac-be35-a52a9b04a145" ], "album": "El manual de la otredad", "release_id": null, "release_group_id": "bcd32301-c9ea-4e09-92ae-c1b734317768", "labels": [], "label_ids": [], "release_date": "2009-02-03", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "“Autónomo” stands as one of the defining recordings in Bocafloja’s catalog because it condenses so many of his central concerns into a track that is both incisive and memorable. Bocafloja, the Mexico City-born rapper, poet, and spoken-word artist Aldo Villegas, has long built a body of work where hip-hop is not merely a musical form but a political and intellectual practice. Released as a single from 2007’s El Manual de la Otredad, “Autónomo” emerges from that framework with clarity and force, pairing his lyrical rigor with a more stylized and accessible production approach that he deliberately used to challenge assumptions about what politically charged rap could sound like.\nThe track’s power lies in the way it treats autonomy not as a slogan but as a lived struggle. Bocafloja’s writing has always moved across questions of race, colonialism, identity, and self-determination, and here those themes come through with a disciplined urgency. The beat gives the song propulsion, but the words remain the center of gravity. Nothing feels ornamental. Even at its most fluid, the track holds onto a seriousness of purpose that has made Bocafloja such an important figure in Spanish-language hip-hop. “Autónomo” does not posture. It argues. It insists. It turns the idea of self-possession into a rhythm and then into a stance, making the song feel as relevant as when it first appeared.\nListen: https://www.youtube.com/watch?v=neApD70mO_8", "location": 1, "location_name": "Default", "play_type": "trackplay" } ] }
