Play Public List
Information about plays
list: List of plays
retrieve: Information about a specific play by ID
GET /v2/plays/?format=api&offset=7660
{ "next": "https://api.kexp.org/v2/plays/?format=api&limit=20&offset=7680", "previous": "https://api.kexp.org/v2/plays/?format=api&limit=20&offset=7640", "results": [ { "id": 3641712, "uri": "https://api.kexp.org/v2/plays/3641712/?format=api", "airdate": "2026-04-13T22:09:11-07:00", "show": 66447, "show_uri": "https://api.kexp.org/v2/shows/66447/?format=api", "image_uri": "https://coverartarchive.org/release/12f604fd-e170-46cf-898c-299ba7cb6c8d/44286097124-500.jpg", "thumbnail_uri": "https://coverartarchive.org/release/12f604fd-e170-46cf-898c-299ba7cb6c8d/44286097124-250.jpg", "song": "Dream 2 Die (No Heaven)", "track_id": null, "recording_id": "c60b00e3-a7be-4b75-aee6-f0acea3bfe34", "artist": "Madeline Goldstein", "artist_ids": [ "4359c67b-bfee-4f68-ba34-dcb42b9bf1ae" ], "album": "Speaking to the Body", "release_id": null, "release_group_id": "ca9208c5-7d0e-4e6a-af3b-8fa1d7f57c4f", "labels": [ "Artoffact" ], "label_ids": [], "release_date": "2026-04-10", "rotation_status": "R/N", "is_local": false, "is_request": false, "is_live": false, "comment": "Synth-tastic second record from L.A.'s Madeline Goldstein - https://madelinegoldstein.bandcamp.com/music", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3641711, "uri": "https://api.kexp.org/v2/plays/3641711/?format=api", "airdate": "2026-04-13T22:04:37-07:00", "show": 66447, "show_uri": "https://api.kexp.org/v2/shows/66447/?format=api", "image_uri": "https://coverartarchive.org/release/8a36348d-c96b-46c3-adc6-faf765597a07/15933513236-500.jpg", "thumbnail_uri": "https://coverartarchive.org/release/8a36348d-c96b-46c3-adc6-faf765597a07/15933513236-250.jpg", "song": "Alma", "track_id": null, "recording_id": null, "artist": "Gustavo Cerati", "artist_ids": [ "979d01bc-a4da-4c80-8cc1-be40bd35cd5e" ], "album": "Bocanada", "release_id": null, "release_group_id": "22d84dc0-84cb-3934-8aa6-4af8fa6671f8", "labels": [ "Ariola" ], "label_ids": [ "b6d68d43-4939-4d76-b0d7-ef855d9f3e6e" ], "release_date": "1999-06-28", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "(Second solo LP from the Argentine frontman of Soda Stereo)", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3641710, "uri": "https://api.kexp.org/v2/plays/3641710/?format=api", "airdate": "2026-04-13T22:00:42-07:00", "show": 66447, "show_uri": "https://api.kexp.org/v2/shows/66447/?format=api", "image_uri": "https://coverartarchive.org/release/962f5667-2e17-4f34-a235-912a1ffc344c/43315479803-500.jpg", "thumbnail_uri": "https://coverartarchive.org/release/962f5667-2e17-4f34-a235-912a1ffc344c/43315479803-250.jpg", "song": "Planeador", "track_id": null, "recording_id": null, "artist": "Soda Stereo", "artist_ids": [ "3f8a5e5b-c24b-4068-9f1c-afad8829e06b" ], "album": "Comfort y Música Para Volar", "release_id": null, "release_group_id": null, "labels": [ "BMG" ], "label_ids": [], "release_date": "1996-09-01", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "Hi pals, welcome to the show!", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3641709, "uri": "https://api.kexp.org/v2/plays/3641709/?format=api", "airdate": "2026-04-13T22:00:01-07:00", "show": 66446, "show_uri": "https://api.kexp.org/v2/shows/66446/?format=api", "image_uri": "", "thumbnail_uri": "", "comment": "", "location": 1, "location_name": "Default", "play_type": "airbreak" }, { "id": 3641708, "uri": "https://api.kexp.org/v2/plays/3641708/?format=api", "airdate": "2026-04-13T21:56:00-07:00", "show": 66446, "show_uri": "https://api.kexp.org/v2/shows/66446/?format=api", "image_uri": "https://coverartarchive.org/release/a1402286-f3c1-465f-a5db-36e2edf1a12c/5909866176-500.jpg", "thumbnail_uri": "https://coverartarchive.org/release/a1402286-f3c1-465f-a5db-36e2edf1a12c/5909866176-250.jpg", "song": "Si no te hubieras ido", "track_id": null, "recording_id": "e24cc5a2-6c36-430a-b3b0-590a7c708139", "artist": "Marco Antonio Solís", "artist_ids": [ "006631f4-5214-49ff-a386-a064853d1a1e" ], "album": "Trozos de mi alma", "release_id": null, "release_group_id": "570f52cf-06ad-3609-8ac6-f279bb9a4f13", "labels": [], "label_ids": [], "release_date": "1999-01-26", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "“Si No Te Hubieras Ido” by Marco Antonio Solís is one of the most enduring romantic ballads in Latin music, originally released in 1999 as part of his album Trozos de Mi Alma. Written by Solís himself, the song quickly became a defining piece of his solo career after his time with Los Bukis, solidifying his reputation as one of the most influential voices in regional Mexican and Latin pop music.\n\nBuilt around lush orchestration and gentle acoustic guitar, the track unfolds as a deeply emotional meditation on absence and regret. Solís’s vocal performance is tender and expressive, carrying a sense of longing that resonates universally. The arrangement remains restrained, allowing the melody and lyricism to take center stage as the song builds its emotional impact through subtle repetition and sincerity.\n\n“Si No Te Hubieras Ido” endures as a timeless expression of love and loss, and remains one of Marco Antonio Solís’s most beloved compositions.\n\nhttps://www.youtube.com/watch?v=QwVQ9wWkXv0", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3641707, "uri": "https://api.kexp.org/v2/plays/3641707/?format=api", "airdate": "2026-04-13T21:50:20-07:00", "show": 66446, "show_uri": "https://api.kexp.org/v2/shows/66446/?format=api", "image_uri": "https://coverartarchive.org/release/7146610f-82d0-4fa7-8f13-4e10b7470245/36879074663-500.jpg", "thumbnail_uri": "https://coverartarchive.org/release/7146610f-82d0-4fa7-8f13-4e10b7470245/36879074663-250.jpg", "song": "Soy una Gargola (post-punk version)", "track_id": null, "recording_id": "eb9ea003-c7d6-4164-9c3c-d08a77bffc63", "artist": "Depresión Post-Mortem", "artist_ids": [ "0d407f14-f1df-4fef-bec4-734e2d0dc76d" ], "album": "Soy una Gargola (post-punk version)", "release_id": null, "release_group_id": "f721689f-263c-48a5-81aa-ef0c30e245f3", "labels": [ "[no label]" ], "label_ids": [ "157afde4-4bf5-4039-8ad2-5a15acc85176" ], "release_date": "2021-08-13", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "“Soy una Gárgola” by Depresión Post-Mortem is a bleak, atmospheric track that channels the darker corners of Latin American post-punk and gothic rock. While detailed official release information is limited, the project has gained attention in underground circles for its lo-fi aesthetic, brooding intensity, and emotionally raw sound.\n\nThe song is built on a cold, reverb-heavy foundation where skeletal guitars and minimal percussion create a sense of emptiness and space. Vocals sit low in the mix, often distorted or distant, reinforcing the track’s themes of isolation, decay, and self-alienation suggested by its title. There’s a haunting physicality to the sound—less about melody and more about atmosphere and emotional weight.\n\n“Soy una Gárgola” exemplifies Depresión Post-Mortem’s approach to music as mood and texture, evoking a nocturnal world that feels both intimate and unsettling, where identity dissolves into shadow and sound.\n\nhttps://www.youtube.com/watch?v=QwVQ9wWkXv0", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3641706, "uri": "https://api.kexp.org/v2/plays/3641706/?format=api", "airdate": "2026-04-13T21:47:40-07:00", "show": 66446, "show_uri": "https://api.kexp.org/v2/shows/66446/?format=api", "image_uri": "https://coverartarchive.org/release/c0549c74-a4d7-4b63-9ac9-d40d54628bcb/38958484983-500.jpg", "thumbnail_uri": "https://coverartarchive.org/release/c0549c74-a4d7-4b63-9ac9-d40d54628bcb/38958484983-250.jpg", "song": "Gastado", "track_id": null, "recording_id": "8ed55902-20d4-4585-837e-63126fc73de9", "artist": "Blood Club", "artist_ids": [ "904cd1b6-199a-4639-84b2-6ccb0335601f" ], "album": "current lust", "release_id": null, "release_group_id": "ebc1ba2e-9983-497d-aa3d-34a10d9c248c", "labels": [], "label_ids": [], "release_date": "2022-03-18", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "blood club’s “gastado” sounds exhausted in the most charged possible way. Released in 2022 on the current lust EP, the track helped establish the Chicago-based Mexican American group’s particular mode of dark post-punk: intimate, bruised, melodic, and still capable of sudden physical lift. Live documentation from Audiotree and the band’s official video output make clear that blood club are not interested in treating gloom as static décor. Their music moves, even when the emotional center is depletion. That is exactly what gives “gastado” its pull. The title suggests wear, drain, and emotional overuse, and the song answers with a sound that turns fatigue into atmosphere rather than collapse. There is a real gift in that inversion. Instead of sinking under its own heaviness, the track keeps pushing forward, letting repetition become a form of numb momentum. The production leaves room for melancholy, but it never lets the song dissolve into formlessness. “gastado” feels bodily: the kind of song you do not just hear, but drag around with you. In that sense it belongs to a long line of post-punk songs about psychic erosion, but blood club make it feel immediate, personal, and unsentimental. They understand that exhaustion has texture, and here they turn that texture into something vividly alive. \u2028Listen: https://open.spotify.com/track/1K3MgcOvkB31JH2apPVLeG", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3641705, "uri": "https://api.kexp.org/v2/plays/3641705/?format=api", "airdate": "2026-04-13T21:46:00-07:00", "show": 66446, "show_uri": "https://api.kexp.org/v2/shows/66446/?format=api", "image_uri": "https://coverartarchive.org/release/e189c11d-2b6b-48fe-899c-27ab113f93d8/36585642628-500.jpg", "thumbnail_uri": "https://coverartarchive.org/release/e189c11d-2b6b-48fe-899c-27ab113f93d8/36585642628-250.jpg", "song": "HUNNY", "track_id": null, "recording_id": "a6da7f30-3565-42b0-9f2e-9a85921aa3bd", "artist": "French Police", "artist_ids": [ "90cf1e25-ffc0-4637-a0fe-205736f9ce10" ], "album": "BLEU", "release_id": null, "release_group_id": "013b38b7-e72b-441c-a667-43ea5e6c26d7", "labels": [], "label_ids": [], "release_date": "2023-02-28", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "French Police’s “HUNNY” captures the band’s gift for making longing sound both elegant and slightly unsteady. Released in February 2023 and included on Bleu, the song sits comfortably within the Chicago group’s coldwave and post-punk language: clipped rhythm, luminous gloom, and a romantic tension that never spills into melodrama. French Police have built a devoted following by refining rather than overcomplicating their approach, and “HUNNY” shows how effective that discipline can be. The title softens the atmosphere just enough to create friction with the music. “Honey” suggests tenderness, but the track surrounds that intimacy with distance, shadow, and the cool geometry of their arrangements. That contrast is what keeps the song compelling. It does not simply deliver heartbreak in obvious terms; it stylizes desire until it becomes spatial, something you can hear as much in the negative space around the instruments as in the melody itself. The result is deeply characteristic of French Police at their best. They understand that minimalism can heighten feeling rather than flatten it, and that a restrained vocal can carry enormous emotional weight when the setting is precise enough. “HUNNY” glows from inside a carefully built shell, and that glow is exactly what makes it linger. \u2028Listen: https://frenchpolice.bandcamp.com/track/hunny", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3641704, "uri": "https://api.kexp.org/v2/plays/3641704/?format=api", "airdate": "2026-04-13T21:44:00-07:00", "show": 66446, "show_uri": "https://api.kexp.org/v2/shows/66446/?format=api", "image_uri": "", "thumbnail_uri": "", "comment": "", "location": 1, "location_name": "Default", "play_type": "airbreak" }, { "id": 3641703, "uri": "https://api.kexp.org/v2/plays/3641703/?format=api", "airdate": "2026-04-13T21:41:04-07:00", "show": 66446, "show_uri": "https://api.kexp.org/v2/shows/66446/?format=api", "image_uri": "", "thumbnail_uri": "", "song": "Bienvenidx a la Decadencia", "track_id": null, "recording_id": null, "artist": "Rose se fue", "artist_ids": [], "album": null, "release_id": null, "release_group_id": null, "labels": [], "label_ids": [], "release_date": "2026-03-12", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "Rose se fue’s “Bienvenidx a la Decadencia” announces itself with theatrical clarity. Released on March 12, 2026 as a standalone single, the song’s title immediately frames the track as both invitation and warning. Welcome to decadence, yes, but also welcome to decline, spectacle, and the shared performance of collapse. Recent artist pages and platform listings show Rose se fue emerging through alternative and Latin rock channels, with live material already circulating online, and that context makes the single feel like a deliberate act of world-building. It is a song title built to carry an aesthetic. What makes it compelling is how open that decadence can be: political, emotional, social, nocturnal. The phrase is broad enough to invite interpretation but specific enough to set a mood. Songs like this often succeed when they understand atmosphere as identity, and “Bienvenidx a la Decadencia” clearly aims for that threshold where slogan becomes experience. The inclusive spelling in the title also matters. It places the track in a contemporary cultural language, signaling not just decline in the abstract, but a social space, a chosen scene, a shared ruin. That gives the song more than gothic surface. It suggests community inside disillusionment, and performance inside survival. Even from the available release data alone, that much is legible: Rose se fue is building a dramatic vocabulary that knows how to make collapse sound welcoming. \u2028Listen: https://open.spotify.com/track/11uN2TG7iGti8sebnd8vWe", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3641702, "uri": "https://api.kexp.org/v2/plays/3641702/?format=api", "airdate": "2026-04-13T21:37:20-07:00", "show": 66446, "show_uri": "https://api.kexp.org/v2/shows/66446/?format=api", "image_uri": "https://coverartarchive.org/release/1627622d-cc6e-40fe-9baa-425344fd9bab/2932716654-500.jpg", "thumbnail_uri": "https://coverartarchive.org/release/1627622d-cc6e-40fe-9baa-425344fd9bab/2932716654-250.jpg", "song": "Brillas", "track_id": null, "recording_id": "93d23857-acf0-41ba-8e7c-a04f4bf0b8a0", "artist": "León Larregui", "artist_ids": [ "436eb956-2a52-4bdf-aa79-4d73d952b2da" ], "album": "Solstis", "release_id": null, "release_group_id": "f25636ee-c6ad-4939-88b8-b56ecb58f797", "labels": [ "Universal Music Group" ], "label_ids": [ "19d052fa-570a-4b17-9a3d-8f2f029b7b57" ], "release_date": "2012-08-21", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "León Larregui’s “Brillas” is one of the great modern Mexican love songs because it never confuses tenderness with softness. Released on his 2012 solo debut Solstis after years fronting Zoé, the song helped establish Larregui as something more than a frontman on sabbatical. The record’s official and catalog listings place “Brillas” near the front of the album, and platform notes around Larregui’s solo career identify it as one of the defining singles that carried Solstis to major commercial and critical visibility. That scale of success makes sense when you hear how the song works. It is romantic without becoming sugary, intimate without sounding small. Acoustic strums and brushed rhythm give it lift, but the emotional center comes from Larregui’s phrasing, which always carries a little ache inside the sweetness. “Brillas” glows rather than explodes. It moves with restraint, letting devotion arrive as atmosphere instead of spectacle. That is part of what has made it endure. The song feels personal, but not private; it leaves enough space for listeners to step inside its emotion and make it their own. In Larregui’s catalog, that balance between mysticism, desire, and direct melodic beauty is rare even by his standards. Here, he makes it seem effortless. \u2028Listen: https://open.spotify.com/track/6jZMIDO6RIeYJNdLiudeCS", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3641700, "uri": "https://api.kexp.org/v2/plays/3641700/?format=api", "airdate": "2026-04-13T21:32:20-07:00", "show": 66446, "show_uri": "https://api.kexp.org/v2/shows/66446/?format=api", "image_uri": "", "thumbnail_uri": "", "song": "Artificial", "track_id": null, "recording_id": null, "artist": "Diciembre Gris", "artist_ids": [], "album": "Silicona", "release_id": null, "release_group_id": null, "labels": [], "label_ids": [], "release_date": "2002-01-01", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "Diciembre Gris’s “Artificial” comes from a band whose documented footprint is older, smaller, and more scene-bound than many others on this list, which gives the song a different kind of intrigue. Available through the group’s ReverbNation presence, “Artificial” belongs to a Woodland, California band remembered locally as part of that regional DIY ecosystem, with lineups and reunion traces still circulating through scene pages. That context makes the title especially apt. “Artificial” is a word rock bands have long used to talk about emotional falseness, synthetic culture, and estrangement from everyday life, and even without a large archive of formal press around the track, the song reads as part of that lineage. Diciembre Gris seem to come from a world where songs function first as direct emotional vehicles rather than carefully branded statements. There is something valuable in that. A track like “Artificial” does not need a massive mythology to resonate; the title already points toward tension between human feeling and imposed surface, between what is lived and what is staged. The band’s local history and later reunion note suggest music rooted in community memory as much as digital permanence. That gives “Artificial” an extra dimension now. It feels like a surviving fragment from a smaller circuit, still carrying its charge. \u2028Listen: https://www.reverbnation.com/diciembregris/song/6705937-artificial", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3641701, "uri": "https://api.kexp.org/v2/plays/3641701/?format=api", "airdate": "2026-04-13T21:30:44-07:00", "show": 66446, "show_uri": "https://api.kexp.org/v2/shows/66446/?format=api", "image_uri": "", "thumbnail_uri": "", "comment": "", "location": 1, "location_name": "Default", "play_type": "airbreak" }, { "id": 3641699, "uri": "https://api.kexp.org/v2/plays/3641699/?format=api", "airdate": "2026-04-13T21:24:17-07:00", "show": 66446, "show_uri": "https://api.kexp.org/v2/shows/66446/?format=api", "image_uri": "", "thumbnail_uri": "", "song": "Pat a Trenca", "track_id": null, "recording_id": null, "artist": "Triángulo de Amor Bizarro", "artist_ids": [ "c99d1db4-d5ab-4795-a7f5-42ebba5fd0bc" ], "album": "Pat a Trenca", "release_id": null, "release_group_id": null, "labels": [], "label_ids": [], "release_date": "2026-04-10", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "Triángulo de Amor Bizarro’s “Pat a trenca” feels like another reminder of how the Galician band continues to age without softening. Fresh coverage around the single describes it as a more physical, concrete follow-up to “Sacrificio,” built from the memory of an authoritarian teacher and a child-world rebellion against humiliation and fear. That framing matters because it gives the song a vivid dramatic center before a note is even heard. Triángulo de Amor Bizarro have long specialized in making emotional and social violence feel atmospheric, but “Pat a trenca” appears to bring that tension into a more direct narrative form. The title itself has a hard texture, and the reported six-minute runtime suggests a song willing to let conflict accumulate rather than flash by. That patience suits the band. Their best work often expands repetition into menace, catharsis, or both. Here, the promise seems to be confrontation made tactile: childhood memory transformed into collective retaliation, private fear pushed outward until it becomes a shared scene. That is fertile territory for a band so skilled at combining density with propulsion. “Pat a trenca” sounds like it wants to make revenge feel rhythmic, not cleanly triumphant but charged, messy, and embodied. It is a compelling direction for a group that has always known how to turn pressure into atmosphere. \u2028Listen: https://open.spotify.com/track/2ZD2Th5vJoKNB2A0bMsHRB", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3641698, "uri": "https://api.kexp.org/v2/plays/3641698/?format=api", "airdate": "2026-04-13T21:20:30-07:00", "show": 66446, "show_uri": "https://api.kexp.org/v2/shows/66446/?format=api", "image_uri": "https://coverartarchive.org/release/80418cea-5f7e-48b9-a7de-d58175e51531/18047710272-500.jpg", "thumbnail_uri": "https://coverartarchive.org/release/80418cea-5f7e-48b9-a7de-d58175e51531/18047710272-250.jpg", "song": "Fallout", "track_id": null, "recording_id": "b7229549-b306-4fb1-8b11-f23980dee9d8", "artist": "Neon Indian", "artist_ids": [ "e8238c02-1cf0-4a51-bfd0-cee93904d351" ], "album": "Era Extraña", "release_id": null, "release_group_id": "f55f6628-cefa-44b0-97a5-97a73c91194f", "labels": [ "Transgressive Records" ], "label_ids": [ "0682fcd0-7372-4e2d-8503-710abd12883e" ], "release_date": "2011-09-07", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "“Fallout” by Neon Indian is a shimmering, emotionally charged track from the 2011 album Era Extraña. Led by Alan Palomo, Neon Indian became a defining voice in the chillwave and synth-pop revival of the early 2010s, blending nostalgic textures with futuristic pop sensibilities.\n\n“Fallout” sits at the heart of Era Extraña’s colder, more expansive aesthetic, trading the hazy lo-fi warmth of earlier work for a more polished and cinematic sound. Built on layered synthesizers, steady electronic percussion, and reverb-drenched vocals, the track evokes both distance and emotional intensity. Its melodies drift like fragmented memories, balancing melancholy with a subtle sense of uplift.\n\nThe song captures Neon Indian’s shift toward a more mature, widescreen electronic palette, where intimacy and alienation coexist within the same glowing sonic space.\n\nhttps://www.youtube.com/watch?v=QwVQ9wWkXv0", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3641697, "uri": "https://api.kexp.org/v2/plays/3641697/?format=api", "airdate": "2026-04-13T21:18:45-07:00", "show": 66446, "show_uri": "https://api.kexp.org/v2/shows/66446/?format=api", "image_uri": "", "thumbnail_uri": "", "comment": "", "location": 1, "location_name": "Default", "play_type": "airbreak" }, { "id": 3641696, "uri": "https://api.kexp.org/v2/plays/3641696/?format=api", "airdate": "2026-04-13T21:15:00-07:00", "show": 66446, "show_uri": "https://api.kexp.org/v2/shows/66446/?format=api", "image_uri": "https://coverartarchive.org/release/758aa35a-25e9-4ad8-83a0-826e54d14359/43315137617-500.jpg", "thumbnail_uri": "https://coverartarchive.org/release/758aa35a-25e9-4ad8-83a0-826e54d14359/43315137617-250.jpg", "song": "INC.", "track_id": null, "recording_id": "5fd00ed3-7046-4f02-8995-38994e23c9ce", "artist": "Mengers", "artist_ids": [ "e0a15893-a805-4b54-b593-1ef4ab41a43a" ], "album": "Flavio", "release_id": null, "release_group_id": "ef8bae22-67e1-4181-972a-ed21ec9a4694", "labels": [], "label_ids": [], "release_date": "2025-10-17", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "Mengers’ “INC.” lands inside Flavio like a sharp corner in a room already full of them. The Mexico City band’s 2025 album was presented as their third full-length, and even from the available release notes alone, you can sense the continuity of their approach: aggressive, nervy, and uninterested in sanding down noise-rock abrasion into something politely alternative. “INC.” benefits from that context because the title feels loaded in multiple directions at once. It evokes incorporation, institutions, business jargon, abbreviation, and the impersonality of systems, all useful materials for a band that thrives on pressure and dislocation. Mengers have built a reputation around making music that feels urban not simply because of where it comes from, but because of how it sounds: compressed, angular, overstimulated, alert. “INC.” appears well suited to that method. The song sits at the center of a record that promises jagged movement and hard surfaces, and its appeal likely lies in how it turns those qualities into momentum rather than clutter. There is a distinctly contemporary pleasure in hearing a band attack modern coldness with even colder tools. Mengers do not romanticize chaos; they engineer it. That makes “INC.” feel less like commentary from the sidelines than a live wire still sparking inside the machine. \u2028Listen: https://mengers.bandcamp.com/track/inc", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3641695, "uri": "https://api.kexp.org/v2/plays/3641695/?format=api", "airdate": "2026-04-13T21:11:20-07:00", "show": 66446, "show_uri": "https://api.kexp.org/v2/shows/66446/?format=api", "image_uri": "", "thumbnail_uri": "", "song": "static txomin", "track_id": null, "recording_id": "24ab304a-aba1-4997-873f-eb7a4d572c76", "artist": "Ezezez", "artist_ids": [ "77b16e22-95d0-4513-a15d-793df8f6e23b" ], "album": "Kabakriba", "release_id": null, "release_group_id": "ef97c245-8999-4195-b7e1-e82ba192fa87", "labels": [], "label_ids": [], "release_date": "2025-05-09", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "EZEZEZ’s “static txomin” carries the compressed force of a band that likes friction as much as melody. The Basque group’s profile describes a style shaped by punk energy, danceability, and their own hybrid “euskoñol” language play, and that combination helps explain why the song feels both wiry and sly at once. Available as part of the Katuzaldia cycle and also as a more recent standalone single listing, “static txomin” suggests a band interested in tension that never calcifies into stiffness. The title itself has a strange internal voltage to it, and the track seems to mirror that with music that moves nervously rather than passively. EZEZEZ’s appeal lies in how they let irony, identity, and bodily momentum share the same space. The result is music that can feel playful without becoming lightweight, sharp without sounding joyless. “static txomin” thrives in that balance. It gives you rhythm with edges still attached, the kind of song that seems to twitch from the inside rather than glide on polished surfaces. There is a local specificity in the project’s language and context, but the song’s drive travels easily. It sounds like a private joke, a warning, and a dance impulse all at once, which is a very effective combination. \u2028Listen: https://open.spotify.com/track/7IB9VKhwaCETcEsqvD6p0Y", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3641694, "uri": "https://api.kexp.org/v2/plays/3641694/?format=api", "airdate": "2026-04-13T21:08:40-07:00", "show": 66446, "show_uri": "https://api.kexp.org/v2/shows/66446/?format=api", "image_uri": "https://coverartarchive.org/release/19d99103-2b3b-467a-a42e-44241fd10e43/29615147204-500.jpg", "thumbnail_uri": "https://coverartarchive.org/release/19d99103-2b3b-467a-a42e-44241fd10e43/29615147204-250.jpg", "song": "Dancing in the Dark", "track_id": null, "recording_id": "77276c54-60e5-4c22-b5cf-8e94d9d53953", "artist": "Downtown Boys", "artist_ids": [ "4bab4841-5584-4c04-a933-3f537fbe3aad" ], "album": "Full Communism", "release_id": null, "release_group_id": "e4ac84b6-9087-4a4c-9416-ee3444a1cc6f", "labels": [ "Don Giovanni Records" ], "label_ids": [ "dcea8cc5-4fc4-4f77-aeef-3e5a14863776" ], "release_date": "2015-05-05", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "Downtown Boys’ version of “Dancing in the Dark” does not treat Bruce Springsteen’s song as sacred text. It grabs it by the collar and drags it into the band’s own bilingual, politically charged, high-voltage universe. Released on Full Communism in 2015, the cover lands inside an album already defined by urgency, confrontation, and a refusal to separate personal feeling from public pressure. That context matters, because Downtown Boys were never a band interested in nostalgia as comfort. Out of Providence, they built a sound that was blistering, communal, and deeply aware of systemic violence, and so their take on “Dancing in the Dark” feels less like homage than reclamation. The original’s longing remains, but the mood changes under Downtown Boys’ hands. Restlessness becomes attack. Frustration becomes propulsion. The song’s famous ache is still there, but it now feels crowded by history, by politics, by the sheer speed at which the band plays it. That transformation is what makes the cover memorable. Rather than smoothing the track into reverence, Downtown Boys reveal how elastic Springsteen’s writing can be when handed to artists with different stakes and a different temperature. Their version is furious, joyous, and just unstable enough to feel necessary. It is a cover that honors the song by refusing to behave around it. \u2028Listen: https://downtownboys.bandcamp.com/track/dancing-in-the-dark-2", "location": 1, "location_name": "Default", "play_type": "trackplay" }, { "id": 3641693, "uri": "https://api.kexp.org/v2/plays/3641693/?format=api", "airdate": "2026-04-13T21:06:37-07:00", "show": 66446, "show_uri": "https://api.kexp.org/v2/shows/66446/?format=api", "image_uri": "https://coverartarchive.org/release/f1ab3b40-a0a0-4915-993e-582ffe15a9e4/22604055915-500.jpg", "thumbnail_uri": "https://coverartarchive.org/release/f1ab3b40-a0a0-4915-993e-582ffe15a9e4/22604055915-250.jpg", "song": "Resistol", "track_id": null, "recording_id": null, "artist": "Belafonte Sensacional", "artist_ids": [ "2fa364f9-8c12-46bd-8846-437a5dbfdc10" ], "album": "Soy piedra", "release_id": null, "release_group_id": "3515f9c5-095c-4515-a490-546f1a95013c", "labels": [], "label_ids": [], "release_date": "2019-03-15", "rotation_status": null, "is_local": false, "is_request": false, "is_live": false, "comment": "Belafonte Sensacional’s “Resistol” is brief, wiry, and oddly moving, the kind of song that feels tossed off in two minutes but leaves adhesive residue behind, true to its title. Released on Soy Piedra in 2019, it belongs to a record that sharpened the Mexico City project’s gift for turning neighborhood realism, folk-rock instinct, and punk abrasion into something distinctly their own. Led by Israel Ramírez, Belafonte Sensacional has long worked in a register where street language, literary allusion, and emotional wreckage can coexist without ceremony, and “Resistol” distills that sensibility into a compact burst. There is something volatile in the song’s construction: it moves quickly, but never lightly. Its tension comes from compression, from how much atmosphere and personality can be forced into such a short runtime. The band’s music often feels rooted in specific places and social textures, and “Resistol” carries that same rough intimacy. It is not polished into anonymity. It still sounds like people in a room, like nerves, like friction, like thought arriving half a second too late. That roughness is part of its beauty. Rather than striving for grandeur, the song achieves something harder: a lived-in emotional truth that sticks fast and keeps clinging after the last chord cuts out. \u2028Listen: https://open.spotify.com/track/6KpTKRYjv9Oz2Sv0jmuGVR", "location": 1, "location_name": "Default", "play_type": "trackplay" } ] }
