{"next":"https://api.kexp.org/v2/plays/?format=json&limit=20&offset=9540","previous":"https://api.kexp.org/v2/plays/?format=json&limit=20&offset=9500","results":[{"id":3641681,"uri":"https://api.kexp.org/v2/plays/3641681/?format=json","airdate":"2026-04-13T20:19:36-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"","thumbnail_uri":"","song":"Hiriku","track_id":null,"recording_id":null,"artist":"Diles que no me maten","artist_ids":["6dfd0709-1021-4a1a-b4ba-a5a93c5b053a"],"album":"Hiriku","release_id":null,"release_group_id":null,"labels":[],"label_ids":[],"release_date":"2026-04-08","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Diles que no me maten’s “Hiriku” arrives as a striking outlier within the atmosphere of Escrito en Agua: faster, more hypnotic, and more overtly driving than much of the material surrounding it. Early coverage of the song describes it as inspired by José Vicente Anaya’s poem “Híkuri,” a connection that immediately gives the track an expanded emotional and spiritual frame. That makes sense when hearing how the band approaches it. Rather than using speed simply for aggression, “Hiriku” feels trance-like, as if propulsion itself were a way of opening multiple emotional planes at once. The group has long been skilled at balancing heaviness with reflection, and this single sharpens that tension beautifully. There is motion everywhere in it, yet the song never feels careless. It sounds considered, even ritualistic in places, with repetition doing the work of meditation rather than simplification. The result is intense without being blunt. Recent notes around the forthcoming album suggest a more stripped and deliberate approach to rhythm and arrangement, and “Hiriku” stands out precisely because it channels that restraint into a piece of high-energy concentration. It is not chaos for its own sake. It is a focused burn, a song that circles altered states, split selves, and emotional multiplicity without losing its grip on the body. Few bands make hypnosis sound this urgent. \u2028Listen: https://dilesquenomematen.bandcamp.com/album/hiriku","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3641680,"uri":"https://api.kexp.org/v2/plays/3641680/?format=json","airdate":"2026-04-13T20:15:33-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"","thumbnail_uri":"","comment":"","location":1,"location_name":"Default","play_type":"airbreak"},{"id":3641679,"uri":"https://api.kexp.org/v2/plays/3641679/?format=json","airdate":"2026-04-13T20:13:20-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"","thumbnail_uri":"","song":"Bass In My Thong","track_id":null,"recording_id":null,"artist":"SOLTERA","artist_ids":["4209b32f-a9df-4c58-b945-7d05a6a69bd5"],"album":"Bass In My Thong","release_id":null,"release_group_id":null,"labels":[],"label_ids":[],"release_date":"2026-04-09","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Soltera and Sonido Sex’s “Bass In My Thong” is exactly the kind of title that tells you, in one breath, that subtlety is not the operative mode. The song has existed in live circulation for some time, including performances documented in 2023, and then reemerged in 2026 as an official single and video release. That trajectory matters because it makes the track feel road-tested rather than merely clever. Soltera’s recent artist pages show a fast-moving catalog of singles and collaborations, while the new release framing around “Bass In My Thong” emphasizes the partnership with Sonido Sex and the song’s club-readiness. The title does a lot of work: bass as low-end force, bass as bodily sensation, thong as sexualized costume, joke, and emblem of self-styled excess. The song appears to understand all of that and lean straight into it. What could have been a throwaway provocation instead reads as part of a larger aesthetic of hyperpop-adjacent nightlife self-invention, where shamelessness becomes a kind of compositional tool. “Bass In My Thong” sounds engineered for motion, humor, and immediate recall. It turns innuendo into branding, but with enough rhythmic conviction that the joke does not flatten the song. Instead, it becomes part of the song’s bounce: cheeky, physical, and fully committed to the bit. \u2028Listen: https://www.youtube.com/watch?v=547iCRdq8S4","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3641677,"uri":"https://api.kexp.org/v2/plays/3641677/?format=json","airdate":"2026-04-13T20:10:00-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"","thumbnail_uri":"","song":"Don't Escape From Death","track_id":null,"recording_id":"196a1321-3cf5-469a-a5b1-5b7dfa483d83","artist":"Ces Cadáveres","artist_ids":["efd8c3f0-497a-43bb-9003-6329646f376f"],"album":"Cuerpos Monstruosos","release_id":null,"release_group_id":"e2458620-fb5b-4b2d-8782-8f7910e555a5","labels":["Detriti Records"],"label_ids":["12a6aae6-f8db-49d6-bdc0-5df2c9d56c2a"],"release_date":"2020-06-08","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Ces Cadáveres’ “Don’t Escape From Death” is darkwave with a sharpened political edge. The track appears on Cuerpos Monstruosos, released through the band’s own page and Berlin’s Detriti Records in 2020, and the available lyrics immediately distinguish it from generic gothic fatalism. This is not death as stylish abstraction. The words point toward surveillance, violence, war, and “families in pain,” giving the song a geopolitical gravity that cuts through the usual post-punk fog. Coverage from WhiteLight//WhiteHeat described the project as a New York synth-punk/EBM trio ahead of that cassette release, which helps explain the song’s mixture of club propulsion and dread. Ces Cadáveres seem interested in making darkness active rather than decorative. “Don’t Escape From Death” pulses like a warning, its title functioning less as existential philosophy than as a brutal recognition that some systems leave no safe outside. That is what gives the track its bite. The electronic framework is important, but the real force comes from how the song refuses to let atmosphere float free of consequence. There are bodies here, victims here, structures of harm here. By tying cold-wave sonics to language of pursuit, bombardment, and collective pain, Ces Cadáveres turn genre style into something more urgent and harder to shake. \u2028Listen: https://cescadaveres.bandcamp.com/track/dont-escape-from-death","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3641678,"uri":"https://api.kexp.org/v2/plays/3641678/?format=json","airdate":"2026-04-13T20:08:01-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"https://coverartarchive.org/release/c5304a59-1c0b-4380-b0b5-a8c908a134e3/43259465369-500.jpg","thumbnail_uri":"https://coverartarchive.org/release/c5304a59-1c0b-4380-b0b5-a8c908a134e3/43259465369-250.jpg","song":"catacresis","track_id":null,"recording_id":"1277420b-3271-4a86-8955-0c98f0c089b8","artist":"Ven Y Mira","artist_ids":["f1edc849-0fad-44f5-ae97-8b4bc3c04ca5"],"album":"el cuadro","release_id":null,"release_group_id":"4149839d-cf68-4028-96a6-e26b279521f7","labels":["ERiZO"],"label_ids":["95071a6c-9f11-4891-a183-2aafb73d003d"],"release_date":"2025-10-10","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"“Ven y Mira” by Catecrecis is a shadowy, immersive track that leans into the group’s affinity for darkwave textures and ritualistic atmosphere. While detailed release information about the song is limited, Catecrecis has built a reputation within Mexico’s underground for crafting music that blends post-punk, ambient, and industrial influences into something deeply evocative.\n\nThe track unfolds slowly, driven by pulsing low-end and cavernous reverb that gives it a sense of depth and unease. Vocals emerge like distant incantations, more felt than clearly heard, adding to the song’s mystique. There’s a cinematic quality to “Ven y Mira,” as if it’s soundtracking a nocturnal landscape—both hypnotic and slightly foreboding.\n\nWith its minimal structure and heavy mood, the song invites listeners to sit בתוך atmosphere rather than chase melody, highlighting Catecrecis’ strength in building tension and emotional resonance through texture alone.\n\nhttps://www.youtube.com/watch?v=QwVQ9wWkXv0","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3641676,"uri":"https://api.kexp.org/v2/plays/3641676/?format=json","airdate":"2026-04-13T20:03:00-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"","thumbnail_uri":"","song":"Bailando","track_id":null,"recording_id":"df70bd9c-3492-43c3-9ca7-4576cb9f5009","artist":"Alaska y los Pegamoides","artist_ids":["d7a16aab-6822-4d14-985e-8f87a2602051"],"album":"Bailando","release_id":null,"release_group_id":"d5375aff-ebfd-4f7e-95d9-7992584e3803","labels":["Kingdom Records"],"label_ids":["aa7ad0b8-edad-4004-9dd7-ee0542975356"],"release_date":"1982-01-01","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Alaska y Los Pegamoides’ “Bailando” remains one of the great acts of deadpan liberation in Spanish pop. Released in 1982, the song became a defining artifact of the early Movida era not by sounding grandiose, but by making repetition itself feel ecstatic and slightly absurd. Its lyric is famously simple: dancing, drinking, neighbors complaining. Yet that simplicity is exactly what gives the song its enduring force. Alaska y Los Pegamoides understood that post-punk and new wave could make room for humor, boredom, nightlife, and social performance without sacrificing style. “Bailando” captures that brilliantly. It turns a tiny scene into an anthem, a domestic nuisance into a philosophy of pleasure. The beat stays light on its feet, the vocal delivery stays cool, and the whole thing moves with the kind of irreverent clarity that made the band so central to a cultural shift larger than any one track. What still makes “Bailando” feel alive is its refusal to overstate itself. It does not sermonize about freedom; it enacts it through repetition and nerve. The song is playful, yes, but also quietly radical in how little justification it offers for joy. It dances because dancing is enough. That remains a powerful proposition. \u2028Listen: https://www.youtube.com/watch?v=zNZtVn4STac","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3641675,"uri":"https://api.kexp.org/v2/plays/3641675/?format=json","airdate":"2026-04-13T20:01:24-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"https://coverartarchive.org/release/9bc31312-e47b-416e-a5eb-0cd9eb1db066/15683305271-500.jpg","thumbnail_uri":"https://coverartarchive.org/release/9bc31312-e47b-416e-a5eb-0cd9eb1db066/15683305271-250.jpg","song":"Señoras bien","track_id":null,"recording_id":"1cb7e0a7-9a7e-4756-a968-9830c2fdf911","artist":"Las Bistecs","artist_ids":["2f77364f-0900-49b8-be68-8be2c57c99cc"],"album":"Oferta","release_id":null,"release_group_id":"b45a3a2f-1515-44e2-acf8-d63bd9ca77b1","labels":["[no label]"],"label_ids":["157afde4-4bf5-4039-8ad2-5a15acc85176"],"release_date":"2016-09-01","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Las Bistecs’ “Señoras Bien” is camp as a weapon and satire as dance music. Released on Oferta in 2016, the track belongs to the Barcelona duo’s gleefully confrontational project of “electro-disgusting,” a style built around crude humor, pop immediacy, and sharp social caricature. Even before getting into the song’s specifics, the title says a great deal. “Señoras bien” names a recognizable social type: comfortable, respectable, class-coded, performatively proper. Las Bistecs seize that figure and turn it into raw material for mockery, performance, and club-floor release. What makes the song work is that it never mistakes parody for distance. It is not aloof satire. It is noisy, bodily, ridiculous, and fully aware that comedy lands harder when it is also infectious. The duo’s larger catalog has always been invested in using simple hooks and abrasive wit to push against sexism, bourgeois respectability, and the policing of bodies, and “Señoras Bien” fits cleanly within that mission. It sounds like social critique with lipstick smeared across it, a song that laughs not because things are harmless, but because exaggeration can expose what politeness protects. The result is catchy and confrontational in equal measure, the kind of pop provocation that knows exactly how silly power can look under bright lights. \u2028Listen: https://open.spotify.com/track/0C60TsFeKSPCyTHolDUN0n","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3641674,"uri":"https://api.kexp.org/v2/plays/3641674/?format=json","airdate":"2026-04-13T19:58:30-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"","thumbnail_uri":"","comment":"","location":1,"location_name":"Default","play_type":"airbreak"},{"id":3641673,"uri":"https://api.kexp.org/v2/plays/3641673/?format=json","airdate":"2026-04-13T19:55:10-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"","thumbnail_uri":"","song":"Tiempo","track_id":null,"recording_id":"2cd3de7a-50b8-4572-9edf-5190937c8c8b","artist":"Bocafloja","artist_ids":["d14eee5e-849e-4fac-be35-a52a9b04a145"],"album":"A título personal","release_id":null,"release_group_id":"5ba2621a-d89a-4179-8f50-920656592bc2","labels":[],"label_ids":[],"release_date":"2005-12-03","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Bocafloja’s “Tiempo” remains one of the defining cuts in Spanish-language hip-hop because it turns reflection into momentum without draining either force. Released on A Titulo Personal in 2005, the song comes from an artist whose broader body of work spans music, literature, film, and political thought, and you can hear that intellectual depth in the way “Tiempo” handles its central subject. Time is not treated as an abstract theme here. It is lived, worn, measured against changing priorities, personal memory, and social reality. Bocafloja’s voice has long carried both precision and gravity, and “Tiempo” channels that combination into a track that feels meditative without ever drifting. The beat gives him room, but the writing gives the song its staying power: lines shaped by observation, not ornament, and a worldview sharpened by years of treating hip-hop as a vehicle for critique as well as expression. What makes “Tiempo” endure is that it does not confuse maturity with calmness. There is urgency in it, even when the cadence feels controlled. The song understands that to think seriously about time is also to think about power, loss, growth, and what survives us. Few artists deliver that kind of weight with this much elegance. \u2028Listen: https://open.spotify.com/track/4VnsGQ9BrRWTeSK1xpCr0X","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3641672,"uri":"https://api.kexp.org/v2/plays/3641672/?format=json","airdate":"2026-04-13T19:52:00-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"https://coverartarchive.org/release/c9c83cff-d8b0-42af-91fc-04415e38b220/35079720956-500.jpg","thumbnail_uri":"https://coverartarchive.org/release/c9c83cff-d8b0-42af-91fc-04415e38b220/35079720956-250.jpg","song":"Desclasificado","track_id":null,"recording_id":"f6110c56-4ae7-417a-b41b-9497483eb5ef","artist":"Ana Tijoux","artist_ids":["3ac6b6fc-05e9-456f-a7d8-6ddf69756d3f"],"album":"La bala","release_id":null,"release_group_id":"2852d4f3-97d7-465c-9c63-554495ff9b7f","labels":["Nacional Records"],"label_ids":["c5d75925-ded1-448e-aa02-06ea4b8250d6"],"release_date":"2012-01-24","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"“Desclasificado” by Ana Tijoux is a sharp, politically charged track from her 2014 album La Bala. Known for her incisive lyricism and commitment to social justice, Tijoux uses the song to confront systems of power, inequality, and historical erasure.\n\nBuilt on a tense, minimalist beat, “Desclasificado” foregrounds her voice as the central force—measured, deliberate, and unflinching. The production blends hip-hop with subtle Andean and Latin American influences, creating a sonic landscape that feels rooted and urgent. Tijoux’s delivery carries both intellectual weight and emotional intensity, weaving personal reflection with broader political critique.\n\nThe track stands as a powerful example of her work during this period, where music becomes a tool for resistance and awareness. “Desclasificado” is both a call to consciousness and a reminder of the voices and histories that persist beyond official narratives.\n\nhttps://www.youtube.com/watch?v=QwVQ9wWkXv0","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3641671,"uri":"https://api.kexp.org/v2/plays/3641671/?format=json","airdate":"2026-04-13T19:49:00-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"","thumbnail_uri":"","song":"Speaking Facts","track_id":null,"recording_id":"44ab0664-f2df-480f-9a93-c9e180da28b0","artist":"Diabbla","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":"Diabbla’s “Speaking Facts,” created with 4TWNTY, carries a title that promises confrontation and then delivers it through tone as much as text. Released in 2025, the single fits within a growing field of hard-edged Latin urban music where confidence is not decorative but structural. The phrase “speaking facts” is a challenge, a flex, and a framing device all at once, and the song uses that posture to turn self-assertion into momentum. Even before one gets into lyrical specifics, the track’s energy communicates a refusal to soften itself for outside approval. That matters, because the best songs in this lane understand that delivery is meaning. Diabbla works from that principle here, building a performance that feels clear-eyed and unbothered, while 4TWNTY helps sharpen the song’s attack. The result is music that speaks in angles rather than curves. There is attitude in every measure, but also purpose: a sense that the track is not just expressing personality, but defending a point of view. In that way, “Speaking Facts” belongs to a lineage of songs that use bluntness as craft. It is not interested in ambiguity for its own sake. It wants to state itself, claim space, and leave the room vibrating afterward. \u2028Listen: https://open.spotify.com/track/0ekGRujJ9fC6z3Jv9avz16","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3641670,"uri":"https://api.kexp.org/v2/plays/3641670/?format=json","airdate":"2026-04-13T19:45:49-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"https://coverartarchive.org/release/ccad947e-d22d-4f35-bfab-b512eefb81c2/43774282590-500.jpg","thumbnail_uri":"https://coverartarchive.org/release/ccad947e-d22d-4f35-bfab-b512eefb81c2/43774282590-250.jpg","song":"Low Rider","track_id":null,"recording_id":"917b535e-01eb-45b2-ace0-b1bada913833","artist":"War","artist_ids":["3e6bbdb8-66c8-439c-a3d9-87391ce88740"],"album":"Why Can’t We Be Friends?","release_id":null,"release_group_id":"61abaf53-d5a5-3114-ad05-a8d3518b2f0f","labels":["Avenue Records"],"label_ids":["720ed9ba-d0d4-41d9-91bb-fc61a08d2b12"],"release_date":"1975-01-01","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"“Low Rider” by War is an iconic funk anthem from their 1975 album Why Can’t We Be Friends?. Built on a laid-back groove and an instantly recognizable bassline, the track captures the band’s signature fusion of funk, soul, Latin rhythms, and streetwise storytelling. Featuring vocals by Eric Burdon collaborator Charles Miller and a standout sax riff, “Low Rider” became one of War’s most enduring hits.\n\nThe song celebrates lowrider car culture rooted in Chicano communities of Los Angeles, turning a specific subculture into a universal symbol of style, pride, and individuality. Its relaxed tempo and hypnotic rhythm evoke the slow cruise of customized cars gliding through city streets.\n\n“Low Rider” remains a defining track of 1970s funk, balancing social identity with an effortlessly cool groove that continues to resonate across generations.\n\nhttps://www.youtube.com/watch?v=BsrqKE1iqqo","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3641669,"uri":"https://api.kexp.org/v2/plays/3641669/?format=json","airdate":"2026-04-13T19:44:41-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"","thumbnail_uri":"","comment":"","location":1,"location_name":"Default","play_type":"airbreak"},{"id":3641668,"uri":"https://api.kexp.org/v2/plays/3641668/?format=json","airdate":"2026-04-13T19:41:30-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"https://coverartarchive.org/release/a6beaff0-95a1-4a45-aeb2-abba27361e82/44709797514-500.jpg","thumbnail_uri":"https://coverartarchive.org/release/a6beaff0-95a1-4a45-aeb2-abba27361e82/44709797514-250.jpg","song":"RiKOPAPi","track_id":null,"recording_id":"0d23da15-89be-4db2-8eae-40fa97568de7","artist":"maaarco","artist_ids":["68bbe41c-d07e-44c1-8d6d-182fe374cf45"],"album":"RiKOPAPi","release_id":null,"release_group_id":"13496e41-1fd4-428f-a3e0-a8e82da18f9a","labels":["Norsay"],"label_ids":["4e327d25-3d44-42cb-8fa5-58dfdda6943d"],"release_date":"2026-03-26","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"maaarco’s “RiKOPAPi” has the restless charge of a track made for the feed, the function, and the after-hours speaker all at once. Available as an official audio release with YASPG, it arrives with the loose-limbed confidence of a song that understands contemporary internet-era pop not as one genre but as a field of attitudes: mischievous, hyperactive, slightly absurd, and fully aware of performance as identity. The title itself is part of the song’s texture, playful and exaggerated in a way that turns naming into rhythm. What stands out in “RiKOPAPi” is its speed of suggestion. Rather than unfolding slowly, it throws personality forward immediately, building momentum through vocal inflection, digital brightness, and the kind of compact arrangement that feels designed to reward replay. There is a cartoon elasticity to it, but also real precision in how the track parcels out its energy. maaarco’s recent uploads suggest an artist working in a fast-moving, self-defined lane, and this song captures that sense of forward motion well. “RiKOPAPi” feels less like a traditional single than a snapshot from an emerging world of DIY pop mutation, where humor, swagger, and melodic instinct are all treated as equal parts of the same engine. That instability is part of its charm. \u2028Listen: https://www.youtube.com/watch?v=PB4LR-mG02I","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3641667,"uri":"https://api.kexp.org/v2/plays/3641667/?format=json","airdate":"2026-04-13T19:37:46-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"https://coverartarchive.org/release/1991a81a-de12-4eaa-bfbb-695b30f1bf32/43121480864-500.jpg","thumbnail_uri":"https://coverartarchive.org/release/1991a81a-de12-4eaa-bfbb-695b30f1bf32/43121480864-250.jpg","song":"Uii","track_id":null,"recording_id":"e681f1d4-c9f6-4901-8653-c1c70b0e3928","artist":"Cachirula, LOOJAN & Fuentes Prod","artist_ids":["7d152132-d134-4171-9401-27ed7a7df4ae","84044407-3847-4dea-aa8b-fac3570dccb4","3d7c2f4b-56e3-4ebf-9cb5-746d315e3445"],"album":"Uii","release_id":null,"release_group_id":"5273a32b-f498-435b-8106-6611808e660b","labels":["Fabrika Records"],"label_ids":["6fc53400-8647-4cd7-a96f-d06f9e7dee34"],"release_date":"2025-03-13","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Cachirula’s “Uii” is built for instant impact. Released in 2025 with LOOJAN and Fuentes Prod, the track wastes no time establishing its function: flirtation, motion, and a hook designed to hit quickly and linger. Cachirula has become part of a younger wave of Mexican urbano and club-oriented artists who understand virality without sacrificing rhythmic bite, and “Uii” carries that energy in concentrated form. At just over two minutes, it is compact but not slight. Instead, it plays like a perfectly trimmed burst of attitude, delivering its melodic and percussive pleasures with enough confidence that nothing needs overexplaining. What makes the song effective is its sense of bounce. The production stays nimble, the vocal phrasing keeps things teasing rather than overcommitted, and the whole track feels aware of the physical response it wants from a listener. There is humor in it, too, a wink embedded in the title and in the song’s overall posture. “Uii” does not pretend to be monumental. It succeeds by being immediate, stylish, and highly repeatable. In a crowded field of short-form club-pop, that kind of focus matters. This is a track that knows exactly how much to say, then lets rhythm carry the rest of the meaning. \u2028Listen: https://open.spotify.com/track/662fjsQNXUB31uSOqgAZAq","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3641666,"uri":"https://api.kexp.org/v2/plays/3641666/?format=json","airdate":"2026-04-13T19:34:27-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"https://coverartarchive.org/release/a90e3ed9-a1aa-4bfd-8bab-15f08283eccc/44587101984-500.jpg","thumbnail_uri":"https://coverartarchive.org/release/a90e3ed9-a1aa-4bfd-8bab-15f08283eccc/44587101984-250.jpg","song":"Not ur mom","track_id":null,"recording_id":"d1b80be1-0b09-4068-bfb5-4fb8b0ee77ca","artist":"Six Sex","artist_ids":["78871594-2fc1-4a4d-bd78-4c67cddcaf1c"],"album":"UTF: introducción","release_id":null,"release_group_id":"4ebff355-c4cc-4ed4-9698-36f68024f810","labels":["Dale Play Records"],"label_ids":["7b3e8dbe-6489-40b0-b271-02814dcfd2b4"],"release_date":"2026-03-03","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Six Sex’s “Not ur mom” is sharp, theatrical, and gloriously self-possessed. The Buenos Aires artist has become one of the most compelling figures in contemporary Latin club music by treating pop, perreo, and electronic abrasion not as separate zones but as combustible material, and this song thrives on that same fearless mix. Released in 2026 and paired visually with “Ultra Terrorific Fantasy,” “Not ur mom” feels like a sneer dressed for the rave: playful, confrontational, and tuned to maximum attitude. The production hits with a cold gleam, all pressure and velocity, while the vocal performance turns dismissal into performance art. The title alone telegraphs the song’s refusal of expectation. It rejects caretaking, respectability, and any easy role assigned from the outside. What makes the track land so well is that it never sounds defensive; it sounds entertained by its own provocation. Six Sex has built a reputation around high-voltage sensuality and club-world exaggeration, and here that sensibility hardens into something icier and funnier. “Not ur mom” is less about explanation than stance. It plants itself in front of the listener with total confidence and lets the beat do the rest. The result is compact but potent: a burst of electronic insolence with real pop instinct behind it. \u2028Listen: https://open.spotify.com/track/0NSoT90KZD1D6ULnnb2Wz0","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3641665,"uri":"https://api.kexp.org/v2/plays/3641665/?format=json","airdate":"2026-04-13T19:32:19-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"","thumbnail_uri":"","comment":"","location":1,"location_name":"Default","play_type":"airbreak"},{"id":3641664,"uri":"https://api.kexp.org/v2/plays/3641664/?format=json","airdate":"2026-04-13T19:29:18-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"","thumbnail_uri":"","song":"Ceviche","track_id":null,"recording_id":"d0f8abe5-7475-45f6-8b11-a042af28eda8","artist":"G-Flux","artist_ids":["16c1c463-11e9-494d-a49d-2a9eecd09412"],"album":"Calavera Cósmica","release_id":null,"release_group_id":"4d3a6ded-8065-4e49-a771-4119d8676887","labels":[],"label_ids":[],"release_date":"2018-02-09","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Isidro Cuevas & Willy Cabañas’ “Ceviche” is a perfect title because it tells you immediately that the song will value flavor, sharpness, and mixture. Released as part of the duo’s self-titled 2020 album and also connected to versions involving G-Flux and Amantes del Futuro, the track belongs to a contemporary cumbia landscape that delights in collage: regional tradition, electronic texture, humor, and urban circulation all folded together. Bandcamp and streaming sources show that this is not a novelty one-off but part of a broader project, which matters because “Ceviche” works best when heard as cultural assembly rather than joke alone. Like the dish itself, the song suggests combination as method. Different ingredients keep their identity while becoming part of something more vibrant together. That logic maps neatly onto modern cumbia experiments, especially those moving between Mexico, Latin America, and electronic production cultures. “Ceviche” sounds like a song that understands pleasure as texture. It likely aims for tang and movement more than grand narrative, and that is a strength, not a limitation. In dance music shaped by popular memory, delight can be a serious craft. Isidro Cuevas and Willy Cabañas seem to work from that principle, making a track whose title is playful but whose structure likely depends on real rhythmic intelligence. It feels festive, but not disposable. \u2028Listen: https://isidroywilly.bandcamp.com/track/ceviche","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3641663,"uri":"https://api.kexp.org/v2/plays/3641663/?format=json","airdate":"2026-04-13T19:25:20-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"","thumbnail_uri":"","song":"Lejania","track_id":null,"recording_id":"7dcc0571-2480-4ff2-854e-cd608d893111","artist":"Lisandro Meza","artist_ids":["5a162170-d306-4331-bddc-54365c52b3e5"],"album":"Solo cumbias","release_id":null,"release_group_id":"a0b9727a-de4d-4b35-a7c3-402cd1bec209","labels":[],"label_ids":[],"release_date":"1983-01-01","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"“Lejanía” by Lisandro Meza is a classic example of the artist’s deep roots in Colombian tropical and vallenato traditions. Known as “El Macho de América,” Meza built a prolific career bridging cumbia, porro, and accordion-driven folk styles, and this track reflects his enduring ability to channel longing through rhythm. While specific album details for this recording are less widely documented, the song circulates as part of his extensive catalog spanning the 1970s through the 1990s.\n\nAnchored by expressive accordion lines and a steady, swaying groove, “Lejanía” captures a sense of distance and emotional yearning suggested by its title. Meza’s vocal delivery carries a plaintive warmth, balancing melancholy with the inviting pulse of danceable instrumentation.\n\nThe result is a timeless piece that speaks to themes of separation and memory, showcasing Lisandro Meza’s gift for blending heartfelt storytelling with the rich textures of Colombia’s coastal sound.\n\nhttps://www.youtube.com/watch?v=QwVQ9wWkXv0","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3641662,"uri":"https://api.kexp.org/v2/plays/3641662/?format=json","airdate":"2026-04-13T19:21:12-07:00","show":66446,"show_uri":"https://api.kexp.org/v2/shows/66446/?format=json","image_uri":"","thumbnail_uri":"","song":"Permanencia rebajada (DJ CHIHUAHUA remix)","track_id":null,"recording_id":"37a7c487-4630-40e6-9169-340aad0529d6","artist":"Karen y Los Remedios","artist_ids":["47e3a7f7-873c-465e-8e0b-482dacdc1f49"],"album":"Permanencia rebajada (DJ CHIHUAHUA remix)","release_id":null,"release_group_id":"4d38ec8d-c34f-4a49-896e-ebd10a951217","labels":["VAA"],"label_ids":["51a09d34-e573-4e61-ad3c-f223e876e991"],"release_date":"2024-04-12","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"“Permanencia Rebajada” by Karen y los Remedios continues the project’s exploration of intimacy, tension, and emotional self-reflection within a sleek, electronic pop framework. Led by Karen Rodarte, the group crafts songs that feel both personal and expansive, drawing listeners into carefully layered sonic environments.\n\nThe track unfolds over a steady, hypnotic rhythm, with shimmering synths and understated percussion creating a sense of quiet momentum. Rodarte’s vocal delivery is restrained yet expressive, hovering between vulnerability and detachment, as if navigating the push and pull of staying versus letting go. The production leans minimal but precise, allowing each element space to resonate and build atmosphere.\n\n“Permanencia Rebajada” highlights Karen y los Remedios’ ability to translate complex emotional states into immersive sound, offering a track that feels contemplative, modern, and subtly powerful in its execution.\n\nhttps://www.youtube.com/watch?v=QwVQ9wWkXv0","location":1,"location_name":"Default","play_type":"trackplay"}]}