{"next":"https://legacy-api.kexp.org/v1/play/?format=json&limit=20&offset=46560","previous":"https://legacy-api.kexp.org/v1/play/?format=json&limit=20&offset=46520","results":[{"playid":3606488,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-01-20T03:54:00Z","epoch_airdate":1768881240000,"epoch_airdate_v2":"/Date(1768881240000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":2087615353,"name":"Los Árboles Mentirosos","islocal":false},"release":{"releaseid":1495328664,"name":"Dias Grises","largeimageuri":null,"smallimageuri":null},"releaseevent":{"releaseeventid":413639124,"year":2022},"track":{"trackid":101153975,"name":"Los Duelistas"},"label":null,"comments":[{"commentid":428771132,"text":"“Los Duelistas” appears on Días Grises (2022), and it plays like a slow-burn confrontation: measured pacing, a steady pulse, and a vocal line that suggests the narrator is holding something back until the last possible second. The arrangement favors atmosphere over flash—guitars that shimmer or smear at the edges, a rhythm section that keeps the track moving without forcing a climax too early. That restraint makes the emotional payoff sharper, because the song’s tension comes from accumulation: small changes in texture, emphasis, and dynamics that gradually tilt the mood from reflective to insistent. Even if you do not catch every lyrical detail on first listen, the framing is clear: a duel is a ritualized conflict, and the song treats conflict as something intimate—personal history meeting the present tense. It is also a strong example of the band’s ability to make “melancholy” feel active rather than passive, like motion through fog instead of getting stuck inside it.\u2028\n\nListen: https://open.spotify.com/album/04o1UCwDFrOPmHEE9iRQKy"}],"showid":65702},{"playid":3606487,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-01-20T03:50:10Z","epoch_airdate":1768881010000,"epoch_airdate_v2":"/Date(1768881010000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":756744525,"name":"Belafonte Sensacional","islocal":false},"release":{"releaseid":1286389118,"name":"Gazapo","largeimageuri":"https://coverartarchive.org/release/58aeebe1-6796-4fb1-b8da-fb46bc52dd9c/22604117436-500.jpg","smallimageuri":"https://coverartarchive.org/release/58aeebe1-6796-4fb1-b8da-fb46bc52dd9c/22604117436-250.jpg"},"releaseevent":{"releaseeventid":2116648339,"year":2014},"track":{"trackid":1884541083,"name":"Valedor"},"label":null,"comments":[{"commentid":925215990,"text":"“Valedor” sits in the world Belafonte Sensacional built on Gazapo (2014): street-level storytelling, Mexico City slang, and a band arrangement that keeps the energy restless even when the groove feels deceptively relaxed. The song’s title is a direct address—friendly, conspiratorial—so the vocal delivery reads like a conversation happening at close range. Lyrically, it leans on everyday details and camaraderie to sketch a scene rather than preach a message, and that’s part of its impact: the humor and warmth carry an undertow of tension. Musically, it rides a folk-rock backbone, but the phrasing and rhythmic push give it a punk-adjacent urgency. It’s the kind of track where the hook is not just melody; it’s the attitude—the way a chorus can feel like a shared code between strangers. If you want an entry point into Gazapo, this is one of the clearest examples of how the band turns local texture into something universal.\u2028\n\nListen: https://holabelafonte.bandcamp.com/album/gazapo"}],"showid":65702},{"playid":3606486,"playtype":{"playtypeid":4,"name":"Air break"},"airdate":"2026-01-20T03:48:20Z","epoch_airdate":1768880900000,"epoch_airdate_v2":"/Date(1768880900000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":null,"release":null,"releaseevent":null,"track":null,"label":null,"comments":[],"showid":65702},{"playid":3606485,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-01-20T03:43:40Z","epoch_airdate":1768880620000,"epoch_airdate_v2":"/Date(1768880620000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":95201682,"name":"Jarabe de Palo","islocal":false},"release":{"releaseid":818150268,"name":"La flaca","largeimageuri":null,"smallimageuri":null},"releaseevent":{"releaseeventid":1960008763,"year":1996},"track":{"trackid":1067728153,"name":"El lado oscuro"},"label":{"labelid":611357551,"name":"Parlophone"},"comments":[{"commentid":627322956,"text":"“El lado oscuro” is one of Jarabe De Palo’s defining songs because it frames love as both tenderness and fate—an acceptance of contradiction rather than a polished fantasy. Musically, it blends pop-rock craft with rhythmic ease: guitars and percussion move with a natural swing, leaving space for the vocal to carry the emotional weight. The lyric voice is direct and memorable, built on a clear binary (“good side” versus “dark side”) that’s less about moral judgment and more about self-identification—owning the scars, the intensity, and the fearlessness that can come with loving fully. The hook lands because it’s plainspoken and theatrical at the same time; it feels like a confession delivered with pride. Production-wise, the track is clean, radio-ready, and melodically generous, but it still preserves the grain of a lived-in performance—something human rather than sterile. It also fits within the broader character of the era: songs that could fill a room without losing lyrical intimacy. For sequencing, it works as a mid-tempo anchor—emotional, recognizable, and strong enough to reset attention before you move into more frantic material.\u2028\n\nListen: https://www.youtube.com/watch?v=jW89DwNY3Os"}],"showid":65702},{"playid":3606484,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-01-20T03:41:10Z","epoch_airdate":1768880470000,"epoch_airdate_v2":"/Date(1768880470000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":308704287,"name":"Los Saicos","islocal":false},"release":{"releaseid":428456865,"name":"Come On","largeimageuri":null,"smallimageuri":null},"releaseevent":{"releaseeventid":1879711320,"year":1965},"track":{"trackid":1056657179,"name":"Come On (Ven Aqui)"},"label":null,"comments":[{"commentid":1324753979,"text":"“Come On (Ven Aquí)” is a foundational piece of Los Saicos’ legend: mid-’60s garage rock with the kind of speed and bite that later generations would associate with punk. The track moves with a stripped-down urgency—sharp guitar stabs, a driving beat, and vocals that don’t aim for smoothness so much as immediacy. What makes it historically striking is how modern the attitude feels: it’s concise, aggressive in its attack, and built around the thrill of direct address. Even with its simple structure, the song has a kinetic snap—each section arrives quickly, delivers the point, and gets out, which is part of why it still sounds alive rather than archival. There’s also a playful tension in the bilingual framing: “Come On” and “Ven Aquí” pull the same impulse into different registers, turning pursuit into command. For listeners who know “Demolición,” this track shows another side of the same engine—still raw, still fast, but aimed at attraction rather than chaos. In a playlist, it’s a perfect historical pivot between early garage and later punk.\u2028\n\nListen: https://open.spotify.com/intl-es/track/0yatkm9lc2I8PjUNpwKa0U"}],"showid":65702},{"playid":3606483,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-01-20T03:39:20Z","epoch_airdate":1768880360000,"epoch_airdate_v2":"/Date(1768880360000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":1540047221,"name":"Camellos","islocal":false},"release":{"releaseid":524254889,"name":"Camón","largeimageuri":null,"smallimageuri":null},"releaseevent":{"releaseeventid":104520093,"year":2025},"track":{"trackid":2130765009,"name":"Camón"},"label":null,"comments":[{"commentid":1804579978,"text":"“Camón” is short, sharp, and intentionally unsentimental—built like a burst of adrenaline meant to kick off a new cycle rather than luxuriate in nostalgia. Camellos specialize in punk-leaning rock with a streetwise sense of humor, and this track uses that identity as fuel: tight guitars, clipped phrasing, and a tempo that feels like it’s sprinting past reflection. The effect is visceral, like a band walking onstage and choosing impact over introduction. Even in its brevity, the song suggests a backward glance—an anniversary mood or a “we’ve been here a minute” stance—but it refuses to soften into celebration. Instead, it reads as movement: momentum, grit, and a willingness to stay abrasive when the world expects maturity to mean restraint. The band’s writing style often pairs everyday realism with punchline timing, and “Camón” keeps that edge by staying lean and decisive. It’s especially useful for radio programming or DJ transitions because it’s a quick hit that spikes energy and clears the palette. If you’re curating a set, it functions like a starter pistol.\u2028\n\nListen: https://open.spotify.com/track/42jCIBQwQ77Oa4zSts4Ukn"}],"showid":65702},{"playid":3606482,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-01-20T03:36:20Z","epoch_airdate":1768880180000,"epoch_airdate_v2":"/Date(1768880180000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":1167659421,"name":"Las Robertas","islocal":false},"release":{"releaseid":26527006,"name":"The Feel","largeimageuri":null,"smallimageuri":null},"releaseevent":{"releaseeventid":1009021409,"year":2015},"track":{"trackid":1241090086,"name":"The Feel"},"label":null,"comments":[{"commentid":1910634151,"text":"“The Feel” is a compact statement of Las Robertas’ surf-psych and indie-rock DNA: bright guitar lines, a steady rhythmic roll, and a melodic confidence that feels sunlit even when the sentiment carries restlessness. The song’s central idea is self-directed freedom—less “someone will give it to you,” more “you have to claim it.” That theme is reinforced by the track’s forward glide: it doesn’t linger in doubt, it keeps moving, like a late-night drive with the windows down and the volume up. The band’s strength here is balance: the guitars can shimmer and bite, the groove stays danceable, and the vocals carry warmth without losing urgency. It’s the kind of track that reads equally well as a festival-stage singalong or a headphone track where the details (tone, reverb, rhythmic accents) matter. Historically, it sits in a period where the band’s sound was sharpening into a recognizable signature—garage roots with a psychedelic bloom, but arranged with pop instinct. 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The track’s main strength is its sense of push—guitars that alternate between tight, rhythmic insistence and wider, more melodic release, with drums that keep the center of gravity steady. The mood suggests communal intensity: dancing not as escapism, but as a way to burn through anxiety, frustration, and everything you can’t say plainly. Even without overcomplicating the structure, the song creates dynamics through texture: moments that feel packed and urgent, followed by space that makes the next hit feel larger. The vocal phrasing sits in that crucial rock sweet spot—clear enough to anchor the narrative, but delivered with grit so the emotion feels lived-in rather than theatrical. It’s the kind of single that fits well between heavier tracks because it can carry energy without relying on pure aggression; it’s more about ignition than explosion. 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At around 4 and a half minutes, the song has time to develop a full arc—setting a groove, tightening it, then opening into passages that feel more expansive and hypnotic. Rather than relying purely on maximal volume, the track’s impact comes from repetition with intent: riffs or motifs that circle back, each time landing with slightly different weight. That approach is often what separates heavy-leaning psychedelic rock from straightforward metal—the sensation of being pulled into a loop where intensity is built through trance, not speed. Even if you do not follow every production detail, the song reads physically: it moves the body first, then the mind. In the context of the album’s title (“Heavy Metals”), “Doom” feels like a mission statement—one of the clearest examples of how the band frames heaviness as atmosphere, not just aggression. It is a strong pick when you want a darker track that still feels kinetic and alive.\u2028\n\nListen: https://vuelveteloca.bandcamp.com/album/metales-pesados"}],"showid":65702},{"playid":3606478,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-01-20T03:20:10Z","epoch_airdate":1768879210000,"epoch_airdate_v2":"/Date(1768879210000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":314781063,"name":"Juana Molina","islocal":false},"release":{"releaseid":484830945,"name":"DOGA","largeimageuri":null,"smallimageuri":null},"releaseevent":{"releaseeventid":947059182,"year":2025},"track":{"trackid":642330213,"name":"indignan a un zorzál"},"label":null,"comments":[{"commentid":1301604744,"text":"“indignan a un zorzál” appears on Juana Molina’s album DOGA (2025), and it exemplifies what makes her catalog so singular: she treats songwriting like world-building. Rather than relying on conventional verse-chorus payoff, the track feels assembled from repeating cells—rhythmic loops, melodic fragments, and subtle shifts in emphasis that slowly change the emotional temperature. The title itself is intriguing: a zorzal is a thrush, a bird associated with song, so the phrase hints at a surreal provocation—something that irritates or unsettles the singer-of-the-woods. That kind of poetic misalignment is central to Molina’s writing: language becomes texture, and meaning arrives through resonance as much as literal explanation. The production typically invites close listening; small details—where a percussive element lands, how a harmony bends, how silence is used—feel deliberate and narrative. The experience is less about “getting” the song immediately and more about letting it imprint over repeated plays. If you like experimental pop that still feels human—strange, but not cold—this track sits comfortably in that space.\u2028\n\nListen: https://juanamolina.bandcamp.com/album/doga"}],"showid":65702},{"playid":3606477,"playtype":{"playtypeid":4,"name":"Air break"},"airdate":"2026-01-20T03:17:30Z","epoch_airdate":1768879050000,"epoch_airdate_v2":"/Date(1768879050000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":null,"release":null,"releaseevent":null,"track":null,"label":null,"comments":[],"showid":65702},{"playid":3606476,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-01-20T03:14:38Z","epoch_airdate":1768878878000,"epoch_airdate_v2":"/Date(1768878878000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":424915996,"name":"Manu Chao","islocal":false},"release":{"releaseid":2058928927,"name":"La Coluleur du Temps","largeimageuri":null,"smallimageuri":null},"releaseevent":{"releaseeventid":2050686322,"year":2025},"track":{"trackid":1331891610,"name":"L’Automne est là"},"label":null,"comments":[{"commentid":1301307196,"text":"“L’Automne est là” (“Autumn is here”) lives in Manu Chao’s roaming live universe, a song that shows up repeatedly in concert recordings and tour-era performances. Rather than a pristine studio “definitive” version, the track is often encountered as a living document—guitars slightly different night to night, vocals delivered with the conversational urgency that defines his stage presence. The title frames the emotional palette: seasonal change as mood shift, endings arriving without ceremony, and the bittersweet clarity that comes when summer disappears. In performance, Manu Chao tends to emphasize immediacy and community: songs feel less like isolated objects and more like shared chants moving through a crowd. “L’Automne est là” fits that approach. It’s simple enough to carry as a refrain, but emotionally flexible—nostalgic, restless, and quietly defiant depending on the performance. For radio, it works well as a “documentary” moment: you can let the live ambience breathe and place it near other songs about travel, exile, or time passing. 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It captures what makes the band distinctive: bilingual pop elegance delivered with a soft-focus intensity, where the groove feels unhurried but emotionally charged. “Cariño” translates to “darling,” but the track doesn’t play like a simple love note. Its power comes from contrast—tenderness in the melody paired with an undercurrent of tension, as if affection and distance are happening simultaneously. The arrangement is deliberately smooth: a tight, steady rhythm supports layered guitars and airy textures that nod to vintage pop and R&B without becoming retro pastiche. That restraint is why it’s so program-friendly. It can sit in dream-pop sets, Latin-leaning indie blocks, or late-night radio where you want warmth without sentimentality. For listeners, the hook isn’t only the chorus—it’s the atmosphere the band builds around the vocal, making every line feel close and slightly out of reach. If you’re curating a sequence, “Cariño” works as an anchor track: it resets the room into a softer emotional register while keeping momentum intact. \u2028\n\nListen: https://open.spotify.com/album/2VFNH1CUpSOnRKBBjjEDe6"}],"showid":65702},{"playid":3606474,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-01-20T03:06:29Z","epoch_airdate":1768878389000,"epoch_airdate_v2":"/Date(1768878389000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":1124478012,"name":"María Wolff","islocal":false},"release":{"releaseid":1042935235,"name":"Rápido Mamá","largeimageuri":null,"smallimageuri":null},"releaseevent":{"releaseeventid":34444715,"year":2025},"track":{"trackid":136668615,"name":"Rápido Mamá"},"label":null,"comments":[{"commentid":624269225,"text":"“Rápido Mamá” anchors María Wolff’s 2025 album release titled Rápido Mamá, presented as an eight-track project running just under 27 minutes. With limited widely published liner-style detail available in the surfaced sources, the most accurate way to frame this track is through its function inside a tightly edited album: short total runtime, clear intent, and a title that signals urgency. “Fast, mom” reads like a direct line pulled from real life—part command, part panic, part comedy—so the song naturally suggests motion and immediacy even before you press play. In practice, this kind of track tends to work as a character piece: it can be literal (a story moment), metaphorical (pressure and speed as a theme), or both. For radio programming, the value is in its clarity as a “hook concept”: you can introduce it in one sentence, and listeners instantly understand the emotional temperature. Place it after something slow to jolt the room forward, or before a heavier track as a quick pivot that keeps energy from sagging. Given the album format, it also invites exploration: if the track hits, the rest of the record is short enough that listeners can reasonably follow it immediately. \u2028Listen: https://open.spotify.com/album/0PED0d1fExJIeJRfYPbxaD"}],"showid":65702},{"playid":3606473,"playtype":{"playtypeid":4,"name":"Air break"},"airdate":"2026-01-20T03:05:10Z","epoch_airdate":1768878310000,"epoch_airdate_v2":"/Date(1768878310000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":null,"release":null,"releaseevent":null,"track":null,"label":null,"comments":[],"showid":65702},{"playid":3606472,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-01-20T03:01:00Z","epoch_airdate":1768878060000,"epoch_airdate_v2":"/Date(1768878060000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":868152710,"name":"Chicarica","islocal":false},"release":{"releaseid":2010530901,"name":"Invierno en la Playa","largeimageuri":null,"smallimageuri":null},"releaseevent":{"releaseeventid":115899245,"year":2025},"track":{"trackid":317740581,"name":"Visita guiada"},"label":null,"comments":[{"commentid":622071772,"text":"“Visita guiada” is built like a slow pan across a room you thought you knew. It sits on Invierno en la playa, where chicarica leans into synth-driven atmosphere and patient structure rather than quick payoff. The track’s length (over four minutes) matters: it gives the song time to set a scene, repeat motifs until they turn hypnotic, then subtly reframe them with small changes in texture and weight. Conceptually, “guided tour” is a perfect title for music that leads the listener through details—little tonal shifts, new percussive accents, a background layer that suddenly becomes the foreground. The songwriting feels more cinematic than linear. Instead of a loud chorus “arrival,” the emotional movement comes from accumulation: the arrangement grows denser, then steps back just enough to create tension. It works especially well as late-night programming because it keeps forward motion while maintaining a cool, slightly detached mood. If you play it on air, treat it as a mood-setter: a track that invites listeners to pay attention to space and pacing. It rewards headphones, where reverb tails and overlapping synth lines become part of the narrative. \u2028Listen: https://chicarica.bandcamp.com/album/invierno-en-la-playa"}],"showid":65702},{"playid":3606471,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-01-20T02:55:31Z","epoch_airdate":1768877731000,"epoch_airdate_v2":"/Date(1768877731000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":1354576227,"name":"Too $hort","islocal":false},"release":{"releaseid":609353215,"name":"Tommy Boy Presents: Hip Hop Essentials, Volume 1 (1979-1991)","largeimageuri":null,"smallimageuri":null},"releaseevent":{"releaseeventid":244108819,"year":2005},"track":{"trackid":1775421991,"name":"The Ghetto"},"label":{"labelid":1593784027,"name":"Tommy Boy Entertainment"},"comments":[{"commentid":1131345169,"text":"For Rob in Montana"}],"showid":65701},{"playid":3606470,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-01-20T02:51:13Z","epoch_airdate":1768877473000,"epoch_airdate_v2":"/Date(1768877473000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":772968507,"name":"Ozomatli","islocal":false},"release":{"releaseid":646060354,"name":"Street Signs","largeimageuri":"https://ia801909.us.archive.org/32/items/mbid-9c55aa5c-ec1f-4758-82a5-244866c06f69/mbid-9c55aa5c-ec1f-4758-82a5-244866c06f69-4521382366_thumb500.jpg","smallimageuri":"https://ia801909.us.archive.org/32/items/mbid-9c55aa5c-ec1f-4758-82a5-244866c06f69/mbid-9c55aa5c-ec1f-4758-82a5-244866c06f69-4521382366_thumb250.jpg"},"releaseevent":{"releaseeventid":1060346641,"year":2004},"track":{"trackid":152042529,"name":"(Who Discovered) America?"},"label":{"labelid":1691509281,"name":"Concord Records"},"comments":[{"commentid":88111463,"text":"a request from Alex in Seattle"}],"showid":65701},{"playid":3606469,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-01-20T02:47:08Z","epoch_airdate":1768877228000,"epoch_airdate_v2":"/Date(1768877228000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":1783767910,"name":"Lowkey","islocal":false},"release":{"releaseid":1145871612,"name":"GT REMIXES","largeimageuri":null,"smallimageuri":null},"releaseevent":{"releaseeventid":291342938,"year":2024},"track":{"trackid":293546818,"name":"Vietnam (GT Remix)"},"label":{"labelid":1373432265,"name":"[no label]"},"comments":[{"commentid":1441163240,"text":"A remix from Seattle musician and former KEXP DJ Gabriel Teodros! GT is headlining Radio Gaza at Black & Tan Hall in Seattle on January 24:\n\nhttps://www.radiogaza.org/"}],"showid":65701}]}