Throughout his career he has shared the stage with international artists such as Gentleman, Inner Circle, Morodo, Million Stylez, Fyahbwoy, Afu-Ra and Sho-Hai, consolidating himself as one of the notable voices within reggae in Spain.

His trajectory also includes two street albums released together with the producers Heavy Roots, featuring collaborations such as Soge Culebra on “Yo x ti Remix” and Green Valley on “Pachamama”. In addition, he has participated in projects by other artists such as Los Chikos del Maíz on the track “Grupo Salvaje” from the album “Comanchería”, or alongside Charly Efe and Loren D on “No hay tregua”, included in the album “El mártir”.

He now presents “Niebla”, a new single that explores the most nostalgic dimension of love and the mark that intense relationships leave when they become memories. With a laid-back reggae foundation (88 BPM in the key of B minor), the track builds an intimate and emotional atmosphere that accompanies a story shaped by memory and emotional confusion.

“Niebla” portrays a person trapped in the nostalgia of a past love that was lived with great intensity. Through a narrative full of memories, the song evokes a youthful relationship set in the 2000s, a time when emotions are experienced with particular intensity and when every gesture, every moment of waiting and every shared experience gains deep meaning.

Mistah Godeh uses the metaphor of climbing a difficult summit to explain the complexity of that relationship: a bond he always wanted to try to reach again, even after the falls. The single blends romanticism and melancholy, showing how a relationship can be sweet and at the same time painful, difficult to reach and full of failed attempts to keep it alive.

Between blurred memories and emotions that still remain, “Niebla” speaks about the difficulty of leaving the past behind and how certain moments continue to linger long after they have happened.

L'entrada Mistah Godeh presents “Niebla” ha aparegut primer a Guspira.net.

After previous projects that hadn’t quite taken off, Declivi became the definitive meeting point: a space to channel concerns, anger, contradictions and also light. They make rock with edge and distortion, but they don’t give up melody or tenderness. They sing in Catalan because it is their language and their present, and they defend that it is also the future.

In a short time, the band has begun to carve out a place for themselves within the emerging scene of the region. They have received support from the Casa de la Música de Manresa, which granted them a recording scholarship and supported them in the creation of a festival dedicated to emerging bands from the city. In addition, the band also won the Engresca’t contest in 2024, consolidating the first steps of a project that has not stopped growing since the first time they stepped onto a stage.

They now present “Fes-me miques”, the first preview of their new album “GUERRA ENDINS”. The single features a collaboration with Still Ill, and builds a solid bridge between Catalan alternative rock and the critical Spanish urban scene.

The song captures the precise moment when you feel a connection with someone but find yourself facing an invisible wall. A wall made of fear of rejection, projected expectations and heavy silences. The story focuses on a reality that often intensifies in homosexual relationships within cis-heteronormative nightlife spaces, where desire coexists with the tension of being observed or discovered.

The lyrics move between fantasy and anguish, between the “plan for life” and inner condemnation. The repetition of “jo penjo d’un fil” intensifies the emotional fragility until everything culminates in a cathartic guitar solo, where the accumulated tension bursts. It is the breaking of the wall. Or at least the first crack.

“Fes-me miques” opens the door to the universe of “GUERRA ENDINS”, an album that will delve into internal conflicts, collective fears and the battles that are fought within.

“GUERRA ENDINS” will be released on May 14.

L'entrada Declivi presents “Fes-me Miques” ha aparegut primer a Guspira.net.

‘2C-B’ is the second single from the new musical identity that MS OBAMA has begun to develop: a rawer and more direct one, more performative and provocative, through which she dares to look her angels and her demons straight in the face.

MS OBAMA’s new artistic era is beginning to take shape. Following the path opened by ‘Roller Coaster’, which introduces us to a sonic universe where the visceral, the dark, the powerful and the divine coexist, the Valencian artist now delivers a second piece that consolidates her new musical direction: one that is much rawer, more direct, performative and provocative.

‘2C-B’, her new single, once again puts issues such as power and identity on the table, but this time framing them within the hedonistic atmosphere of club culture. Narrated from a dominant position, appropriating the codes of desire, money and fame, it becomes a rather dark satire about how pleasure, consumption and social validation mix within clubbing, creating a very blurred line between self-objectification and empowerment.

According to the artist herself, with ‘2C-B’ she wanted to “push the imagery of clubbing, luxury and excess to the extreme in order to show how grotesque and empty it can become when desire turns into business.” With this piece she seeks to question the self-mythification of nightlife culture, functioning almost like an uncomfortable mirror reflecting the perversion of capitalism when it mixes with pleasure, the use of bodies as products and relationships as a form of currency.

Assuming an exaggerated, powerful and sexualized alter ego, MS OBAMA portrays in ‘2C-B’ the contrast between the euphoria and the emptiness of the clubbing environment. The sensual and confident tone of her voice combines with the strength of the track’s musical structure, which draws from club culture and especially from rave. The entire track is built around a reinforced bassline that allows the voice to unleash all its aggressive energy without needing to attack directly, resulting in a two-minute bomb that leaves you unsure whether it has already exploded or is about to do so. Like the flammable industrial artifact that it is, ‘2C-B’ is full of tension and roughness, reminiscent of the songs of Die Antwoord, but also of elegance and precision, like the style of Azealia Banks. Light and shadow, euphoria and emptiness. This is the new path of MS OBAMA, the one she has chosen to express herself artistically and to face her angels and demons head-on.

After developing within the underground circuit of Barcelona, MS OBAMA has gradually consolidated a distinctive sonic identity marked by physical intensity, magnetic darkness and a strong emotional charge.

Her trajectory includes the 2021 residency of the South Block party at Jamboree Dance Club, a key meeting point for emerging artists from Barcelona’s urban scene — singers, dancers, producers and multidisciplinary collectives. Known for the power of her live performances, she later decided to record a one-hour live set at the iconic Sala Apolo, further strengthening her stage profile.

In 2026 she begins a new artistic phase with a renewed audiovisual universe through the singles “Roller Coaster” and “2C-B”.

L'entrada Ms Obama presents “2C-B” ha aparegut primer a Guspira.net.

The album speaks of change, of the fear of falling, of the emotional weight of not knowing what lies ahead, but also of the need to imagine new lives and possible worlds. Embracing the abyss as an act of resistance and care. “Vèrtic” —a word of Valencian origin— refers to that loss of balance that makes reality spin, and Sobre Mi Gata chooses to hold onto it through dub, steppa and massive basslines, with their unmistakable signature: celebration, awareness and bodies in motion.

The album alternates direct political critique with fragile and honest love songs. “Murs d’altaveus” is a cry to break down borders, prisons and cages, singing so that one day all walls may fall —except those of the soundsystems. “Vaga General Apocalíptica” calls for collective insurrection at a historical moment when it seems easier to imagine the end of the world than the end of capitalism.

On the other hand, “Tot el que no sóc” and “Vèrtic” explore love through loss, change and fear: loving as a leap into the void that can be painful, but also healing. “Dopamina” portrays life as a constant hangover, with the intuition that, despite everything, standing back up is possible. “Fundación” takes a pessimistic look at the fusion of humans and technology, singing to a future increasingly detached from what can be felt and touched. “Medusa” reflects on identity as a changing, mutable and chosen skin. And the album asks, without a clear answer: who decides unpredictable moments, love, the course of a night?

L'entrada Sobre Mi Gata releases “Vèrtic” ha aparegut primer a Guspira.net.

The first release, “ALL IN XXI”, marked the turning point between private and shared writing, opening a period of releases that moved between boom bap and trap. Later, her stay in Seville became a decisive phase: immersed in a particularly active hip-hop scene, she regained creative motivation and embraced a fully self-managed role. Without access to a professional studio, she produced tracks such as “MIAVITA” and “ORGULLO” from home, consolidating a way of working grounded in intuition, consistency and independence.

Within a year, the artist released nearly a dozen songs and established collaborations with various producers and artists from Seville, expanding her interpretative range and shaping an identity that blends the classic roots of rap with a recognizable melodic sensibility. This journey, built step by step and closely tied to her own lived experience, positions Emé as an emerging voice who understands music not only as a style but as a life process in constant evolution.

With “Etapas”, Emé presents a new hip-hop piece at 90 BPM in the key of C minor that maintains boom bap roots while projecting them into an emotional and introspective space. The production builds a sober, reflective atmosphere that supports a direct performance in which rap’s intensity coexists with moments of vulnerability and melody. The result is a sonic space that invites inward listening, halfway between confession and personal affirmation.

The song unfolds as an honest reflection on the different phases that shape a life journey. “Etapas” speaks about blockages, impulses toward liberation, and the need to move forward even when there is no map pointing to the right path. The lyrics combine determination and doubt, strength and fragility, asserting the right to make mistakes, fall, and rise again. A reflection on trust and environment also emerges: awareness of possible betrayals coexists with recognition of those who offer support without expecting anything in return.

The music video expands this conceptual universe by portraying three life stages through different characters. Emé appears as the connecting thread that moves through and links these stories, symbolizing the passage of time, personal evolution, and emotional continuity between seemingly separate moments.

“Etapas” is thus presented as a narrative of growth and everyday resilience, an invitation to recognize the value of each phase of the journey and to keep moving forward with one’s own voice.

L'entrada Emé presents “Etapas” ha aparegut primer a Guspira.net.

Musically speaking, “Temas, terapias y visajes” is a diverse record born from collective exploration. With Ancestral Beats in production, spaces were opened for ideas to converge and take shape in an honest and heartfelt album, divergent in pathways yet coherent in purpose.

Soundscapes of dembow, cumbia, funk carioca, mapalé, bambazú, konpa dirék and juga coexist with electronic bass lines and synthesizers within a carefully crafted sonic design. Guitars and a horn section embrace the mix, while tambor alegre, tambora, marimba, harp and gaita add character. This amalgam prepares the ground for the voice to remain at the forefront, with a clean and dynamic mix that prioritizes the message.

In an album of this scope, the project brings together collaborations with Pahua (Mexico), Pio Molina (Colombia / Barcelona), Aku Percu (Colombia / New York) and Mangle (Colombia), incorporating different voices and contexts that expand the album’s identity.

Album songs:
The album’s journey unfolds through different pieces that reflect states, learnings and complementary perspectives. “Suavitell” proposes living the process without haste and trusting time, while “Metiendo candela” invites listeners to ignite spiritual connection without the need for dogma. “Vijagual” functions as a tribute to roots and to the language of the people, and “Suelta” suggests making space for what is essential. In “Entre los hilos”, the idea of learning to play with the forces that move us appears, while “Temas” leans toward less façade and more songs.

“Furia en las venas” introduces a visceral intensity within the narrative, and “Dins de la Font” opens the door to another reading of everyday life. “Adiós” approaches farewell by focusing on what was lived rather than on loss, while “Nómada” reflects on walking and belonging in transit. “Fragmento” speaks about accepting one’s own rhythm and that of things, and “Peque Peque” closes this emotional map by highlighting everyday effort and craft.

Live:
The album presentation will travel across different stages with confirmed and forthcoming dates: March 7 at “Sala Frenesí” (Vinaroz), March 13 at “Sala Villanos” (Madrid, to be confirmed), March 20 at “Sala 2 Jamboree” (Barcelona) and March 28 at “La Media Torta” within “Festival Latir” in Bogotá.

L'entrada Meli Perea presents “Temas, terapias y visajes” ha aparegut primer a Guspira.net.

Catalan and, especially, the Menorcan and salat dialects are an essential part of its artistic identity, not only as languages of expression but as a clear and conscious cultural stance. Musically, Rudymentari draws from the Jamaican tradition, particularly Roots Reggae, Rub-a-dub, Ska, and Sound System culture, understood as spaces of resistance, gathering, and collective awareness.

After a period of discographic silence and a break from the stage, Rudymentari returns in 2026 with a new album under its arm: “Mala herba sempre creix”. A statement of intent that conveys, from the very first moment, an impulse of struggle, resistance, and hope.

With the persistent strength of weeds, the project re-emerges with a work that focuses on the defense of the territory, love for the land, and deep-rooted connections. A clear critique of touristification, real estate speculation, and the social inequalities that run through contemporary society.

The songs on “Mala herba sempre creix” build a unified narrative of resistance and collective awareness. “Ho tornarem a fer” stands as its conceptual core, a declaration of hope and perseverance in the face of adversity. “Ca la rata” directly points to touristification and real estate speculation as key drivers of the degradation of the territory and quality of life.

“Kabrit” provides the album’s brightest counterpoint, celebrating friendship, freedom, and the people who have accompanied us along the way. “Nostra manera” defines the essence of Rudymentari in an almost poetic form, explaining its values and reason for being beyond music. “Dues cares” reflects on power, privilege, and the inequalities that sustain the status quo. “Crema i ensaïmada” pays tribute to roots, popular culture, and artisanal value, connecting tradition and Sound System culture through a self-managed perspective. “Mr. Money” personifies money as a toxic relationship that conditions lives and decisions, and “Rudymentariament” closes the album with a direct critique of an unsustainable model of life, bringing to the table the inevitable need for degrowth.

L'entrada Rudymentari presents “Mala herba sempre creix” ha aparegut primer a Guspira.net.

With this constantly mutating and critical trajectory, Sobre Mi Gata now present “VAGA GENERAL APOCALÍPTICA”, a single that condenses their entire imaginary into a rhythmic and political explosion. If their previous work already ventured into uncertain futures and fractured realities, here the group hits the accelerator and turns dystopia into a slogan: a call to shake the system, question the technology that devours us, and dance among the ruins of a tomorrow that seems to have been written in advance.

The song is an incendiary shout that combines social critique, technological fiction and a rhythmic drive that transforms chaos into a space for dance and insurrection. Between robots, accumulated capital and a future consumed by machines, the track unfolds a playful yet furious manifesto against dehumanization.

Musically, the track is built around 135 BPM and the key of A♯ minor, a combination that heightens the tension of the sonic landscape and reinforces the meaning of the lyrics. The result is a piece that moves between dub, industrial electronics and the echo of 21st-century Luddites, turning the apocalypse into a collective, raging party.

The group calls for a total, symbolic and devastating strike, questioning who controls the tools, who bears the consequences, and what role is left for working bodies in a world mechanized to the point of absurdity.

Faithful to their universe, Sobre Mi Gata transform the end of the world into a collective cry: making it explode may be the last party we have left. If there ever was a need for an anthem to dance on the edge of the precipice, this is the one that plays when the sun explodes and fear changes sides.

L'entrada Sobre Mi Gata presents “Vaga General Apocalíptica” ha aparegut primer a Guspira.net.

Now, Rudymentari presents “Com T’Ho He De Dir”, the second single from their upcoming album “Mala herba sempre creix”, a piece born out of exhaustion, contained rage, and the impossibility of continuing to explain an injustice that has already become evident to everyone.

The song focuses on an unequal and pyramidal system, where the accumulation of privileges coexists with extreme precarity, and where justice seems to work only for some. With sharp lyrics loaded with irony, Rudymentari points out the contradictions of a model that presents itself as democratic while protecting power, impunity, and inherited hierarchies.

“Com T’Ho He De Dir” uses repetition as an expressive device: a question that returns again and again because there are no more ways left to explain it. The track contrasts irreconcilable realities —abundance and scarcity, those who live with the wind at their backs and those who move against it— and directly targets the structures that sustain this inequality. Lines such as “manen corones brutes de sang” or “jo no he vist Déu, he vist Judes” encapsulate the disillusionment with institutions and narratives that legitimize power.

Musically, “Com T’Ho He De Dir” moves forward on a dry, repetitive roots reggae pattern. The sustained rhythm reinforces the repetition of the message and maintains constant tension, placing the focus on the lyrics and their character as a direct act of protest.

With this second single, Rudymentari continues to unfold the discourse of Mala herba sempre creix, a body of work marked by social critique, political awareness, and the determination to shake, point out, and refuse to remain silent in the face of a system that distributes privilege to some and misery to others.

L'entrada Rudymentari presents “Com T’ho He De Dir” ha aparegut primer a Guspira.net.

The album is driven by the desire to create friendly, playful and accessible songs, while deliberately avoiding typical “children’s music” clichés. This has been achieved through a high level of artistic demand in the sound design, as well as the incorporation of humour, cultural references and subtle nods to the adult world, following a spirit similar to Astèrix and Obèlix, a long-standing reference for the band.

To shape the songs, El Pony Pisador has drawn from highly recognisable collective imaginaries: steam trains and their period stations, fairground organs and the world of the circus, the swing style often associated with cooking shows, pirates and sea shanties. These worlds intertwine with jokes and references to science and history, reinforced by sound resources that clearly evoke each setting.

Musically, the album delves into early 20th-century American aesthetics, with a strong presence of old time, bluegrass and swing, styles that are part of the band’s usual musical language. Narrative songwriting also plays an important role, as heard in tracks such as “Tonada Encantada”, conceived as a story told in verse.

The music videos, full of visual gags, humour and references to popular culture, have been directed by Adrià Gonzàlez Pintamones, a regular collaborator of the band on works such as La Noble Vila de Su, Tot és part de ser un pirata and La Confraria del Menhir. The album was mixed by Mario Patiño (L’Atlàntida Estudi), with mastering once again handled by Ferran Conangla.

As is also characteristic of the project, El Pony Pisador accompanies the release with educational videos on social media in which they explain the musical and harmonic ideas behind the songs, with the aim of bringing musical language closer to audiences of all ages. Following this pedagogical approach, the album will be accompanied by an activity workbook, similar to a summer workbook, designed to be used both in classrooms and at home with families.

Tracklist
“Un viatge en aquest tren” is a bluegrass song inspired by steam trains, offering a humorous take on a journey full of mishaps. “La paradeta dels núvols” recreates an early 20th-century fair where scientifically accurate cotton candy clouds are sold. “Tonada Encantada” is an old time-rooted story in verse about two siblings and a liberating melody. “El principi d’Arquímedes” turns a physics concept into a humorous pirate pump shanty. “Xup Xup” is a self-explanatory song shaped like a musical recipe with a swing feel. “Tres tardígrads” closes the album with a lullaby in the form of a bluegrass waltz dedicated to the resilient “water bears”.

L'entrada El Pony Pisador presents “Vatua l’Olla!” ha aparegut primer a Guspira.net.