Sotomayor’s Wabi Sabi is the funnest record of 2026
📖 Full Retelling
Can’t. Stop. Dancing. | Image: Wonderwheel Recordings
Shout out to subscriber N_Gorski for today's pick. They popped into the comments on last week's recommendation to ask what I thought of the new Sotomayor record. Well, I hadn't actually heard it yet, but now I'm obsessed.
The group consists of siblings Raul and Paulina Sotomayor from Mexico City. Wabi Sabi is their first record since 2020's Origenes , and it is pure joy. You can look back through everything I've recommended over the last several months, and "fun" is not how you'd describe most of it. But that's what Wabi Sabi is - it's fun, chaotic, and dancey as hell.
I was only familiar with Sotomayor before this because of a short docume …
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Entertainment Column Music Sotomayor’s Wabi Sabi is the funnest record of 2026 Genre chaos in service of the dance floor. Genre chaos in service of the dance floor. by Terrence O'Brien Mar 15, 2026, 4:45 PM UTC Can’t. Stop. Dancing. Image: Wonderwheel Recordings Part Of What we’re listening to, watching, and reading right now. see all updates Terrence O'Brien is the Verge’s weekend editor. He has over 18 years of experience, including 10 years as managing editor at Engadget. Shout out to subscriber N_Gorski for today’s pick. They popped into the comments on last week’s recommendation to ask what I thought of the new Sotomayor record. Well, I hadn’t actually heard it yet, but now I’m obsessed. The group consists of siblings Raul and Paulina Sotomayor from Mexico City. Wabi Sabi is their first record since 2020’s Origenes , and it is pure joy. You can look back through everything I’ve recommended over the last several months, and “fun” is not how you’d describe most of it. But that’s what Wabi Sabi is — it’s fun, chaotic, and dancey as hell. I was only familiar with Sotomayor before this because of a short documentary about Raul’s various projects made by Ableton. In that video, he discusses how his approach to making music has changed over the years. How he used to try to make things sound “proper” and “clean,” but now it’s about “how much can we distort it” or “how much can we stretch it.” You can certainly hear that in the music. The first track, “Me dejo llevar,” opens with a synth arpeggio that has clearly been timestretched to within an inch of its life. It’s loaded with digital artifacts. The whole track has a light crust, as if everything is clipping just ever so slightly. “Who’s there” similarly bristles as the edges, sounding like a dance floor constantly on the verge of erupting into a riot. The vintage electronic drum hits, droning bass, and reverb-drenched noise stabs never reach full catharsis, but simmer beautifully into album highlight “Vida.” Here, Pa...
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