Sehore has quickly proven that their presence in the music world is not by chance. After their 2025 debut album ‘Ladencia’, the project returns with ‘Husfikbur’, released by MusicHunters Records. Recorded at Paco Loco Studio and mastered by Mario G. Alberni at Kadifornia, the album reflects an even sharper sense of experimentation. Winning the Silver Medal at the Global Music Awards 2025 for “Pesadilla” already placed Sehore on the radar, but this second record confirms their strength. From the opening “Bossa Velha” with its smooth rhythmic charm, the listener is invited into a collection that refuses to stand still. “Locura” bursts with color and fantasy, while “Charanga” feels playful yet layered with unexpected turns. The short but striking “Plástico” offers a sharp critique of modern waste, repeating the word like a protest chant until it burns into memory.
The deeper you sink into the record, the bittersweet “Poquito a Poco” reveals itself, a song that chronicles a gradual absence the way heartbeats mark time—private and remotely shared at once. “Bla Bla Bla—Cha Cha Cha”, by contrast, spins irony and rhythm into party confetti, the bullets of sarcasm made groovy enough that you simply can’t not sway. “Tientos, Tangos y Siguiriya Funk” might still be the album’s showstopper, its flamenco skeleton draped in tight funk veins that still bow to the ancients even as the ancients get a luminous upgrade. “Escape Room” toys with tension that mutually unties itself, while “Energías Renovables” thrusts precisely conjured hope and insistence into a conversation the world is too slow to get bored with. “Mentiras” commandeers a drone, marching the theme of lying so lumberingly into the mind that the term itself starts to feel like a tattoo. “Armas” interjects toned and unforgiving, a blade of song that announces its new weight and obliges gratitude for its sharp, affective honesty.
https://open.spotify.com/album/3AbjktdqYdSuLCd5woeiLq?go=1&sp_cid=7ae23339748c4c7c10a4d05bb7dc4314&utm_source=embed_player_p&utm_medium=desktop
The last handful of tracks walk the album all the way to the door, still sharply in step. “Serendipia” is an antique in slow motion, the reminiscence of unwitnessed deeds disguised as musky, forward-moving rhythm. “Hipnosis” locks the audience inside a soporific, orbiting groove while “Lagrimita” closes with soft sadness and reminds human fragility. From the insular to the global to the private pause, every piece of ‘Husfikbur’ aspires to braid observable life, privately confessed heart, and the integration of centuries into something altogether propellant. The balance is epic and delicate. The outcome is an album that loudly dares. Sehore refuses to be called the “new” version of anything, having simply taught a novice listener to pay freshly respectful attention.
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