There’s a special kind of danger in telling people your new single is written in 5/4. Mention unusual time signatures too loudly and suddenly everyone’s stroking their chin, counting beats and pretending they understood Lateralus the first time they heard it. Thankfully, Spanish project Sehore doesn’t appear interested in technical cleverness simply for the sake of showing off. On IA, the wonkiness actually has a job to do.
The first single from Sehore’s forthcoming third album, IA arrives with an appropriately uncomfortable premise: people displaying fewer recognisably human qualities than Turing’s machine. Considering the state of the internet, you could argue that’s less science fiction and more Tuesday afternoon.
The clever bit is how Sehore translates the idea into the bones of the song rather than merely sticking it in the lyrics and calling it conceptual. IA operates in 5/4, but its rhythmic figures continually rearrange themselves internally — 3+2 becomes 2+3, then 4+1 and so on. On paper that sounds suspiciously like homework. Through the speakers, it creates something much more useful: instability.
You never quite get to plant both feet.
That’s IA‘s strongest quality. There’s an underlying sense that something isn’t behaving as expected, with the rhythm continually nudging the listener sideways. It feels fragmented without completely collapsing, mechanical without becoming sterile. That makes the unusual metre part of the storytelling rather than an exercise in musicians showing other musicians how many numbers they know.
There’s also something pleasingly contrary about Sehore’s approach. At a time when songs are increasingly encouraged to reveal their chorus before you’ve finished opening Spotify, IA demands concentration. It’s eclectic in the proper sense of the word too — not eclectic meaning somebody owns an acoustic guitar and a synthesiser, but music that seems comfortable allowing different ideas and textures to rub awkwardly against one another.
That doesn’t mean every eccentricity automatically works.
The danger with deliberately fractured music is that unpredictability can eventually become predictable itself. Once the listener understands that the ground is supposed to keep moving, some of the initial tension disappears. IA could benefit from one moment of greater simplicity — a melodic or rhythmic anchor strong enough to give the surrounding disruption something substantial to attack. Sometimes the strangest thing an experimental song can do is suddenly become straightforward.
Give us thirty seconds of certainty and then destroy it.
That contrast would make the more disorientating sections hit considerably harder.
There’s another balancing act here too. Conceptually, Sehore is playing with artificial intelligence, humanity and the uncomfortable overlap between the two. It’s fertile territory, but also territory currently being trampled by virtually everyone with access to a laptop. What keeps IA interesting is its musical interpretation of the subject. Going forward, Sehore should lean even harder into that rather than relying too heavily on AI as the headline. The rhythmic language is more distinctive than the buzzword.
Recorded in 2026 at Paco Loco Studio and mastered by Mario G. Alberni at Kadifornia, the production understands that this material needs clarity. When rhythms are being deliberately pulled apart and reconstructed, muddying everything under unnecessary decoration would defeat the point. The individual elements need enough separation for the listener to feel those shifts happening.
Sehore itself is still a remarkably young project, having emerged in 2025 with debut album Ladencia. Yet IA already arrives as the opening move from a third album, suggesting this isn’t an outfit particularly interested in hanging around waiting for permission.
That’s encouraging because IA feels like the work of somebody discovering that being difficult can be a virtue, provided there’s intent behind it.
And there is intent here.
It isn’t an immediate, arms-around-your-mates tune, nor does it particularly want to be. IA is angular, restless and occasionally frustrating, but those qualities fit its subject remarkably well. Sehore has essentially written music about humans becoming machine-like while making the machinery of the song itself behave unpredictably.
The next challenge is pushing that contradiction further: stronger melodies against stranger rhythms, beauty against malfunction, something unmistakably human fighting its way through all those carefully organised numbers.
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