Started back in 2008 as both a side project and creative experiment for the members of Los Angeles-based punk rock The Bronx, Mariachi El Bronx — Matt Caughthran (vocals), Joby J. Ford (guitar, vihuela, accordion), Jared Shavelson (drums), Keith Douglas (trumpet), Ray Suen (violin), Brad Magers (trumpet), Ken Horne (jarana), and Vincent Hidalgo (guitarrón)– has long been deeply rooted in their deep connection to the Hispanic music and culture of their hometown. Although seemingly different, the band doesn’t see punk and mariachi as mutually exclusive. Instead, they view both genres as spiritually entwined forces anchored in resilient storytelling. “Punk rock and mariachi music are very similar in soul,” The Bronx’s and Mariachi El Bronx’s Matt Caughthran says. “It’s working class music. It’s real music.” 

Despite almost two decades of success, that has included sharing stages with Foo Fighters and The Killers; sets across the global festival circuit, including Coachella and Glastonbury; performances on Late Show with David Letterman to NPR’s Tiny Desk; and theme songs for shows like Weeds and Aqua Teen Hunger Force, the members of Mariachi El Bronx still consider themselves lifelong students of the art form. That reverence carries over to their charro suits, which often attract as much attention as the music itself. The band has long turned to Boyle Heights-based Casa del Mariachi, a historic Los Angeles area landmark, where Jorge “Mr. George” Tello has been handcrafting the traditional suits for over 50 years. “This band has always been about learning and exchanging culture through music and art,” says Caughthran. “That’s what it’s all about! Everything we do comes from the heart and soul.”

Mariachi El Bronx’s long-awaited fourth album, the John Avila-produced Mariachi El Bronx IV is slated for a February 13, 2026 release through ATO Records. The album, which is the first album from the project in a decade, sees the trailblazing alter-egos of The Bronx continuing to embody the same ethos that sparked their creation — honoring the rich Hispanic music and culture that has always surrounded them in their hometown, while pushing creative boundaries. 

Clashing emotions of profound loss and overwhelming love shaped the album’s themes. The songwriting “started as a battle between love and death but became a way to process all the chaos of the world,” Caughthtran explains. Throughout the run of the album’s 12-tracks, the band documents the stories of gamblers, former playboys, warriors and lovers — characters that became vessels for the specific pressures of modern life. 

Returning after a decade away felt “joyous and familiar from the jump,” the band’s Joby J. Ford says. But the album’s recording process proved to be much more complex than expected. Within the year that he began writing the album’s lyrics, Caughthran contended with the deaths of several loved ones. And as they tracked the album’s material at producer John Avila’s San Gabriel Valley studio, the Eaton Canyon wildfires blazed across East L.A. “We came out of the studio one night, the entire side of the hill was just on fire,” Ford recalls. 

While dealing with grief in his personal life and within Los Angeles, Caughthran also got married in the same year. All of these very profoundly human experiences and feelings have informed what may arguably be Mariachi El Bronx’s most emotionally resonate work to date. 

Mariachi El Bronx IV will feature the previously released album opener, “Forgive or Forget,” a galloping and swooning track with acclaimed violinist Ray Suen that captures the nostalgia, bitter heartache, the longing to forget that heartache, and the desire to move forward with a seemingly booze-tinged haze, and the album’s second and latest single “RIP Romeo.”

“RIP Romeo” continues an ongoing collaboration with acclaimed violinist Ray Suen, who also has a cowriting credit on the track. While focusing on the age-old tale of Romeo, “RIP Romeo,” the new single, much like its predecessor is a seamless blend of mourning, longing and love, anchored around a gorgeous and timeless arrangement that simultaneously places the character in a subtly modern context.

“’RIP Romeo’ started with a melody that wouldn’t leave my head. I brought it to Ray and we knocked out a demo in an hour. We hadn’t written together in years, but we fell right back into rhythm. It came alive when the rest of the band got their hands on it.

It’s a pretty direct song on the surface, but there’s a lot going on underneath. I’ve wanted to write about Romeo for years, but only if it came from a genuine place – not something forced or cliché. This one finally felt true, so I leaned in.”

The deeper layer revealed itself when I couldn’t finish the lyrics. I had most of it written, but key lines were missing. I couldn’t focus – my aunt had recently passed away from cancer, and my family was grieving. That experience ended up shaping the song in ways I hadn’t anticipated. The lines ‘How could this happen to you, it’s cruel and it’s tragic’ and ‘Amor es muerte (love is death)’ are about her – they completed the song for me.”