At the turn of the millennium—back when Jewish acappella still felt like a niche experiment—three friends quietly rewrote the rules. Lev Tahor—Eli Schwebel, Ari Cukier, and Gadi Fuchs—didn’t just harmonize; they built a sound that would come to define a genre.
More than twenty-five years later, with three studio albums and two landmark acappella releases behind them, Lev Tahor is marking the milestone the only way they know how: by reimagining their catalog.
Their biggest tracks are being reborn in the group’s signature vocal-driven style—some for the first time—alongside a lineup of major voices from across the Jewish music world.
The momentum has been building. Last year, Lev Tahor dropped “Geulah,” an original single featuring Mordechai Shapiro, released in both full production and acappella formats. It was a statement piece—equal parts nostalgia and evolution—that reminded listeners why the group’s chemistry still hits with force.
Now, timed for the reflective stretch of Sefira, the band is launching Part One of its 2026 Acapella Album, with Part Two slated for release during the Three Weeks this summer.
The first single: “U’vney,” from LT4, featuring Shapiro. For him, the track is personal—he grew up on it, and years later found himself performing it live alongside Schwebel at a bar mitzvah. That full-circle moment now gets a new chapter, as Lev Tahor revisits the song in a stripped-down, intricately layered acappella arrangement.
Additional releases are lined up in the coming weeks, including fan favorites like “Journey at Sea,” with Abie Rotenberg, “Refaeinu,” with EKEV, “Ma Yona,” with Aryeh Kunstler, “Hallelu,” and “Horachamon.” Each track is less a remake than a reinterpretation—proof that even after a quarter century, Lev Tahor isn’t looking back so much as reshaping what comes next.
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