20 New Songs to Listen to This Week From Carolina Oliveros to Venesti

Carolina Oliveros - “Asfixia”

Carolina Oliveros, known as the frontwoman and main voice of Brooklyn-based four-piece Combo Chimbita, splices hypnotic cumbia rhythms with sensuous grooves on “Asfixia,” the lead single from her upcoming debut solo record. “Asi me tiene/Asi ando por ti/Suena el dembow/y me palpita el corazon,” Oliveros cries out from a crowd packing a dimly lit club in the single’s breathtaking video directed by Dior Rodriguez. “Asfixia” is a sultry, certified dance floor-heater that proudly centers desire during a time where bodily autonomy remains under constant attack and breaks free from what the artist describes as “generational repression” and the ever-seeing “patriarchal eye we’ve all been under.” — Nayeli Portillo

Venesti, Guaynaa - “Mi Debility”

With fun beats and warm vocals, “Mi Debility” highlights the softness of Colombian singer Venesti’s velvety vocals paired up with the charismatic performance of Puerto Rican rapper Guaynaa. The single is an ode to women everywhere and all the charms hidden in their simplest actions, serving as an upbeat love song wrapped in addictive Afrobeats. The accompanying music video portrays the beauty of living your happiest moments to the fullest, and is the cherry on top of this fun, exciting piece of music that will get everyone off their chairs and on the dance floor in an instant. – Júlia Henn

Ana Tijoux - “Muévelo”

In her latest anthem, Ana Tijoux revisits her early Latine hip-hop roots through her delivery of free-flowing rhymes and the use of ‘90s-inspired turntable scratches. Produced by longtime collaborator Hordatoj and DJ Dacel, the beat throughout the track is paired back, only utilizing the airy tapping of congas and sharp hums of a flute. These acoustic elements emphasize the chant-like nature of the track’s opening and chorus, where Tijoux lovingly commands women to let loose, dance freely, and release all the muck of perception, self-doubt, and reservation that weigh them down. Throughout the single, she slithers in and out of each verse, nimbly alluding to a woman’s intrinsic connection with the moon, the explosively transformative power of female friendship, and the uninhibited freedom that floods the body while dancing. “Muevelo” is a single off Tijoux’s upcoming EP, where she explores themes of transformation, strength, and new beginnings through the symbolism of 2025’s year of the snake. – Rosy Alvarez

Clave Especial, Luis R Conriquez - “Nimodo Que No”

The next era of regional Mexican is emerging with rapid success. Enter one of the genre’s newest sensations Clave Especial, breaking onto the scene after being discovered by Street Mob Records, founded by Fuerza Regida’s JOP. Adding to their growing reputation as being named an artist to watch in the coming year by acclaimed platforms is their cosigning collaborator on the single Luis R Conriquez, one of the leaders of corridos bélicos. Their latest “Ni Modo Que No” is a brief yet energetic field of guitars and tubas as the frontmen narrate an engaging storyline of knowing no other way of life than to be the man on top they are. With the new album Mija No Te Asustes on the way, it is safe to say the band hailing from the heavily populated farm working and migrant community of Salinas, CA, are undoubtedly on the radar for big things to come. — Jeanette Diaz

SoFTT - “Cerca Al Cielo”

After setting their stage with some of the most provocative and forward-thinking tracks in modern dance music, the electrifying Floridian duo SoFTT returns for their first single of 2025. “Cerca Al Cielo” comes after months of teasing during their live sets. Fans can finally indulge in the same melodic beat that tore up the masses at Dallas’ Boiler Room, Primavera Sound, and Miami’s III Points Music Festival. It’s the culmination of SoFTT’s influences, touching every corner of electronic/rave music from warehouse trance to hardcore to drum and bass. There’s something familiar to the pulsating kicks while brimming with ambitious, experimental ideas that showcase the radical honesty and playfulness there is to SoFTT and their music. Painted with bright strokes of luscious synth pads and the same soft, ethereal vocals as their previous works, “Cerca Al Cielo” is an irresistible taste of what’s to come later this year. – Alan Baez

Máximo Grado, Eden Muñoz - “Unas Heladas"

Eden Muñoz is on a mission to give old hits a second wind – and the new generation is taking notice. The latest? Norteño banger “Una Heladas,” originally released by Máximo Grado in 2015. In this new version, the powerful and rhythmic instruments get freshened up with the addition of a tuba that adds depth to the melody. With the group’s high-pitched vocals by Christian Félix and Muñoz’s signature flair, the two artists deliver a song ready to accompany any carne asada or pregame, signaling that the decade-old song is here for more time to come. More recent remakes featuring Muñoz include Grupo Laberinto’s “Buena Amiga” and Victor Gracia’s “Otra Vez.” – Jeanette Hernandez

Raúl Monsalve y Los Forajidos - “Como El Sol”

Venezuela’s Raúl Monsalve has dedicated his musical oeuvre to learning and reassembling Afro-Caribbean rhythms, and his latest with Los Forajidos is an exciting new exploration. “Como El Sol” approaches jazz fusion with its use of interlocking odd-time signatures, bringing nerdy frenticism along with contagious grooves. Organ and wind instruments give the song its melodic sense while polyrhythms pile up in unexpected ways, connecting the music to its African sources, and even finding a way to throw a tribute to the spirit of Coltrane’s A Love Supreme. “Como El Sol” is as much a challenging listen as it is a different approach to swinging with the best of them. — Marcos Hassan

Golden - “Shakira”

Hailing from Colombia, Golden is an up-and-coming artist who’s already been nominated twice at the Grammys and has worked with the likes of Coco Jones, Shenseea, María Becerra, and Ryan Castro, but he shines the most on his own productions, such as “Shakira,” his new single. Heavily inspired by African and Caribbean sounds, this Afro-pop number is an ode to the girl of Golden’s dreams, who he showers in compliments, comparing her to his fellow Barranquilla star and how she moves. He references Wyclef Jean’s famous “Shakira, Shakira” line on “Hips Don’t Lie,” guaranteeing to have an earworm of a chorus in his hands. – Cheky

Amor Elefante - “Foto de una coreografía”

Among the ocean of indie rock bands that populate the Buenos Aires music scene, Amor Elefante has remained an island of shimmering synthpop reminiscent of a bygone Chilean era. Amigas, their first new album in five years, will have longtime fans rushing to the dance floor with an unrelenting barrage of thumpers, finding respite only in the dreamy, romantic ballad, “La Vuelta.” However, the record’s true standout is “Foto de una coreografía,” a smoky tale of nightclub seduction evocative of disco-punk bands like Ibiza Pareo and Playa Gótica, where stolen glances will inevitably turn to backroom romances. – Richard Villegas

HF Diez x Enyel C - “x+ǐ”

Puerto Rican indie rapper HF Diez had a productive 2024, dropping two EPs and a mixtape of ref tracks which more than made up for a quiet 2023. This year, he’s already set his sights on dropping two new projects and the first single is alongside fan favorite Enyel C. In “x+ǐ,” their styles complement each other as they relay rap bars about puppy love and devotion — in their world and signature frisky way, of course. The two come from the lo-fi, more slow-mo corner of Latine rap and it still sometimes shows in their flow, which gives the song a fresh energy. — Juan Arroyo

Hurray For The Riff Raff - “Pyramid Scheme”

Following a busy year and after landing numerous Best of 2024 roundups with The Past is Still Alive, singer-songwriter Alynda Segarra (aka Hurray for The Riff Raff) returns with new music. “Pyramid Scheme” continues right where the soft but defiant folk-punk songs of The Past is Still Alive left off. “This is not a scene/it’s a pyramid scheme/This is not a joke/there’s a hole in the boat,” Segarra croons over a wall of gleaming guitars as they get lost in a hazy, prophetic reverie cast with troubadours, daredevils and outsiders like Frida Kahlo, Calamity Jane, and Darby Crash. — Nayeli Portillo

Orquesta Failde - “Aquellos Ojos Verdes (feat. Gaby Moreno)”

The 1929 classic “Aquellos Ojos Verdes” breathes new life in this rendition by Guatemalan singer Gaby Moreno, winner of the 2024 Best Latin Pop Album Grammy, accompanied by the iconic instrumentals of Orquesta Failde. This partnership opens the door for younger generations to discover the power and poetry of music from a forgone time. The beauty of vintage, the comfort of traditional melodies, and the warmth found in songs from the olden days are all present in this 2025 interpretation led by Moreno’s heartfelt vocals. – Júlia Henn

Los Rarxs ft. San Mateo - “Cosas Extrañas”

For their funky new single, Los Rarxs teamed up with ex-Grace Potter and the Nocturnals drummer, Matt Burr, aka San Mateo, to create a ‘60s psych-soul track encompassing all the drama that comes with a fiery connection that can’t seem to get it right outside of the bedroom. Fernan Rivera’s sticky bass strums build anticipation as the chorus’ swell of dramatic atmospheric synths pulls the ear’s undivided attention. The grainy, mid-century studio session-inspired video is evocative of the band’s ability to transform their sound from rowdy grunge rock to sleek and sexy funk (and everything in between) at a whim. Singers Erre and Fokin Froid claim their corners amongst a backdrop of vintage records showcasing their dynamic lyrical delivery as they take turns describing the chaotic and simultaneously embroiling relationships. The single is a teaser of the band’s upcoming collaborative EP with the veteran drummer. – Rosy Alvarez

Hamilton, De La Ghetto - “Chalala”

Colombia doubles up on the latest fire collaboration between rising Afrobeats star Hamilton and lauded urbano artist De La Ghetto. Fusing their two musical worlds through a shared homeland and artistic vibe, they sparked “Chalala” – a silky smooth Afrobeats meets slow-tempoed reggaeton single that erupts with global influence and solidifies why their respective genres are modern-day chart toppers. Between the rhythmic Afro-Caribbean beats and melodies is a sultry slow dance, where the duo unwraps their inner thoughts as returning memories of a girl that can’t escape their mind resurface and leave them craving her presence once again. — Jeanette Diaz

PabloYya, Mark Poow - “Titis”

Dominican artists PabloYya and Mark Poow teamed up to drop their newest flirty collaboration, “Titis.” The new track infuses a reggaeton beat with each artist’s distinctive and auto-tuned vocals that tell a story about a baddie who knows what she’s worth. Throughout the music video, the artists trade alluring verses to see who will win her over. The result? Neither gets the girl, proving that even though she got her “Titis” done, it doesn’t mean she’s looking for a man. Instead, she lets the duo take one of her flashy cars for a spin, showing them who has the upper hand – I know that’s right! – Jeanette Hernandez

XIXA - “It Doesn’t Matter”

Drawing on post-punk sensibilities with their own desert-dusted twist is the latest from the genre-bending band, XIXA. Following their previous single, “Xolo de Galáxia,” with its established, cumbia-driven center, “It Doesn’t Matter” steers the group in a different yet familiar direction. Its industrial intro is immediately met with a softer, nostalgic bridge and chorus, touching on ‘80s new wave influences. As a group, XIXA has always played with sonically sound ideas from older music, cultivating it with its distinct brand of brooding and atmospheric aesthetics. But this goes deeper. XIXA is part of the recent Latine-led renaissance of gothic post-punk music, and “It Doesn’t Matter” pays homage to the early new wave music that raised generations before them, even calling on Robbie Grey and Mick Conroy of Modern English as features. “It Doesn’t Matter” is reminiscent of a time still beloved while paving the way for new and exciting ideas within post-punk music. – Alan Baez

Cyuna - “Temporal”

Paulina Lasa has proven to be a chameleonic force in Mexican music, from contributing to the immaculate folk-infused songwriting of Haciendo El Mal to the abstract ambient soundscapes of Amina Cyu. For her latest project, Lasa hooks up with Emilio Acevedo of Titán and María Daniela y Su Sonido Lasser fame to concoct a new kind of dreampop, informed by vernacular songwriting, swirling soundscapes, and epic arrangements. “Temporal” evolved from simple drum machines and synthpads before exploding in a technicolor cloud of unknowing. However, it’s Lasa’s vocals — sweet yet expressing deep emotions while celebrating every nuance of melody — that steal the show. We can’t wait for a full-length Cyuna album. — Marcos Hassan

El León Pardo - “Cumbia Espacial (feat. N.Hardem)"

Jorge Emilio Pardo is weeks away from the release of Viaje Sideral, his latest album under his El León Pardo moniker. And sticking to the outer space references, he just shared its second single, “Cumbia Espacial.” Grounded on traditional cumbia with the right amount of electronic production and a healthy amount of reverb to send us to space, Pardo creates a landscape that feels like humanity was given a second chance in a new planet where nature and technology coexist symbiotically. Rapper N.Hardem jumps in with verses that grab the soil with one hand and reach for the stars with the other, and with some added brass and woodwinds, this is the right soundtrack for takeoff. – Cheky

weed420 - “MALUCA”

As a new generation of Internet iconoclasts begins to emerge – think NMNL in Dominican Republic or the Swaggerboyz in Argentina – pointed questions about technical prowess and even humanity are getting increasingly louder. However, the confounding Venezuelan collective weed420 have proven that meme humor and noisy impenetrability can also be supercharged with soul and melancholy. Their new album, amor de encava, ponders the sound collages that form while riding the bus in Caracas, but really in any Latin American metropolis, where car horns, shouting patrons, and the microbusero’s own blaring playlist bleed into the tunes blasting from your headphones. “MALUCA” perfectly encapsulates the record’s thesis, sampling salsa deep cuts that give way to raunchy reggaeton, all framed within near constant honking that evokes the romantic nostalgia of gazing out the bus window while stuck in traffic. – Richard Villegas

Karina Vélez - “Evitándonos”

Karina Vélez has spent the better part of her young career doing indie folk pop alongside Rigoazulado under the name rigoykarina, but now she’s ready to kickstart her solo career in earnest with new single “Evitándonos.” Less of a rebrand and more of a display of her range, here she leans a bit more into the “rock” of “pop-rock” and channels the spunky energy of similar popular tracks from the aughts. The lyrics stay steeped in sentimentality as hers always do, but this time they’re backed by the raucous sounds of shredding guitars and bombastic drums. — Juan Arroyo