20 New Songs to Listen to This Week From Chzter to Ana Macho

A trap explosion immediately blasts through Guerrero-born artist Chzter’s “consolador,” a track off her latest project SESBIANLEX, where lesbian attraction and seduction come as they should: bluntly and unapologetically. Sirens, drums, and a fearless sense of humor abound in this declaration of attraction, where Chzter compliments her ruka’s belly button, asks her to pole dance and squirt, commits to buy her lingerie and cars, and promises to turn each other into vampires to suck each other daily. The sound is intense, sweaty, and along with the graphic and upfront lyrics, provides the perfect contrast for Chzter’s chill yet confident delivery to turn this into an extremely intriguing and enjoyable experience. Lesbians have been pushed to the sidelines of the LGBT+ community for far too long, and with this sound and perspective, Chzter is strongly pushing towards a well-deserved spotlight. – La Morra Lisa

With a cinematic bolero intro, Ana Macho captivates their listeners from the start. “El Reggaetón Mató Al Bolero” features a neo-bolero sonic realm with the essence of a Caribbean romance. Written by Ana Macho and produced by Aníbal “El S” Vida, the new alluring track highlights a heart-on-your-sleeve and passionate romance that’s manifesting more love—something we can all relate to nowadays. With sentimental verses like “Yo te juro que te quiero / Que mi amor es tan sincero / Y que hay tantas melodías que me recuerdan a ti,” the Caribbean pop star confesses their feelings in the most classic way: a love song. Paired with a theatrical and layered music video, Ana Macho puts their emotions front and center with what is one of the most amorous neo-boleros and music film releases this year. — Jeanette Hernandez

Lauren Jauregui – “Ego”

On “Ego,” Lauren Jauregui unpacks the complicated space between love and pride, delivering a vulnerable reflection on what happens when two people want the same thing but can’t quite meet each other halfway. Floating between longing and acceptance, the track explores the frustration of loving someone who remains emotionally guarded, hiding behind defenses that prevent real connection. Rather than placing blame, Jauregui turns the lens inward, acknowledging her own walls and the ways ego can stand in the way of honesty. There’s a bittersweet tenderness woven throughout the song as she wrestles with letting go of someone she once helped build up, hoping they eventually find the peace and self-awareness they’ve been searching for. Equal parts confession and farewell, “Ego” captures the ache of unfinished conversations and the courage it takes to finally release what can’t be forced. – Natasha Melina Argudo

Vanita Leo, Sophie Castillo – “Putiwepa”

Vanita Leo and Sophie Castillo are calling all baddies (and their besties too, of course). The hot girl duo pull up like two friends born to turn heads on “putiwepa,” trading playful flexes, cool-girl confidence, and the kind of bestie chemistry you simply can’t fake. You either want their confidence or want their number. Through a playful groove with a bouncy cumbia backbone, the pair make a compelling case for why not both? As the song goes on, they turn girl math and main-character energy into one endlessly chantable anthem about effortlessly owning every room you walk into already knowing you’re the moment. The men can stare, pick up the tab, and admire from a distance, but it’s really all about you and your bestie doing hot girl shit together. — Jeanette Diaz

Jombriel, Kris R., Jotta – “El Klavo”

Riding on Afro-Caribbean influences and a mean hook, the latest from Jombriel is a vibrant mix of perreo and reggaeton sensibilities. “El Klavo” sees the return of Jombriel, working with longtime collaborator Jøtta, with the added mix of Kris R. for another fun, vigorous mix of reggaeton. It’s the follow-up to the two’s collaboration “COMBI COMPLETA” from earlier this year, and sees them seeking out companionship in its finest reaches on the dance floor. While Kris R and Jombriel effortlessly bounce off each other’s energy through their verses, Jøtta works his magic on the production side, incorporating lightweight airiness to the drums, while including a playful arrangement, keeping production tight and focused. – Alan Baez

Linn da Quebrada – “Nuvem Negra”

São Paulo artist Linn da Quebrada is finally back, five years after she dropped her standout album Trava Línguas, and she uses the occasion to celebrate her own career by taking on a Brazilian songbook classic. Djavan’s “Nuvem Negra,” popularized by Gal Costa, is a moving jazzy affair, but Linn da Quebrada takes it to a synth-driven landscape aided by producer Fernando Catatau. The dark cloud of depression and isolation conveyed by the lyrics is dissipated by Linn’s mellow vocals and the bumping beat, just as if the storm has passed, successfully reinvigorating a beloved song. – Cheky

Nohemy has had a productive career as of late, putting out nearly a dozen tracks since 2024. The wrinkle is that just about all of them have been collabs, and she’s itching for a solo song to really shine in the spotlight again. This week, she meets that goal with “Ven Ven,” her newest single and the first on the road towards her next project. It’s a special one, showing off how good she’s always been at capturing the verve of a great pop song while also imbuing it—and its visuals—with her personal story. She’s a fan and peer favorite, and her fusion of vulnerability and joy is a big reason why. — Juan J. Arroyo

Furio – “Intuición”

Barcelona-based, Argentina-spawned Furio has spent the last few years carving his artistic path beyond the groundbreaking electronic band Defensa, embracing boy-on-boy longing and a handful of exquisite covers. In the latter category, the pop cherub has just unveiled a throbbing new take on Shakira’s 2000s classic “Las de la Intuición,” here shortened to just “Intuición,” where heaps of auto-tune meet sputtering synths and drums that will undoubtedly find a home on the dance floor. Arriving with a music video that cobbles a one-man rave across myriad greenscreened vistas, the track is everything you want from a Pride release: nostalgic, danceable, and unabashedly gay. — Richard Villegas

Chavi Leons – “VEM CÁ”

“VEM CÁ” finds American singer Chavi Leons reconnecting with his Dominican roots by creating a track built for packed dance floors. The blend of reggaeton, Afro-Caribbean influences, and, of course, Brazilian funk makes for the ultimate seduction anthem. The repetitive chorus of “Vem cá, gostosa” is the perfect translation of the artist’s intention in the lyrics; a flattering invitation into the arms of romantic pleasure. As part of his latest EP LEON, the song reflects the pattern of tracks filled with infectious rhythms and daring production that are all about seduction, but also about taking pride in one’s roots. — Júlia Henn

Like true artists dedicated to their expression and art, Hidrogenesse manage to always deliver music that sounds like it could only come from their creative minds while also pushing the limits of it. On “Yo Dije La Verdad,” the Catalan duo delivers an askew art pop number full of humor, romance, and quirkiness, evoking effortless hooks and peculiar melodies. However, this time they employ violins, violas, flutes, and percussion, bringing baroque chamber pop into the mix and resulting in a track that feels both quaint and modern at the same time. “Yo Dije La Verdad” demonstrates that Hidrogenesse has carved a sound of its own while also proving to be a forward-thinking unit leading the future of indie music. — Marcos Hassan

The goddess-like voice of Mexican infinite threat DANNA immediately sets up a seductive and dreamy landscape with soft synths to kick off her new single “Si Se Acaba El Mundo,” where she is joined by everybody’s boyfriend, El Malilla. And while this is a recent work relationship, the chemistry and flow between them make it feel like they have known each other for a long time, choosing each other to “finish together” if the world were to come to an end (lip biting emoji). Through flirty lyrics from both sides, a finger-licking depth of production, tasteful play on words, references to each other’s previous hits, and switching back and forth between speeds and instruments, this track is sure to become a hit. DANNA becomes the perfect guide for El Malilla to explore a more melodic side of his voice that, along with the bars he is used to spitting, turns this into an addictive sound that we would gladly listen to as our last if the world were ending. – La Morra Lisa

Chilean reggaeton is making a comeback. After making his mainstream breakthrough with infectious songs like “Gata Only” and “UNA NOCHE EN MEDELLÍN,” Cris MJ is back alongside none other than el movimiento baddie Paloma Mami. The Chilean duo dropped their latest sensual collaboration “NOTA” just in time for pregame playlists and summer outings. With a thick bass and a certified reggaeton soundscape, the two vocalists deliver a flirtatious club banger that’ll surely make rounds on the hot and sweaty dancefloor. The standout? Paloma Mami’s alluring and high-pitched vocals put you in a trance, listening to everything she has to say—although she’s clear she doesn’t want any strings attached. After all, it’s all about a fun summer fling, right? – Jeanette Hernandez

With “PATRONA,” Becky G isn’t asking for permission; she’s owning the room. The fiery new single serves as a mission statement for BARAJA BENDITA, an upcoming album that finds the singer operating with newfound clarity, conviction, and creative freedom. Blending commanding vocals with booming percussion and traditional Mexican brass, Becky G delivers a track that feels both deeply rooted and refreshingly forward-thinking. The song’s energy carries into its visual, which swaps glamour for grit, capturing the discipline, repetition, and determination required to build lasting success. Rather than celebrating the destination, Becky G shines a light on the work that happens long before the spotlight hits. Moving effortlessly between Spanish and English, the Mexican-American star embraces every side of her identity, creating a body of work that feels personal, empowering, and entirely on her own terms. – Natasha Melina Argudo

Everyone’s had that moment of wondering who they’d call if they decided to disappear for a while. On “montauk,” Mila la Morena turns that quiet daydream into a warm electro-hyper-pop escape, imagining a place where the noise of the world finally fades into the background. Hazy melodies, ghostly vocals, and a steady electronic pulse drift together as the track arrives at a comforting realization: sometimes it’s not really about where you’d go, but who you’d trust enough to come with you. Equal parts intimate and quietly hopeful, “montauk” feels like the kind of song you reach for when you need a reminder that a little escapism isn’t always a bad thing. — Jeanette Diaz

Coasting on sensational danceable grooves and an insatiable rhythm, the latest from Argentine artist bautibit manages to reinvent an already perfect dance track. bautibit is riding the high of his album cycle, performing well-received songs to an already loving fan-base, and barely one year later, he’s reimagining the strongest cuts from the original run in a creative new light. What made bitFM such a strong debut record was his bold approach to pop music, coming with dynamic rhythms to the production and reveling in eclectic electronic influences. BitFM: SEÑAL ABIERTA only builds on these concepts, with “Nunca Supimos Cómo Hablar” standing out the most with its playful treatment. bautibit completely restructures the format of the track, while keeping true to its playful nature. Sacrificing basslines for glittery textures, vivid synth chords for R&B-kissed drum loops, and including an energetic performance from Bueno Aires’ own Mala Juarez. BitFM already had a dense tracklist that continues to reveal new textures upon relisten, and this deluxe version only adds an extra layer of gloss on an already exceptional project. – Alan Baez

Puerto Rican-Cuban chanteuse Quelle Rox navigates life’s hardships with a little booze and a little sense of humor on “Así Soy Yo.” The bilingual song, produced by Robert J. Guariglia, is a slow jam suited for a vintage smoke-filled bar room in the early morning, with a saxophone solo to complete the fantasy. Over dreamy instrumentation and an evocative drum groove, a vulnerable Rox ruminates on love and death, and she blames it on the alcohol, but she begs not to be judged, as she’s just trying to push through the overwhelming weight of life and past mistakes. – Cheky

Elia – “5JONES”

Elia’s debut album has been long-awaited by fans, and this week it finally arrives—but it’s not alone. CASA x CASA drops with 10 tracks that feature the fast-rising pop singer-songwriter at the peak of her talents, and is also accompanied by a musical film of the same name that brings the thesis of her project to life. While the focus track is “5JONES” (a colloquial spelling of a phrase that means “without a care”), the film traces the entire album from beginning to end, putting on screen the through line of the tracks, each encompassing a different “house” or memory in her life, as she navigates her feelings and past in order to accept herself and become whole. — Juan J. Arroyo

O Cientista Perdido – “Te Sonho de Verdade”

Brazilian indie pop artist Rodrigo Saminêz, better known as O Cientista Perdido, is in the process of releasing his debut album, out this coming August. While the lead single “Cair,” he explored the loneliness of navigating queer life, his newest teaser, “Te Sonho de Verdade,” delves into carnal urges that don’t always come with a road map. Melding R&B, Brazilian funk, and blasts of synthpop distortion, the throbbing track unfolds more as a fantasy than confessional, asking “Where do we get the idea of what’s real and what’s not? / Who approves of us standing here?” But Saminêz’s desires are not just intellectual, as sexy lines about accelerating rhythms, as well as the lyric video’s come-hither looks speak plainly of a hunger stirring deep within. — Richard Villegas

Urias – “Cúmplice”

As part of the project Replay: Exagerado, which brought together a team of great Brazilian musical artists to record new versions of the tracks present in the classic album by Cazuza from 1985, Urias stuns with her own interpretation of “Cúmplice.” The artist’s smooth voice and new arrangement provide the song with an interesting, modern quality that somehow feels like a fitting element to a tribute to Cazuza, known to have challenged the paradigms of Brazilian music at the time. Urias’s version is more relaxed, spicier, and just as beautiful as the lyrics from this timeless ballad. – Júlia Henn

Shifters!! – “Quédatelo!!”

Punk music, for many people, is defined by energetic playfulness. However, expressing untethered anger remains one of the most important qualities of the genre, and Shifters!! employ it to great effect on “Quédatelo!!” The Mexican trio delivers an anthem that targets hypocrisy and dishonesty, venting against someone that has done wrong and tries to stick around. In no uncertain terms, the lyrics command this person to piss the hell off and leave them alone. Instrumentally, the band employs rolling percussion as well as double-time and half-time tempos; there are also crunchy guitars and fuzzed-out basslines that back some satisfyingly furious screaming. With “Quédatelo!!,” Shifters!! provides a quick window of healthy, angry music to vent your frustration to. — Marcos Hassan