20 New Songs to Listen to This Week From Enyel C to iLe

Enyel C - “Palo de Limón”

Enyel C (pronounced “Angel Sé,” a mix of English and Spanish) kicks the tires on the promo push for his upcoming LP, Nuevo Caribe, with new single “Palo de Limón.” The song is a fusion of beach rock guitar licks, reggae harmonies, and even some folk interpolations in the form of a “La Borinqueña” reference. In the track, Enyel admonishes outsiders who are trying to gentrify and displace Puerto Ricans, and the accompanying video takes it a step further, portraying him as an artist trying to take back the narrative about his home while facing pushback, including a violent denouement in the process. Nuevo Caribe is a love letter to Puerto Rico and the Caribbean, so it stands to reason he’d stand up for his land in his own inimitable way. — Juan J. Arroyo

iLe - “Un Amor De La Calle” 

iLe is fully putting boleros front and center. With sultry and empowering vocals, a coquettish cadent bass, and alluring chords, the Boricua songstress pulls in listeners to her own version of Héctor Lavoe’s “Un Amor De La Calle,” letting her voice be the track’s main character. Featuring a more bossa nova sentiment and stripping away Lavoe’s original brass instrumental touch, the cover captivates the ear by entrancing us with iLe’s ardent verses. Though there are slight differences, iLe still keeps it close to the original by even echoing Lavoe’s laugh – an endearing and playful touch. “Un Amor De La Calle” is part of the popular artist’s upcoming bolero cover project Como las canto yo, due on Oct. 24. – Jeanette Hernandez

Mengers - “Azotacalles”

Even though the new single is a fast, short, and furious one, Mexico City’s Mengers retains its ability to make punctual statements while also giving us a good indication of what it has in store for us with its forthcoming album, Flavio. At just one minute and 53 seconds, “Azotacalles” features a jackhammer rhythm marked by acid-damaged guitars, as well as some righteous shouting. Yet, for the most part, the track displays a catchy quality fueled by rage and abrasion. With “Azotacalles”, Mengers proves that it still has what it takes to start a riot even if they’re evolving past their frantic sound of old. — Marcos Hassan

Julio Caesar - "ciego de amor”

It’s amidst the sounds of acoustic guitar strings and accordion sighs that singer-songwriter Julio Caesar releases his latest single, “Ciego de Amor.” The song is filled with sorrow and regret, but also longing, that accompany one’s musings after a particularly painful heartbreak. The lyrics describe the unfairness of how our singer was treated in that relationship, but it’s the accompanying instrumentals that really breathe life into the song. Sounds pertaining to traditional Mexican music allow Julio Caesar to craft his art while still honoring his roots and his family’s culture. “Ciego de Amor” might talk about heartbreak, but it still is responsible for smiles as it lights up the room where it is played. – Júlia Henn

Jerry Di - “White Wine” 

A bright and aquatic-sounding guitar paints the picture of a quiet sunbathed beach, Jerry Di’s passionate voice comes in, and he sounds… heartbroken. “Everybody warned me, it felt perfect, but it was incorrect,” he sings, yearning for a past that lingers as a heavy burden inside his chest. Over a delicious Latin beat, Jerry’s voice sounds strong, powerful, and when processed through electronic filters, reminiscent of iconic Daft Punk vocals that create a vibrant result that feels fresh and enticing. The perfect track to ask someone to dance, and you know what pairs great with two people at a sunny beach enjoying each other? That’s right, a cold glass of “White Wine.” – La Morra Lisa

Inner Wave - “Madre” 

LA-based Latine indie sensations Inner Wave mark their return with single “Madre,” their first new music since 2021. Lush and layered, the track signals a poignant new era for the band, as their outer sound evolves in step with personal transformation shaped by grief, sobriety, and the quiet demands of entering adulthood. The single opens in a wash of ambient textures before blooming into warm synths, melodic guitar lines, and subtle percussion that build a soundscape like memory in motion, propelled by emotions that rise in quiet waves instead of explosive peaks. Sotelo’s vocals arrive hushed and close, wrapped in reverbed harmony and laced with restraint, as the repeated chorus line “it’s what I have left” gets chanted like a Hail Mary meditation pleading for meaning in silence and grounding through change. At its core, the track is a swelling sonic reckoning that holds space for discomfort while pulsing with resigned emotional clarity. Both familiar and reborn, this isn’t just their return but a homecoming that feels like a hazy, deep breath after a long journey inward. — Jeanette Diaz

Eros White - “Mentís”

Uruguayan singer and producer Eros White understands that the best pop music addresses conflict – whether coursing the turbulent waters of heartbreak or exploring a more abstract sense of longing. In the run-up to his new album Estribillos Pop, the singles “Na na na (Buscando)” and “Dinero” unpacked dissatisfaction with aloof, materialistic paramours, but nowhere has White been as combative as on his newest electropop scorcher, “Mentís.” “Linda peli que armaste en tu cabeza para poder escudarte,” he shoots off in the song’s opening salvo, immediately confronting his lying, gaslighting ex-situationship. As the fiery takedowns continue, the song’s pulsating synths seem to evoke Robyn’s cathartic classic, “Dancing On My Own,” giving way to acrobatic vocal runs and even a robotic final breakdown that is equal parts camp and delicious dance floor chisme. — Richard Villegas

Jonas Sá - “De Sentir Você”

Rio de Janeiro artist Jonas Sá is gearing up for the release of his upcoming new album MNSTR, the long-awaited follow-up to his 2018 full-length PUBER, and for its second single, he gets down and sultry. “De Sentir Você” is a fantastic blend of a slow-burning bolero rhythm fused with bluesy instrumentation and the right amount of Brazilian flavor, over which Jonas Sá happily lets himself be swept off his feet by a love that feels dangerous. He injects soul with his voice, giving it just enough rasp to spark sensuality, but in the end, he opens the door to tenderness, as he confesses having his loved one near brings him happiness and reassurance. – Cheky

Marcelo Rubio - "Líneas Temporales (feat. Gus y Mazzarri)" 

Retreating in a sound drenched in intimacy and energy, Marcelo Rubio’s latest is another demonstration of passionate lyricism and illustrious production. Since his debut album in 2024, Rubio has been trekking forward, demonstrating a knack for mature songwriting and dynamic instrumentation. “Líneas Temporales” is a montage of subtle, vibrant textures that build on top of one another for an incredible track. The elements Rubio coordinates in the background all mingle in tandem with one another, flawlessly weaving through pockets of silence for well-orchestrated placements. “Líneas Temporales” follows an already harrowing loosie released this year, following the singer’s debut album Lo que escribí mientras no estabas 🙂, demonstrating that he shows no signs of slowing down. – Alan Baez

Isabela Merced, Tony Succar - “Apocalipsis”

Fans of the gutting post-apocalyptic HBO series The Last of Us might recognize Isabela Merced from her role as Dina. But the actress has also made a name for herself as a solo artist throughout the past six years by immersing herself in the worlds of pop and reggaeton. On “Apocalipsis,” Merced’s first musical release since last year’s “Cuffing Season,” the Peruvian-American multihyphenate joins forces with Grammy Award-winning artist and certified salsero Tony Succar to get everyone dancing. The jazz and salsa-heavy “Apocalipsis” shows Merced stepping outside of her comfort zone as she sings of a desire that burns so hot that it almost feels like a fever dream beside a rich and lively ensemble that never once lets up. – Nayeli Portillo

Chola Orange - “Jungle Walk”

You need a sense of humor to fully appreciate Chola Orange. Operating on a fully unserious raison d’être (their bio reads the “president of music has gathered a rag tag group of misfits to defeat the evil music forces”), Chola Orange has gifted us with song titles like “Hot Cheeto Stains” and “Nugs, Chillin & Grindage,” and embraces a cholo meets Rambo aesthetic that is sure to evoke some laughs. But on “Jungle Walk,” a cut from their new EP Chola Warriors, Chola Orange dives deep into the sounds of West Coast funk with warm and chunky basslines, hypnotic grooves, and whistling synths for an irresistibly catchy instrumental piece that shows us there is much more to the La Puente-based band than just a playful exterior. – Nayeli Portillo

Gyanma - “No Seas Así”

Gyanma’s music has made him a legitimate fan and industry favorite in the indie scene, and there’s no denying the appeal of his eclectic output. But even amidst all the bops, like his most recent hits “sensación” and “bajo candau,” it’s when he’s being cheeky and having fun that he shines brightest. There’s no better example than his last album, Cutie Pie :3, or this week’s single “No Seas Así,” which has the kid from Baya portraying himself as a guy going through his whirlwind life trying to keep it together, except for when he turns into a cotton-stuffed alter ego. It’s an absurd and hilarious conceit that he’ll surely mine further, while also dealing out more great music. — Juan J. Arroyo

María Alejandra - “Fresh Start”

Rising NYC-based Dominican singer-songwriter María Alejandra is going back to square one. On her new indie pop and nostalgic offering, “Fresh Start,” she pens about “a new routine that slowly felt like home,” giving us her inner thoughts that sound straight from a diary page. With reverb vocals, a rhythmic bass, and a dancing guitar, “Fresh Start” dials into the dreadful curiosity of wanting to move away and start over — a relatable feeling especially as summer turns to fall. Produced by Brandon Margary and Eduardo Coronado, the new track feels like a sonic cushion and gentle reminder that everything will be OK, even if you delay your personal timeline. – Jeanette Hernandez

Caribe Ácido - “The Last Human with The Horn”

You can’t, in good conscience, accuse Caribe Ácido of not being a musically ambitious artist. With “The Last Human With The Horn,” he takes jazz and propels it into the 21st century by the way of the 1990s, linking it to genres like acid jazz and drum n’ bass, and resulting in an epic 30-plus-minute track. Thanks to Diego Raposo behind the board, the song is deep and layered, revealing a cosmopolitan and futuristic yet dirty sound. Ysmael Abreu manages to give the style a new twist, delivering us a new glimpse of what a fusion of electronic and organic music can sound like in 2025.  — Marcos Hassan

GioBulla - “Temo”

GioBulla’s smooth vocals become the instrument of his whispered but confident love confession in “Temo,” the singer-songwriter’s newest release. For this song, the Dominican artist chooses a hypnotic, atmospheric sound as background for his sweet and vulnerable lyrics. The slow beats, rooted in electronic pop paired up with some old school R&B create a chill vibe that contrasts with the uneasy pace of his careful words. Overall, “Temo” speaks of the fear, not of rejection, but of the grandiosity of one’s feelings towards the object of their desire. It is a perfect tune for two people to share under city lights and the uncertainty of their feelings. – Júlia Henn

Neto Becerra - “Te Vez Fatal”

Coming straight out of Pacoima, CA, and proudly representing his Mexican roots, Neto Becerra emotionally delivers a poignant song that can be dedicated to a former lover when you know that breaking up meant a glow up for you, but not so much for the other person. Being surrounded by musicians and artists since birth, and with parents from Jalisco and Michoacán, Becerra delivers a youthful and original story over classic ranchero sounds and instruments. He proudly claims that after a rough breakup he is “still standing, better than ever.” Remaining true to what separates him from the pack, he sings that he might not have the excessive luxury of some of his peers and “sometimes I don’t have enough to eat, but I can sleep calmly at night,” cementing his spot as a strong newcomer in the scene. It’s he perfect track to share with an ex who dares to break the “zero-contact” agreement. – La Morra Lisa

Zoé - “Campo de Fuerza” 

Mexican alt-rock icons Zoé make their long-awaited return with “Campo de Fuerza,” a song doused not only with their signature mystique but a sonic evolution steeped in emotive electricity. Forming something both familiar and transcendently fresh, the single fuses the band’s classic psych-pop-tinged DNA with sleeker, more mature production as it dives headfirst into celestial synths, buzzing guitars, and León Larregui’s unmistakable vocals. The title sits between metaphor and mantra, drawing on the physics of magnetic pull to mirror the emotional gravity of connection. Lyrically, Larregui explores this by grounding the cosmic in the deeply personal as he reflects on time and the invisible energy that binds two people while simultaneously opening up infinite internal worlds and future plans. The long-awaited single follows the band’s near-instant sellout of five upcoming stadium shows, proving Zoé still commands massive stages, and their sound remains just as expansive in spirit, grounded in an ethos that is intimate, resonant, and timeless.— Jeanette Diaz

Bodega Club - “Farra Trance Vol.9”

On their self-titled debut album, Valparaíso disco-house duo Bodega Club found throbbing, maximalist inspiration in the bootleg mixtapes sold at flea markets across Latin America. Tracks like “La Verdad (Entrar de Nuevo)” and “Seguimos Acá” fold in salsa keys and slap bass, while on “Farra Trance Vol.9,” they lean into full-blown pirate glee with samples of the iconic dance anthems “Got To Be Real” and “El Tiburón.” This latter nugget ramps up the BMPs to achieve full raving bliss, collaged together with thumping kick drums, cascading percussion, and vocal effects that’ll have you dreaming of Proyecto Uno playing at your local warehouse party. — Richard Villegas

Cueheat - “Kiss It Better (Jersey Club RMX)”

From New Jersey, Dominican DJ Cueheat has become a dancefloor force in and out of the internet with his mixes, edits, and original productions, with a talent to flip basically any track that comes his way, from Cardi B’s “Up” to “Pepas.” Now he takes on a classic Rihanna power ballad. Cueheat’s Jersey club remix of “Kiss It Better” is an instant party, bringing the fun to the otherwise dark and steamy Anti R&B original. Rihanna’s vocals, straight or straight-up chopped, fit perfectly with the genre’s signature pattern, and we’re already fantasizing about sweating it out on the dancefloor to the beat of this track. – Cheky

Jón Lyno - “Eso ta de to”

After years of practice and experimenting within the Dominican Republic music scene, Jón Lyno’s forward-thinking new song combines new wave with el movimiento genres for a dreamy experience. With years under his belt making sounds playing with rap, bedroom indie, and pop, “Eso ta de to” weaves Lyno’s pockets of influences together for a remarkably ambitious track. While Lyno’s name has been tossed around in smaller circles amongst the DR scene, his brand hasn’t caught significant wind, but this new track marks a significant stepping stone in the young creative’s career. “Eso ta de to” doesn’t see Lyno pivot away from earlier musical stylings, but culminates all of his previous licks into one unified sound. Lyno flourishes in his own tenacity, marking a turning point towards creative ambition with something triumphant, yet criminally short. – Alan Baez