20 New Songs to Listen to This Week From Gyanma to Ladilla Rusa

The nene from Baya is back! Not that he ever left, but while 2025 was a (comparatively) quiet year for Puerto Rican indie fave Gyanma, he’s about to demonstrate why. After his 2023 hit project Cutie Pie :3, the also-producer locked himself in the studio and started working on what’s next. The first salvo is Lado A/Lado B II, a spiritual sequel to his EP of the same name. “Ella no es…” is the focus track, along with “No te visto mucho con tu bby,” and both are a return to form that show why he’s quickly become a favorite of fans and pros, and tease what might just be his best work yet in 2026. — Juan J. Arroyo

The Y2K revival is so overdone that we’ve finally—and mercifully—entered parody territory. The Catalonian duo Ladilla Rusa are no strangers to camp and satire, skewering pop culture iconography on beloved dance hits such as “KITT y los Coches del Pasado” and “Macaulay Culkin.” Now they’re back with “TKM CNT XFA,” a thumping technorumba that harkens to the early days of social media with a timely story about obsessive para-social behavior. With a music video winking at period hallmarks like Mean Girls, AQUA, and Ricky Martin at his most metrosexual, the romp is both subversive and insanely catchy, striving for just enough nostalgia to make you consider re-downloading AIM. — Richard Villegas

Arguably one of Mexico’s biggest pop stars and cultural icons in recent memory, Kenia Os drops “UNA Y OTRA VEZ,” increasing the build up to the release of her new album K de Karma. Here, we see and hear her growth, both as an artist and a human, proportional to the size of the success she has garnered through her hard work and extremely loyal fan-base. In this taste of her new era, Kenia presents a romantic love/hate letter to a former lover through heartbroken lyrics like, “we were so similar, that we both were the problem.” Over a simple electronic melody that is repeated across the track but goes back and forth, the song shares the foreground with the instruments of a classic pop-rock band, capturing the essence of the early 2000s while the crisp production renews and brings it effortlessly into our time. In the stunning music video, we see Kenia in a cold concrete room as she rocks an elegantly simple workout outfit, as the group of incredible dancers circles her. They explore the lyrics and sound through a choreography that’s so natural and organic that at times feels improvised. Another carefully crafted and successfully executed step in Kenia’s stylish road to becoming one of Mexico’s, and Latin America’s, most relevant artists. She just keeps on serving “UNA Y OTRA VEZ”. – La Morra Lisa

After cultivating a style brandished in traditional Nashville Americana and effortless storytelling over a handful of live performances and loose singles, Tennessee-based singer Angie K is ready to establish a new chapter. “Low Key Love Song” is the first single of the year for Angie, putting her heart on full display with traditional melodies and intimate songwriting. The track channels traditional country soundscapes to establish a sense of lyrical identity behind a modern, polished backdrop. This comes as no surprise, as Angie K is a product of the Nashville influence she surrounded herself with, resulting in whiskey-smooth choruses and tender- leaning plucks. After dusting off the 10-string and putting her pen to work with last year’s self-titled EP, “Low Key Love Song” follows its lead and provides the first sample of Whiskey & Hemingway, the singer’s sophomore project, 10 years in the making. – Alan Baez

Charming everyone in her way with the power and sweetness of her voice, Colombian singer-songwriter Goyo has released her latest single, “Cuaderno.” The R&B track plays around with pop elements and, through emotional and vulnerable lyrics, bares the singer’s soul by admitting to writing down her feelings in her notebook, which is her greatest companion. Despite describing cold mornings in solitude, the song feels like a warm embrace with the way Goyo manages to be a relatable figure and, still, an amazing artist to be looked up to.  – Júlia Henn

Chihuahua, Mexico’s Austero has been an integral part of Mexico’s current guitars and moshing underground scene for a few years. But this time around, they have incorporated more melody into their mix, and their new single “A Través Del Tiempo” best exemplifies their newfound balance. With big guitar riffs that provide the backbone of this mid-tempo rocker, the song’s focus is on vocal hooks that lead to the chorus that just bursts with excitement. It’s not a complete break from the past, with plenty of rocking and greasy instrumental prowess, making “A Través Del Tiempo” and the rest of Austero’s new album proof that rock is far from dead and can easily be part of today’s mainstream. — Marcos Hassan

TIMØ, the Latin GRAMMY-nominated Colombian pop trio, returns with “NO HAY QUE LLORAR,” a vibrant, emotionally resonant track that reframes heartbreak as an act of self-respect. Wrapped in bright melodies and infectious pop energy, the song delivers the powerful reminder that loving someone who doesn’t know how to love will never be worth losing yourself. At its core, “NO HAY QUE LLORAR” captures the quiet clarity that follows emotional loss and the moment when sorrow softens into understanding. It’s about recognizing that some endings are necessary, and that letting go is often the most compassionate choice we can make for ourselves. Rather than dwelling in sadness, the song leans into release, healing, and moving forward. Serving as the final preview of TIMØ’s forthcoming second studio album, Canto Pa No Llorar, out Febr. 13, the track sets the emotional blueprint for the project. It explores freedom after heartbreak, the growth found in solitude, and the belief that pain is never permanent. After the storm passes, it’s important to keep moving and to keep choosing yourself. – Natasha Melina Argudo 

Less than a year after dropping his joint EP with Thiago Franca, Samples & Naipes, São Paulo mainstay name Marcelo Cabral returns with “O Herói Vai Cair,” which is also the first preview from his upcoming album Ramal. Featuring vocals from Sophia Chablau and fantastic drumming from O Terno’s Biel Basile, “O Herói Vai Cair” conjures an almost post-punkish atmosphere with overdriven guitars and just enough dissonance, a gray veil that’s obscured ever further by Franca’s lyrics about watching heroes fall and be buried in tombs for the immortal, all the same. The song is punctuated by contained rock explosions that never fully blast, adding to an overall sense of dread and restraint. – Cheky

After extensive touring behind their last project, LA-based band Death Lens kick off a new era (and lineup) by announcing What’s Left Now? with their lead single “Monolith.” A hardcore-leaning punk track, the song carries some serious scorched earth momentum as it opens with a stripped-down, clave-tinged Latine percussion rhythm before it gets violently torn open by a tension-fueled guitar riff that drops you straight into the song’s gravitational center. Hammering drums and jagged guitars collide as its confrontational vocals cut through, underlining resilience as more than just a mindset, but something physically earned through life’s bruising. In that sense, it becomes a cathartic release that rejects salvation outright, treating hope as a distraction and survival as an act of repetition and pressure. There’s nothing softened or reflective here, just a bold (and quite timely) dare towards the world to test you as you continue to push through its wreckage with a refusal to fold. A callback to its name, “Monolith” isn’t about discovering you’re unbreakable, but an assertive scream about realizing you already are, and letting that force hit back. – Jeanette Diaz

Grupo Diez 4Tro’s Jesús Moreno is going solo with his project Moreno X4. His debut single “Estrategia” is a hard-hitting corrido with fast-paced acoustic strings that keep up with Moreno’s equally fiery verses. Known for his “dilla corridos,” a subgenre that mixes traditional música mexicana elements with a modern urban touch, the vocalist is back to show listeners he can elevate his project on his own. With his distinctive, raw, grungy-like vocals, “Estrategia” tells the story of someone ambitious and always ready for what’s next. Makes sense since we will be seeing that exact motion in this new musical chapter, where he’s set to have all creative control. – Jeanette Hernandez

BASSYY cut his teeth as a producer for the first phase of his career, but last year he began to show himself off as a singer as well. Now he’s all-in, and this week drops his newest release, “Odisea” alongside Jovaan. Produced by himself (‘natch), the track is a sensorial trip with its definitely-not-shy risqué lyrics echoing in surround as the two describe a night of sweaty bedsheets with their partners and leaving love at the door. It’s a subgenre some have come to call “música nocturna” that’s like modern day “quiet storm,” and a song like this fits the bill when that’s the mood you’re looking to set. — Juan J. Arroyo

It’s likely you’ve heard Daniela Andrade’s music and haven’t realized it. Breaking through with immensely viral acoustic covers of “La Vie En Rose” and “Creep,” the Honduran-Canadian singer is a staple of film and television soundtracks, as well as wistful social media clips. But while she imbued these towering classics with vulnerability, her forthcoming debut album, Oda, out on March 6, will translate signature melancholy into original songs collaging jazz, R&B, and adventurous electronic production. Andrade’s new single, “i see red,” is a perfect teaser of sultry meditations to come, unpacking romantic conflict over velvety bass lines and psychedelic synths. The song ends on a voice note from her mother, offering sage advice about never bringing animosity into the bedroom, which ultimately grounds the spacey track in tangible, everyday emotion. — Richard Villegas

No warning comes before an electronic sound aggressively bursts in, accompanied by the beautiful and prolonged sound of… A meowing cat. In “Sexy Vibes,” Spanish musician Yung Prado is joined by MJ Nebreda, the Venezuelan-Peruvian queen, and their chemistry is evident through a track that boldly displays its sensual and addictive qualities across its entirety. Leaving very few build-up breaks to breathe as you dance between the explosive choruses and verses, the contrast between their voices and deliveries is made up for by the clarity of their intentions manifested through lyrics like, “put my feet on your head” or “my glass is full but my bed is empty.” The accompanying visual, shot by members of Mexican band GRLS, feels like someone broke into a home and stole family VHS to chop clips up into this raw and pulsating supercut that, as understated as it might appear at first glance, bubbles with effortless style and compliments the track perfectly. Feeling fresh while successfully carrying substance and experience, “Sexy Vibes” is a fail-proof shot of energy into any dancefloor, workout, or a “put my feet on your head” session. – La Morra Lisa

Despite painting itself in a light reminiscent of regional musicians’ past, RIA’s forward-thinking approach to the genre shines through in the first few chords. The first track of the year from the emerging música mexicana star exemplifies the passion of her youth and the potential in her songwriting. “Soy Fan” is the latest in RIA’s discography, but a mighty reminder of her love for regional music as well as the quality she invests in it. With its lush melodies and sincere, nostalgic chords, “Soy Fan” captures the warmth of the genre and provides its own emotional clarity. It sees the young singer firing on all cylinders, riding an extremely layered series of strings off the back of some ethereal melodies. Coupled with vocal layering effects and a brilliant inclusion of tuba, the song builds a new layer of excitement for what’s to come this year. – Alan Baez

Alternative rock band from Barcelona el diablo de shanghai has released a third track from their upcoming album, Testamento. “Dinero” is an upbeat, albeit melancholic, song that encourages self-reflection and critical thinking towards our collective priorities in the modern world. Nothing about this track sounds modern; instead, it guides us on a journey into the late ‘80s with its The Cure-ish vibes, allowing nostalgia to become one of the main feelings associated with the song. Perhaps, we collectively long for a time when human connections mattered more than personal ambitions. Whatever it is, el diablo de shanghai has proved themselves to be a musical group deserving of undivided attention. – Júlia Henn

Kei Linch unveils “Ya No Estás,” an intimate and deeply honest song that captures one of the most painful moments of a breakup, when the relationship ends, but the absence hasn’t fully sunk in. It exists in the space between goodbye and acceptance, where silence feels louder than words. The song tells the story of a love that had to end even though neither person was ready for it. Now, there are messages they don’t dare to send each other as much as they’d like to, numbers left undeleted, and a heart that refuses to accept what’s already done. Kei Linch delivers the track with raw sensitivity, allowing the lyrics to carry the emotional weight. Rooted in vulnerability and introspection, “Ya No Estás” explores emotional grief, attachment, and the difficulty of letting go of what’s already gone. It’s about loving deeply, losing peace, and accepting that some loves aren’t meant to last forever, yet continue to live within us. With this release, Kei Linch continues to establish herself as an authentic voice in el movimiento and alternative pop, defined by emotional truth and storytelling. – Natasha Melina Argudo

Spanish-American artist Gabriela Richardson has been doing rounds in the Barcelona music scene for around a decade now, and after sharing several projects, including her 2025 Lewis OfMan and Rejje Snow-featuring EP Comme Toi, she’s finally ready to drop her awaited debut album this year. The album’s first single is “Mononoke,” a breezy ballad that’s equal parts quiet storm and dream pop that marks Richardson’s first time handling production duties, alongside Gerard Valeta and Pierre Rousseau. The song interpolates “Na Boca do Sol,” by Brazil’s Arthur Verocai, and features stunning brass arrangements that shine over the laidback instrumental and Richardson’s soft vocals, who lets us into her inner world by contrasting her own lights and shadows. – Cheky

Nathy Peluso’s famed “Hip, con el hip, con el hip-hip-hopa” gets a twistedly sinister reinvention courtesy of Chicago-based prog-metal outfit Outrun The Sunlight alongside Jess Allanic of Venezuelan-rooted experimental metal band Calva Louise. The collaboration rips the pop-rap original into a fully unleashed metal invocation that’s driven by crushing guitars and riotous drums before Allanic’s vocals undoubtedly seize the spotlight. Amplifying the original’s swagger, her visceral growls and feral intensity command the track with an unflinching authority. What once sounded like a flex through flows now threatens with ferocity, reframing the song’s defiance through a heavier, more confrontational lens powered by a piercing and relentless energy. The result? A thrashing cover that stands firmly on its own while showcasing the boundless potential of music to cross borders and genres without losing its edge. Metal aggression doesn’t dilute the song’s Latine attitude here, but sharpens it, doubling down on the same fearless spirit that made “SANA SANA” a viral force in the first place. – Jeanette Diaz

A cinematic intro, sensual trip-hop tinges, and overall empowering and entrancing vocals. These are ways to describe Madame Récamier’s newest cover, “Ojalá Fuera Tu Voz,” part of the tribute album Devotos: Tributo a Santa Sabina. The Mexican singer-songwriter and producer’s sharp and yearning pop vocals on top of the sedated melody give new life to the 2000s track, which originally embodied a more fast-paced bass-forward pop-rock feel. “This version came from a very beautiful and personal place,” the singer shared about the track. And based on the results, it’s evident that she connected with the lustful track that we can’t help but press replay on. – Jeanette Hernandez

Although producer/multi-instrumentalist Monster Rally is the mastermind behind “Rosella,” it only takes one listen to acknowledge that this is really Sessa’s showcase. The track is marked by an easygoing groove underlined by a gentle-floating riff, acoustic guitars, and soft piano chords, over which Sessa does his bossa-meets-R&B crooning, bringing jazzy warmth to the groove. However, listeners shouldn’t be fooled by its easy sounds; there are plenty of dynamics and intricate instrumentation packed in 2:22 minutes to keep them on their feet throughout. Conjugating vibes with musicianship, Monster Rally and Sessa demonstrate they make for great collaborators. — Marcos Hassan