20 New Songs to Listen to This Week From Kevis & Maykyy to Mon Laferte

After an incredibly productive past few years building an arsenal of boom bap-inspired cuts and a devoted online following, Monterrey-based trio Kevis & Maykky return with another earworm for the masses. Within the last few years, the trio has definitively made a name for themselves in the Mexican rap scene, painting vivid descriptions of robust explosions of youth and late-night debauchery to flexing a deep love for boom-bap hip-hop. “HIJO DE P*” follows suit of its predecessors, showcasing incredibly forward-thinking production with playful bars. The production carries the character of the track, but does not diminish any of the vocal contributions from the brothers at any point. The whirring synth and near-devilish bass line are the perfect medium for the trio to slide on. “HIJO DE P*” shows the boys are still running at full steam. Their debut album LOS CHICOS DEL NORT earned them a spot in the larger music zeitgeist and just arrived last year. “HIJO DE P*” can be characterized by a sense of camaraderie and rebellion that surged through traditional hip-hop channels, all with a tinge of whimsy. – Alan Baez

With a dramatic and moody intro, Mon Laferte captures attention in her newest video for “Femme Fatale.” The new music video features the Chilean-Mexican songstress in vintage glamorous fashion, smoking cigarettes and wandering the dark streets of New York City. With stiletto heels, a shimmery outfit, and her iconic red lipstick, Mon reminds people how a real artist can transport you to a different era, not only with her impeccable fashion but also with her empowering vocals, which serve as a sonic escape. “Femme Fatale” was released last October, engaging listeners from start to finish with her emotional and raspy croons on a jazzy soundscape that centered the album with the same name. Next up, Mon is going to bring the melancholic drama to the stage. She will kick off the U.S. trek of the Femme Fatale Tour in Boston, MA, on July 29. – Jeanette Hernandez

With “Nasci Pra Ser,” AJULLIACOSTA delivers a fearless statement of identity that feels as vibrant and multifaceted as Brazil itself, channeling the raw force of her rap flow through a rhythm that seamlessly intertwines the pulse of drum ’n’ bass with the warmth and swing of MPB influences. The track strips away distractions and places all the attention on AJULLIACOSTA’s commanding presence, allowing her words to hit with clarity as she transforms her personal experiences into a larger manifesto about self-definition, resilience, and creative freedom. There is an undeniable power in the way the artist carries the sharp precision of contemporary Brazilian rap while embracing melodies and cadences that echo generations of Brazilian musical tradition, creating a sound that feels simultaneously global and deeply rooted in her culture. More than simply reflecting on overcoming hardship, “Nasci Pra Ser” becomes an affirmation where AJULLIACOSTA embodies the beauty, complexity, and unshakable strength of Brazilian women, presenting herself not as someone shaped by limitation, but by her ability to imagine and build her own world on her own terms. – Júlia Henn

Becky G turns up the temperature with “EPA,” a flirtatious, feel-good anthem that pulses with confidence, rhythm, and pure spontaneity. Filmed at El Mercado de Los Ángeles in Boyle Heights, the visual transforms the historic Latin American marketplace into a kaleidoscope of movement, color, and community spirit. Rooted in Mexican culture and everyday joy, the video captures the beauty of living fully in the moment: dancing first, thinking later. Becky moves through the bustling space with effortless charisma, surrounded by vibrant energy that feels both intimate and celebratory. “Me puse linda para que me digas ooo epa epa” becomes a playful invitation to be seen, admired, and present. There’s nostalgia woven into every frame, but “EPA” never feels stuck in the past. Instead, Becky G delivers a modern love letter to culture, connection, and the thrill of not knowing what comes next. – Natasha Melina Argudo

Helado Negro and Reyna Tropical are bringing their two atmospheric musical worlds together on “Tocando,” the first release from their new collaborative project Helado Tropical. And it’s every bit as dreamy as we’d imagine we’d get from a mash-up of this nature. Between its drifting guitars and subtly pulsing electronic textures, the track moves with a slow-burning intimacy that somehow carries heavier emotion through a weightless haze that hypnotically wraps around you. Beneath its sonic warmth and the static glow of its vintage-hued VHS visuals sits a quieter tension, circling the strange emotional distance that can grow between people, even while they continue trying to hold on to each other. The song seems to live in that lingering feeling, never pushing toward a dramatic emotional payoff and instead letting uncertainty and memory slowly drift to the surface. If this is the debut of the atmosphere the duo built out of sleepless nights creating together, we’re more than ready to sink further into it. — Jeanette Diaz

Two girls dishing it out about the curvature of a tribal boot not being the only relevant geometric trajectory when it comes to choosing a man is the perfect setup for the explosive sound of “Las Chicas Tribaleras.” Mexico, Uruguay, and the U.S. come together to assemble this sweaty, hard-hitting tecnocumbia track that is guaranteed to put your cheetah print heels to work zapateando and then some. Proudly displaying the unmistakable identity and quality that has them in the global radar and collaborating with the biggest names in the scene, 3Ball Mty gathers these unapologetic and visionary voices who authentically don’t give a fuck to bring this sonidero atmosphere, tight jeans, and nasty synths to you in a “cheetalicious” package, where La Goony, Miss Bashful, and DJ g2g ask: “p*ta why you mad? Put on a smile!” So whenever you need to ramp up the energy, just put on the pointy tribal boots, hit play, and “chew those bitches up, dale mastica!” – La Morra Lisa

Plenty of artists today try to master as many things as possible, but few can accomplish it with such effortless cool as Clarent. “Dime Baby” follows a fairly straight Balearic beat that invites listeners into its rhythm. The singer rides the groove as he wonders about a lover who left but might come back someday. By singing, rapping, and sing-rapping, Clarent generates hooks upon hooks that provide plenty of opportunities for listeners to dive in. The result is a party anthem that’s about to become a must in any playlist for nights when the weather gets warmer. — Marcos Hassan

Rising Mexican pop star Adrian Cota releases his self-titled freshman EP today, and along with it his latest single “PDV.” Ever since he made his solo debut last year, the singer-songwriter has been going full throttle and his delightfully raucous music reflects that same spark. Whether it’s rock, soul, funk, or pop, his sound has always leaned towards energizing the room and making listeners hop their feet. It’s an infectious enthusiasm that comes across in his EP’s six tracks, and especially in its focus track. “PDV” stands for “pasada de ver,” which refers to something visually attractive or pleasant to look at. By that token, Cota’s music is no doubt a “pasada de escuchar.” — Juan J. Arroyo

Chilean singer-songwriter Nando García has unveiled his third studio album, Lover Man, a bold dissection of affection between men and the repressive masculinity that often keeps emotions unspoken. The lead single “Sábado Gigante” found García grappling with an absentee father and an encroaching midlife crisis, while his delightfully pop collaboration with Chini.png on “Perros” captures the golden retriever energy of being romantically smitten. Kicking off the album is “Correr, Saltar, Lanzar,” frankly, one of the most extraordinary songs of the year, where childlike innocence and a lifetime of disappointment collide in dazzling waves of catharsis. “Los hombres buenos nunca dicen la verdad,” García mutters like a mantra, negotiating heartbreak and acceptance as the song builds from acoustic strums to an overwhelming rush of drums, guitar distortion, and spacey synths. “Correr, Saltar, Lanzar” is like a levee cracked open, flooding the world with love and sound, as García poignantly asks why we’d ever bottle it away in the first place. — Richard Villegas

Costa Rica’s indie mainstays Las Robertas are getting ready for the release of their fifth album All We Need Is Now, out next month. And after sharing the dreamy “Everything I Wanted To Be,” they’re giving us the title track, and it’s back to their psychedelic business. The ‘70s-splashed shoegaze-lite jam “All We Need Is Now” is a crunchy, sun-kissed rocker driven by restless drumming and Mercedes Oller’s effortless melodies. The song carries a lightness that mirrors the lyric’s message that invites us to live in the present and release any grudges we keep that weigh us down. Give it a spin and feel your worries leaving your body, at least for a little bit. – Cheky

After releasing his latest album to roaring accolades and positive fan reception, Veracruz-based singer-songwriter Arath Herce returns with another brilliant display of música alternativa. Herce’s career in music was shaped heavily by his choice of collaborations, making strides in his artistic vision through the combined performances with artists such as Kany García and Leonel García. “Me levanté de la cama” is another demonstration of the heart Herce carries in his collaborations. There’s a natural sense of chemistry he’s able to bring out of people, and it shines exceptionally here. Calling on folk singer Kevin Kaarl, the two trade tender vocals while sharing the stage, playing perfectly off one another. “Me levanté de la cama” is the deep cut from 2025’s Musas en Mi and gets the live iteration treatment, but the addition of Kaarl gives an extra layer to the ballad, reveling in its chemistry for a performance that feels like something special. – Alan Baez

East Los Angele’s Thee Sinseers dropped “Did Ya Know?” a modern soul-coded gem from their upcoming album, Love Stories. With the vocalist’s soothing falsetto vocals backed by a captivating organ, rhythmic percussion, and pulsating bass, the group gives a wink to The Guess Who’s “These Eyes.” At the same time, they enthrall the listener with a guitar groove that gives the whole piece a throwback late ‘60s vibe, worth listening to and cruising down PCH with your loved one. The standout centerpiece? The organ that is as playful as it is a reminder of the band’s overall and tasteful brass aesthetic. “Did Ya Know?” is the first taste of their newest aforementioned project, dropping on Sept. 18. – Jeanette Hernandez

Built around thunderous percussion that feels almost ritualistic in its intensity, “Aset” sees French-Cuban duo Ibeyi crafting an intoxicating atmosphere where spirituality and heartbreak become impossible to separate, as the sisters transform the ancient story of Isis and Osiris into a hypnotic meditation on devotion. The track pulses with an immersive rhythm that mirrors the emotional exhaustion at the center of the song, and such weight becomes even more striking through the accompanying visual filmed in Havana. The texture of everyday life across Latin America is showcased with startling intimacy in communal movement and fleeting moments of joy and exhaustion, grounding the song’s almost mystical aura in a reality that feels deeply lived-in rather than romanticized. As the first single of their upcoming album Offering, “Aset” signals a fearless and bright new chapter for the sisters. – Júlia Henn

After the dreamy nostalgia of Un Verano en Caliyork, Junior Zamora returns with “Me Va Bien,” a smooth, emotionally charged single that signals the beginning of a new sonic era. The Caleño artist leans into an irresistible fusion of bachata and R&B, creating a track that feels intimate, modern, and effortless. At its core, “Me Va Bien” is about emotional closure. Zamora sings from the perspective of someone who still wonders how his former lover is doing, but understands that life is better without reopening old wounds. “If you want to know about me, I’m good,” he declares with confidence and calm. He’s healed, thriving, and finally at 100 percent. Even though she keeps calling, he refuses to revisit that chapter. With warm rhythms and vulnerable lyrics, Zamora proves once again that heartbreak can sound incredibly stylish. – Natasha Melina Argudo

Rising electronic duo RØZ team up with U.K. breakout Artemas, who are absolutely in their late-night-feelings bag on “HBU.” Just in time for summer, the hypnotically sleek, dark electro-pop release feels wrapped in digitally blurred intimacy made for obscured club nights and impulsive emotional decisions. The Mexican duo is keeping things immersive, layering glossy production and heavier electronic textures without ever letting the song fully spiral out of control. Instead, its measured sensuality keeps everything magnetic from start to finish. Things do get a little messier once emotions enter the chat, though, as bilingual desire weaves naturally through the track, letting Artemas’ restrained seduction collide with the duo’s more distorted edge. And once “yo te quiero conmigo, dime how about you?” starts looping over and over, the song stops feeling flirty and starts sounding just a little obsessive. But we mean that in the best way possible. RØZ is clearly entering a more boundaryless era creatively, and “HBU” feels like the kind of track you accidentally let soundtrack an entire reckless summer.— Jeanette Diaz

A love that transcends seasons, trends, and even reincarnation is the subject of Mexican singer Domelipa’s new single “EVEREST.” It’s a romantic and warm declaration of eternal loyalty where, through her soft voice and versatile delivery, she states that no matter what happens around her world, the unconditional love she has for her family, mom, and her cat Jecha (who steals the spotlight in the music video), is as immovable and strong as the iconic mountain itself. Along with bright guitars, its icy synths feel sharp yet poetic, and the relatable lyrics are stylish. Domelipa’s voice feels clear, confident, and extremely focused in this new creative stage. It’s a perfect track to dedicate to those beings, human or not, that surround your life with so much pure love that you cannot help but want to reciprocate it in this life, the next one, and whichever come after. – La Morra Lisa

Historically, psychedelic cumbia has challenged the perceptions of its parent genre. And in its interpretation, Orquestra Pacífico Tropical flips what we think of psychedelic cumbia. While most of the genre’s exponents rely on effects and electronics, this ensemble warps the style by mangling the notes they are playing to mess with our perception. On “El Poder,” the band weaves unexpected melodies and unusual harmonies to create a slightly disorienting vibe. And about halfway through, things get even stranger, which ups the excitement. With “El Poder,” Orquestra Pacífico Tropical provides a gateway for trad cumbia lovers to get into the weirder side. — Marcos Hassan

Two generations of Puerto Rican indie rock team up this week with “A Golpe” from bands Nutopia and Polbo. The latter broke out in the 2000s, earning a Latin Grammy nomination in 2006 for their self-titled debut album. Nutopia, who headlines the new single, has made inroads in the last decade with a distinctive pop-rock sound and collabs with Martox. The common thread between the two is Francisco Santiago, who founded both groups. He resurrected Polbo last year with their first EP in 15 years and now engineers a crossover between the two projects. The result: a rousing jam that offers the best of both sounds, with an optimistic message about accepting unexpected change. — Juan J. Arroy

In a clash of the pop underground titans, Buenos Aires singer and producer Diego Stoll has enlisted nightclub diva La Indigo for a new lovelorn single titled “Perfo Porfa.” Evocative of the Robyn classic “Dancing On My Own,” the track follows a heartbroken popstar wandering aimlessly through a party where everyone knows their name, but not their pain. Harmonizing to the beat of moody techno-pop, the pair delivers a throbbing crier about the loneliness of keeping up appearances, recalling melodramatic scenes of stilettos, broken bottles, and singers spinning around in circles. — Richard Villegas

On his new album CATATAU, Brazilian singer-songwriter Ítallo França does his best to give us a break from the capitalist hamster wheel by calling the system out or turning our attention to the arts, showering his music in references from cinema and literature. Fourth on the tracklist sits “dorinana,” where he turns to love instead to soothe our hearts to the rhythm of a smooth samba. Backed by unexpectedly syncopated drums played by Domenico Lancellotti leading the way, Ítallo is infatuated by a loved one and fantasizes with turning the “I” into a “we” with a kiss. Add stunning backing arrangement to the mix and we’re pulled into his love daze. – Cheky