19 New Songs to Listen to This Week From La Coreañera to CHANELL

Are you sitting down while reading this? Well, that’s about to change, because La Coreañera presents her latest single. “KOREAKUMBIA” is an entrancing open letter begging someone to dance with you, with a soft, inviting atmosphere achieved through synths and her mellow voice over a beautiful array of instruments classic to the genre. Different from some of her previous work, where she takes a more prominent spot, on “KOREAKUMBIA,” the verses and choruses are delivered by many voices, which turns this into a perfect track to be sung at a party. La Coreañera’s work reminds us that no matter where our roots go back to, South Korea, Texas, Mexico, or wherever, that unavoidable urge to move when cumbia is played is absolutely natural, and we should give into it. But most importantly, aim to share that moment and our culture with someone else. — La Morra Lisa

Carlos Santana and Becky G are known to stand up for our communities. In the guitar mastermind’s newest storytelling collaboration, “Mi Gran Amor” with the Mexican-American popstar, both artists unite for a heavy narrative about the harsh truths of hard workers getting detained by ICE. In this powerful and rhythmic story, Becky sings about dedicated laborers being mistaken for bandits. With point-blank verses like “Se volvió una pesadilla buscar el sueño en Estados Unidos,” the Mexican popstar unravels an unfortunate sentiment about the U.S.’s political climate that we’re seeing both in person and on digital screens in real time. “Mi Gran Amor” is Santana’s third single of the year, following his collaborations with Grupo Frontera and Carín León. — Jeanette Hernandez

Hanzel La H and Dei V have joined forces to pull up with exactly the kind of dark perreo energy built for the nights when the only plan is to keep the vibe going on their latest collab, “CIEN.” Once they get “y dime bebé que somos cien” lodged in your head, the duo settles comfortably into a world where chemistry and confidence start to do most of the talking. Hanzel’s larger-than-life flexes find a natural flow with Dei V’s effortless cool, allowing the record to slip naturally into a late-night groove full of bravado-fueled charisma. The release is the kind that’s more interested in looking good, feeling good, and staying outside a little longer than originally planned. And honestly, not every drop needs to reinvent the genre or unpack the state of the world. Sometimes all we need is a good perreo, even better company, and maybe one more round. “CIEN” seems to understand that perfectly. — Jeanette Diaz

On “Quitapenas,” Guatemalan singer-songwriter Gabriel Dinero turns memory into tenderness. Crafted from a poem his father wrote decades ago, the track carries deep emotional weight, unfolding through warm acoustic guitar chords that wrap every lyric in a comforting atmosphere as the song reflects on the lingering ache those we love leave in their wake. There is something deeply human in the way “Quitapenas” lingers on the emotional remnants people carry with them, and Dinero’s whispery vocals capture those feelings with remarkable precision. The final result is a beautifully restrained meditation on grief, intimacy, and memory, where every delicate chord and hushed vocal line feels capable of holding emotions too difficult to speak into reality. – Júlia Henn

The sound of Puerto Rican pop continues its impressive ascent, with artists of the genre finally getting their time in the limelight. After two years away, BEAH returns with “Que Vuelvas,” her newest single, which continues the promise she showed in her previous releases. The song’s dreamy production, courtesy of THE CRVV, wriggles into the ear while BEAH camouflages melancholic lyrics with her tender and enchanting voice. While the subject matter is ultimately one of longing and sadness, the effervescent way she croons about her feelings makes the track one you might catch yourself playing over and over again. It’s a terrific reintroduction, and one that arrives just in time to hitch a well-earned ride on the wave. — Juan J. Arroyo

While her status as an ascending artist might give some listeners the wrong idea, J Noa is making clear what she’s all about with “ANTISISTEMA,” a song that demonstrates her talents as a socially aware, fierce rapper. In the song, she spews her anger inspired by the current sociopolitical climate backed by a boom bap beat that reminds us of the golden age of hip-hop greats like Mobb Deep, Nas, and Wu-Tang. J Noa even ups the ante by offering a masterful beat switch to prove that she can play with the best of the commercial artists out there. However, it only makes her stand out as a sharp-tongued talent. — Marcos Hassan

Pursuing love in its fleeting glory through melodic raps and ambitious production, Puerto Rican singer-rapper Chanell’s first track of the year is a staple of genre-pushing music in el movimiento. “BURUNDI” is the follow-up from last year’s Femme Fatale, an album built on stern, confident personas painted through playful beats and sung stings of the heart. The new track follows suit with a more mature stature, built on ethereal production, opening with an incredibly bubbly sequence that perfectly accompanies the melodic drum loop that enters shortly after. The instrumental is soft, yet strong enough to be the vessel for Chanell to ride the rhythm for a deeper exploration of love. Chanell’s brand of melodic rap utilizes this softer palette to its full extent, with the piano outro perfectly encapsulating the fleeting feeling of joy, caught in the embers of a dying relationship. “BURUNDI” acts as a teaser for the deluxe version of Femme Fatale, giving fans an ode to this final arc and preparation for what’s to come. – Alan Baez

Goya-nominated Granada artist CRISTALINO just delivered his third EP, the Jaime Beltran-produced project Destello, señal, hilo y alba, which includes the standout track “SEÑAL,” now released as a single. “SEÑAL” is a path CRISTALINO walks disoriented, trying to grasp some certainty while fighting the tension between feeling close and distant from a loved one. But the song is drenched in a sense of hopefulness confected with an elating chord progression, sunny synths, and dynamic drumming that leads the way. By the second half, he’s left alone with a mere acoustic guitar, and it’s a greatly moving experience. — Cheky

When not rocking around South America as part of Argentine trio Amor Elefante, singer Rocío Bernardiner is busy mixing indie pop textures and reggaeton beats for her solo project, Kaixara. On her new EP El Amor No Se Puede Detener, she salutes beloved queer clubs on “Temperley” and delivers a strobing reimagining of Lykke Li’s dance classic “I Follow Rivers.” But the record’s emotional center is, appropriately, “Centro,” a propulsive pop-perreo about inundating the streets with love rather than keeping it cooped up at home. “Ay, vamos pa’ fuera / que se encienda toda la vereda / que nos vean,” she sings, happy to ruffle hater feathers as long as she can do it with her main squeeze in tow. — Richard Villegas

No, your phone is not ringing. However, you are receiving a call from the future via headphones. The voice on the other end is that of Mexican trailblazer Guapis. She’s entering el movimiento with her most recent track “PCB” off her freshest EP, which shares the same title, standing for “Puta, Cabrona, and Bellaca.” Three words she boldly reclaims, turning what were once insults into empowering adjectives for a woman who, if needed, will violently stand her ground to materialize her vision and shake her ass with her crew. Through lightning-fast delivery and cerebral bars that reference government-subsidized milk, poppers, and putting a man in all fours, Guapis teams up with Shimi La Malyka. The natural rebel with Guatemalan roots raised in the barrio of Tepito brings the irreverence and fire to even higher levels, turning this explosive back and forth into one sure to set any dancefloor ablaze. Their statement is clear and their shine is hypnotizing, but don’t bother lining up to sweet-talk these powerhouses unless, in their words: “You got the budget to buy them a penthouse.” — La Morra Lisa

Sofia Victoria steps boldly into the spotlight with her official debut single, “Out of the Garden,” a striking introduction to an artist unafraid to explore emotional depth and spiritual introspection. Blending folk, alternative, ambient, and rock influences, the track unfolds like a cinematic meditation, layered with haunting harmonies, poetic lyricism, and raw vulnerability. Inspired by beatnik poetry, conscious music, and theatrical storytelling, Sofia crafts a sound that feels both timeless and urgently relevant for a generation craving authenticity and human connection. Her ethereal presence and deeply expressive voice guide listeners through themes of healing, self-awareness and awakening, creating an immersive experience that lingers long after the final note. With “Out of the Garden,” Sofia establishes herself as a compelling new voice whose artistry is intimate, evocative, and entirely her own. – Natasha Melina Argudo

Lila Downs released her newest album, Cambias Mi Mundo, with the yearning focus single “El Beso.” In the sentimental bolero-inspired song, Downs intertwines sensual strings and brass to create an enthralling soundscape. Lyrically, the Mexican songstress narrates a story about a kiss changing her world. With lyrics like, “Y por un beso el mundo cambió / Y por un beso la tierra tembló,” Downs confesses her love to another, regardless of whether that person echoes the same sentiment back. Through her soulful croons, the artist ultimately shares a sorrowful story of unrequited love—a feeling many of her listeners can relate to—in the artistic POV Downs is known for. Cambias Mi Mundo is out now. — Jeanette Hernandez

JUZU is bringing back the tunes for the loverkids with a tender heart and retro spirit on his latest release “Y Solo Tú.” The emerging Ecuadorian artist blends traces of his Andean lineage into a dreamy indie-soul sound, leaning fully into romantic devotion that begins to blur into fixation. With a sunny disposition guided by layered harmonies and soft psychedelic warmth, the track initially drifts like a lovestruck daydream, until lyrics about eternal devotion, longing, and hopelessly waiting for someone’s return slowly begin revealing something far more consuming underneath. Its grainy film visualizer deepens that nostalgic pull too, pairing washed-out textures and vintage styling that continue its subtle nods to the melodrama of classic balada románticas. Somewhere between dreamy and devastating, this track feels made for people who still romanticize love hard enough to let it consume them a little. — Jeanette Diaz

With “Milagrito,” Mexican singer Julia Amoroso transforms longing into an euphoric act of manifestation, delivering a synth-pop track that slowly blossoms from quiet desire into an irresistible electronic celebration. The song initially sounds coy and timid, but, as Amoroso delicately navigates the truth of her intuition and the track unfolds, synths and fast-paced rhythms take over, turning those private emotions into a vibrant dancefloor. There is a particular nostalgic vibe about the track, yet its pulse feels completely modern, capturing the thrilling sensation of wanting something so intensely that it actually materializes before your eyes. In the end, “Milagrito” is all about the transformative power of manifestation, wrapped inside a high-energy sonic bomb that invites listeners to surrender completely to its momentum. – Júlia Henn

Juan Botta has walked down many roads in his life—an Argentinian who moved to Puerto Rico as a teenager, and then wholly immersed himself in the arts and culture scene of the island. Now, he reveals his most personal project yet: papel cristal, an album showing his talents in prose and music. The focus track is “De esta isla no sales,” which features Chuwi lead singer Lorén Aldarondo and is accompanied by a magical music video wherein the backdrop of a bohemian theater production is used to explore the song’s whirlwind themes. The LP itself is Botta’s way of navigating the feelings arising from his lifelong experiences, and for listeners looking for moving and earnest Latine folk emotionality, this is a prime example. — Juan J. Arroyo

Brazil’s Deafkids is a rare breed of experimental talent. This outfit tries to make you dance as much as challenge your ears without subscribing to a particular club genre. Relying on percussion and programmed beats, this duo mixes gnarled electronics, dub-like vocals, and murky yet heavy guitar riffs that mutate into dance music for a parallel dimension. “FEITIÇO” manages to give a little bit of everything that makes this unit an exhilarating musical force while also presenting one of the most palatable examples of their sonic approach from their new album. This is difficult music that’s rewarding and forward-thinking and will be all the rage in a not-so-distant future. — Marcos Hassan

Recontextualizing the means of fun and creative liberty, New York rock outfit Downtown Boys continue their victory lap with another comatose rock ballad. “Sirena” is the latest cut from the group’s upcoming project, Public Luxury, their first full-length project since 2017’s Cost Of Living. “Sirena” comes with a music video that perfectly matches the energy of the song itself; vibrant colors energetically bleed into different textures. In their hiatus since, the group has reveled in one-off singles, composing work for benefit compilation albums and film scores, and even going beyond the physical music to assist in the formation of the musician advocacy organization United Musicians and Allied Workers (UMAW). Public Luxury aims to continue what the group was built on, but through a mature lens; public commentary and critique, and powerful rifts. – Alan Baez

Mighty Cuban ensemble Orquesta Akokán are ready to drop their new album AMÉRICA! through Daptone Records on July 17, and the first taste we get is a powerful anthem for the immigrant experience. For “No Me Voy,” Orquesta Akokán found the perfect lead singer for their heartwrenching cha cha cha in Combo Chimbita frontwoman Carolina Oliveros, who provides both powerful vocals and perspective, as the song deals with how immigrants’ spirits never leave their home countries. Rising over the tight orchestration comes Roman Filiu and his smooth saxophone, bringing warmth to Olivero’s longing cry. — Cheky

Uruguayan singer and producer Eros White released one of 2025’s best indie dance records with Estrillibos Pop, tapping into nightclub intrigue, throbbing techno-pop beats, and sequined gloves before Drake ruined them for everyone else. Before closing this chapter, White is dropping a few more singles, starting with “Sagrado,” the mournful tale of a defunct friendship where he looks back on ride or die antics that have become cherished memories. Though charged with thumping kicks and catchy auto-tuned hooks, the song’s earnest tone contrasts against the album’s more playful, often vengeful storytelling, explaining why it was left on the cutting room floor but still delivering an excellent slice of pop melodrama. — Richard Villegas