20 New Songs to Listen to This Week From MAGNA to Camila Fernández

MAGNA - "UN CUARTICO (feat. Aria Vega)" 

“UN CUARTICO” is a whimsy dreamy reggaeton song by Colombian artist MAGNA, featuring fellow Colombian singer Aria Vega. The song is part of MAGNA’s debut studio album TODO PUEDE SUCEDER, which is also out now. The album — “UN CUARTICO” included — has those dreamy Latine beats and alternative pop sound that MAGNA is so well-known for. TODO PUEDE SUCEDERis a conceptual album that’s divided into the different sleep phases — solidifying that the dream motif isn’t just an interpretation of the song, but it’s intentional, in the very foundation of the album. “TODO PUEDE SUCEDER, an album that plays with the urban genre and demonstrates how versatile it can be. Each song is a journey where everyone will connect with and take ownership of it,” he said in a statement. – Sofia Viera

Camila Fernández - “Pudimos Ser”

Mariachi singer Camila Fernández, daughter of beloved singer Alejandro Fernández and granddaughter of the late Vicente Fernández, is back with a passionate ode to the tortuous “casi algo,” or the big “what-if,” with “Pudimos Ser.” The single marks her first release since 2023’s Camila Fernández and comes shortly after the announcement of her upcoming tour across North America, which wraps up in Queretaro, Mexico, next spring. Ever the romantic, Camila shows off her soaring vocal range and laments leaving it all up to chance, ruminating on what could’ve been, all beside a graceful ensemble. – Nayeli Portillo

Immasoul, GioBulla - “IYKYK”

As the popularity of afrobeats rises throughout Latin America, Mexican chanteuse Immasoul is ready to unlock the rhythm’s sensual potential on her latest single “IYKYK.” Linking up with Dominican singer GioBulla, and even jetting out to Santo Domingo to shoot the song’s accompanying clip, Immasoul unspools a steamy tale of mutual carnal understanding, letting suggestive glances and hip swivels do the talking. “IYKYK” is both a banger and a silky gem for slow, intimate dancing that can quickly escalate to other forms of bumping and grinding . . . If you know, you know. – Richard Villegas

Ana Mena, Emilia - “CARITA TRISTE”

The pop girlies –  Spanish singer Ana Mena and Argentine artist Emilia – are back with a vengeance. In their new collaboration “CARITA TRISTE,” the two powerhouses trade verses about being deceived by a lover over a catchy, electro-pop and house-tinged soundscape. With an infectious chorus, stunning outfits, and overall enthralling charisma, the two queens demonstrate why they’re two of the most popular Latine pop stars in the Spanish-language music scene. Moreover, in their new music video, the girls take revenge on the same guy who played them both, proving that they’re not to be reckoned with. – Jeanette Hernandez

Rubio - “SHOUGANAI”

Chile’s Francisca Straube, aka Rubio, is back with the first single from her upcoming two track project. Las Voces del Jacaranda is an intense affair that expands on the sonic universe she’s built throughout her career. “SHOUGANAI,” which is a Japanese phrase similar to “it is what it is,” finds Straube surrendering control in order to enjoy the good things that are in store for us, even if it means experiencing the bad as well. Her moody vocals cut through growling bass synths and an icy reggaeton-inspired beat, as she dives into memories of a past relationship she refuses to regret. – Cheky

Eme MalaFe & El Malilla - “La Última Carta”

Mexico City’s rising stars Eme MalaFe and El Malilla joined forces on “La Última Carta.” The two barrio-raised artists known for subverting and reinventing the genre of reggaeton with mexa twists turn down the tempo for a stripped back, piano driven lovelorn ballad. On the heavily emotive track, the duo’s vocal talents take center stage as they take turns between serenading pleas of unrequited desire and heartbroken flows that detail how, although their complicated relationship with their once significant other is now long gone, their memory lives on through the numerous songs they can’t seem to stop writing. Until now, where they’ve lamentably reached their last and final goodbye.  — Jeanette Diaz

Jazlyn Martin - “In This Bed”

In her debut EP, Identity Crisis, Jazlyn Martin explores the softer and most vulnerable parts of her nature with deeply personal songs. The second-to-last track on the album, “In This Bed,” lures the listener in from the very beginning, with the chirping of birds and the morning alarm going off, setting the atmosphere of a lazy morning rolling around on silky white sheets just right. The beeping of the alarm morphs into the notes of a piano, as Martin sings about letting go of resistance and embracing a new presence in her life, accepting the vulnerability that comes with new shared feelings, all the while the echoes of her own voice betray her fear of doing so. PHABO’s lines are soothing and allow the listener a moment to breathe between Martin’s ruminations. The cacophony of sounds ending the song in the perfect harmony of their voices proves a relaxing way to ease the listener into the EP’s final track. – Júlia Henn

TAPABOKA - “El Rey”

Puerto Rico’s rich history of female-fronted punk acts (with groups like Alarma, Las Clitz, Cojoba, and more) might be overlooked but not understated, and TAPABOKA aims to put that dynamic back in the forefront. Their debut single, “El Rey,” caps off a steady stream of dates and performances over the last year as they’ve introduced themselves to fans. Over a perfect rage-room soundtrack, lead singer Ana Mora rails against all the forces that conspire to keep them down, both as women and as Puerto Ricans. Together, the band declares they’re coming for the throne and change is coming, even if it has to be dragged kicking & screaming. — Juan J. Arroyo

Morirás Lejos - “Barcos (que han de hundirse)”

No matter where their experimentations take them, Mexico’s Morirás Lejos keeps a song close to their heart. On their new track, they go the distance to bend sound to their will. “Barcos (que han de hundirse)” warps audio sources freely, going for electronic breakbeats and other sonic trickery as well as dream pop-style warm dissonance, bringing an eclectic sound unlike anything out there right now. But at the core of this piece of malleable soundwaves lies a catchy song that retains its folky influences, and above all, exposes vulnerable emotion for listeners to relate to. — Marcos Hassan

Drea Dury - “DOLORES”

With her sophomore album inching nearer with every day’s passing, Colombian singer and songwriter Drea Dury returns with the final teaser for Palmera Nights. “DOLORES” is the final single from the album and showcases Dury’s lyricism in a far more intimate and vulnerable light. The song is an exploration of her anxiety, as well as a dedication to her grandmother, whose voice is sampled for the intro. “DOLORES” acts as the vehicle for carrying Dury’s lyrical capability with this upcoming project. It’s the song that propelled her to challenge herself to craft more interpersonal lyrics, which are reflected all throughout the track. The beat is exceptional, with moody undertones that match the energy she’s going for. – Alan Baez

Anthony Jolie – “Perrito Caramelo”

https://www.youtube.com/watch?v=M1rWh9_IBvY

El movimiento artist Anthony Jolie and regaeton artist and producer Francikario team up for a fresh dembow beat in “Perrito Caramelo.” The song — which features the lyrics “a todas las mujeres les gusta el caramelo” — is a tribute to El General and his early ‘90s hit “Caramelo.” El General and his revolutionary sound of Jamaican dancehall mixed with Latine beats were (and continue to be) extremely influential. “[Francikario and I] started talking about El General, whose song ‘Caramelo’ was a big hit in the Dominican Republic, and we recorded a piece of that hook just for fun,” Anthony Jolie said in a statement. The fun can be felt in the song itself, with its easy flow, dembow rhythm, and extremely catchy lyrics, you’ll keep singing it all day long. – Sofia Viera

Jhayco - “Grecia”

Jhayco released “Grecia,” part of his new 29-track trilogy album Le Clique: Vida Rockstar (X). The explosive trap and reggaeton song is part of his upcoming trilogy’s “Phase I,” which also features collaborations with Yandel, Dei V, and Omar Courtz. In “Grecia,” Jhayco lays down his fiery verses on top of a throbbing trap melody sprinkled with race track and speeding car noises. The song then morphs into his signature reggaeton style, showing the Puerto Rican artist’s musical abilities of bridging hip-hop and reggaeton to bring his artistic vision to life. – Jeanette Hernandez

Allie X - “Galina (feat. Empress Of)”

Singer-songwriter Allie X taps Lorely Rodriguez, aka Empress Of, for a remix of the Girl With No Face standout track “Galina.” Riding on a chunky synth-produced bassline, “Galina” was already a slice of Madonna-influenced ‘80s synth pop excellence in its original state. But Rodriguez’s reworking of its opening verse and her towering, immaculately-delivered vocals boost the song’s mystical and intoxicating aura, and already has us itching for a follow-up collaboration between these two avant pop titans. – Nayeli Portillo

Funsize, Ian Ellenbogen - “Siempre Regresa”

Teasing the immersive ruminations of his forthcoming LP El ahora es la única realidad, Dominican electronic producer Funsize has unveiled “Siempre Regresa,” a throbbing lullaby designed to guide the listener through inner journeys across time and past lives. Teaming up with fellow Dominican producer Ian Ellenbogen, the Tulum-friendly track swirls with hypnotic drums, dreamy kalimba melodies, and chants of children that evoke regression and the joyful simplicity of afternoons spent running around with friends. – Richard Villegas

Yöels - “Tortu”

Julio Gudiño, known as the frontman of Mexican indie rock act The Plastics Revolution and his electronic solo effort I Can Chase Dragons!, continues delivering more new music as Yöels, his more acoustic outfit. “Tortu” is a charming daydream about nomadic life and the ongoing search for calmness in our lives. Even though it’s an uptempo jam, Gudiño’s voice, a muted mixing, and stunning cello arrangements played by none other than Mabe Fratti, bring that much-needed peace to our lives. Or at least for three minutes. – Cheky

Karina Sofía - “MALANDRONA”

After her recent debut single, Karina Sofía drops a second with “MALANDRONA,” all leading to her first project La Reina del Cañon, produced by musical legend Gustavo Santaolalla. The single is a cultural hybrid, blending the sounds of Latine folk along with música mexicana to create a sonic backdrop representative of the artist’s upbringing. Parallel, the single also acknowledges the artist’s story, serving as a declaration of admiration towards the life she has had and continues to lead as an independent and confident woman. The visualizer brings this all to life as she rolls through the city streets with a banda at her side, whose deep trombones and stylistic requinto melodies outburst as Karina Sofía’s roiled vocals, fueled by the determination to succeed, shine through. — Jeanette Diaz

Alvaro Lancellotti, Mateus Aleluia - "A Calma"

Being Brazilian means growing up around a multitude of different cultures, ethnicities, and religions. “A Calma” is easily identifiable to the knowing ear as rooted in Candomblé, one of the many Afro-Brazilian religions present in the country. Following the melodic strumming of an acoustic guitar, Lancelotti’s light voice takes tentative steps towards its goal: the discovery of a new and, hopefully, happier path in life, despite the adversities. The optimism put into his performance is challenged by Aleluia’s booming voice resonating in the background, resolute and ready for a fight, although hypnotic, like a prayer. The whole song feels like a journey that the listener is compelled to take part in; a journey of understanding of the self. “A Calma” is definitely worth a listen and should be included in everyone’s meditation playlist. – Júlia Henn

Mariana Beauchamp - “Pessimist”

Earlier this year Mariana Beauchamp dropped “Para protegerme,” in which she sang to herself (and all who could empathize) about the necessity of healing in order to enjoy the beauty of the world beyond the bad days. This week, she releases her newest single “Pessimist,” touching on similar themes. “I’ll cry every night / if it means someday all these bruises will heal,” she croons with heartfelt emotion, opening herself up to a better future around the corner if she can weather the emotional scars. Here, optimism isn’t positivity, but having grace with yourself and releasing control, trusting that the universe is more compassionate than not. — Juan J. Arroyo

Adrian Younge - “Esperando Por Você”

Known for his innovative production, Adrian Younge has become a very prolific and innovative musician. And now, he’s ready to expand his vocabulary. His new album, Linear Labs: São Paulo, takes a trip to Brazil for something truly specia,l with collaborations with artists from that country and most of the lyrics in Portuguese. A prime example is “Esperando Por Você,”a track with a core sound that could fit well within bossa nova or MBP, but Younge’s sonic manipulation warps it just the right way, recalling Jamaican dub in its use of delays while also giving it a lick of hip-hop flavor. “Esperando Por Você” redefines psychedelia, bridging different styles and nationalities into something unique, warm, and daring. — Marcos Hassan

Quelle Rox - “apareces de la nada”

Brooklyn-based artist Quelle Rox has been a steadily growing force within the Latine indie realm, accumulating a small yet dedicated fan base through funk-wavey, atmospheric jams for a little over half a decade. It’s only been two years since her last EP, but Rox’s quality in production and songwriting has seen major increases in very little time. Among her recent singles, “apareces de la nada” is evidence that Rox is a jack of all trades, jumping between genres with ease and no pushback. Her latest track sees a lot more Spanish in her unique Spanglish dream pop sound, with the influence to match. “apareces de la nada” is her most ambitious track of the year. The drums are jazzy and the accompanying synths bring a sparkle to the instrumentation. The textures and ever-increasingly layered production support Rox’s dreamy vocals for an ethereal and vivid experience. – Alan Baez