20 New Songs to Listen to This Week From Taichu to Nic

12.05.25 at 01:40

This is our weekly compilation of bite-sized reviews of newly released songs by our talented music writers. Discover new favorites, read nuanced criticism of the week’s hottest releases, and much more. Who knows, you might walk out of this with a new fave or two. Some of the featured artists include Taichu, Nic, and Habichuelas with Enyel C. Follow our playlist featuring these tracks and more on Spotify or Apple Music.

Taichu - “Vicios in Vice City”

Rising Argentinian alt breakthrough star Taichu drops her anticipated new album HOTCORE. With it comes the focus track “Vicios in Vicecity,” where she channels the album’s emotional core into a slow-burning neon confession that feels like bruised seduction collapsing in on itself. Built on a syrupy beat, fogged-out synths, and whisper-close vocals, the song plays like touching fire as it wanders through a memory you know is bad for you but can’t stop revisiting. Instead of glorifying the high, the glossy-pop-meets-hard-electronic single lingers in the comedown, moving between confession and craving as it circles love, excess, and the quiet emptiness vices leave behind—the part where glamour dissolves into ache, and every recollection distorts under desire. It’s the most intimate shade of HOTCORE, a space where Taichu’s strength emerges in naming the wound rather than hiding it in the dark corners of the nightlife. – Jeanette Diaz

Nic - “(feliz por ti)”

Peruvian singer-songwriter Nicole Zignago, now known as Nic, gets candid about the process of getting over a break-up and the subsequent heartbreak of seeing the other person move on from the life you once shared in her latest release, “(feliz por ti).” In this authentic pop track, the Latin GRAMMY-nominated artist reminisces about the past that once seemed so certain to become a future and processes the idea that that future now belongs to someone else. The upbeat rhythm and optimistic guitar melodies prove that, despite the heartbreak, Nic has become mature enough to understand that life goes on and that, through it all, she still has the love and support of her best friends, which is highlighted by the accompanying music video. – Júlia Henn

Habichuelas, Enyel C - “Enredau”

Puerto Rican band Habichuelas, led by musician Ricardo Lebrón Suárez, has spent the last year and change slowly rolling out singles for an upcoming project. This week, they go down the reggae roots lane and invite Enyel C (who recently released his own debut LP, Nuevo Caribe) to tag along. The pairing work together effortlessly, and Habichuela’s foray into reggae continues to be as successful as their previous entries like “Préndelo” and “Gente.” For those interested in that flavor of vibes, the group is guaranteed to deliver just what you’re looking for in a fresh way that’ll have listeners grooving. — Juan J. Arroyo

Adriel Favela, Gabito Ballesteros – “Afterlife”

Two of música mexicana’s most recognized faces, Adriel Favela and Gabito Ballesteros, linked up for a fiery collaboration called “Afterlife.” Upon seeing these two names spearheading one track, you already know the song’s going to be about their luxurious, decked-out lifestyles and backed by hard-hitting acoustic and brass instruments, which have made them the artists they are today. Following their same formula, and penned by Alan Lopez and Jason Pereda, “Afterlife” brings you into their fast-paced life with mentions of baddies, drugs, and jewelry. However, the most interesting part is the song’s outro, a nostalgic piano with reverbed vocals that questions whether that’s the life these two crooners can actually keep up forever. “Afterlife” is part of Favela’s upcoming album, due in 2026. – Jeanette Hernandez

Sofia Reyes, Luisa Sonza, Imanbek - "NOT Ü"

Closing a trilogy of iconic and glamorous collaborations, “NOT Ü” is the cherry on top for the successful alliance between Mexican diva Sofia Reyes and Brazilian star Luisa Sonza, which they have been cooking and serving for the last few months. Produced by Imanbek, who was recently nominated for a Latin Grammy, the track opens with Reyes’ voice over a distant and muffled bass, she is then joined by Sonza’s potent vocals, both singing vulnerably about looking for satisfaction in partying or the occasional casual encounter and the power and clarity that comes with knowing that whatever the situation may be, it won’t happen with the one who let them go. The realization comes along with a potent chorus where the thumping yet elegant sounds of Imanbek become sharper and take a step forward in the mix, which is pushed even further when Reyes jumps in with a flirty melody and a reminder: “Whoever I’m with, I know it’s not you.” The accompanying visual puts them both front and center, surrounded by an alternating mixture of mannequins and male models, who come and go randomly. But what remains at the core is the complicity between the girls and their chemistry, which at this point is organic, undeniable, and worth hitting replay. – La Morra Lisa

Lena Dardelet, Riccie Oriach - "Pa Que Bailemos"

“Pa Que Bailemos” is a vibrant modern mambito that captures the sensuality, rhythm, and playful energy of today’s Dominican sound. The collaboration between Lena Dardelet and Riccie Oriach unfolds as a smooth yet energetic track, where Caribbean cadence meets a fresh contemporary edge. Produced in Santo Domingo, Dominican Republic, by Elliot Justo, the song pulses with warmth and seduction, inviting listeners into a dance that feels both intimate and celebratory. Dardalet’s dreamy textures and instinctive lyricism blend seamlessly with Oriach’s charismatic delivery, creating a chemistry that feels effortless. Their voices glide between Spanish and French, weaving a dynamic narrative of desire and rhythm. Lines like, “Yo encima del beat, tú encima de mí / Te quiero cerca, ven ma cherie,” highlight the song’s magnetic interplay. It’s sensual without excess and playful without losing depth. At its core, “Pa Que Bailemos” is an ode to connection, a track built for movement, for closeness, and for the irresistible pull of music that feels alive. – Natasha Melina Argudo

Y La Bamba - “Wrong Crowd”

Addressing one of the most pressing social issues today, the new comp, Passages: Artists in Solidarity with Immigrants, Refugees, and Asylum Seekers, provides us with plenty of inspiring music to raise awareness and money for a fair cause. A clear standout is “Wrong Crowd” by Y La Bamba, a lovely song that’s gritty yet quite melodic, with Luz Elena Mendoza’s emotive, unadorned voice cutting through the tape hiss. Musically, it shares the same qualities as the best protest songs from the ‘60s: simple chords, lovely melodies, and honest lyrics that use poetic language to speak truth to power. — Marcos Hassan

SOTOMAYOR - “Porvenir”

Reuniting for another teaser of their forthcoming record, the latest from SOTOMAYOR is another display of classical songwriting interwoven with charming soundscapes. “Porvenir” is the latest cut from their upcoming album WABI SAB, their first official full-length project in over five years. The track channels early contemporary Chicano motifs with a heavy G Funk-inspired synth and a laid-back drum groove. “Porvenir” acts as the medium of balance between sibling members Raul and Paulina, as they’ve spent the last five years cultivating their craft in their own individual lanes—Paulina starting her own outfit Pahua, and Raul taking on the moniker of Tonga Conga. Since their last collaboration, the two have steadily built their own brand of alternative pop and bedroom indie, but “Porvenir” provides the perfect soundscape for the two to combine their best strengths. – Alan Baez

Broke Carrey - “Zupay”

Broke Carrey is on a quest to the heart of Argentina. But his search is more than geographic, aesthetic, or even musical. Instead, he’s digging for a soul that seems to have vanished or hidden in increasingly cruel and polarized times. If his previous single, “Tradición,” was one of unyielding defiance and urgent self-assessment, “Zupay,” the latest taste of his upcoming LP Hijo del País, ponders on the demons that plague his country and heart with a ferociousness that threatens to consume them all. Pinning his own ravenous temptations on the mythical devil from Andean folklore, Carrey taps the duo Trouve Feraud to round out the chorus’s infernal carnavalito, as distorted, convulsive drums flood the track like a dive bar exorcism. — Richard Villegas

Dementira - “Extraviado”

Ariel Altamirano, a mainstay name in the Santiago de Chile electronic music scene and Discos Pegaos labelhead, just announced a brand-new EP under his Dementira alias set to drop in 2026, and “Extraviado” is its first single. Mixed and mastered by DJ Raff, “Extraviado” marries soft synth pads, whimsical bell-like patterns, and an Afro house-splashed beat that gets progressively beefier to give us a nostalgia-filled dance party. Also a noted graphic designer, Altamirano made the track’s music video, using rotoscoping techniques, 2D animation, and parallax effect to pay homage to his city, illustrating urban landscapes and city landmarks to invite people to love and pay attention to the little things Santiago de Chile has to offer. –Cheky

Bebel Gilberto - “No Return”

Two decades after its release, revered Brazilian songstress Bebel Gilberto revisits her Tanto Tempo era with “No Return,” a previously unreleased gem unveiled ahead of the album’s 25th-anniversary reissue. It’s classic Bebel in her purest form, with a muted, cinematic softness where a warm downtempo haze lets bossa nova melts into soft soul. Her voice drifts through it with the wistful clarity that made the original record a global touchstone. Over serene guitar lines and a dusky production, she recounts a tender confession of a first love now out of reach as it slips from longing to acceptance, while also holding the heartbreak so delicately it feels suspended in time. The track deepens the emotional world of Tanto Tempo, revealing a more vulnerable edge beneath its beloved, dreamy modernism. Arriving seamlessly into the present, “No Return” is proof of how effortlessly Bebel made nostalgia feel contemporary and how her voice still glows with a timeless kind of grace. — Jeanette Diaz

TEIMA - “Tão Tarde”

With the release of their first studio album, Brazilian band TEIMA provides a way out to the most intimate and confusing thoughts of adulthood through different musical influences that all lead into a loud, angry, confident cry in the shape of their namesake EP. The song “Tão Tarde” is an example of the band’s skill to express even the sweetest of feelings in the most rock ‘n roll way possible. Filled with fantastic percussion and chords accompanied by Isa Salles’s hot-tempered vocals, the track hides beautiful and enamored lyrics that convey the peacefulness of being in love under a heavy rock facade. Ultimately, TEIMA’s experimental vein brings out the best of both worlds to their growing audience. – Júlia Henn

NINA J - “OBVIOUS”

NINA J caught the eyes and ears of many as a backup vocalist for CA7RIEL & Paco Amoroso’s popular Tiny Desk performance, and later went on to lend her voice to Trueno and Feid’s single “Cruz.” Now, she continues her journey as a solo act with “OBVIOUS.” The Brazilian-Swiss artist’s last release was in Portuguese, reflecting her background. And with this new track, she continues to show off her talents and dexterity, this time singing in both English and Spanish. As she continues to make inroads with her intriguing dark pop sound, NINA is prepping for what could potentially be a breakout 2026. — Juan J. Arroyo

Emmanuel Cortes, Edgardo Núñez - “A Dios Le Pedía”

Norteño is so back. Emmanuel Cortes teamed up with Edgardo Núñez on their newest collaboration, “A Dios Le Pedía,” a rhythmic love song that highlights música mexicana’s booming cumbia norteña subgenre. With soothing croons, a rhythmic bass, and a melodic accordion, the singers take turns to confess about being head over heels for someone special. Throughout the song, the vocalists gush over their partners and promise to give the world to them, citing that they’re exactly what they’ve asked God for. Whether or not they keep that promise, “A Dios Le Pedía” makes for a charming song to dance with your partner, nonetheless. “A Dios Le Pedía” is part of Cortes’ new album Amor x Dosis, which also features collaborations with Marca MP, Conjunto Nuevo Amanecer, and Santa Fe Klan. – Jeanette Hernandez

Foudeqush - “FOLEN ENYELS”

A familiar cumbia beat opens the track, and that could make us think we know what is coming, but then: whiplash. The speed ramps up, and an almost violent thumping bass puts us on top of a speeding Kawasaki bike where Foudeqush is steering and we better hold on tight. With memorable lyrics like “Kiss me, but with A TON of saliva” being sensually delivered on top of an ambitious and unpredictable production that feels as riveting as taking sharp turns in a neon-colored racing game. This is just a really enticing taste of ANGELA (Deluxe), a reimagination of Foudequish’s previous project that aims to inject it with a rave-like spirit through collaborating with several DJs and producers from that scene. After going back and forth between speeds and delivering flirty lines, all while looking as good as “FOLEN ENYELS,” the ride slows down and the cumbia beat gradually comes back, bringing a sense of calm and familiarity. But now that you have tasted the power of this reimagined album, take a breath, but make it a short one, because that Kawasaki is revved up, waiting for you and the finish line is at the dancefloor. – La Morra Lisa

RØSA - “odio decir que te amo”

RØSA, an emerging artist from Mexico City, has crafted an authentic and distinctive sound by weaving together elements of R&B, pop, hyperpop, alternative rock, house, and reggaetón. His genre-blending approach, paired with introspective and hard-hitting lyricism, positions him as one of the most compelling new voices in Mexico’s alternative pop landscape. His latest release, “odio decir que te amo,” is written from a place of deep emotional vulnerability. The track reveals the sadness, confusion, and quiet suffering that come from loving someone while feeling imprisoned by your own doubts. It captures the ache of longing to be with someone who means everything, yet constantly battling a sense of inadequacy and overwhelming loneliness. In this new chapter, RØSA reunites with Almazzz, amplifying the raw intensity at the core of the song. Together, they bring to life the turmoil of loving from uncertainty. – Natasha Melina Argudo

Andrea Cruz, Yorka - “La Procesión”

Chilean duo Yorka and singer-songwriter Andrea Cruz combine their talents and musical curiosities to deliver a beautifully arranged track, giving us a glimpse into the future of Latine indie pop. There’s a slight Andean and Caribbean flavor to the track, with clear melodies and percussive elements giving the song a pulse that’s somewhere in between hip-swinging and head-nodding. This coalition of elements, both modern and ancestral, are tied together by each of the collaborator’s harmonizing voices, blending in a natural and lovely way. “La Procesión” hauntingly gives us a cross between traditional song forms and current-day experimentation to soothe every listener’s soul. — Marcos Hassan

El ruido de mi cuarto - “San Tadeo”

With the year coming to a close and most music factions prepping for the holidays, Lima-based rock outfit El ruido de mi cuarto is keeping indie music loud and awake with their latest drop. Weaving through the intersections of alternative rock, indie funk, and synth pop, El ruido de mi cuarto’s sound explores a myriad of different sounds and textures for something refined and polished. While the EP explores these sounds and more right off the first track, there’s a moodier tone that pervades the entire project, and no song captures that sense of emotion like the project closer “San Tadeo,” which takes the EP in a much softer, melancholic direction. As a closer, “San Tadeo” demonstrates a strong grasp of collective identity and an even tighter grip on lyrical style, proving to be an incredible first body of work. The group’s project, releasing at this time, acts as a goodbye to a productive year as well as a warm greeting to a larger audience. – Alan Baez

Karol Wilson - “Bailando”

Afrobeats are experiencing an overdue pop moment, but in many cases, the movement’s biggest stars lack the context and melanin of its cultural origins. Panamanian chanteuse Karol Wilson is emerging as an effervescent arbiter of this sensual sound, weaving a delightful tale of waist-winding seduction on her new single, “Bailando.” Melding songbird vocals with digital beats and the robust percussion of a country influenced by regional Afro-Pacific traditions and waves of Caribbean immigration, the resulting melting pot of sound is a vibrant promise of dance floor scorchers to come. — Richard Villegas

Nobat - “Antes de Kyiv”

From Belo Horizonte, Brazil, artist Nobat is officially kicking off a new era with “Antes de Kyiv,” the first taste from his upcoming multidisciplinary project Movimento, which will comprise an album, a film, and a book. “Antes de Kyiv” (recently renamed from “Antes de Kiev” after learning about the cultural and political background of the different spelling and pronunciation) is a cinematic track that uses dynamics to inject drama into Nobat’s tale of dying love. Co-written with Tiago Tereza, it imagines the silence before the first bomb dropped in a war as the perfect image to describe the catastrophe that comes with the imminent end of a relationship. Emotionally charged verses powered by string arrangements and war snare drums contrast with an otherwise light chorus, a break from the nostalgia and heartbreak, where Nobat sings with resignation, “Sozinho não faz mais sentido/Mas sei seu lugar não é mais comigo.” – Cheky

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