21 New Songs to Listen to This Week From maye to Juan Duque

Florida’s maye returns with a rendition of Christopher Cross’ “Sailing,” but with her own dreamy spin on it. Following Música Para Abrir El Cielo: Act 2, an eclectic collection of b-sides that didn’t make it on the debut album just from last year, the single grounds itself in luscious vocals, and a softer guitar melody taking the lead. “Creo En Ti” goes beyond the confines of a typical remix and redefines the soft rock classic with a new layer of context; one that builds on a deepened connection between maye and her own father, the famed Fernando Osorio. maye stays warmly connected to the foundations of the ‘80s classic, while putting her own brand of bubbly filter over it. Fans of maye tend to forget her upbringing in a musician’s household, as she’s never leaned into it to build appeal to her younger audience. But Osorio’s presence here is more significant than a general feature. “Sailing” was a song Osorio used in his early days of learning guitar, so his involvement in the production serves as a full-circle moment, allowing maye to honor the man who brought her into this industry. – Alan Baez

Juan Duque kicks off a fresh chapter with “Songo Sorongo,” the first taste of his Verraco Vibe era. Rooted in Antioquian culture, the track taps into the carefree energy of reggaeton’s early days while feeling unmistakably current, driven by playful production and an infectious sense of recocha-the local spirit of celebrating, joking around, and making the most of time with friends. Inspired by a popular expression from his hometown, “Songo Sorongo” captures the chemistry of two people acting like a couple without making it official, all with Duque’s effortless charisma at the center. It’s a statement of identity, reflecting the authenticity, ambition, and Latine pride that define this new creative era. It’s an easy reminder that the best reggaeton moments are often the ones that don’t take themselves too seriously. – Natasha Melina Argudo

As the release date of Gepe’s upcoming album ORO draws closer, he continues his steady rollout of singles with this week’s “HABLAR DE TI (…)”. The album will be a compilation of sorts in which the acclaimed Chilean singer-songwriter revisits some of the biggest and fan-favorite hits of his career, this time reimagining them alongside fellow luminaries of Latin American pop music. Here, he teams up with star Silvana Estrada, who herself is still riding high off the success of her album Vendrán Suaves Lluvias. Together they maintain the tenderness that embodied the song’s words, underlining the emotions within in a way that stays faithful to the original while also giving it a second wind for newer fans to discover and embrace. — Juan J. Arroyo

A melancholic music box-like soft piano riff is the recurring melody across “Malibu,” where rising star Delilah presents a gentle love letter to someone you simply cannot stop thinking about. The mellow guitar, discreet strings, chill drums, and Delilah’s beautiful vocal runs are all that is needed for this charming piece to enthrall you into its romantic atmosphere. A track that captures that moment of deep infatuation where you cannot stop thinking about the tiniest details about that other person—how the sun reflects onto their eyes, how they squint when they smile—while also having verses functioning as a warning as to how deep in love one can fall when you listen to Frank Ocean by the beach with someone you like. – La Morra Lisa

Rising Amsterdam-based Colombian-Italian star Mariposa is coming in hot with Brazilian-Dutch artist FFLean. The experimental artists announced their newest joint EP, MARILEAN, which includes their multilingual track “Euro Flow.” Produced by Baby Evil and EightyThrilla, the new track is a sweet mixture of funk brasileiro influences, Euro-club synth hues, and drum ‘n’ bass textures, heavily blending the duo’s cultures and creativity. This makes sense since the new collaborative EP is set to highlight both artists’ Latin American cultures as well as their influences from Amsterdam’s underground club scene, bringing new baddie faces to the ever-evolving (and historically male-dominated) electronic music scene. And honestly? We’re here for it. MARILEAN is out on Sept. 4. – Jeanette Hernandez

Francisca Valenzuela’s newest album is named after the impactful track “Maldita,” which overflows with rarely seen sincerity in an era obsessed with performative happiness. The cutting lyrics are filled with raw honesty about the way in which one might see the world when their view is obscured by the shadows of depression, post-partum, and the unbearable weight of womanhood. Repeatedly admitting to being cursed by both the good and bad things happening in her life, the Chilean artist possesses the poetic streak to find the humor in the situation by surrounding such doomed lyrics with a playful melody. In the end, “Maldita” removes the blindfold from the audience and allows everyone to take a peek into what really goes on behind the many “I’m fine” echoed daily by women all around the world. – Júlia Henn

Austin’s Los Animeros are unleashing their show-opening secret weapon ahead of the release of ¡Qué Bárbaro!, their upcoming debut LP produced by The Black Keys’ Dan Auerbach. “Descarga Royal” is actually a cover of a song by classic Peruvian band Los Royals de Pucallpa, but The Animeros pump up the power and psychedelia, sounding like a tight unit. Organ melodies and Mauro López’s warbly guitar lines ride each other’s waves, taking turns to lead us in this fun dance party that, indeed, is a full-on descarga. The song comes with a music video shot at their concert opening for The Black Keys at Chicago’s The Vic, and it does a good job capturing the band’s live energy. – Cheky

Tapping into both indie rock melancholy territory and turn-of-the-millennium Latine pop balladry, Mexico City-born L.A. -residing singer Andrea Bejar gives nostalgia and earnest vibes for us to get lost in. “Te Vas A Arrepentir” features a lively drumbeat paired with gentle acoustic guitar strumming that provides an ear-pricking rhythm and a warm, confessional backdrop. Over this bed, Bejar delivers emotionally charged vocals that emphasize the depth of the lyrics and her easy-to-remember hooks. Thanks to her direct, lovelorn lyrics and knack for great vocal melodies, Bejar will make everyone who enjoys Julieta Venegas’s pop era feel nostalgic yet excited for a new artist. — Marcos Hassan

French Police don’t waste their Interscope debut chasing bigger moments. Instead, the Chicago post-punkers open their next chapter with the double single “Reptile / Japan,” leaning further into the slow-burn dread that’s made their music so magnetic. On “Reptile,” they don’t just sing about intrusive thoughts. They recreate one in real time. Flores repeats, “I feel it in my head, again,” like someone who’s already tired of hearing himself think it, while the band’s darkwave tendencies drag everything back toward the same fixation. Then for a fleeting near-end moment, the song loosens its grip, hinting at an escape route that never arrives. The melody folds back into itself, the refrain returns, and the cycle begins all over again. By the final repetition, you’re not waiting for release anymore. You’ve already accepted there won’t be one. But I mean, hey, at least this voice in your head sounds really damn good. – Jeanette Diaz

Ecuadorian indie heartthrobs Lolabúm have developed a sonic multiverse of garage, cumbia, and hyperpop, connected through the incisive poetry of singer Pedro Bonfim, who celebrates and eulogizes a country steeped in rich cultural heritage and flagrant political corruption. In June, they released “16 Phantasmas,” the first single from their forthcoming LP, skewering hackneyed nostalgia trends with harrowing snapshots of a 2016 earthquake that devastated Ecuador. On the band’s latest offering, “Me despierto en Kito,” a breezy tale of indie courtship zooms out to reveal the precarity of young romance in times of normalized violence and government repression. “Cuando me suicido me despierto en Kito,” sings a disillusioned Bonfim, quoting the famous 1990s graffiti from author Alex Ron and acknowledging the inescapability of his Andean trauma. He later rallies the disenfranchised, spitting, “Ellos solo asustan / nosotros damos miedo.” Distorted guitars and sticky bass licks lend the song a Strokes-ish quality—a logical move towards commercial grooves that will help carry Lolabúm’s dissident message around the globe. — Richard Villegas

“Emo Latina Power,” a phrase written by LatiNation Queer to describe Chicago artist Mila La Morena and her debut project from last year. POST INTERNET is not even a year old, but still carries a significant weight to Morena’s presentation as an artist. It’s grounded in a stylish visual aesthetic while being a hub for eclectic electronica sounds that are still prevalent in tracks like her latest. “burden u” follows the warehouse-suited “montauk,” and carries the same cyber dystopia aesthetic and hard-hitting blend of electronica sounds as her debut. Built on dreary vocals and an indie sleaze-inspired drum loop, it’s the culmination of previous influences, but forward-thinking in its production and song composition. “burden u” is also the synth popstress’ first song made almost entirely in English, showcasing her desire to grow in a U.S.-centered audience, while maintaining the connection to her Mexico City roots. – Alan Baez

El Bellaco links up with Tokischa on “Lo Lente,” a hard-hitting dembow cut that wastes no time getting to its point. Built around relentless percussion and an infectious rhythm, the track thrives on the playful swagger and sensuality that have become hallmarks of the genre’s latest wave. The pair’s chemistry keeps the energy high from start to finish, making “Lo Lente” an easy fit for dance floors while staying true to the Dominican roots that continue to fuel dembow’s rise. Its vibrant accompanying visual matches that intensity, adding another layer to a release that highlights why both artists are among the genre’s most exciting voices right now. – Natasha Melina Argudo

Dominican-American singer YANCYABRÍL drops her debut album this week with It’s Not Love, Cariño… It’s Limerence. YANCY—who grew up in New York City and was a runner-up on “Objetivo Fama” last year—has been working arduously on the album for three years, and the focus track “What’s the Move?” is a titillating example of the silky pop-R&B sound she’s honed for her fans. The album title references a recurring theme: how one can confuse affection for infatuation, and how to navigate the tension between the two that lives inside us and utilize it for personal growth. YANCY’s soulful voice is a breath of fresh air, offering sultry jazz and tropical folk sounds equally just as effectively, for a well-rounded LP that has something for every listener. — Juan J. Arroyo

Cock-a-doodle-doo! Rising and shining at your brightest will be inevitable and contagious once you play “Pompas de Jabón,” the newest single by Gloria Trevi. In her latest, she paints an optimistic landscape through an arrangement of guitars and trumpets that brings almost a mariachi and school band atmosphere. However, it’s soon contrasted by a bouncy and playful synth that honors and echoes the Eurodance sound that legends like Pet Shop Boys and Aqua made popular, and that many LGBT+ people adopted as a sonic identity and shelter. The same loyal community that fills her arenas has connected and grown fond of the empowering messages that Trevi puts in her lyrics, and this is no exception. It invites the listener to celebrate the mere fact of waking up another day, to protect our hearts, and to float away from those who bring us down like slippery and shiny soap bubbles that cannot be contained. – La Morra Lisa

The Tiarras released their newest song “Together,” a call for more love and living in harmony. The Mexican-American sister trio takes you into their debut album’s Moon en Flor world with hypnotic synths, accompanied by their piercing, siren-like vocals. The standout drum percussion and featured groovy guitar transport you to an intriguing, soul-filled ambiance, inviting you to carelessly dance with someone new as they sing about hopeful connection. “The song is about taking the chance on connection,” the sisters said in a press statement. “And finding that love’s remedy is realizing how connected we already are.” If this is the direction their debut album’s heading, we’re ready to dive into it this fall. Moon en Flor is out on Aug. 28. – Jeanette Hernandez

The track “Tímida, Santa & Peligrosa” has Brazilian DJ and producer Pedro Sampaio pairing up with Mexican reggaetón duo Cachirula & Loojan for a fun and hot cross-cultural experience as trap, reggaetón, and funk elements weave together to create a high-energy track. The lyrics fit the seductive nature of the genres used, as they describe the qualities of the teasing woman whose personality inspired the title of the song. The final result is a banger that celebrates Latine music’s borderless spirit while delivering an electrifying soundtrack for tearing up the dance floor with no restraint. – Júlia Henn

São Paulo-based quartet Maglore just kicked off their new era with a double A-side single included in their upcoming sixth full-length Fluxo Natural. While “Raio de Sol” is a romantic ‘80s-inspired ballad, “Sonho Real” is equal parts Rumours-era Fleetwood Mac and ‘90s folk rock, with a steady rhythm and an interplay between slide guitars and acoustic strums. Previously previewed live, “Sonho Real” separates love from reality, turning it into an escapist portal that helps you see things from another perspective. With the range shown on these two songs, we’re in for a treat with Fluxo Natural. – Cheky

The “heavy metal” reference in the lyrics of this revisited track from singer-songwriter Madi Díaz doesn’t refer to distorted guitars and guttural screams but rather something even more intense. While the original version already packed an emotional punch, this one underlines the emotion set by gorgeous vocals, spare instrumentation, and patient pacing and then gives it an extra dose of melancholy with the addition of Lucy Dacus to the mix. The result is a track that aches with a special feeling that’s hard to describe but easy to get wrapped up in. “Heavy Metal” is a devastatingly beautiful track. Diaz taps into a vast well of emotions. — Marcos Hassan

No city kid makes it out without a few scars. Most of us just learn how to throw a little glitter on them, call it a day, and head out for the night. Pretty Sick understands that contradiction better than most on “City Kid,” where Sabrina Fuentes moves between “stolen innocence” and “put some respect on me” without ever treating them like opposing ideas—they’re just cause and effect. Over a pulsing electro-pop groove coated in static, Fuentes sounds almost disarmingly unfazed, blurring the line between making it and faking it until they feel like two sides of the same survival instinct. But not everything is made to survive, and she spells out the highs being a price sometimes paid. But she’s still going to revel in them a bit, though, because she understands that in the city, every celebration comes with a countdown. Rather than romanticizing New York, “City Kid” finds its beauty in the balancing act where your headphones, the city, your inner monologue, and everyone else’s version of you are all competing to be the loudest voice. – Jeanette Diaz

Brazilian artist Rô Rosa’s debut studio album Achei Que Era Doce displays an amalgamation of all the facets the rapper, singer, and songwriter has adopted over the years in his creative career. With deep lyricism and seamless flow rooted in his rap music background, the title track “Achei que era doce” explores the nuance and contradiction present in heartbreak and the notion of losing yourself in a relationship. The pleasure of having loved and suddenly noticing the absence of a possible future, the need to find strength in self-love, are all written through Rosa’s accessible phrases and delightful sense of rhythm. – Júlia Henn

Every so often, artists remember the point of collaborating is to try new ideas and techniques, not just aurafarm for clicks. Such is the case with “La María,” the stonerific crossover from Costa Rican folktronica producer Mystérika and irreverent cumbia fashionistas F.A.V. & Tino Amor. The riotous club banger pushes both sides into fresh territory (not the weed part), launching into circuit party kicks and injecting merengue keys that harken to delicious Proyecto Uno throwbacks. Meanwhile, the lyrics are an invitation to smoke a doobie and wander through downtown San José, where you could end up at an all-night rager just as easily as sparking up again with an amiable stranger. — Richard Villegas