21 New Songs to Listen to This Week From Verito Asprilla to roro

Verito Asprilla - “MALO H”

Verito Asprilla drops her latest track “Malo H,” a vibrant dembow infused with layered beats, sultry rhymes, and infectious energy designed to light up both the streets and the club. Hailing from Tumaco, Colombia, Asprilla is quickly becoming a vital force representing the Pacific coast, earning widespread respect for her sharp lyricism, rapid-fire flow, and unapologetic attitude. “Malo H” captures her signature mix of sensuality and grit, offering a fresh, assertive sound that continues to push the boundaries of modern dembow. Beyond her musical prowess, Asprilla stands as a bold voice for women empowerment, using her platform to challenge stereotypes and inspire confidence in her listeners. With “Malo H,” she cements her place as one of Colombia’s most exciting new talents, a fearless artist redefining what it means to own your rhythm, your words, and your power. – Natasha Melina Argudo

roro - “Ca$h it out”

Throughout 2025, Argentina’s club scene has launched phenomenal dance floor scorchers from MissLupe, Juana Rozas, Six Sex, Fiah, and Terra, canvassing the intersections between underground excesses and social commentary. But in the first week of the year, teenage electronic phenom roro released the whip-smart and unrelenting Hot Hits EP, flying closest to the Brat sun with a collection of, well, bratty tracks that flexed about label hoarding and serving runway in your street clothes. Now, roro is back with “Ca$h it out,” a track that propels the precocious fashionista into noisy new frontiers, evoking classic ballroom house while injecting pummeling distortion out of a Jane Remover rage pit. “Cash it out / mess sit up,” he says at the top of the track, before unleashing a flurry of beat switch-ups and digicore crunch that herald the rise of a new club supreme, and anyone who disagrees can “cash him outside.” — Richard Villegas

Martox - “Contando Ovejas”

Martox launched the first half of their two-part debut LP this past September, and after four singles that ranged from sunny bops (“Si Es Verdad”) to dancefloor grooves (“Enganchao De Ti”), they’re now segueing into a different vibe. The second part of the album, Caracol, will pivot to a more subdued and melancholic tone, and this week’s “Contando Ovejas” is the opening salvo. The song is the first part’s last track, and it features the talented Dominican duo easing into a more chill and meditative ambience, showing off their musical dexterity and raising anticipation for their boldest experiment yet. — Juan J. Arroyo

Edgardo Nuñez - “Paris”

Edgardo Nuñez has released his newest single “Paris,” a heartfelt norteño love letter, bordering on a plea. Led by his hard-hitting accordion and a deep bass, the new track oozes nostalgia as he recalls times spent with a former lover. In the single, he’s full of regret, wishing he could go back in time to give his lost lover all she wanted. In under three minutes, he proposes a second opportunity, followed by saying the “Y si no es por las buenas, tendrá que ser por las malas” ick phrase that is surely a cue for his loyal male fans to get a kick out of. Nevertheless, with “Paris,” Nuñez offers another song for remorseful compas to drink in a circle while they lust over baddies they missed out on. Maybe next time they won’t fumble a queen. – Jeanette Hernandez

aLex vs aLex, Arms and Sleepers - “get it, never (alt)”

Gritty and transcendent, the inevitable collaboration between Guatemalan DJ aLex vs aLex and Berlin-based producer Arms and Sleepers was a match destined to happen, with both artists dripping in eccentric, dreamy soundscapes while pushing boundaries within their own respective electronica realms. “Get it, never (alt)” is minimal with its setup, but graceful in its execution, featuring a vivid ambient instrumental with a single line repeated over and over by aLex. The repetition is layered over an eerie and dreary instrumental, almost creating this cloudy effect, but it builds in its own right, managing to say so much with so little. The track was born from a year-old demo from aLex and would only see the light of day when she started working with Sleepers. Both are coming down from releasing projects this year, aLex with her debut EP nyc minute, and Sleepers with an entire hour-long project just this past August. Despite both having such productive years, the assembly of the two is part of a larger remix album for aLex, one that recontextualizes older works and demos to close the door on one part of her career to open another. – Alan Baez

Helado Negro - “Sender Receiver”

Roberto Carlos Lange, aka Helado Negro, continues to explore his emotions with electronics, yet this time, he is kicking the tempo up for perhaps his liveliest release yet. “Sender Receiver” features Lange’s trademark vocals that feel like a warm and gentle embrace, yet there’s a sense of urgency that puts this one in another category. With its drum machine grooves and layered synths, this is the closest this project has ever been to giving us a banger, inviting his listeners to get up on their feet. Splitting the difference between mood and energy, “Sender Receiver” shows that there’s a greater range to the signature Helado Negro sound. — Marcos Hassan

Letón Pé - “¡Suéltalo!”

Letón Pé keeps dropping party gems from her long-awaited upcoming debut album Golosa, and the celebration goes on with her latest single, “¡Suéltalo!” Produced by Latin Grammy Award winner Julián Bernal, “¡Suéltalo!” is a flavorful mambo, where electronic sounds and organic merengue instrumentation clash to remind us not to take life so seriously. Accompanied by a vintage-sounding lead organ melody that gives it an AM radio feel, Letón Pé reminisces of hard times living in NYC working 9-to-5, but she realizes life’s too short to make every day a struggle, so she wants us to join her and experience joy. It’s a low-key anthem to rebel against a capitalist system that glorifies sacrifice by the sheer act of just letting things flow. – Cheky

TEIMA - “Refrigerador”

Teasing the release of their first studio album, Brazilian band TEIMA discusses the issue of objectification of people in romantic relationships through their song “Refrigerador.” The track is a quick-paced, alt-rock, angry tune that compares the feelings of numbness and neglect that come with being on the objectified end of the relationship to being a home appliance available to use at all times, like the titular refrigerator. Composed of the talents of Edu Filgueira, Sandro, Maick Sousa, and Isa Salles, the band exudes charm and humor in their music and lyrics, even when approaching complicated themes. — Júlia Henn

Disk Mandy - “Jeito fácil”

Amanda Alves de Oliveira, creating under the artistic name Disk Mandy, is a Brazilian singer songwriter from Curitiba, Brazil, and one of the freshest voices in the scene. In “Jeito fácil,” which translates to “The easy way,” she beautifully channels the most iconic and nostalgic parts of late ‘90s pop-rock, and displays her stunning, soft and emotional voice. In this track, she tells the story of a relationship that perhaps is not of the healthiest, where one puts the other person first no matter what, even prioritizing them before our private spaces, our own self image, and well-being. Deep down, the character in the song knows that communication is the key to solving issues, but as of right now, the whirlwind of obsession still reigns supreme. She ends with the powerful line, “I still long for you to pull my hair and say you love me while I scream that I hate you.” It’s paired with an understated and joyful music video that she says “aims to bring a bright and happier side” to balance the track—which it does. We can’t wait to see what this young voice brings us in what definitely looks like a bright future, which we hope brings healthier relationships. – La Morra Lisa

Junior Mesa - “im not your man” 

Junior Mesa returns with “im not your man,” a piano-driven ballad that blooms from quiet confessional into a surprising retro-rock catharsis. Hashed with the soulful fingerprints of another era, its warm keys and production textures evoke the ache of trying to trick yourself into closure. Mesa sings like someone too self-aware to delude himself but too human not to keep some sliver of hope alive, each line carrying the veiled desire of still waiting to finally be chosen. The repeated refrains of “I’m not your man” echo back at him, like Hail Mary attempts to steady shaking hands and an unmet heart. As the song exhales and fades, stillness gives way to a lo-fi and more rhythmically robust outro laced with analog harmonies that echo the same refrain. In that melancholic metamorphosis, Mesa turns heartbreak into something kinetic. He isn’t moving past it, just learning to build more fully around the fragments of what remains.— Jeanette Diaz

Estrella del Sol - “No cambio la historia”

In recent years, I’ve been drawn to organic ambient music, sounds built from deep, grounded tones and soothing, melodic layers. In “No cambio la historia,” the latest release from Estrella del Sol, I found a track that captures that feeling perfectly. Over nearly three minutes, Estrella’s voice drifts gently between textures and notes. One of the lines sings, “perder y soltar eso también es amor,” or “to lose and let go is also love.” It’s a lyric that resonates deeply with where I am right now. “No cambio la historia” radiates warmth; it’s a track made for those of us who look to the calmness of music as a way to escape the overstimulating world we live in. – Alan Lopez

Ysa C, Goyo - “Tiempo Al Tiempo”

Colombian powerhouses Ysa C and Goyo joined forces on “Tiempo Al Tiempo,” a heartfelt track that captures the ache of heartbreak and lessons learned. The song tells the story of a relationship built on lies and empty promises, missing the person, but not the lies that came with them. Now, the same tender phrases once meant only for you are being repeated to others, deepening the wound. With its soft, melodic production infused with pop and tropical influences, “Tiempo Al Tiempo” blends vulnerability with quiet strength. Ysa C and Goyo’s soulful vocals intertwine effortlessly, delivering emotion and honesty in every line. The result is a song that resonates with anyone who’s faced betrayal and chosen to rise above it, serving as a reminder that time reveals everything, and healing often begins where illusions end. – Natasha Melina Argudo

Heartgaze - “Rezo Por Vos”

A few weeks ago, the Argentine singer and producer Heartgaze told Remezcla, “[The medium] doesn’t matter anymore,” referring to how electronic music and internet culture have empowered a new generation to reimagine Latin American music in their own evolving codes. The visionary studio whiz demonstrates his thesis in “Rezo Por Vos,” the first single from his forthcoming sophomore LP, Tutorial de Como Creer, weaving auto-tuned longing, U.K. garage beats, and staccato bachata percussion. But the success of Heartgaze’s scintillating hybrid isn’t predicated on its evocation of Dominican vibes, but rather its understanding that bachata is Latine emo music. “Rezo Por Vos” is dripping in amargue, unspooling the sorrowful confessions of a crooner that helplessly watches his beloved suffer in another relationship—telenovela dramatics out of the Romeo Santos playbook. Heartgaze has gained steady buzz helming hits for South American stars like Akriila, Young Cister, and Odd Mami, and this first taste of Tutorial de Como Creer promises 2026 will usher in his turn in the spotlight. — Richard Villegas

TAR1Q, Oliva - “Soja”

Colombian singer-songwriter Oliva has spent the better part of the last eight few years specializing in Latine Afrobeats and amapiano, being one of the earliest Latine artists to embrace those sounds. This week, she teams up with Nigerian singer TAR1Q for their new single “Soja.” A play on the word “soldier,” the song deals with the story of two people with clear feelings for each other who can’t seem to find the right moment to proclaim their love. The music video was shot in Uganda, where Oliva has performed at the annual Nyege Nyege Festival, and produced by multi-Latin Grammy winner Ray “El Ingeniero” Casillas. It’s a spirited entry in the fast-rising Latine Afrobeats movement, that gains cred with the presence of one of the genre’s hottest new stars. — Juan J. Arroyo

ISADORA - "Peace + Love ☾”

Ahead of the Latin Grammys, Best New Artist nominee ISADORA released “Peace + Love ☾,” part of her Spanglish debut album La Isla. With an inviting Afrobeats melody and tropical pop flair, the focus track narrates and reflects on the Puerto Rican-Venezuelan-Italian emerging singer’s post-breakup feelings. Though her ex-partner regrets the separation, she sings that all she wishes for him is peace and love. With a catchy and groovy production, ISADORA transports her listeners to the beach—perfect for a sunset moment with your besties after getting over a scrub. La Isla—described as a journey of self-discovery—showcases ISADORA’s versatility with influences of bolero, reggae, Afrobeats, electronic, pop, and more. – Jeanette Hernandez

Dear Joanne - “Angie la Ladrona”

After a string of hard-hitting singles and endless support, Spanish rock outfit Dear Joanne has finally released their debut EP. “Angie la Ladrona” is the standout from the project, demonstrating Joanne’s feats and putting their charm on full display. The track is a staple of the EP, featuring a deep surf rock influence and aesthetic that blends that of chic and the flair of glam metal. Fast-paced and oozing with rockabilly flair, the track incorporates the best textures of punk and garage rock, perfectly capturing a sensational confidence. The two have been on a hot streak, cultivating their name within the larger scene, signing onto Caries Records amd opening for famed rock band La Femme. Dear Joanne’s presence in the rock scene can be categorized as surreal, offering their own sense of humor and rebellious spirit. – Alan Baez

Yamila - “Prado”

Experimental singer Yamila is back with a new album, Noor, for the venerable Umor Rex label. And this time, she’s taking her melodic influences to an otherworldly realm. Her new track “Prado” features layered strings as well as vocal harmonies that conjure contemporary modern composition with a bit of classical flavor thrown in, with every instrument weaving in and out of prominence, giving it space and dynamics. There’s a sense of dramatic urgency that never fully explodes, contributing to the tension and release arrangement of the track. With “Prado,” Yamila gives us a beautiful respite of chamber pop that feels refreshing yet full of motion. — Marcos Hassan

Lienzos - “qué hay pa hoy?”

Maracay, Venezuela, artist Andrea González is celebrating the10th anniversary of her Lienzos project with the 10-track album qué hay pa hoy?, which comprises new music as well as previously-shared singles from recent months. “qué hay pa’ hoy?” opens the album and it revolves around the titular Venezuelan expression, which translates to “What’s today’s plan?,” a question that opens a world of possibility and a chance to daydream. It was produced by Lienzos by intertwining sampled tropical percussion with undulating synth pads and personal WhatsApp voice notes, and she delivers rhythmic lyrics in spoken word to tell us that, in a country immersed in uncertainty, there’s nothing like a little gossip, a good cup of coffee, and the company of friends to curb sadness and fantasize with everything the day can bring us. – Cheky

Sessa - “Dodói”

Brazilian singer Sessa’s latest album, Pequena Vertigem de Amor, is a passion project by design. Inspired by his main role in life—that of a father to his son—the artist reflects upon the vulnerability and warmth that exist in being a human in constant pursuit of love and approval, as well as the constant desire to be useful to the people you love. One of the songs in the album, “Dodói,” which is the word in Brazilian Portuguese for “boo-boo,” was directly inspired by a moment of fatherhood, when Sessa’s son asked him to kiss his dodói after a fall. Filled with ludic, experimental and profoundly Brazilian sounds, the artist’s newest work succeeds in its intention and provokes the listener into reflecting about their own posture when it comes to relationships in life, be them of whatever nature they may be. — Júlia Henn

Edwin Baltierra - “BÉSAME”

Born in Coachella, California, and with music clearly running through his veins, Edwin Baltierra is an artist that proudly displays both his Mexican roots and his identity as an LGBT+ performer through his work, which he refers to as “a pacifist protest to represent my community.” In his new track “BÉSAME,” he sings over classical and beautiful ranchera sounds and rhythms about being absolutely enamoured, through beautiful lyrics that see the other person’s virtues as a light to guide his own path and wanting nothing else but to be kissing each other during sunrise, sunset, and every time they touch. The sound is fun and flirty, and could perfectly work as the first dance at a wedding or to ask someone to be your Valentine. The accompanying visual is an ambitious and respectful tribute to Marilyn Monroe, where stunning costumes and a glamorous choreography display Baltierra’s skills as a dancer and his undeniable chemistry with a camera lens. He says that music has been a part of his life since he can remember, and that composing and performing comes naturally to him. And we agree! This is clearly the case of a star since birth, and we can’t wait to see how far his light keeps on illuminating. – La Morra Lisa

Las Decapitadas - “Guardia Nacional” 

Mexico City all-female rockers Las Decapitadas weaponize absurdity on their final single ahead of their album release, “Guardia Nacional.” The track is a jagged punk blitz that spins a warning siren into a frantic inside joke. Channeling the manic jolt of protest through gritty distortion and deadpan delivery, the lyrics audaciously mock the authority figures that police society’s every move. Its sonic subversion flips the surveillance state into satire, transforming it into a punchline that’s belted over ripping drums and charged guitar riffs. The accompanying video leans into that chaos, turning rebellion into a performance piece that’s part theater, part fever dream. Once the center of a powerless gaze, the subject reclaims control, using sly seduction to become the headmaster of the surrounding regime. The single is a quick but galvanizing reminder that state power is performative, and real power has always belonged to the people making noise. — Jeanette Diaz