Jarina De Marco Takes on A Rick James Hit & More In This Week’s New Music

Lead Photo: Art by Stephany Torres for Remezcla
Art by Stephany Torres for Remezcla
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This is a  weekly compilation of bite-sized song & EP reviews from our music writers. Discover new favs, read nuanced criticism of the week’s hottest releases & more. Follow our playlist featuring these tracks and more on Spotify or Apple Music.

Jarina De Marco - “Give It To Me Baby”

What would the late funk icon Rick James think of this rework of one of his biggest, most-enduring hits? We’re leaning towards an approval — ’cause what was done here did not strip the tune of its flow. “Give It To Me Baby” in the hands of De Marco and producer Nate Donmoyer remains a jam, even in its slowed-and-stripped state: its iconic bass line gets an intense spotlight, De Marco’s foregrounded whisper-like vocals emphasize the song’s narrative (get ready to learn verses beyond the chorus, y’all), and the background cymbals tingle the spine. There’s no way anyone could ever supersede the original, of course, but De Marco most certainly delivers a compelling take. — Jhoni Jackson 

LOLAA - "La Marea"

After years of anticipation and a string of melodramatic synthpop earworms, Toronto-based duo LOLAA has finally unveiled their buzzy debut LP La Marea, a record filled with anthemic cuts of heartbreak and contentious love. On the exquisite title track, pounding percussion drives a mood of urgent unease as drums and palos dance with eery synths and singer Lex Valentine’s longing vocals. The plot thickens as we’re drawn into a romance that continues collapsing on itself, strolling through passages about awkward miscommunications and fading memories. — Richard Villegas

The Linda Lindas - “Oh!”

The excitement around viral sensation The Linda Lindas might still be fresh to most people; thankfully, that hasn’t stopped them from honing their anger into passionate music. For their first track since signing to the legendary Epitaph Records, the quartet has blessed us with “Oh!,” a song that expresses frustration and anxiety, delivered through huge punk riffs and glam rock catchiness. Their boundless passion and melodicism will restore your faith in guitar music. — Marcos Hassan 

Jodosky - “Quien Dijo Que Los Gordos No Perrean”

NEON16’s rookie talent Jodosky has been dropping tracks steadily over the past six months and today brings us an ode to the fellas with a little extra around their midsection. “¿Quién Dijo Que Los Gordos No Perrean?” channels Sir Mix-a-Lot’s classic anthem with the same tongue-in-cheek energy over an energetic old-school reggaetón beat and a catchy chorus. It reminds everyone that some boys have back too and can get hasta abajo with the best of them. — Juan Arroyo

Myke Towers “Almas Gemelas”

Offering comfort, security, and sweetness, “Almas Gemelas” is a full-on romance. Puerto Rican artist Myke Towers continues to show an ever-expanding emotional intelligence in his reggaeton ballad-bops, denouncing misogynistic control (“Ella No Es Tuya”) and concerning himself with the comfort of the person with whom he’s enamored on “Bandido.” With this latest single, women and femmes get another mostly guilt-free listen, and it’s much appreciated. Many of us love a heated perreo, pero con consentimiento. Towers seems to understand and respect that. — Jhoni Jackson 

Nite Jewel - “Before I Go”

Before dropping her forthcoming eight-track album No Sun next month, Nite Jewel shared “Before I Go,” which follows the line of the previous single “This Time” in sparseness and emotion. Ramona Gonzalez wrote the song after being left by her husband, poetically distilling raw, heartbreaking feelings cuddled by a minimalistic array of synth sounds, letting us catch a jazzy, Quiet Storm-informed glimpse into her grief. — Marcos Hassan

Laura Petit - “Cinê Privê”

“Cine Prive” is a new single by Laura Petit, a young singer who has already released two LPs yet could be considered an upcoming act in Brazil’s indie scene. Well aware of her mellow voice colors and sweet inflections, Laura wanders around in “Cinê Privê.” She goes from breezy lines well fit for the samba rhythmics, passes through a strong chorus, and ends up with some rock’n’roll verve—a vocal line that suits the lyrics about overcoming an old relationship. It’s a song that could allow Laura to dream of being by the side of important Brazilian interpreters like Gal Costa and Marisa Monte. — Felipe Maia

Sofia Campos & Natalia Lafourcade - “Verde Nocturno”

Argentinian songstress Sofia Campos teams up with Mexican powerhouse Natalia Lafourcade on her latest single release, which provides an acoustic refuge inspired by the unparalleled uncertainties that the pandemic has left in many. The collaborative dreamscape ballad provides a comforting melody with warm harmonies whose lyricism enables the listener to venture on a path of learning to find strength during the most turbulent times. — Jeanette Diaz

Jurel Sónico & Los Impuros - “La Noche”

Jurel Sónico has contributed to the development of the Chilean shoegaze scene thanks to his work with Adelaida, one of the most inspiring bands in recent memory. Not content with making alt-rock guitar noise, he has since started a solo project with Los Impuros to explore darker territories. Featuring post-punk drumming and deathrock flavored basslines, “La Noche” demonstrates that Jurel has plenty to explore within a different shade of indie rock. — Marcos Hassan 

George Arthur Calendar - “Bottomless Tears & Bloody Mimosas”

Over the twang of funky guitars and a synth beat, singer George Arthur Calendar waxes melancholically about a love that ended too soon. But as the accompanying bloody video demonstrates, there’s a sense of irreverence to the whole situation as well. Originally from Guadalajara, a vampiric Calendar trots around a city hypnotizing folks with his groove, eventually taking them to his makeshift dungeon and getting drunk off the good stuff in their veins. Who amongst us hasn’t gotten wasted when we’re low? — Juan Arroyo

Ulises Hadjis - “El Mundo Entero” (ft. Florencia Núñez)

Six years after releasing his last solo album Pavimento, Venezuelan singer/songwriter Ulises Hadjis is back with El Mundo y La Nada. It features stellar collaborations from the likes of Gaby Moreno, El David Aguilar, Xoel López, and Florencia Núñez, who sings on Hadjis’ new single “El Mundo Entero.” Co-penned by Silvana Estrada, the song is dressed in happy colors and joyful sounds, only to cover the bitter realization of being pushed out of a loved one’s world. — Cheky

Porsh Bet$ - “Whatever”

Porsh Bet$ shares the latest single and visuals off his recently dropped debut EP I Used To Think Forever. Adding to the roster of newcomers not conforming to the rigidity of genre definition, “Whatever” displays Bet$ fluidity to create multi-layered soundscapes that tap into his reflections and upbringing as an Afro-Latinx growing up in Harlem. From its sunny effervescent sound to the feelings of being aimlessly in love, the Alt-Pop meets R&B track is a capsule of feel-good vibes from start to finish. — Jeanette Diaz

Rennan da Penha, Anitta - “SexToU” (Prod. Isaac 22)

A staple in the most recent wave of Rio baile funk DJs and producers, Rennan da Penha lives the decks and grabs the mic in this new feature with Anitta. “SexToU” is a 150 BPM track well adjusted for favela parties (the bailes) or dance clubs worldwide. Isaac 22 has layered no more than a few key lines with the beat known as porrada seca (as in quick smack) and left a lot of space for the sultry melody of Anitta and Rennan vocals. Sextou in Brazilian Portuguese is something like #TGIF, but we’re sure Anitta knew that SexToU also sounds fun in English. — Felipe Maia

Bianca Oblivion - "Bubble Pon Di Bed" ft. XL Mad (UNIIQU3, Thai Chi Rosè, Charly Gynn Remix)

Revisiting her 2020 culo-bouncing club anthem “Bubble Pon Di Bed,” Los Angeles DJ and producer Bianca Oblivion has tapped a gang of transcontinental reinas for a brand new remix poised to set countless dance floors ablaze. Featuring jagged new bars from New Jersey’s UNIIQU3, London’s Thai Chi Rosè, and Mexico City’s Charly Gynn, the track has evolved from a nightclub siren’s call into a fully-fledged battle cry of twerk-tacular proportions. — Richard Villegas