Photo by WAIV.
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 Álvaro Díaz with RaiNao, Dos Flakos, and Paola Navarrete. Follow our playlist featuring these tracks and more on Spotify or Apple Music.
Opening with a stunning instrumental, Álvaro Díaz’s newest track, “SUKI,” is a collaboration with fellow Puerto Rican artist RaiNao. The track is about a turbulent woman, but everything else about it is anything but chaotic. It’s a smooth urban listen with masterful production; the synths aren’t too heavy, and any extra flourishes are welcome touches. “SUKI” establishes Díaz and RaiNao as a powerful musical duo. — Chelsea Quezada
After teasing the collaboration all summer long, the joint track is finally out! Dos Flakos, the Dominican duo from the Bronx, teamed up with the Jersey Club figurehead UNIIQU3 on their new collaboration, “Shake The Room.” The new earworm features a pulsing, siren-filled, and house-infused melody with Jersey Club that is impossible to stand still to. Together, they married their roots’ sounds—and UNIIQU3’s iconic vocals—to create a new dance-ready hybrid banger that will continue to take over EDM festivals and clubs this year. – Jeanette Hernandez
For better or for worse, change is inevitable. But that transitional discomfort is at the heart of Paola Navarrete’s latest single, “Van a Construir Al Lado,” as she draws parallels between an eroding romance and her shapeshifting neighborhood. A bluesy, steel-guitar melody drives the song as Navarrete’s gauzy vocals glide through Adan Jodorowsky’s textured production, making for yet another cinematic teaser off her forthcoming LP Aries, slated for release in the fall. – Richard Villegas
A pretty common misconception about samba is that the music rarely goes beyond its limits. However, in the hands of visionaries like dadá Joãozinho, it can become something otherworldly. Take “Pai E Mãe,” a song deeply rooted in the Brazilian genre that twists it gently to give it an experimental edge. By adding pop melodies and glitchy production, Joãozinho elevates the track into something weird yet warm and catchy. The song addresses some difficult times the singer had during his youth, and how he channels it through music is nothing short of superb, cathartic, and beautiful. — Marcos Hassan
Released on Aug. 9 to coincide with the International Day of the World’s Indigenous People, “Chakana Sagrada” is the second preview from Bolivian artist Luzmila Carpio’s upcoming ZZK album Inti Watana – El Retorno del Sol, and a lullaby that turns into a stomping dancefloor moment. With a thunderous drum programming that contrasts with organic instrumentation led by delicate bell sounds, Carpio uses the Chakana image, the Southern Cross constellation, to bring joy to our hearts with her message: we can reap spiritual and material riches from Mother Earth and the universe when we truly connect. – Cheky
NYC-based Puerto Rican producer Acidd has been self-releasing lo-fi beats for years, culminating in his debut album, last year’s amorES agua. This week he drops his second project, dos con agua, which gives listeners an experience demonstrating how his form has undeniably evolved over time. The songs are instrumental ambient tracks that include elements of everything from techno to deep house and even a little taste of alt-rock breaks. “Polaroids” is a highlight—perfect to set the mood for a mesmerizing, soothing vibe ideal for lounging or just losing yourself in the audial affair. — Juan J. Arroyo
Los Angeles quartet Provoker live out their deepest horror movie fantasies in “Valley Ghoul,” the lead single from their forthcoming album Demon Compass. Satanic schoolboys meet their timely demise in this haunting but endearing video directed by Gustav Stegfors. Vocalist Christian Petty juxtaposes deep, lulling baritone vocals with earworm falsetto hooks over ghostly synth arpeggios that are sure to enchant any new-wave purist. – Nayeli Portillo
Mexican artist Ximena Soto is back with a new single after releasing “Ausente” with FERRR last week. “001” is a reflective track about feeling better apart from someone, even if you’re grieving the loss. Soto’s vocals are amplified by production courtesy of Adrian Be, who opts for fast-paced production on the chorus. It’s effective in depicting the complicated emotions she sings about, especially considering the track clocks in at a little over two minutes. Plus, Soto can belt like a main pop girl, which will bode well for her in the future. — Chelsea Quezada
Mila La Morena is exploring new realms. The emerging Mexican artist just released “FREAKYGIRL” alongside hhunter and Heartgaze. The experimental alternative reggaeton track features distorted, futuristic, and glitchy elements intertwined with synth and bass-heavy electronica that immediately transport you into a sexy underground cyberpunk rave. Noticeably influenced by artists like Crystal Castles, Isabella Lovestory, and Arca, the trio’s result is both captivating and intriguing. Point blank: we’re digging Mila La Morena’s new creative direction. – Jeanette Hernandez
In her first release since the confessional experimentalism of 2019’s harrowing Mataronomatar, Mexico City’s Luisa Almaguer is back in the spotlight—where she belongs—with an incisive new earworm simply titled “Wey.” Venting over a hypnotic folk-pop canvas crafted by producer Santiago Mijares, Almaguer unspools the frustrating conundrum of not being claimed publicly by a partner. “Loving me is not about bravery,” she muses on the track, aware and defiant of the whispering voices that flare up whenever a cis-straight presenting man holds a trans-woman’s hand outside the confines of their bedroom. However, her gripe isn’t with bigots but with her paramour, as she demands to be loved proudly and in the light of day, just like everybody else. – Richard Villegas
Mexican band Los Discorde has a fresh sound. With references to city pop sophistication and funk-inspired grooves, their music is as smooth as silk. “El Mar” is a catchy number, if there ever was one, full of jazzy chords and wavy vocals to make you feel like summer is just an eternal lazy summer. Los Discorde are skilled musicians that lean all the way towards the intersection of melody and rhythm to deliver a song full of vibes for those feeling good or those looking for that sentiment.— Marcos Hassan
Flor de Toloache founder Mireya Ramos has just announced Sin Fronteras, a collaborative album with Kansas City ensemble The Poor Choices, and it’s set to be a striking dive into the multifaceted Mexico-U.S. border culture. As is the case with “Regresa Ya,” the album’s first single. Co-produced by Ramos and Ensemble Iberica’s Beau Bledsoe, the song effortlessly blends Nashville country and rancheras, raising the stakes with a gospel choir and KCMO jazz. Its lyrics about losing a part of you when a loved one leaves is emotionally supercharged by Ramos’ breathtaking vocal performance, giving us a chill-inducing moment. – Cheky
Dominican artist Blenfre had his first real solo hit last month with “Espuma,” and he’s back to keep the heat going with this week’s “Papel.” In the song, he strikes an interesting balance of talking about how money is the root of so many problems, and at the same time, wishing he could shower his loved ones with cash before he’s no longer around. He knows it makes people feel happy, even if they can’t take anything with them after they’re gone. Over a bouncy, tropical track produced by the duo Chefitoh and REWIRE, Blenfre makes the pragmatic case for the bright side of materialism. — Juan J. Arroyo
Buenos Aires-based indie rocker Maria Codino doles out instantly loveable guitar-based indie pop jams. “Aforismos,” the lead single from her debut album Tiene Que Haber un Mapa, arrives with bright guitars and earnest lyrics that echo Lindsey Jordan of Snail Mail and Jay Som’s Melina Duterte’s conversational styles. Here she invites fellow Argentine singer-songwriter Carmen Sánchez Viamonte to build a world of warm, sunny textures packed with jangly riffs. – Nayeli Portillo
