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.
Mirrors are mostly used to see what we look like from a different perspective, yet sometimes they are used to make illusions. The dual meaning is not lost on The Red Pears, as the lyrics of “House of Mirrors” invoke both deception and finding the truth. The song is driven by slinky guitar lines, catchy melodies, and a powerful mid-tempo groove, culminating in a crescendo where vocalist/guitarist Henry Vargas yearns for freedom. — Marcos Hassan
Jealousy is the green-eyed monster that’s become a ubiquitous theme in music, and reggaetón is no different. It’s a deep well of inspiration for many artists wishing to create a track that’ll connect with listeners, because who amongst us hasn’t felt those pangs in the heart when we fear losing a partner? In “Como Antes,” St. Pedro touches on all those whirlwind feelings without sacrificing the swag and infectious production that makes shoulders sway. The tinerfeño is convincing as he delves more into his reguetonero side and makes his case for a more global talent pool for the genre. — Juan J. Arroyo
There’s a thin line between chanting with heartfelt lyricism and rhyming with abrasive lines, and Immasoul manages to float over this frontier in her new single. “Vuelvo A Ti” is a deeply sorrowful R&B that blends a bitter lovestory with future-bending, Kelela-like hints—all of that mastered by the 20-something Immasoul. If this is not the tip of the iceberg of the Afro-Mexican singer’s next album (we hope it is), it’s definitely a sneak peek into this upcoming generation of Latine artists that are not OK with the same old labels and genres; they want break the codes and make something new. — Felipe Maia
Mixing R&B stylings and a heavy trap beat, La Dame Blanche returns with a brand new single titled “Qué Más Quieres Que Te Dé.” It’s hard to stay indifferent to this song and its powerful message, with the multitalented Cuban artist singing/rapping about a one-sided relationship that has just left her dry. But after giving up everything she has, she’s finally ready to liberate herself through self-care and self-empowerment. — Cheky
“Tiramisú” is the latest single from singer-songwriter and producer Luis Eduardo Acústico; a tale of seduction rooted in Colombia’s Pacific coast melding reggaeton romántico with modern afrobeat panache. Enlisting the brass and percussion talents of La 19 Crew–Luis Eduardo’s production house–and silky smooth verses from Los Kuns, the result is a sticky sweet earworm for late-night slow dances and after-party shenanigans. –– Richard Villegas
From the Tigua Indian Reservation tucked away inside the Chihuahuan desert of El Paso, Texas, Indigenous Mexican-American R&B artist Flores is coming in hot. On her latest, heartbreak has never sounded so sweet as she navigates a story of love now lost and separated by physical and emotional distance. The narrative unravels as we visually travel through strikingly bold images of limpia rituals and tattoo-filled street aesthetics. With unfiltered ease, Flores has beautifully and seamlessly incorporated heavily present, and often misinterpreted, facets of her Latine and Indigenous culture into the world of modern-day R&B. — Jeanette Diaz
With tons of charisma and self-confidence, BeMyFiasco brings her A-game to “Bad Dream.” A masterclass in songwriting, the track fuses ‘90s neo-soul with contemporary 808-heavy beats. The singer shows her range by delivering hook after hook in her smooth and flirty voice, as well as when she goes full-on rap mode. “Bad Dreams” could well be the perfect soundtrack to pick up your friends, get some take-out, and blast this while driving into the night. — Marcos Hassan
El Mató a un Policía Motorizado’s Santiago Motorizado just dropped Canciones Sobre Una Casa, Cuatro Amigos y Un Perro, his new 18-track album which comprises his compositions for the Argentine Netflix series Okupas. One of the songs here included is “No Hay Lugar Para Nadie Más,” where he traded his usual fuzzy indie rock for a full-on cumbia moment. Despite its contagious rhythm and bouncy guitar work, there’s a melancholic atmosphere that supports his lyrics about distance and the hardships and heartbreaks of migrating to the big city. It’s a cumbia for lonely hearts. — Cheky
As the brisk winds of autumn start picking up, Boricua four-piece Epilogio has returned to the spotlight just in time to deliver a revitalizing blast of musical sunshine titled “Platicar.” The first single from their forthcoming sophomore album, the track is a funky maelstrom of prismatic synths, heavy bass lines, and pedal effects framing a darling story of a burgeoning romance and the magic of those first all-night chats. — Richard Villegas
Venezuelan electronic indie outfit Todosantos returns with their latest single “Salvar.” An entrancing rhythm is taken in by an even more mesmerizing chant to start. A ritual-like experience, the vocals build along with the traditional piano and guitar-led sounds until it meets an electronic counterpart of synth rhythms that transform the song into a freeing dance of salvation. The mantra at the base of this cleansing is one we all need during trying times—you can’t save anyone unless you save yourself. — Jeanette Diaz
