New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard and Billboard Español editors. Check out this week’s picks below.
Ximena Sariñana & Caloncho, “Viendo Vemos” (Promotodo México/OCESA Seitrack)
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Humming along to a wistful melody at the top of the song and again in the chorus, the Mexican artists instantly produce an earworm, one that is pleasantly disarming. Ximena Sariñana and Caloncho team up for “Viendo Vemos,” a gentle but bright pop ballad, powered by melodic tunes and the artist’s ethereal vocals, about watching everyone around you thrive in their relationships, which makes you question when it will be your turn to be this happy? “Everything around me seems to be going so well, everyone appears perfect/ At that party that no one invited me to, everyone is successful except me, and with one mistake after another, I built my collection,” they sing in unison, sounding almost hopeless. But don’t lose hope on love just yet, the singers give the lyrics a positive twist toward the end that will lift your spirits. — GRISELDA FLORES
Majo Aguilar, “No Más Canciones de Amor” (Universal Music México)
With all the feeling and her unique style, Majo Aguilar draws us into a love story that has come to an end and gives way to a new chapter. This is perhaps the most personal work of the Mexican singer, who recently went through a similar episode, and this is a catharsis. “No more love songs, no more memories of you/ No more asking the moon to light the path that leads to you/ No more love songs, that’s not for me anymore/ Today I need a tequila that makes me forget that you made me happy,” she sings. The tumbado mariachi sounds as elegant as she is, uniting the best of both worlds; trumpets, charchetas, and tololoche merge perfectly in this song, which could very well be the new healing anthem. — TERE AGUILERA
Maisak, Nanpa Básico & Micro TDH, “Paz Mental” (Royalty Records LLC)
Maisak, Nanpa Básico, and Micro TDH — three of the edgiest and progressive urban artists of today —have joined forces on “Paz Mental” (mental peace). In the Samai-produced single, where they elegantly lace a smooth reggaetón beat with Latin Afrobeat sounds, the three artists talk about finding peace after a relationship that couldn’t work out—and the importance of prioritizing your mental health. “I choose my peace of mind/ We don’t work anymore/ We don’t love each other/ We’re tired of pretending/ This added so much to us that in the end it started to subtract from us,” says the chorus of the very mature breakup song. The music video — which features all three artists — shows the said breakup unfold as all parties end up in therapy. — JESSICA ROIZ
BRUSES, Desde El Coma (RCA Records/Bruses)
Floating somewhere between lucid dreams and nightmares, Desde el Coma feels like waking up gasping for air — a kaleidoscope of bruises, chaos, and resurrection. “I died for three minutes, and it took me three years to make this album since my coma,” BRUSES revealed in a press release. The Tijuana artist (real name Amalia Ramírez) twists electro alt-pop into something unpredictable and feral, throwing glitter onto wounds and inviting us to dance in the wreckage.
Tracks like “Querida Amalia” rip through the façade with harrowing confessionals that linger long after the beat fades. Then there’s “Malefika,” the venom-spiked focus track that abandons the “good girl” act entirely, while launching into queer ballroom territory. Even her playful moments — like “YUMMi
From uneasy interludes “Tengo Miedo Pero Vamos a Estar…” featuring Mi Mamá (likely her mother) to explosive outros “Así Suena Mi Mente” that demand you wake up, the album cuts deep. “This accident that took me to a coma destroyed my life, but this album gave me my life back,” BRUSES further highlights, underscoring what makes Desde el Coma scarred and stunning. — ISABELA RAYGOZA
Meme Del Real, “Embeces” (DOCEMIL MUSIC, HYBE Latin America)
Meme del Real — Café Tacvba’s longtime keyboardist and composer — honors his family roots in northern Mexico with a rich, experimental pop ballad that fuses electronic music and guitars in the style of regional Mexican music. The result is a melodic and atmospheric piece based on a hip-hop aesthetic with the romantic touch that characterizes Meme’s lyrics. “Embeces” alludes to the word “a veces,” used in a popular context by some speakers. It is in this context that Del Real (real name: Emmanuel del Real Díaz) adopts it to title this song, the fourth single from his upcoming debut solo album, produced by the award-winning Argentine producer and key player in Tacvba, Gustavo Santaolalla. The track reaffirms the musician’s northern heritage, present in classics from the 1994 album Re like “La Ingrata” and “El fin de la infancia.” — NATALIA CANO
Check out more Latin recommendations this week below:
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