Latin

This week, Billboard’s New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — features fresh new albums from artists such as Trueno, Alejandro Fernández and Anitta, Alex Anwandter, and Rauw Alejandro, to name a few. If you’re wondering why there are many album releases happening this week and potentially next week as well, it’s may be because […]

New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.

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Camilo, cuatro (Sony Music Latin/Hecho A Mano)

Camilo’s new album, cuatro, is the culmination and the summation of four EPs — un, dos, tres and now cuatro — released individually in the past several months, and now together in this last, grand finale. While the concept may appear to be a marketing ploy, it wasn’t conceived that way. The songs came to be simply as songs — inspired by Camilo’s professed love for his wife and muse, Evaluna, and also for his love of the diverse tropical rhythms that were soundtrack of his childhood. (So much so that, “Una Vida Pasada,” his collab with Mexican star Carin León, is a salsa.)

But cuatro’s biggest triumph lies in its storytelling. Each song is a tale, of love lost and won, narrated in Camilo’s efficient but poignant and compelling prose. Standouts include “Gordo” and “Una Canción de Amor Para La Pulga” (La Pulga is Evaluna) — and be prepared for a surprise in “Sálvame,” a salsa cover of the RBD hit performed with Cuban timba master Alexander Abréu and his band, Havana D’Primera. — LEILA COBO

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Trueno, El Último Baile (Sony Music Latin/Sur Capital Records)

For his third studio album, El Último Baile, Trueno thoroughly showcases the generational and cultural impact of hip-hop music. “I keep it real, esto es lo que representó […] por acá no hablamos sin tener conocimiento” (I keep it real, this is what I represent […] we don’t speak without knowledge here), he freestyles in the nearly 45-second intro, further proving that he lives and breathes the movement.

Home to 13 tracks (with no collaborations), Trueno digs deep into the now-half-century-old genre. The previously released singles “Tranky Funky” and “Ohh Baby,” for example, are backed by potent piano, bass, and drum beats, bringing to life a psychedelic funk-rap fusion à la De La Soul and A Tribe Called Quest. A lot of old-school and nostalgic rap blankets the album, but so does groovy R&B — as heard in “Real Gangsta Love,” about falling in love with a girl from the hood; dancehall and Afrobeats, as heard in “Como Antes”; sensual-yet-futuristic trap in “Night,” a song about feeling lost after a breakup; and hard-edged electronic beats, as heard in “Cuando el Bajo Suena” and “La Nota.”

“With the album, I try to expand a different concept through each track with a musical genre that has been part of hip-hop culture,” the Argentine artist expresses in a press release. “It’s a journey through certain eras, certain decades of hip hop and the genres that emerged from it – that is where the concept was born. I want to offer a little celebration for the people during a time that was perhaps socially and economically critical. Like many of us in Latin America.” — JESSICA ROIZ

Gabito Ballesteros, THE GB (Los CT Records)

Even before dropping an entire project, Mexican singer-songwriter Gabito Ballesteros had already cemented himself as a música mexicana hitmaker with songs like “Lady Gaga,” which he co-wrote, and “AMG.” Now, with THE GB — his first studio album following his breakout 2023 — Ballesteros doubles down on his commitment to keep regional Mexican music’s momentum going. With the swagger that has characterized his music, he kicks off the 22-song set with “Sad Loqueron,” powered by prickly guitars and a wailing trombone.

Ballesteros starts off mellow, with a moody song about heartbreak — which is very much his essence — but he also taps into the faster-paced corridos tumbados that have catapulted himself (and other acts like Natanael Cano and Peso Pluma) to the top of the charts. Both Cano and Peso, two of Ballesteros’ biggest supporters, are, of course, featured artists in the set. The three megastars first team up on the flashy “Lucky Charms,” the second song on the set, which finds Peso, Cano and Ballesteros singing about a lush lifestyle that includes Lambos and Bentleys.

While it’s clear that Ballesteros can do corridos tumbados well, he also shows off his ability to cover classic songs — like Son by Four’s “A Puro Dolor” and Julieta Venegas’ “Me Voy” — and make them his own, in a nod to the music that has influenced his musical palette. Other star collabs include Chino Pacas (“Bichi”), Blessd (“Balenciaga Rose”) and Fuerza Regida (“Sonrisa Colgate”). — GRISELDA FLORES

Kinky, “un x100to” (OCESA Seitrack)

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For over two decades, Kinky has redefined the traditional rock band paradigm with their innovative blend of electronic music and norteño flair. As masters of this unique musical fusion, the Monterrey ensemble recently put their own spin on five beloved regional Mexican songs, including Ed Maverick’s “Fuentes de Ortiz,” Rocío Dúrcal and Juan Gabriel’s “Déjame Vivir” (featuring Majo Aguilar) and Grupo Soñador’s “El Paso del Gigante,” singles that the outfit released earlier this year.

Today, they unveil the final two shots in the barrel with 5 Disparos EP — which includes dynamic reinterpretations of “Nunca Es Suficiente,” by Los Ángeles Azules featuring Natalia Lafourcade, and Bad Bunny & Grupo Frontera’s “un x100to.” The latter transforms from familiar guitar strums and a cumbia rhythm into a brilliant uptempo dance-pop anthem that glitters at night. Few artists can reimagine and elevate a phenomenal song while preserving its original spirit as deftly as Kinky does. — ISABELA RAYGOZA

Rauw Alejandro, “Touching the Sky” (Sony Music Latin)

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In his first solo release of 2024 (after dropping a few collabs), Rauw Alejandro presents a synth-pop banger infused with disco, which marks “a new chapter in his musical career,” according to a press release. Written by Rauw, “Touching the Sky” has everything to become a summer anthem — from feel-good lyrics about the thrill of finding new love and enjoying the moment, such as ​​“I throw myself in a parachute for you/ My heart was gray before, now it’s red… I feel like I’m touching the sky,” to the perfect rhythm for the dance floor, driven by electronic beats and the penetrating voice of the Puerto Rican star. The song comes with a cinematic music video, directed by Martin Seipel, which shows Rauw and a group of dancers taking the streets of New York City. — SIGAL RATNER-ARIAS

Alex Anwandter, Dime Precioso (5AM)

Following his Latin Grammy-nominated El Diablo en el Cuerpo (2023), Alex Anwandter strikes back with Dime Precioso, his sixth studio album — a vibrant synth-pop opus of nine tracks crafted for the dancefloor. More experimental than ever, the album launches with a seductive, hip-thrusting beat cloaked in glimmering effects, setting the stage where Anwandter plays the part of a wayward lost boy. Elsewhere, “Tu Nueva Obsesión” captivates with funky bass lines that dance with iridescent keys, and the spotlight track “Paris, Tal Vez?,” enchants with ethereal musings on the romantic mystique of Parisian nights.

“The title ‘Dime Precioso’ refers to wanting to feel constantly desired in a chaotic and hopeless world,” the Chilean star said in a press release. “And how absurd — funny sometimes but mostly tragic — it is to surrender to this obsession while horrific things are happening right now.” Claiming influences ranging from Burt Bacharach to ‘90s house music, Gil Evans, Brazilian MPB, and Latin American pop, the singer-songwriter and producer continues to stand out as one of today’s most groundbreaking indie artists. — I.R.

Alejandro Fernández & Anitta, “La Tóxica” (UMG Recordings)

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Alejandro Fernandez, known for his iconic ranchera style, has ventured into a unique collaboration: His new album, Te Llevo En La Sangre, not only features the finest of the ranchera tradition, but also includes the Anitta collab “La Tóxica” as its focus track. This marks the Brazilian star’s first incursion into the regional Mexican genre, adding a fresh twist to the album. The norteño soon-to-be anthem celebrates the freedom of being single and the healing process away from toxicity, while the duo playfully unite their voices on the chorus: “I have already freed myself from another, toxic, romantic, intense and insecure,” they sing. — INGRID FAJARDO

Listen to the New Music Latin playlist below:

In an ever-evolving landscape that includes new regional Mexican artists and new styles derived from the decades-old genre, Pepe Aguilar‘s music has stood the test of time.
While impressive, it’s not surprising.

Powered by that regal traditional mariachi sound that has characterized his sound for many years, Aguilar carries ranchera music in his veins — and now, more than ever, he’s a fierce protector of the sound that has not only led him to become one of the most revered regional Mexican artists of his generation, but has built a solid foundation for up-and-coming hitmakers.

“I wanted to make an album that feels real — and since I don’t do the type of music that is trending right now, well I didn’t have restraints,” Aguilar says about Que Llueva Tequila, released on Friday (May 24). “I wasn’t making it for the charts, or to compete with this movement that is happening right now. I guess that’s why it sounds the way it sounds. I have complete freedom, I’m completely calm and doing what I like without any pressure. I did it that way and I hope it sounds that way, too.”

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A gorgeous set that thrives on mariachi and ranchera, Aguilar — who has overall placed nine top 10 titles on Billboard‘s Top Latin Albums chart — stays true to his essence while also fusing his signature sound with country and bachata. The 13-track LP is produced entirely by him but for the songwriting portion, he recruited some of the best in the game, including Edgar Barrera, Pablo Preciado and Enrique “Fato” Guzmán. The latter has penned some of Aguilar’s greatest hits, including “Me Vas a Extrañar,” “Por Mujeres Como Tú” and “Perdóname.”

With Que Llueva Tequila, his first in two years since A La Medida, Aguilar hopes fans “remember that they have all the right to ask for more quality in the music and I hope that they can see that it’s still available and we can do it. I believe in the craftsmanship of music. I still believe in putting your heart into it,” he adds.

In his own words, Aguilar — currently on his Jaripeo Hasta Los Huesos U.S. Tour — breaks down six essential songs from Que Llueva Tequila below.

“Hasta Que Me Duermo”

I love this song very much, and it was the first single for a reason. It’s the one where you can hear the fusion very clearly. I wanted to do that in this album, I wanted to go a step further when it came to fusion, especially in these days when everything is a mix of cultures, languages and generations. This was the perfect song to do that with. Pablo Preciado wrote this one — he actually wrote five songs on the album. He’s someone I made a click with tremendously, musically speaking, and I think he did too.

“Te Confirmo”

This is not your traditional mariachi, it has more of a contemporary language — and I’m not saying bad words or anything like that, but it’s more digestible. It’s less formal and traditional in a way that rancheras used to be written, but still, it’s a very traditional ranchera. And the theme is different. Normally, we’re always suffering because our partner left us and we’re drinking, feeling sad for ourselves — and this song is the opposite. It’s like, “I can confirm that I’m really okay without you. I’m doing great, actually, and I can confirm that you weren’t that special in my life.” The message is cool for a change. And I like the music very much — it’s really catchy.

“Mira Quién Lo Dice”

It’s an Edgar Barrera song and another type of fusion. It has a lot of soul, blues. It’s not the first time I do a sound like this but Edgar’s songs are very special. His songs give you that liberty to do whatever you want to do with them. They have this magic. I wanted a more blues-y, soul vibe and I did it with my band. That’s one thing I want to mention. Everything you hear in this album it was recorded and made with the musicians I’m touring with, arrangements and everything, we did as a team. We didn’t bring star producers or star arrangers to help us make this album. Everything is made in-house. This song is one of my favorites in the album — and not because it’s written by one of the most important songwriters in the past 25 years, but because it’s really pretty cool.

“No Hay Día Que No Esté Nublado”

This song gave me a chance to do something more upbeat. This album leans more towards the romantic side of things. Although it has some hardcore rancheras, it’s more of a romantic album. This one is not downtempo, it’s completely upbeat. I love it and the album needed a song like that. It’s a sad song because of what it’s saying but the song is so upbeat that it gives you a weird effect. It gave me the opportunity to go deeper with harmonies and vocals. It’s also written by Pablo Preciado. Pablo’s songs are tremendously difficult songs to perform. He writes for himself and he has a huge vocal capability. It was a challenge but it was great.

“Que Llueva Tequila”

This one is one of my favorites, because I really love mariachi — not only because my parents introduced me to it, but because I love how it makes me feel. I enjoy mariachi, and it should never disappear. Although I make many songs that are a fusion, there should always be a song that represents traditional mariachi. This song is it. In its majority, it’s a song that has the traditional mariachi structure, thematically and sonically. And these are really fun to sing. “Que Llueva Tequila” is a mariachi song through and through, and I did it that way because I love mariachi, no other reason.

“Cuestión de Tiempo”

Fato, as you know, has a really important place in my career. I can’t imagine my career without him, and he probably can’t imagine his career without me. I have three songs penned by him on this album, and “Cuestión de Tiempo” is one of them. And it happens to be a bachata. It’s such a different song from the rest of the album. For starters, Fato is a poet, he comes up with great metaphors that are just such great ideas. The song is about behaving in life because well … karma.

They lyrics say: “Recuerda donde pasaste porque algún día regresarás a recoger los pedazos de tu alma rota en la oscuridad.” It’s like, “Yeah man, what goes around comes around” — but said in a very beautiful way, in his style. And musically I wanted to give it a twist. I created a crazy sound based on loops that I made in my studio. This bachata rhythm, the percussions and beats I made for it it gives it a sound that’s also pretty new. And that wasn’t the idea, the song just asked for it. I was mixing the song and I was with the engineer and then I started clapping and heard it in my head. I knew we needed something else. I invited a drummer, who is friend of mine, and the song took another direction.