Latin Mafia Drops Debut Album ‘Todos Los Días Todo El Día’ & More Best New Music Latin

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.

Latin Mafia, Todos Los Días Todo El Día (Rimas Entertainment México)

Todos Los Días Todo El Día erupts into a cultural cacophony, sampling Mexico City’s iconic organ grinders along with the ambient hum of urban life on the introductory track, “Siento Que Merezco Más,” instantly rooting their sound with nostalgia and noise. On their debut full-length, Latin Mafia — comprised of siblings Mike (producer), Emilio (singer) and Milton (singer) De La Rosa — excavates its roots while experimenting with indie rock, grunge, and ethereal trip-hop, all meshed with thrilling unpredictability. Whether it’s the skater punk (“Sentado Aquí”), thrash or a plunge into more reflective indie rock (“Pero Me Estoy Acabando”) the album flows from one mood to another.

What stands out is meticulous production that sends listeners on a trip. In its compact collection of eleven tracks, the album distills a spectrum of emotions — pain, joy, hatred, longing. All killer, no filler, it’s an album for those seeking music that’s not just heard but felt. — ISABELA RAYGOZA

Alejandro Sanz, “Palmeras En El Jardín” (Sony Music España)

Sanz has always dug deep into himself in writing those emblematic, often tortured songs. But “Palmeras en El Jardín,” with its reference to specific locations –- Madrid and Havana — and a very specific story, is impossible not to tie directly to him and his personal split. However, as Sanz said in his Q&A during Latin Music Week, the story of two people who love each other but  go in different ways is universal. In Sanz’s pathos-filled voice, it’s also irresistible. “Palmeras” is a slow ballad, set over a muted accompaniment of steady chords over which Sanz’s voice is a plaintive beseech. While the arrangement expands slightly with the song, it’s always clearly just the base for Sanz’s voice to tell the story of how love loses even with the best intentions. — LEILA COBO

Yahritza y Su Esencia, “Y Qué Tal Si Te Escapas del Cielo” (Lumbre Music/Columbia Records)

It was a special moment when Yahritza y Su Esencia performed a teaser of their new single, “Y Qué Tal Si Te Escapas del Cielo,” during their Latin Music Week panel. The sibling trio has now officially released the ultra-emotional song, which they wrote and dedicated to their cousin who passed away. The title, which translates to “what if you escape from heaven,” is already an indication that this song is super personal. Yahritza’s powerful vocals puncture through as Mando plays equally evocative notes on his acoustic guitar. “Escape from heaven, hug me again, I want to know if you hear me and if you can see me,” Yahritza sings with pathos, in her distinctive striking voice. The track also drops just in time for Mexico’s Día de Muertos (Day of the Dead), celebrated Nov. 1-2. — GRISELDA FLORES

Sech, “Toy Perdio” (Rimas Entertainment)

Sech has made a surprising comeback with “TOY PERDIO” — his debut single under Rimas Entertainment, and the first of his forthcoming album Tranki, Todo Pasa, due Nov. 29. Written by the Panamanian artist himself, the track (whose title translates to “I’m Lost) is about a man ghosted by a girl who now wants to get back with him, but it’s too late. But the title also reflects a “crucial moment in my career,” Sech says in a press statement, adding that after intense months of work and a creative silence, he’s back with a “renewed energy and a clearer vision.” Produced by One Rose and Ratifa, “TOY PERDIO” is a bonafide fusion of reggaetón, R&B, dancehall, and Sech’s signature reggae plena that then transitions to a saucy electronic beat.

In the ultra-personal music video, Sech documents his weight loss journey and his time in the recording studio. “This video has recordings from my cell phone in sad moments, happy moments and with many challenges that played an essential part in my transformation process during this time that I was lost,” he says at the beginning of the video. “When things are going the worst for you, you should believe in yourself because ‘Tranki, Todo Pasa’ (Relax, Everything Passes).” — JESSICA ROIZ

Rawayana & Akapellah, “Veneka” (Brocoli Records)

“Veneka,” the new collaboration between Rawayana and Akapellah, celebrates the beauty and strength of the Venezuelan woman, serving as an empowering anthem while also incorporating a fun element that references various cities in Venezuela and iconic aspects of the culture, evoking a sense of nostalgia. The intro includes a special participation of Waldemaro Martínez, an emblematic Venezuelan personality and host, and a distinctive voice of Venezuelan parties and minitecas, followed by fast tempo electronic sounds fused with house music beats circa 2000s. It’s the type of music you’d listen to on your MP3 on repeat back in the day. Rawayana’s signature smooth and cool style shines in this track, which they had to release earlier than planned after a snippet of the song leaked and went viral. “It’s a song that makes you want to shout it out in the club and feel proud to be Venezuelan,” Rawayana’s Beto Montenegro told Billboard Español. — INGRID FAJARDO

Carín León & Gabito Ballesteros, “Ese Vato No Te Queda” (Socios Music)

They are two big stars of Música Mexicana, but in their first collaboration, Carín León and Gabito Ballesteros step out of their comfort zone to offer a pure pop song ready for the dance floor. “Ese Vato No Te Queda,” with an upbeat drums and guitar rhythm that will make your body move, talks about seeing the woman of your dreams with a man who doesn’t deserve her. “That guy doesn’t suit you, he drives you crazy and doesn’t even pay attention to you/ He cheats on you and you don’t realize it, or you act blind just to hurt me,” they take turns singing in the chorus. “This song is proof that two Sonoran artists can achieve incredible things, even in a style that is not ours,” León said in a statement. We couldn’t agree more. — SIGAL RATNER-ARIAS

Alejandro Fernández, “No Me Sé Rajar” (Universal Music Latino)

Fernández has made a career of singing both pop and traditional Mexican music with distinctive, and often innovative flair, choosing repertoire that displays his vocal prowess, and also, collaborating actively with artists of all genres and stripes. But for his upcoming album De Rey a Rey, due out next year, he pays direct homage to his father, the late great Vicente Fernández, in a collection of songs from his most popular repertoire. The first to be released is “No Me Sé Rajar,” a danceable ranchera that was on the soundtrack of the film Juan Charrasqueado y Gabino Barrera (1982). For those used to Vicente’s big, heartbreak songs, this is the opposite: Light, fun, with a bouncy oom-pah beat beneath guitars, trumpets and tuba. Over it, Alejandro’s voice floats and soars, lighter than his dad’s but equally distinctive. Pay attention to the lyrics: for all the joy in the arrangements (thank you Edén Muñoz for the production) this is serious stuff, but Alejandro strikes the perfect balance. — L.Cobo

Manuel Medrano & Leo Rizzi, “Libérame” (Warner Music México)

With “Libérame,” Manuel Medrano and Leo Rizzi transport us to the melancholic essence of pop ballads from the 2000s. As different as water and oil, Medrano’s deep, gravelly voice contrasts with Rizzi’s soft, ethereal tone, capturing the disappointment of a love that is impossible to leave behind. “Set me free, set me free, don’t confuse me with your lips; if you take them away, you hurt me… please liberate me,” they express in the chorus. Medrano and Rizzi manage to offer a piece that will undoubtedly resonate with those who have felt a love that is difficult to let go of. — LUISA CALLE

A.Chal, “LMKK” (Gazi World)

With seductive beats and sultry lyrics, A.CHAL’s “LMKK” masterfully intertwines the nostalgic charm of reggaetón with contemporary alt-R&B. Sampling the iconic “Yo Voy” by Zion & Lenox, featuring Daddy Yankee, the track captures the essence of a Milanese night — elusive and chic. Born from a fleeting encounter and composed in Milan over two restless nights, it resonates with whispered tales of unrequited romance enveloped in the city’s allure. “Yo te tengo all over my mind, and you know, I don’t care if tú no eres mine,” echoes the Peruvian singer-songwer/producer in Spanglish. “LMKK” pulsates with an invitation to dance, feel, and linger just a little longer. — I.R.

Listen to more editors’ Latin recommendations in the playlist below: