New Music Latin: Listen to Releases From Feid & Sean Paul, Carla Morrison and More

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.

Feid & Sean Paul, “Niña Bonita” (Universal Music Latin Entertainment)

In a first collaborative effort, Feid and Sean Paul present “Niña Bonita” (pretty girl) produced by Sky Rompiendo. Kicking off with the sound of a cassette player and dreamy guitar riffs, the Colombian artist sings, “Someone like me was not going to fall in love” — setting the tone for ultra-sweet bop. Lacing Feid’s signature romantic reggaetón sound and Sean Paul’s sensual dancehall beats, “Niña Bonita” is an honest letter to that special someone. “Baby girl, if I love you and you love me/for you I’d give my life/Take my hand, only for one night, don’t feel alone anymore,” chants the Jamaican rapper in Spanish. “I want to make memories with you,” he later sings in English. Meanwhile, Feid’s dulcet vocals sing about admiring the special girl’s body and wanting to spend time with her. An official music video featuring both acts accompanies the release. — JESSICA ROIZ

Alejandra Guzmán, “Reynísima” (Alejandra Guzmán)

Mexican rock royal Alejandra Guzmán is back with an attitude-heavy song that kicks off a new era in her career. “Reynísima,” which can be loosely translated to “super queen,” is her first single as a “totally” indie artist, according to a press release. (She’s also managing her own career now.) Leaving behind any trace of pop, Guzmán places all bets on her core sound, punk rock, and delivers hard-hitting lyrics about self-governance. “Nobody can deny my crown will continue to shine,” she declares. “My castle is in shape of a stage. I have everything because I have a star, talent is my flag, reynísima. I am what I am because I give voice to my heart.” The bold track comes after the singer-songwriter’s upcoming joint tour with Mexican pop artist Fey was postponed due to “logistical” issues. — GRISELDA FLORES

Carla Morrison, “Todo Fue Por Amor” (Cosmica Artists)

While preparing to kick off the next leg of her The Renaissance Tour in the U.S., Carla Morrison surprises us with an emotional ballad about the power of love. The single is not only inspired by her own life, but was also written to become the title track for the film With This Light, which honors the life of the late Sister María Rosa Leggol — a remarkable Honduran community leader who, throughout her life, helped more than 87,000 children escape poverty by providing them housing, education and security.

“It was very exciting and inspiring for me when I received the call to work on the song for this film because it is about a woman who made a big difference to thousands of people, thousands of orphaned children to whom she gave all her love and support! She changed so many lives!” Morrison shared on social media. The lyrics take on special meaning knowing this context — and the video, which shows glimpses of the film, builds on this celebration of the healing power of love and how impactful it is to dedicate one’s life to the service of others. — LUISA CALLE

Fonseca & Juan Luis Guerra, “Si Tú Me Quieres” (Sony Music Latin)

Fonseca and Juan Luis Guerra blend the traditional sounds of their respective countries, Colombia and the Dominican Republic, in this romantic and contagious tropical song that speaks of the illusion that love generates and of doing everything for the one you love. “I want to do for you what no one can and be the superhero of your world/ If I could fly to Mars and return, I would do everything if you love me,” Guerra sings, before harmonizing beautifully with Fonseca in the chorus.

Recorded live, “Si Tú Me Quieres” was written by Fonseca, along with Yoel Henríquez and Yadam González, and produced by González and Juanes. Its music video combines images of the singers recording in the studio with others of percussion and drums that were added later. “Sharing this song with maestro Juan Luis Guerra is a dream come true for me,” Fonseca says in a statement. “Hearing his voice on this song is really exciting and it’s a song that in some ways shows the influence his music has had on mine.” — SIGAL RATNER-ARIAS

Carin Leon, “Primera Cita” (Socios Music)

Sonora-born Carin Leon’s new single, “Primera Cita” (First Date), previews his upcoming album Colmillo de Leche. Spotlighting his soul-deep raspy vocals and his ability to convey feelings through his songs and melodies with more traditional Mexican sounds, Leon conveys his passion for R&B and soul. “This song was a surprise for us since it was an experiment for our Tiny Desk recording — we made a little soul and fused it with regional Mexican to create something exciting,” he recently told Billboard. In the track, he wistfully sings, “I saw you, and you looked at me/ At the beginning, it was a joke/ Then the truth comes out we exchange smiles/ Some time passed, just under an hour/ And under the table, your heel touched my boot.” — INGRID FAJARDO

Espectro Caudillo, “4’20’88” (Nacional Records) 

Through his suspenseful yet intense electronic offering, Espectro Caudillo concocts an unsettling cinematic cut to commemorate the assassination of Mexican journalist Hector “El Gato Felix” Miranda 35 years later. The fallen reporter was known for his unflinching coverage of the war on drugs and border trafficking in the ‘80s. With his dark Mexican rave sound, the New York-by-way-of-Tijuana producer explores themes of power and corruption through minimal experimentalism. The single is from his upcoming album, La Liturgia del Tigre Blanco, which narrates the “dark legacy” of Jorge Hank Rohn, a controversial businessman and former mayor of Tijuana. 

“Musically, I drew inspiration from Nortec [Collective] to authentically capture Tijuana’s social and political history,” said the former Los Macuanos producer in a press release. “The Nortec generation came of age alongside the album’s events [in the ‘00s]. The album explores the anxiety of influence, as seen in Jorge Hank’s complex relationship with his father Carlos.” In precisely 4 minutes and 20 seconds, “4’20’88” (also the date of El Gato Felix’s murder) unfurls through crescendo-ing eerie atmospherics, like straight out of a chase scene. It’s an introduction to an album that promises to be an “impactful and thought-provoking exploration of stories shaping Tijuana’s history and identity.” — ISABELA RAYGOZA