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Dive into the groove-inflected soundscapes of ‘Sin Señal’, the latest offering from rising Argentina-based outfit Bandalos Chinos. Accompanied by a retro music video directed by Tomás Terzano, the track encompasses an ever so relaxing and chilled out atmosphere as those funk-filled guitars and sensational synths carry those equally majestic and dreamy vocals with ease. Check out the fabulous single and video, which follows previous cuts ‘Mi Manera De Ser’ and ‘AYNMG’ here.
Consider yourself introduced to Buenos Aires, Argentia based duo Defensa who team up with Sara Hebe on their infectious new single ‘Carajo’. Accompanied by a powerful music video directed by Joaquín Güiraldes, the track embodies a slick electronic beat which sees the pair’s soft and smooth musings joined by a frenetic and explosive verse courtesy of Hebe. Packed with an energy and ferocity that bursts from the moment you hit play, ‘Carajo’ is one of those tracks that’ll instantly fire you up and get you moving.
Released towards the end of last year, ‘AZULA’, the latest single from Brazillian producer EVEHIVE is a clattery, afrobeat gem. With contributions from JLZ, the frenetic track captures a hypnotic vibe with its punctuated electronics that follows up previously released singles like ‘IVY QUEEN’ and ‘BANLA’.
After the success achieved with her latest album ‘Como el Agua’, which loosely translates to ‘Like the Water’ and marks the emotional liquidity of her creative process Colombian artist Lianna strikes back with the same authenticity, but with much more strength, security and power with her latest single ‘Trabajo Sucio’. Over elaborate beats, the singer showcases her harmonic yet powerful voice as she incorporates metric rhymes over a solid beat penned by El Arkeólogo.
After several unsuccessful attempts by close friends and family, to persuade the members of QSYDF to change their name to something a little easier to pronounce, vocalist Juano tells us in an exclusive interview the story behind those acronyms. The Q and S, on one hand, stand for Juano´s rap project “Quimika Soul”, while D and F stand for “Distrito Funk”, founded by former vocalist Sapo.
Ecuadorian musicians of current renown, were, at some point, part of one of these two projects a decade ago, when they were all just finishing high school. After graduating and moving to different countries to study, the projects dissolved and it was only 10 years later, in 2018, that these childhood friends met in their hometown and decided to merge those acclaimed childhood experiments together.Hence “Quimika Soul y Distrito Funk” (QSYDF) was born with the release of their first record together: ‘Date’.
Lots of energy and humour, intricate rhymes, funky bass slaps and jazzy dyes characterise the band’s sound, nowadays conformed by Ronald, Fercho, Christian and the above mentioned vocalists Juano and Sapo.
The city of Medellin, Colombia does not cease to amaze us for being an incessant talent incubator and linker for all genres. Two of these prodigies, Pablo and Alejandro met in 2007 at university studying music and started making electronic music using a computer, a controller and a guitar. Shortly after, Sara joins in the voices to consolidate a character who likes raw sounds but at the same time is an ally of machines and who’s sound reflects moments of contemplation, noise or can even induce movement of the body; all this accompanied by a female voice that guides the melodic lattices that shape its speech. This character is called Mr. Bleat.
In an exclusive interview, Alejandro comments: “almost always Pablo and I propose a small instrumental passage, a beat, something that has that key moment of the song, and from there Sara begins to provide vocal melodies. Finally we structured the theme and wrote the letter to six hands. We think about a theme and then we build the narration among it”. Their influences beyond being specific musical referents, come from the experiences of each one that, at the moment of expressing them in the form of a song, tends to result in a theme to a certain extent danceable but with a bit of nostalgia or darkness. Mr. Bleat’s latest release, ‘Del Tiempo Perdido’, along with ‘El Buho’, are just the first steps that mark a new path towards what will be a new album. These two singles make part of the sonority that the group reached when creating the album ‘Los Lobos’, a palette of more electronic sounds, synthesizers, rhythm machines and a sensation of dance-able darkness in which we still feel comfortable.
Danny lived his childhood in the USA, where he formed a band, which did not fare badly for his young age. After moving to the small city of Cuenca, Ecuador, at the age of fourteen, a tragedy occurred. Danny’s best friend committed suicide leaving a broken heart and all their undocumented musical projects blank. After a long recovery, Danny learns to record with an old laptop. It is then, at the age of sixteen, when Nockah is born. After recording some homemade demos, Danny meets musicians of similar influences who were attached to the project. Alongside Agustin, Daniel, David and Luis, Danny records his first homemade single, which attracts the attention of their first followers, and classified their sound as spatial indie core. A few days ago, after several months of production and editing, the music video of ‘Seres’ was released, exceeding the expectations of the growing Nockah fan group.
Weste was born after the encounter of two great exponents of the Latin American music scene. On one hand, Clara Truco, Argentine member of Femina, and on the other, Igna Perez, from the neighbouring country of Uruguay, member of Mushi Mushi Orchestra. What began as a simple game involving folkloric instruments of the world with electronic experimentation, ended up consolidating in 2014, after the addition of three musicians from several of the best Latin-American music projects: Gonzalo Garcia from Budha Sound on the bass, Pedro Bulgakov from Diego Frekel and La Cosa Mostra on the drums, and Fermin Echeveste from Morbo and Mambo on the winds.
Weste rounded off 2018 with the release of their latest single titled ‘Razones’, a peak into their third and soon to be released LP. Exploring a more jazzy sound with remnants of hip hop, slow tempo and a light groove which generate a chill atmosphere, where the trumpet appears as the key player, the pair have delivered an absolute gem.
Marlon Morales aka Lil Supa is a Venezuelan rapper/producer who has quickly become one of the greatest exports of Latin American hip hop. After years of groundbreaking releases, collaborations, presentations and tours around the world, Lil Supa embarks on his most ambitious project, an audiovisual album composed of thirteen video clips titled ‘SERIO’. Throughout the record Supa exchanges roles with Lou Fresco, his alter ego, who incarnates the role of the protagonist, director and writer of this masterpiece. Film, photography, design and art direction are some of the creative fields that Morales had to explore to faithfully reflect his thoughts and feelings about his career, travel and experiences in ‘SERIO’.
The child of a French father and a Venezuelan mother, Sophia Helena Fustec Briceño is a collage of cultures. A one-girl-band who composes, writes, sings, plays and produces everything in her home studio, her energetic creations convey common messages of faith and authenticity. Frequently known as La Chica, she affirms that her influences are widespread; when she’s not dedicated to her productions, she listens to sounds ranging from late-era Beatles and Radiohead to Caribbean artists such as Fania All Stars and Rubén Blades. Currently residing in Paris, international tours and concerts have been recurrent since the formation of her project in 2014. Her latest single “Sola” is an ethereal journey, as looped vocals and driving synthesisers build to a powerful electronic crescendo.
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In the Aymara language, “Churupaca” is a giant adaptable, multi-talented insect that can swim, fly, jump and hunt, amongst other skills; thus, the Buenos Aires neo-orchestra found the perfect name for their project. Formed by a diverse group of musicians of various disciplines, Churupaca stand out for their acoustic sentimentality and the romanticism of their lyrics. Together, members Juana, Fefo, Ricardo, Darío, Joaquín and Pablo gave birth to their second record this year, entitled “Antes de Mañana” (“Before Tomorrow” in English). The fifteen-track masterpiece guides us on a journey through countless textures and styles from across Latin America and the world, with folk and soul influences alongside classic elements of the tango, burlesque and waltz. The album’s instrumental exuberance is defined by the dramatic qualities of the wind and string sections, the sumptuous accordion melodies and Juana’s emotive, longing vocals, creating a rich, multi-layered body of work to be savoured.
‘La Niña Quantica’ Julián Mayorga, is a perfect example of the enigmatic Colombian producer’s ingenious, surrealist creations. The “cumbia” begins and a continued mantra that spouts: “A la niña le gusta la física cuántica (the girl likes quantum physics)”; unexpectedly, the lyrics also describe the function of the theory of perturbations in quantum mechanics. With such irreverent themes in his writing, this track from his 3-track EP “Nixon en la Playa” uses tropical elements and Andean folklore alongside progressive electronic experimentation and a somewhat black humor, the most characteristic elements of Mayorga’s sound,
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Almost a decade ago a dub legend, Mad Professor, originally from the tip of South Americas belly, Guyana, joined forces with the Uruguayan Alicia Dal Monte Campuzano known worldwide as Alika to give life to an iconic album in the history of dub: ‘Mad Professor Meets Alika’.
The complex work, entirely produced by Mad Professor, has seven tracks with their respective dub version of each. Alika’s powerful voice contributes direct, clear lyrics in both English and Spanish that speak of respect, dignity, and self-confidence as she rejects the oppression, consumerism and corporate dominance of Western society.
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One of the most talked about bands to appear on Brazil’s indie rock scene, Carne Doce hail from Goiás, a state traditionally famous for country musical acts but that has been breathing new life into the indie rock landscape in recent years with the emergence of bands like Boogarin. Carne Doce were founded 5 years ago by the couple Salma Jô (singer) and Macloys Aquino (guitar), creating an outlet where they could talk about their love and relationship in a frank and straightforward way with a refreshingly naturalistic perspective on sex, love and other drugs. The single ‘Amor Distrai (Durin)’, from the band’s newly released third album ‘Tônus’, is a perfect example of a passionate night between two lovers; a smooth, steady tune with honest lyrics that go straight to the point of the singer’s desires and wishes.
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An ensemble of woodwind instrumentation and beatboxed rhythms distinguish the sound of ‘Sistema’, a four track EP released last year by Eric Mandarina. An experienced musician, actor and all-round entertainer, since 2004 he has been studying self-taught percussion, classical guitar and acoustic drums. His latest proposal is a journey that mixes elements of dub and reggae with analogue house bass and funk-infused drum pulses, as lyrics loaded with mundane questions seek to demonstrate the systematic operations that we oppose.
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Tomás Justo delighted listeners this year with his debut solo album ‘Ronco y Bruxo’. A former member of successful acts Onda Vada and Michael Mike, the composer and vocalist moved away from constant touring life to create his most sincere and romantic work to date. In addition to taking care of the bulk of the composition and production of the album’s 11 songs, Justo also handles most of the instrumentation, playing guitar, bass, synthesisers and a range of analog and digital percussion, resulting in a unique blend of electronic folk and progressive pop.
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Berlin-based, Argentinian producer and feline fanatic Catnapp combines rap, breakbeat, drum and bass and more to create an intense, nostalgic atmosphere. Fat beats are driven by lyrics confessing the deepest childhood memories over huge, compressed pads and synths, resulting in a unique, original sound. ‘No Cover’, her most recent release, is an aggressive two-track EP engendered by feelings of deceit, disappointment and anger. Heavy breaks and broken glasses give ‘No Cover’ an air of invincibility, belligerence and empowerment.
Jojo Maronttinni scored a huge hit last summer with ‘Que tiro foi esse?’, a song with such an infectious chorus that it became a meme, spawning countless parodies and even appearing in some adverts. After this viral success, expectations were high for the singer’s follow up. And Jojo just released ‘Arrasou, Viado’, another pop-funk effort with a memorable hook, with the song’s title referring to LGBTQ congratulatory slang. Since it’s release, the track became an automatic hit and has divided opinions all over the internet. Some have said the artist was exploiting ‘pink money’ to boost her career, while others have praised Maronttinni’s courage to make a mainstream song with a visuals full of celebrities and personalities related to both pop culture and the LGBTQ community. In spite of the controversy, this song is another sure hit from a singer who’s fast becoming one of the biggest names in Brazil’s mainstream pop-funk scene.
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The daughter of a renowned exponent of Argentinian tango, Juana Rosario Molina was raised with classic record collections and guitar lessons. In the mid-70’s, due to military disputes, the Molina family fled the country to go into exile in Paris, where teenage Juana’s musical scope expanded vastly. Nonetheless, when Juana was able to return to her native Argentina, she followed her actor mothers steps by beginning a television career. Her popularity rose exponentially and within three years she already had had her own successful comedy show, airing across Latin America and making her one of the most popular comedians in Argentina. Suddenly, at the peak of her fame, Juana took the hard decision to leave her successful work as an actor in order to pursue a career in music. After multiple releases, in 2017 she delivered her seventh and most solid LP ‘Halo’, which derives its name from one of the most famous folklore myths of Argentina and Uruguay; a halo of “evil light” that floats above the ground where bones were buried. The record evokes the occult in its music as much as in its lyrics. As in previous deliveries, her sound oscillates harmoniously between nature, folklore, humanism and fearless electronic experimentation.
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Celebrating 10 years deep into her music career, Bárbara Eugenia’s fourth album is imminent. Over the last decade the Rio de Janeiro-born singer has explored several musical styles, although always retained a consistent Tropicalia flavor throughout. With such local, nostalgic energy so well established in her music, the artist decided to join forces with Felipe Cordeiro, one of the most prominent names within the new wave of Guitarrada, the genre from the northern state of Pará where guitars and percussion combine to make a sound resembling a mix of Afro-Caribbean Calypso infused with a tropical flavour unique to Brazil’s north. Together the pair created ‘Confusão’, an irresistible tune that invites the listener a hot summer’s night of dirty dancing.