The Best Latin Albums of 2023

No one broods quite like Bratty, the Mexican singer-songwriter who pours her feelings over tender arrangements that range from dreamy bedroom soundscapes to angsty punk anthems. On songs like “Nada Que Decir,” Bratty evokes both an earnestness and an innocence as she put words to crushing experiences of heartbreak that often feel indescribable. –J.L.

On .mp3, Emilia channeled the nostalgia of the 2000s in both visually and sonically, turning out a project reminiscent of Kylie Minogue’s era-defining Fever.  Backed by David Guetta-esque piano house beats, Emilia goes all in: She showcases the dominance of Argentina’s female pop leaders on TikTok viral, “La_original.mp3,” which features her fellow Argentine star Tini. She also stretched her rap muscles on “Facts.mp3,” where she declares: “I have everything I want, but I want a lot more.” —T.M.

Five years after their debut album, Puerto Rican psych-rock band Epilogio dropped their sophomore LP. The wait was worth every waking second: Cromo Rx is a pseudo-concept album about a sleeping pill that takes you through different dreamscapes, letting the group experiment with genres and sounds in each track. They blend bolero strums with surf rock riffs on “Los Perros Van Al Cielo” and segue from electric blues to lounge-y funk with “Circuito por Milán” and “Molecular.” The result is a sonic cornucopia that serves up playful, layered lyrics (“No hay efectos secundarios / Según mi médico primario”) that draw listeners back in over and over again. —J.J.A.

El Alfa has always slid easily into genres outside of dembow. His past projects, like El Androide and Sabiduria came packed with unexpected collaborations and forays into trap and hip hop, many of them testament to how much Anglo rappers respect the Dominican titan’s sound. Lately though, he’s been doubling down on the rhythms that have made him a star, and El Rey Del Dembow is an adrenaline-packed return to the throne that brings Peso Pluma, Yovngchimi, and Duki into his orbit. But the surprises are layered in: A Pop Smoke feature, recoded before the rapper’s death, surfaces on “Aqui Ta Smoke.” —J.L.

On Pa Las Baby’s y Belikeada, Fuerza Régida prove that they’re unafraid to step out of their comfort zone. The group mashed their tuba-backed sound with EDM on the Marshmello-assisted track “Harley Quinn” and forayed into reggaeton on “Freaky Freaky.” With the whopping 30-track album, la Régida capped off an incredibly successful run in 2023 that included a massive arena tour that solidified them as leaders of the urbano-Mexicano movement. (Even Shakira trusted JOP with her foray into the genre on “El Jefe.”) – T.M.

“Let the ocean wash away all resentment and loneliness,” chants the Tijuana multi-instrumentalist on the opening track of this luscious mini-epic about rebuilding the self following a complicated relationship. True to her word, Zamora favors Beatle-esque melodies and languid, cosmopolitan arrangements over anger, and the strategy pays off. There are echoes of Gustavo Cerati and Julieta Venegas in the velvety trip-hop of “OPUESTOS” and the psychedelic haze of “OJO DE DIOS.” On “SUBCONSCIENTE,” a song about deserving happiness just because, Zamora hums the wordless chorus like a joyful mantra. —E.L.

Venezuela’s burgeoning hip-hop and alt-R&B scene has been heating up steadily over the last few years, and no one has led the pack more than supergroup Motherflowers. Their sophomore LP Mamá Flor is a testament to the deep talent they hold as they hop from genre to genre with flair, confidence, and personality. The album is an ode to their musical inspirations — neo soul (“BEiBi”), cumbia (“Totona”), dance (“Rayo de Sol”), pop (“La Sentencia”), and more — that also elevates the trio to new heights. —J.J.A.

After Myke Towers made Lyke Mike, an album he said was for the streets, the dexterous Puerto Rican rapper decided to dive into his most mainstream project  yet. The result was a statement LP that cemented his ascent to the big leagues: In La Vida es Una, Myke indulges in all manner of genres far from his typical trap, drill, and rap sounds, and manages to wield them with finesse. His “ULALA (OOH LA LA)” collab with Daddy Yankee, the retired big boss himself, is so catchy, it might even make you wonder if the genre has found its heir. —J.J.A.

After a decade cutting her teeth in the Chilean indie rock scene, Chini.png’s propulsive solo debut El día libre de Polux arrived bathed in shoegaze (“Venenos”), surf-punk (“Cinta Blanca”), and folk (“Yo Misma”). The album ponders Chile’s recent years of socio-political anxiety, straddling sonic light and lyrical darkness, and drawing parallels with the Greek myth of brothers who alternate between Hades and Olympus. —R.V.

When Junior H initially started working on his Sad Boyz 4 Life sequel, he expected to bring his A-list compas on it — Peso, Gabito, Nata — like he has on past projects. But ultimately, he decided not to feature anyone. “I decided that if one person was missing, then nobody was going to be on it,” he told Rolling Stone. The album is better for it: Junior’s melancholic vocals and brutally self-aware lyrics guide the entire project, and they make centerpieces like “Y Llloro” and “Serpiente” shine as the LP’s centerpieces. It’s no wonder Junior is frequently touted as one of the genre’s most exciting new stars. – T.M.

Widely recognized as the current king of Latin trap, Eladio Carrión has leveraged his title to team up with some of the biggest English-speaking rappers, Future, Lil’ Wayne, 50 Cent, and Quavo, just to name a few,. On 3MEN2 KBRN he remixes a handful of his hits from last year — “Mbappé” and “Friends” among them — and also unloads all-new songs. Elsewhere, he launches into  His collaborations with Puerto Rican compatriots like Bad Bunny and Myke Towers that are just as good, and megahits such as “Coco Chanel” and “Si La Calle Llama (Remix)” guarantee he’ll be holding onto his crown for as long as he wants. —J.J.A.

Ni Siquiera Estamos Listos Para Hablar captures the precise moment in which Mexico’s El Shirota reached a whole new extreme: The cacophonous rampage of “Segmentaciones” felt more out of control than any of their previous experiments, the chorus in “Influyente” was catchier than anything they have done, and the emotional heft of “Así No Fue” was weightier than ever. With lyrics dealing with frustration and angst, this radical band zero-in in their best aspects to deliver an expansive yet cohesive album. —M.H.

Quevedo’s deep baritone might seem better suited for dark, nihilistic raps, but the beauty of his debut album Donde Quiero Estar is that it’s shellacked in brightness as the Spanish rapper lays out stories of hope, heartbreak, and longing on the Canary Islands. There’s also an endearing charm to seeing Quevedo honor his heroes: “Yankee,” backed by a sparkling electronic beat, is an ode to Daddy Yankee, while “Dame,” a sweet collaboration with Omar Montes, interpolates a Feid lyric. But the best parts are the scenic beach memories and island nostalgia on songs like “Vista Al Mar.” —J.L.

A fever dream painted in garish primary colors, Laferte’s latest masterpiece opens with a heartbreaker: On the trip-hop bolero “Tenochitlán,” the female body is abused and objectified, but the singer belts out her lyrics like an avenging angel. Autopoiética finds Laferte revisiting many of her favorite obsessions with an unerring eye for irony and rage. There’s the lovely salsa scorcher, “Amantes Suicidas,” while “Pornocracia” spices up its decadent tropical grooves with sweet nothings whispered in Italian. Hypnotic and subversive, the album is never afraid of its own intensity. – E.L.

Breaking with the moody introspection of their pandemic releases, Colombian duo Mitú found joy again on the effervescent techno-champeta musings that make up Astra. Franklin Tejedor’s booming palenquero drums and Julian Salazar’s shimmering synths are dazzling as always, notably on the glitchy “Ilumina” and hypnotic lead single “Nene.” Meanwhile, vocal assists from Loyal Lobos, Yiset Pérez, and Marsh Waris inject the electronic madness with welcome soul. —R.V.

EADDA9223 is a touching reimagining of Fito Páez’s 1992 record, El Amor Después Del Amor, boosted by youthful collaborations and fresh arrangements. Dipping into Latin-rock history, Páez also maps out the future: His classic “La Verónica,” for example, gets a sweeping ballad makeover with singer Nathy Peluso, while a new version of “Sasha, Sissí y El Círculo de Baba” features Chilean musician Mon Laferte and intricate Mexican instrumentation. —J.L.

At a time when it’s become fashionable for Spanish artists to re-envision flamenco traditions, María José Llergo stood out with Ultrabelleza, a stunning, spiritually driven exploration of her roots that hopscotch through R&B and electronic influences as well. Llergo, who was born in Andalusia, honors the sounds she inherited and the generations that came before her, starting the project with a prayer recited by one of her grandparents. Along the way, she finds grace through performing music that runs through her veins: “Aprendí a llorar cantando/Aprendí a cantar llorando,” she sings at one point. —J.L.

Having already become a new standard in Argentinian rock thanks to their stellar discography, Él Mató A Un Policía Motorizado found a brilliant way to create something new on Súper Terror. The album is perhaps their poppiest and most danceable to date, with tracks such as “Un Segundo Plan” and “Diamante Roto” leaning hard on grooves. Even some of the most emotionally charged moments on the album — like “El Universo” and “Medalla De Oro”— were melody-heavy, giving Él Mató impressive dimension. —M.H.

On Sereno De La Noche, up-and-coming Dominican songstress MÓRY dabbles in mysticism and explores the boundless dimensions of the innermost self. She roots a lot of the project in bachata, deconstructing and reimagining the sound on dreamy cuts like “Bala” and Interludio d la Darkchata.” She gives each track a medieval subtitle, adding to an air of divinity to the music. But the bigger achievement is that she makes Sereno De La Noche a gorgeous love letter to the ancestral traditions of her native D.R. —R.A.

Crafted alongside Spanish mad scientists Rusowsky and Drummie of the Rusia IDK collective, Ralphie Choo’s incandescent debut Supernova hybridized flamenco, R&B, and reggaeton in gleeful, often sacrilegious fashion. From the ass-throwing bombast of “Máquina Culona” and “Whipcream,” to the glitchy seductions of “Bulerías de un Caballo Malo,” Supernova will go down as yet another essential entry in Spain’s contemporary avant-pop canon. —R.V.

The 19 year-old sad sierreño wunderkind from Palm Springs cooked up an extraordinary third album filled with intriguing choices and hooky love songs. A duet with maye, “Mi Hogar” is a silky bachata tempered with a dash of bossa languor, while an arena-rock interlude adds gravitas to the orchestral haze of “Zafiro,” with Camila singer Pablo Hurtado. Fans of DannyLux’s música mexicana roots will cherish the gorgeous guitar lines in the Eslabón Armado collaboration “Me Cambiaste.” In an admirable display of sonic mischief, the party ends with “House of Lux,” a congas-heavy EDM anthem that brims with the sweet melancholy of youth. —E.L.

When Rauw announced PLAYA SATURNO, he promised “95 percent perreo and 5 percent something else.” The man delivered. The album isn’t exactly a spinoff of his 2021 project Saturno; instead, it’s a full-fledged LP made to terraform any environment into a rousing nightclub. Across 14 sometimes-rowdy/often-naughty tracks, he channeled his inner satyr and even invited likeminded legends like Ivy Queen and Ñejo & Dálmata to join on songs like “CELEBRANDO” and “NO ME LA MOLESTE,” both which are indebted to 2000s era of reggaeton. The result? An album that sounds like one of the most stellar parties of the year. —J.J.A.

One of Latin music’s most compelling live acts, Colombia’s Monsieur Periné is defined by a peculiar symmetry. The purity in the voice of Catalina García mirrors the duo’s idealized revival of torch song craftsmanship: French chanson, torrid boleros and, on this limpid fourth album, a dash of bossa nova innocence. Subtle electronic loops and Ana Tijoux’s rapping on “Cumbia Valiente” add a touch of modernity – but Periné shines the brightest on the exuberant jazz of “Volverte a Ver.” – E.L.

Singer-songwriter and experimentalist Mabe Fratti has proven to be a master of composition through experimentation. On Vidrio, she strengthens her skills alongside a key like-minded collaborator: Hector Tosta a.k.a i.la católica dazzles on piano and guitar, enabling the two artists to tap into a well of inspiration. These jazzy-tinged compositions retained their off-the-cuff spark while also giving us heartfelt and memorable songs such as “Cielo Falso,” “Hotel Elizabeth,” and “Palacio.” —M.H.

On his kaleidoscopic debut Villa Mella, Dominican rapper Inka puts a loving spotlight on his home and community; a bastion of Black music, spirituality, and suffragist history in a country rife with colorism and social inequality. Thunderous ancestral drumming weaves into synthpop (“Vámono Pa La Ocurida”), dembow (“Palo”), and son (“Guaricano”). All the while, he stitches in  shoutouts to local heroines like the activist Mamá Tingó and folk icon Enerolisa Nuñez, and features production from legendary percussionist Evaristo Moreno. —R.V.

Peso Pluma said it himself this year: Natanael Cano is “the fucking king of música mexicana.” When he was just 17, Cano blazed trails for corridos tumbaos sounds and led the genre’s takeover. This year, he delivered another successful record with Nata Montana, an excellent followup to his trap and corrido-laced NataKong, from 2022. On Nata Montana, Cano shares space with rising stars and scores hits like “AMG” featuring Peso Pluma and Gabito Ballesteros, providing full circle moments that show how far he’s brought the genre. – T.M.

After years spinning in the Berlin club scene, the hopeful house music of Peruvian producer Sofia Kourtesis came into full bloom on her hotly anticipated debut, Madres. Inspired by the anguish of her ailing mother and gratitude over the life-saving treatment she eventually received, Kourtesis unspooled a rollercoaster of emotions over fluttering synths, cascading percussion, and hypnotic bass lines designed for strobing dance floor catharsis. —R.V.

Feid flew up the charts after releasing the uber-successful album Feliz Cumpleaños Ferxxo last year, and in 2023 he opted for even more a challenge. On Mor, No Le Teams a La Oscuridad, the Colombian star pushed himself further, playing with different styles and drawing inspiration from Nineties staples like Are You Afraid of the Dark? The perreo-packed LP is loaded with endless variety: “Bubalu” dabbles in afrobeats with Nigerian star Rema and on “Luces de Tecno” experiments with house. With Mor, Feid proved he’s a master at making dancefloor bangers, regardless of genre. —T.M.

Carin León has long been celebrated for carrying the legacy of old-school regional Mexicano into the 21st century. On Colmillo de Leche, he continues with that mission while effortlessly exploring other genres: He forays into R&B on “Primera Cita” and experiments with tropical-pop sounds on “Vete Yendo,” which features Angela Aguilar. Across the record, what ties these eclectic styles together is the sheer strength of his powerful, soulful voice. —E.L.

At this particular juncture in time, the genre known as urbano is a state of mind — an umbrella term that points at a certain zeitgeist of the heart. In the hands of Puerto Rican singer-songwriter Rafa Pabón, urbanocan be anything he wants it to be: the healing reggae riddim of “Manifestación de Amor,” or the progressive reggaetón sharpness of “Como Agua”; the raw rasp of Spanish diva Buika on the stately “Ay Amor,” or the languid montuno-pop of “Leyenda,” with former Los Van Van sonero Mayito Rivera. Pabón even adds Indian sitar to “Rosa,” a tender merengue for the ages. The scope of his musical galería is boundless. —E.L.

In the wake of a gutting breakup, Chilean pop mogul Francisca Valenzuela channeled her rage and grief into the intimate confessionals on Adentro. Country-rock banger “Jugando Con Fuego” fessed up to lusty, self-destructive behavior and eviscerated uninvited opinions on the matter, while the majestic torch song “Nada Para Ti,” alongside Ximena Sariñana, celebrated the friendships that keep us afloat in times of crisis. —R.V.

Revisiting the Grupo Niche songbook in a symphonic setting could have been a recipe for disaster. Fortunately, current musical director and arranger José Aguirre spent years working with Niche mastermind Jairo Varela before his death in 2012, and assimilated the Colombian orchestra’s fusion of aggressive salsa hooks and refined melodies. From the lush romanticism of “Nuestro Sueño” to the raucous bridge of “Cali Pachanguero,” Sinfónicounderscores the majestic pathos that has always permeated the Grupo Niche canon. —E.L.

In 2023, Latin America psych-rock continued its path as one of the most innovative branches of rock worldwide, and Mexico’s Lorelle Meets The Obsolete, made up of Lorena Quintanilla and Alberto González, remained at the forefront of the movement with their album Datura. The band took their own path to create acid damaged lullabies like “Dínamo” and transdimensional songs like “Ave En Reversa,” giving us in return one of the freshest, mind-warping rock projects of the year. —M.H.

Bad Bunny has said it himself: He wouldn’t be an artist if it weren’t for Arcángel. Once a rookie from Villa Palmeras, Arcángel is now an O.G. with one of the most legendary careers in reggaeton, and his newest album is a clear testament as to why. Nearly 20 years after his debut, Arcángel tackles different genres and fusions, often better than the young guns who idolize him. On “El Palo” he weaves an electro-soul sample, courtesy of Canadian producer Vandelux while on “Plutón,” a dance-tinged bachata melody seamlessly morphs into full-fledged band instrumentations. Meanwhile, his laidback voice never skips a beat. He was, and still remains, the blueprint for many, all while doing what he wants and how he wants to do it. —J.J.A.

A dense wave of hyperactivity informs the rollicking third album by the Argentine trio Usted Señalemelo. Following the release of their breakthrough LP – 2017’s II – the band was slowed down by the pandemic and a couple of solo project detours. They’ve made up for lost time by amalgamating the multiple facets of Argentine rock: the funky swagger of “Las Flores Sangran,” a weakness for icy new-wave synths on “Nuevo Comienzo,” the sacred folk roots of “Melodía del Viento.” A welcome return to action, Tripolar burns like a river of molten lava. —E.L.

Who hurt the boys of Eslabón Armado? Across ultra-relatable, post-breakup songs, Eslabón deliver moody, melancholic lyrics backed by the sounds of requinto and bass on Desvelado. The album served as a followup to the group’s history-making 2022 LP Nostalgia, and furthered their status as música Mexicana trailblazers thanks to their chart-topping collab with Peso Pluma, “Ella Baila Sola,” which landed at No. 1 on Rolling Stone’s list of of songs released in 2023. On Desvelado, the group doubles down on their gift for detail-filled storytelling on tracks like “Vamos Contra el Mundo” and “Mejor Acabar.” – T.M.

Bad Bunny spent most of 2023 saying he was going to take a break after almost two years of album releases and nonstop touring — and then he couldn’t help himself. The prolific Puerto Rican hitmaker surprised fans with Nadie Sabe Lo Que Va a Pasar Mañana, a collection of blustery, shit-talking trap tracks that got his deepest frustrations with fame and fickle fames off his chest. Setting his moody soliloquies to baroque beats and haunting melodies, Bad Bunny channels a weathered Godfather-like figure on songs like “Nadie Sabe” and “Monaco.” But in between, he’s as rambunctious as ever, boasting about money, girls, cars, and the bright side of stardom. —J.L.

The songs on Vida Cotidiana stem from Juanes’ personal post-pandemic crisis — in his case, marital strife and the near dissolution of his family. “Gris” marches forward with an almost desperate sense of urgency, while “Mayo” employs somber orchestral strings to underscore its cautionary sociopolitical commentary. Yet, despite the LP’s tough, personal subject matter, there’s room for joy here too, like the Afrobeats scorcher “Cecilia” and deep funk-pop riffs of “Veneno”  —E.L.

Becky G’s third Spanish-language album, Esquinas, is a gorgeous exploration of what it means to be Mexican American — and how it’s shaped who she is as a pop star and as a person. The music is a little unexpected: Album-opener “2ndo Chance” is a ballad dipped in nostalgic synths that morphs into a brooding acoustic burner with Gen Z heartthrob Ivan Cornejo. What’s most striking here is Becky’s sense of maturity, both lyrically and vocally. Esquinas is anchored in her actual experiences, something that’s going to give voice to so many diaspora kids eager to also embrace their 200 percent heritage.—J.L. 

After the bleak kraut soundscapes of 2018’s Latinoamericana, Chilean pop mastermind Alex Anwandter waltzed exuberantly back onto the dance floor with his banger-stuffed opus, El Diablo En El Cuerpo. Shimmering singles “Mi Vida En Llamas” with Buscabulla, and “Unx De Nosotrxs” alongside Javiera Mena re-embraced the winning combo of incisive lyricism and hedonistic disco, while “Ahora Somos Dos” offered fans a rare glimpse into the auteur’s love life. —R.V.

Riding the electronic wave that started with 2015’s beloved remixes album, Bolivian roots icon Luzmila Carpio continued her fruitful partnership with folktronica label ZZK for the environmentalist hymns of Inti Watana – El Retorno del Sol, produced by Tremor. Cascading percussion and atmospheric synths frame gorgeous lullabies for Mother Earth and cinematic birdsong duets performed in Spanish and indigenous Quechua. —R.V.

As corridos tumbaos connected with a new generation of música Mexicana listeners, Grupo Frontera tapped into the nostalgia of cumbia norteña, filling their album El Comienzo with rich  accordions and tender balladry, led by the bright production of Edgar Barrera. Lyrically, Frontera channels the romanticism of Intocable and Los Bukis on songs like “Cuídala” and “Las Flores,” (which features Yahritza y Su Esencia). But the whole time, they add a modern flair to their message:  “Back in the day, you’d hear songs about writing letters.. Now it’s DMs,” frontman Payo Solis told Rolling Stone earlier this year. “Because of the lyrics, it relates to different generations.” – T.M.

“You failed me/Karma will make you pay,” Argentine singer-songwriter Nicki Nicole warns over a coolly foreboding track on “Se Va 1, Llegan 2.” The 23 year-old singer-rapper’s latest is at once a versatile musical flex and a heroic post-breakup journey. Nicole channels her very real romantic struggles into music that swerves from reggaeton (“qué le pasa conmigo?”) to bolero (“Tuyo”) to EDM (“Caen Las Estrellas”). The sound moves between decades and moods with grace and ease. And moments of rage notwithstanding, this is no pity party. It’s a record about finding resilience and healing in a vivid world of sound. —J.D.

With her clear-eyed bars and supersonic delivery, 18-year-old rapper J Noa turned heads across the industry this year  — she even impressed hip hop trailblazers DMC, Grandmaster Caz, the Funky 4 + 1’s Sha-Rock, and the Fearless Four’s Mighty Mike C by unleashing an unstoppable freestyle in front of them in the Bronx. Her project Autodidacta had the same jaw-dropping effect: The title track, which earned a Latin Grammy nomination this year, is adorned with nothing but a sparse beat. Yet J Noa goes hard and makes her presence known, announcing to the world exactly who she is. —J.L.

Following the unique blend of vampire synthpop and Zapotec poetry of 2019’s Zapandú, Oaxacan siblings Valgur deepened their references with anime theme songs, Eighties sophisti-pop, and Christian prog rock on the confounding epic, Armaggedon. From the disco-tinged attacks on gender normativity of “Máscara de Niña,” to the post-punk incantations of “El Castillo De La Pureza,” Valgur handily delivered one of the year’s most thrilling mindfucks. —R.V.

Puerto Rican singer Gale made a name for herself in Miami writing hooky hits for Christina Aguilera and Selena Gomez. Her debut album aims for a deeper catharsis — a breakup record so candid and vulnerable that it almost feels as if no one had written about such turmoils before. Sonically, Gale limits the expected urbano influence to a faint undertone. Instead, her ruminations on freedom and self-love inhabit a musical comfort zone anchored on hyper-pop choruses, grungy guitars, and oceanic electronica. On delicately crafted gems like “Triste” and “La Mitad,” her voice sounds gorgeous and triumphant. —E.L.

Just in case anyone wanted to reduce Peso Pluma’s back-to-back global hits to luck, the breakout Mexican star released Genesis, a smash album that fully laid out the Peso phenomenon. Knotty, nettlesome 12-string guitars and chugging tubas fill almost every corner of the record, offering an open testament to the musicianship and arrangements at the heart of música Mexicana. And each song lets Pluma plunge deeper into the idiosyncrasies that have made him the movement’s leading ambassador: He lets out his signature, grit-filled rasp on “Lady Gaga” and toasts to the luxuries in life, now that he’s a full-fledged star — with a charting LP that broke música Mexicana records, to boot. —J.L.

Most Latin music these days relies on the Machiavellian planning of addictive hooks, but Dominican producer Diego Raposo finds pleasure in the freshness of spontaneous combustion. The most riveting plot twist of this wonderfully chaotic mini-album is how deeply romantic it is — even with all those blips, digital stutters, and wacky beats. From the confessional, avant-urbano minimalism of “Normal” and the Nirvana meets Plastilina Mosh electro-grunge of “A&R” to the drum and bass with guitars of “Al Contrario,” Raposo mixes ingredients with abandon, like a young chef eager to impress. —E.L.

There were touches of genius in Karol G’s previous mega-hits “Tusa” and “Bichota.” But it was with her dazzling fourth studio album that Karol emerged as an artist in full control of her creative arsenal. Mañana Será Bonito is about overcoming loss that provides healing in real time – from the soothing energy of “Mientras Me Curo Del Cora” to the giddy rediscovery of joy in “Cairo.” There’s also the small miracle of her partnership with producer Ovy on the Drums, whose ornate sonic architecture is designed by instinct, like Zen brushstrokes. But the absolute protagonist here is the disarming vulnerability in Karol’s voice. —E.L.

Data — Tainy’s first album as a solo artist — is an expedition into the deepest contents of the super-producer’s brain. The album snakes through the years Tainy spent as a precocious teenage whiz kid, making beats for the biggest names in Puerto Rico. But it also melts in stories of sci-fi dream girls, pink-haired androids, and tech dystopias, told over unpredictable soundscapes that include Sech wailing over Nineties guitars and Bad Bunny rapping over Eighties synths. Masterfully sequenced and brilliantly built, Data becomes a sharp, crystalline vision of the future that’s only lived in Tainy’s mind up until now. —J.L.

No one broods quite like Bratty, the Mexican singer-songwriter who pours her feelings over tender arrangements that range from dreamy bedroom soundscapes to angsty punk anthems. On songs like “Nada Que Decir,” Bratty evokes both an earnestness and an innocence as she put words to crushing experiences of heartbreak that often feel indescribable. –J.L.

On .mp3, Emilia channeled the nostalgia of the 2000s in both visually and sonically, turning out a project reminiscent of Kylie Minogue’s era-defining Fever.  Backed by David Guetta-esque piano house beats, Emilia goes all in: She showcases the dominance of Argentina’s female pop leaders on TikTok viral, “La_original.mp3,” which features her fellow Argentine star Tini. She also stretched her rap muscles on “Facts.mp3,” where she declares: “I have everything I want, but I want a lot more.” —T.M.

Five years after their debut album, Puerto Rican psych-rock band Epilogio dropped their sophomore LP. The wait was worth every waking second: Cromo Rx is a pseudo-concept album about a sleeping pill that takes you through different dreamscapes, letting the group experiment with genres and sounds in each track. They blend bolero strums with surf rock riffs on “Los Perros Van Al Cielo” and segue from electric blues to lounge-y funk with “Circuito por Milán” and “Molecular.” The result is a sonic cornucopia that serves up playful, layered lyrics (“No hay efectos secundarios / Según mi médico primario”) that draw listeners back in over and over again. —J.J.A.

El Alfa has always slid easily into genres outside of dembow. His past projects, like El Androide and Sabiduria came packed with unexpected collaborations and forays into trap and hip hop, many of them testament to how much Anglo rappers respect the Dominican titan’s sound. Lately though, he’s been doubling down on the rhythms that have made him a star, and El Rey Del Dembow is an adrenaline-packed return to the throne that brings Peso Pluma, Yovngchimi, and Duki into his orbit. But the surprises are layered in: A Pop Smoke feature, recoded before the rapper’s death, surfaces on “Aqui Ta Smoke.” —J.L.

On Pa Las Baby’s y Belikeada, Fuerza Régida prove that they’re unafraid to step out of their comfort zone. The group mashed their tuba-backed sound with EDM on the Marshmello-assisted track “Harley Quinn” and forayed into reggaeton on “Freaky Freaky.” With the whopping 30-track album, la Régida capped off an incredibly successful run in 2023 that included a massive arena tour that solidified them as leaders of the urbano-Mexicano movement. (Even Shakira trusted JOP with her foray into the genre on “El Jefe.”) – T.M.

“Let the ocean wash away all resentment and loneliness,” chants the Tijuana multi-instrumentalist on the opening track of this luscious mini-epic about rebuilding the self following a complicated relationship. True to her word, Zamora favors Beatle-esque melodies and languid, cosmopolitan arrangements over anger, and the strategy pays off. There are echoes of Gustavo Cerati and Julieta Venegas in the velvety trip-hop of “OPUESTOS” and the psychedelic haze of “OJO DE DIOS.” On “SUBCONSCIENTE,” a song about deserving happiness just because, Zamora hums the wordless chorus like a joyful mantra. —E.L.

Venezuela’s burgeoning hip-hop and alt-R&B scene has been heating up steadily over the last few years, and no one has led the pack more than supergroup Motherflowers. Their sophomore LP Mamá Flor is a testament to the deep talent they hold as they hop from genre to genre with flair, confidence, and personality. The album is an ode to their musical inspirations — neo soul (“BEiBi”), cumbia (“Totona”), dance (“Rayo de Sol”), pop (“La Sentencia”), and more — that also elevates the trio to new heights. —J.J.A.

After Myke Towers made Lyke Mike, an album he said was for the streets, the dexterous Puerto Rican rapper decided to dive into his most mainstream project  yet. The result was a statement LP that cemented his ascent to the big leagues: In La Vida es Una, Myke indulges in all manner of genres far from his typical trap, drill, and rap sounds, and manages to wield them with finesse. His “ULALA (OOH LA LA)” collab with Daddy Yankee, the retired big boss himself, is so catchy, it might even make you wonder if the genre has found its heir. —J.J.A.

After a decade cutting her teeth in the Chilean indie rock scene, Chini.png’s propulsive solo debut El día libre de Polux arrived bathed in shoegaze (“Venenos”), surf-punk (“Cinta Blanca”), and folk (“Yo Misma”). The album ponders Chile’s recent years of socio-political anxiety, straddling sonic light and lyrical darkness, and drawing parallels with the Greek myth of brothers who alternate between Hades and Olympus. —R.V.

When Junior H initially started working on his Sad Boyz 4 Life sequel, he expected to bring his A-list compas on it — Peso, Gabito, Nata — like he has on past projects. But ultimately, he decided not to feature anyone. “I decided that if one person was missing, then nobody was going to be on it,” he told Rolling Stone. The album is better for it: Junior’s melancholic vocals and brutally self-aware lyrics guide the entire project, and they make centerpieces like “Y Llloro” and “Serpiente” shine as the LP’s centerpieces. It’s no wonder Junior is frequently touted as one of the genre’s most exciting new stars. – T.M.

Widely recognized as the current king of Latin trap, Eladio Carrión has leveraged his title to team up with some of the biggest English-speaking rappers, Future, Lil’ Wayne, 50 Cent, and Quavo, just to name a few,. On 3MEN2 KBRN he remixes a handful of his hits from last year — “Mbappé” and “Friends” among them — and also unloads all-new songs. Elsewhere, he launches into  His collaborations with Puerto Rican compatriots like Bad Bunny and Myke Towers that are just as good, and megahits such as “Coco Chanel” and “Si La Calle Llama (Remix)” guarantee he’ll be holding onto his crown for as long as he wants. —J.J.A.

Ni Siquiera Estamos Listos Para Hablar captures the precise moment in which Mexico’s El Shirota reached a whole new extreme: The cacophonous rampage of “Segmentaciones” felt more out of control than any of their previous experiments, the chorus in “Influyente” was catchier than anything they have done, and the emotional heft of “Así No Fue” was weightier than ever. With lyrics dealing with frustration and angst, this radical band zero-in in their best aspects to deliver an expansive yet cohesive album. —M.H.

Quevedo’s deep baritone might seem better suited for dark, nihilistic raps, but the beauty of his debut album Donde Quiero Estar is that it’s shellacked in brightness as the Spanish rapper lays out stories of hope, heartbreak, and longing on the Canary Islands. There’s also an endearing charm to seeing Quevedo honor his heroes: “Yankee,” backed by a sparkling electronic beat, is an ode to Daddy Yankee, while “Dame,” a sweet collaboration with Omar Montes, interpolates a Feid lyric. But the best parts are the scenic beach memories and island nostalgia on songs like “Vista Al Mar.” —J.L.

A fever dream painted in garish primary colors, Laferte’s latest masterpiece opens with a heartbreaker: On the trip-hop bolero “Tenochitlán,” the female body is abused and objectified, but the singer belts out her lyrics like an avenging angel. Autopoiética finds Laferte revisiting many of her favorite obsessions with an unerring eye for irony and rage. There’s the lovely salsa scorcher, “Amantes Suicidas,” while “Pornocracia” spices up its decadent tropical grooves with sweet nothings whispered in Italian. Hypnotic and subversive, the album is never afraid of its own intensity. – E.L.

Breaking with the moody introspection of their pandemic releases, Colombian duo Mitú found joy again on the effervescent techno-champeta musings that make up Astra. Franklin Tejedor’s booming palenquero drums and Julian Salazar’s shimmering synths are dazzling as always, notably on the glitchy “Ilumina” and hypnotic lead single “Nene.” Meanwhile, vocal assists from Loyal Lobos, Yiset Pérez, and Marsh Waris inject the electronic madness with welcome soul. —R.V.

EADDA9223 is a touching reimagining of Fito Páez’s 1992 record, El Amor Después Del Amor, boosted by youthful collaborations and fresh arrangements. Dipping into Latin-rock history, Páez also maps out the future: His classic “La Verónica,” for example, gets a sweeping ballad makeover with singer Nathy Peluso, while a new version of “Sasha, Sissí y El Círculo de Baba” features Chilean musician Mon Laferte and intricate Mexican instrumentation. —J.L.

At a time when it’s become fashionable for Spanish artists to re-envision flamenco traditions, María José Llergo stood out with Ultrabelleza, a stunning, spiritually driven exploration of her roots that hopscotch through R&B and electronic influences as well. Llergo, who was born in Andalusia, honors the sounds she inherited and the generations that came before her, starting the project with a prayer recited by one of her grandparents. Along the way, she finds grace through performing music that runs through her veins: “Aprendí a llorar cantando/Aprendí a cantar llorando,” she sings at one point. —J.L.

Having already become a new standard in Argentinian rock thanks to their stellar discography, Él Mató A Un Policía Motorizado found a brilliant way to create something new on Súper Terror. The album is perhaps their poppiest and most danceable to date, with tracks such as “Un Segundo Plan” and “Diamante Roto” leaning hard on grooves. Even some of the most emotionally charged moments on the album — like “El Universo” and “Medalla De Oro”— were melody-heavy, giving Él Mató impressive dimension. —M.H.

On Sereno De La Noche, up-and-coming Dominican songstress MÓRY dabbles in mysticism and explores the boundless dimensions of the innermost self. She roots a lot of the project in bachata, deconstructing and reimagining the sound on dreamy cuts like “Bala” and Interludio d la Darkchata.” She gives each track a medieval subtitle, adding to an air of divinity to the music. But the bigger achievement is that she makes Sereno De La Noche a gorgeous love letter to the ancestral traditions of her native D.R. —R.A.

Crafted alongside Spanish mad scientists Rusowsky and Drummie of the Rusia IDK collective, Ralphie Choo’s incandescent debut Supernova hybridized flamenco, R&B, and reggaeton in gleeful, often sacrilegious fashion. From the ass-throwing bombast of “Máquina Culona” and “Whipcream,” to the glitchy seductions of “Bulerías de un Caballo Malo,” Supernova will go down as yet another essential entry in Spain’s contemporary avant-pop canon. —R.V.

The 19 year-old sad sierreño wunderkind from Palm Springs cooked up an extraordinary third album filled with intriguing choices and hooky love songs. A duet with maye, “Mi Hogar” is a silky bachata tempered with a dash of bossa languor, while an arena-rock interlude adds gravitas to the orchestral haze of “Zafiro,” with Camila singer Pablo Hurtado. Fans of DannyLux’s música mexicana roots will cherish the gorgeous guitar lines in the Eslabón Armado collaboration “Me Cambiaste.” In an admirable display of sonic mischief, the party ends with “House of Lux,” a congas-heavy EDM anthem that brims with the sweet melancholy of youth. —E.L.

When Rauw announced PLAYA SATURNO, he promised “95 percent perreo and 5 percent something else.” The man delivered. The album isn’t exactly a spinoff of his 2021 project Saturno; instead, it’s a full-fledged LP made to terraform any environment into a rousing nightclub. Across 14 sometimes-rowdy/often-naughty tracks, he channeled his inner satyr and even invited likeminded legends like Ivy Queen and Ñejo & Dálmata to join on songs like “CELEBRANDO” and “NO ME LA MOLESTE,” both which are indebted to 2000s era of reggaeton. The result? An album that sounds like one of the most stellar parties of the year. —J.J.A.

One of Latin music’s most compelling live acts, Colombia’s Monsieur Periné is defined by a peculiar symmetry. The purity in the voice of Catalina García mirrors the duo’s idealized revival of torch song craftsmanship: French chanson, torrid boleros and, on this limpid fourth album, a dash of bossa nova innocence. Subtle electronic loops and Ana Tijoux’s rapping on “Cumbia Valiente” add a touch of modernity – but Periné shines the brightest on the exuberant jazz of “Volverte a Ver.” – E.L.

Singer-songwriter and experimentalist Mabe Fratti has proven to be a master of composition through experimentation. On Vidrio, she strengthens her skills alongside a key like-minded collaborator: Hector Tosta a.k.a i.la católica dazzles on piano and guitar, enabling the two artists to tap into a well of inspiration. These jazzy-tinged compositions retained their off-the-cuff spark while also giving us heartfelt and memorable songs such as “Cielo Falso,” “Hotel Elizabeth,” and “Palacio.” —M.H.

On his kaleidoscopic debut Villa Mella, Dominican rapper Inka puts a loving spotlight on his home and community; a bastion of Black music, spirituality, and suffragist history in a country rife with colorism and social inequality. Thunderous ancestral drumming weaves into synthpop (“Vámono Pa La Ocurida”), dembow (“Palo”), and son (“Guaricano”). All the while, he stitches in  shoutouts to local heroines like the activist Mamá Tingó and folk icon Enerolisa Nuñez, and features production from legendary percussionist Evaristo Moreno. —R.V.

Peso Pluma said it himself this year: Natanael Cano is “the fucking king of música mexicana.” When he was just 17, Cano blazed trails for corridos tumbaos sounds and led the genre’s takeover. This year, he delivered another successful record with Nata Montana, an excellent followup to his trap and corrido-laced NataKong, from 2022. On Nata Montana, Cano shares space with rising stars and scores hits like “AMG” featuring Peso Pluma and Gabito Ballesteros, providing full circle moments that show how far he’s brought the genre. – T.M.

After years spinning in the Berlin club scene, the hopeful house music of Peruvian producer Sofia Kourtesis came into full bloom on her hotly anticipated debut, Madres. Inspired by the anguish of her ailing mother and gratitude over the life-saving treatment she eventually received, Kourtesis unspooled a rollercoaster of emotions over fluttering synths, cascading percussion, and hypnotic bass lines designed for strobing dance floor catharsis. —R.V.

Feid flew up the charts after releasing the uber-successful album Feliz Cumpleaños Ferxxo last year, and in 2023 he opted for even more a challenge. On Mor, No Le Teams a La Oscuridad, the Colombian star pushed himself further, playing with different styles and drawing inspiration from Nineties staples like Are You Afraid of the Dark? The perreo-packed LP is loaded with endless variety: “Bubalu” dabbles in afrobeats with Nigerian star Rema and on “Luces de Tecno” experiments with house. With Mor, Feid proved he’s a master at making dancefloor bangers, regardless of genre. —T.M.

Carin León has long been celebrated for carrying the legacy of old-school regional Mexicano into the 21st century. On Colmillo de Leche, he continues with that mission while effortlessly exploring other genres: He forays into R&B on “Primera Cita” and experiments with tropical-pop sounds on “Vete Yendo,” which features Angela Aguilar. Across the record, what ties these eclectic styles together is the sheer strength of his powerful, soulful voice. —E.L.

At this particular juncture in time, the genre known as urbano is a state of mind — an umbrella term that points at a certain zeitgeist of the heart. In the hands of Puerto Rican singer-songwriter Rafa Pabón, urbanocan be anything he wants it to be: the healing reggae riddim of “Manifestación de Amor,” or the progressive reggaetón sharpness of “Como Agua”; the raw rasp of Spanish diva Buika on the stately “Ay Amor,” or the languid montuno-pop of “Leyenda,” with former Los Van Van sonero Mayito Rivera. Pabón even adds Indian sitar to “Rosa,” a tender merengue for the ages. The scope of his musical galería is boundless. —E.L.

In the wake of a gutting breakup, Chilean pop mogul Francisca Valenzuela channeled her rage and grief into the intimate confessionals on Adentro. Country-rock banger “Jugando Con Fuego” fessed up to lusty, self-destructive behavior and eviscerated uninvited opinions on the matter, while the majestic torch song “Nada Para Ti,” alongside Ximena Sariñana, celebrated the friendships that keep us afloat in times of crisis. —R.V.

Revisiting the Grupo Niche songbook in a symphonic setting could have been a recipe for disaster. Fortunately, current musical director and arranger José Aguirre spent years working with Niche mastermind Jairo Varela before his death in 2012, and assimilated the Colombian orchestra’s fusion of aggressive salsa hooks and refined melodies. From the lush romanticism of “Nuestro Sueño” to the raucous bridge of “Cali Pachanguero,” Sinfónicounderscores the majestic pathos that has always permeated the Grupo Niche canon. —E.L.

In 2023, Latin America psych-rock continued its path as one of the most innovative branches of rock worldwide, and Mexico’s Lorelle Meets The Obsolete, made up of Lorena Quintanilla and Alberto González, remained at the forefront of the movement with their album Datura. The band took their own path to create acid damaged lullabies like “Dínamo” and transdimensional songs like “Ave En Reversa,” giving us in return one of the freshest, mind-warping rock projects of the year. —M.H.

Bad Bunny has said it himself: He wouldn’t be an artist if it weren’t for Arcángel. Once a rookie from Villa Palmeras, Arcángel is now an O.G. with one of the most legendary careers in reggaeton, and his newest album is a clear testament as to why. Nearly 20 years after his debut, Arcángel tackles different genres and fusions, often better than the young guns who idolize him. On “El Palo” he weaves an electro-soul sample, courtesy of Canadian producer Vandelux while on “Plutón,” a dance-tinged bachata melody seamlessly morphs into full-fledged band instrumentations. Meanwhile, his laidback voice never skips a beat. He was, and still remains, the blueprint for many, all while doing what he wants and how he wants to do it. —J.J.A.

A dense wave of hyperactivity informs the rollicking third album by the Argentine trio Usted Señalemelo. Following the release of their breakthrough LP – 2017’s II – the band was slowed down by the pandemic and a couple of solo project detours. They’ve made up for lost time by amalgamating the multiple facets of Argentine rock: the funky swagger of “Las Flores Sangran,” a weakness for icy new-wave synths on “Nuevo Comienzo,” the sacred folk roots of “Melodía del Viento.” A welcome return to action, Tripolar burns like a river of molten lava. —E.L.

Who hurt the boys of Eslabón Armado? Across ultra-relatable, post-breakup songs, Eslabón deliver moody, melancholic lyrics backed by the sounds of requinto and bass on Desvelado. The album served as a followup to the group’s history-making 2022 LP Nostalgia, and furthered their status as música Mexicana trailblazers thanks to their chart-topping collab with Peso Pluma, “Ella Baila Sola,” which landed at No. 1 on Rolling Stone’s list of of songs released in 2023. On Desvelado, the group doubles down on their gift for detail-filled storytelling on tracks like “Vamos Contra el Mundo” and “Mejor Acabar.” – T.M.

Bad Bunny spent most of 2023 saying he was going to take a break after almost two years of album releases and nonstop touring — and then he couldn’t help himself. The prolific Puerto Rican hitmaker surprised fans with Nadie Sabe Lo Que Va a Pasar Mañana, a collection of blustery, shit-talking trap tracks that got his deepest frustrations with fame and fickle fames off his chest. Setting his moody soliloquies to baroque beats and haunting melodies, Bad Bunny channels a weathered Godfather-like figure on songs like “Nadie Sabe” and “Monaco.” But in between, he’s as rambunctious as ever, boasting about money, girls, cars, and the bright side of stardom. —J.L.

The songs on Vida Cotidiana stem from Juanes’ personal post-pandemic crisis — in his case, marital strife and the near dissolution of his family. “Gris” marches forward with an almost desperate sense of urgency, while “Mayo” employs somber orchestral strings to underscore its cautionary sociopolitical commentary. Yet, despite the LP’s tough, personal subject matter, there’s room for joy here too, like the Afrobeats scorcher “Cecilia” and deep funk-pop riffs of “Veneno”  —E.L.

Becky G’s third Spanish-language album, Esquinas, is a gorgeous exploration of what it means to be Mexican American — and how it’s shaped who she is as a pop star and as a person. The music is a little unexpected: Album-opener “2ndo Chance” is a ballad dipped in nostalgic synths that morphs into a brooding acoustic burner with Gen Z heartthrob Ivan Cornejo. What’s most striking here is Becky’s sense of maturity, both lyrically and vocally. Esquinas is anchored in her actual experiences, something that’s going to give voice to so many diaspora kids eager to also embrace their 200 percent heritage.—J.L. 

After the bleak kraut soundscapes of 2018’s Latinoamericana, Chilean pop mastermind Alex Anwandter waltzed exuberantly back onto the dance floor with his banger-stuffed opus, El Diablo En El Cuerpo. Shimmering singles “Mi Vida En Llamas” with Buscabulla, and “Unx De Nosotrxs” alongside Javiera Mena re-embraced the winning combo of incisive lyricism and hedonistic disco, while “Ahora Somos Dos” offered fans a rare glimpse into the auteur’s love life. —R.V.

Riding the electronic wave that started with 2015’s beloved remixes album, Bolivian roots icon Luzmila Carpio continued her fruitful partnership with folktronica label ZZK for the environmentalist hymns of Inti Watana – El Retorno del Sol, produced by Tremor. Cascading percussion and atmospheric synths frame gorgeous lullabies for Mother Earth and cinematic birdsong duets performed in Spanish and indigenous Quechua. —R.V.

As corridos tumbaos connected with a new generation of música Mexicana listeners, Grupo Frontera tapped into the nostalgia of cumbia norteña, filling their album El Comienzo with rich  accordions and tender balladry, led by the bright production of Edgar Barrera. Lyrically, Frontera channels the romanticism of Intocable and Los Bukis on songs like “Cuídala” and “Las Flores,” (which features Yahritza y Su Esencia). But the whole time, they add a modern flair to their message:  “Back in the day, you’d hear songs about writing letters.. Now it’s DMs,” frontman Payo Solis told Rolling Stone earlier this year. “Because of the lyrics, it relates to different generations.” – T.M.

“You failed me/Karma will make you pay,” Argentine singer-songwriter Nicki Nicole warns over a coolly foreboding track on “Se Va 1, Llegan 2.” The 23 year-old singer-rapper’s latest is at once a versatile musical flex and a heroic post-breakup journey. Nicole channels her very real romantic struggles into music that swerves from reggaeton (“qué le pasa conmigo?”) to bolero (“Tuyo”) to EDM (“Caen Las Estrellas”). The sound moves between decades and moods with grace and ease. And moments of rage notwithstanding, this is no pity party. It’s a record about finding resilience and healing in a vivid world of sound. —J.D.

With her clear-eyed bars and supersonic delivery, 18-year-old rapper J Noa turned heads across the industry this year  — she even impressed hip hop trailblazers DMC, Grandmaster Caz, the Funky 4 + 1’s Sha-Rock, and the Fearless Four’s Mighty Mike C by unleashing an unstoppable freestyle in front of them in the Bronx. Her project Autodidacta had the same jaw-dropping effect: The title track, which earned a Latin Grammy nomination this year, is adorned with nothing but a sparse beat. Yet J Noa goes hard and makes her presence known, announcing to the world exactly who she is. —J.L.

Following the unique blend of vampire synthpop and Zapotec poetry of 2019’s Zapandú, Oaxacan siblings Valgur deepened their references with anime theme songs, Eighties sophisti-pop, and Christian prog rock on the confounding epic, Armaggedon. From the disco-tinged attacks on gender normativity of “Máscara de Niña,” to the post-punk incantations of “El Castillo De La Pureza,” Valgur handily delivered one of the year’s most thrilling mindfucks. —R.V.

Puerto Rican singer Gale made a name for herself in Miami writing hooky hits for Christina Aguilera and Selena Gomez. Her debut album aims for a deeper catharsis — a breakup record so candid and vulnerable that it almost feels as if no one had written about such turmoils before. Sonically, Gale limits the expected urbano influence to a faint undertone. Instead, her ruminations on freedom and self-love inhabit a musical comfort zone anchored on hyper-pop choruses, grungy guitars, and oceanic electronica. On delicately crafted gems like “Triste” and “La Mitad,” her voice sounds gorgeous and triumphant. —E.L.

Just in case anyone wanted to reduce Peso Pluma’s back-to-back global hits to luck, the breakout Mexican star released Genesis, a smash album that fully laid out the Peso phenomenon. Knotty, nettlesome 12-string guitars and chugging tubas fill almost every corner of the record, offering an open testament to the musicianship and arrangements at the heart of música Mexicana. And each song lets Pluma plunge deeper into the idiosyncrasies that have made him the movement’s leading ambassador: He lets out his signature, grit-filled rasp on “Lady Gaga” and toasts to the luxuries in life, now that he’s a full-fledged star — with a charting LP that broke música Mexicana records, to boot. —J.L.

Most Latin music these days relies on the Machiavellian planning of addictive hooks, but Dominican producer Diego Raposo finds pleasure in the freshness of spontaneous combustion. The most riveting plot twist of this wonderfully chaotic mini-album is how deeply romantic it is — even with all those blips, digital stutters, and wacky beats. From the confessional, avant-urbano minimalism of “Normal” and the Nirvana meets Plastilina Mosh electro-grunge of “A&R” to the drum and bass with guitars of “Al Contrario,” Raposo mixes ingredients with abandon, like a young chef eager to impress. —E.L.

There were touches of genius in Karol G’s previous mega-hits “Tusa” and “Bichota.” But it was with her dazzling fourth studio album that Karol emerged as an artist in full control of her creative arsenal. Mañana Será Bonito is about overcoming loss that provides healing in real time – from the soothing energy of “Mientras Me Curo Del Cora” to the giddy rediscovery of joy in “Cairo.” There’s also the small miracle of her partnership with producer Ovy on the Drums, whose ornate sonic architecture is designed by instinct, like Zen brushstrokes. But the absolute protagonist here is the disarming vulnerability in Karol’s voice. —E.L.

Data — Tainy’s first album as a solo artist — is an expedition into the deepest contents of the super-producer’s brain. The album snakes through the years Tainy spent as a precocious teenage whiz kid, making beats for the biggest names in Puerto Rico. But it also melts in stories of sci-fi dream girls, pink-haired androids, and tech dystopias, told over unpredictable soundscapes that include Sech wailing over Nineties guitars and Bad Bunny rapping over Eighties synths. Masterfully sequenced and brilliantly built, Data becomes a sharp, crystalline vision of the future that’s only lived in Tainy’s mind up until now. —J.L.