Release Radar: October 2024

At the end of each month, Afterglow presents a staff-picked list of new albums and singles that left a lasting impression on our ears. This month is National Hispanic Heritage month, so we’re highlighting new releases from Hispanic artists. 

Written by Afterglow Staffers

Photos courtesy of Timothy Hiatt, Lola Parda, Spotify, and Ana Branco

Here are our favorite albums and singles released by Hispanic artists during October 2024. For more reviews of recent releases, check out our album review page!

Shiny Singles We Loved This Month:

“El Gabacho” by by Código FN, Neton Vega, and Gabito Ballesteros

This corrido melds the musical talent of three recent additions to the traditional Mexican music scene, with sonic influences from Sinaloa, Sonora, and Baja California Sur. The track recounts the lifestyle of El Gabacho, the nephew of the notorious Joaquin “El Chapo” Guzmán. With hallmark lively trumpets, percussion, and impressive acoustic guitar riffs, this collaboration is a classic corrido, sure to make listeners appreciate new additions to the genre, as well as revisit some older corridos. — Valeria Mota

“That Girl” by Kat Luna

American Idol alum Kat Luna’s debut single “That Girl” celebrates the artist’s newfound independence after her recent divorce. Luna’s full-bodied voice, matched with masterful runs and confessional lyricism, makes for an effective heartbreak-turned-moving-on song. Luna has released three versions of the song, each in a different language: English, Spanglish, and Spanish. The track is a classic country ballad from a new artist with a powerful belt and inspiring and liberatingdelivery. — Jencie Tomasek

“Kilig” by BALTHVS

The music does the talking in the latest single by Colombian psych-rock band BALTHVS. A heavy reverb prolongs the track’s soothing and satisfying melodies, and the band’s effortless interplay. Balthazar Aguirre makes the song his playground as his guitar artfully plays upon the melodic theme. . The three-piece band lull listeners in this meditative R&B interlude, mastering the art of restraint.  — Joseph Gonzalez

“GO2WORK” by Yeat
With an anticipated feature from top underground artist Summrs, “GO2WORK” proves that Yeat still has artistic capability after his last project, 2093,  received a mixed reception from critics and fans alike. The lyricism indicates ambition and wealth, as Yeat and Summrs accost their haters over a rage beat. As Yeat progressively masters rage rap by spotlighting lesser-known artists, the captivating stylistic beat selections continue to charm audiences, ushering it into the mainstream.  — Ricardo Lopez

Glowing Albums & EPs We Loved This Month:

¡AHORA! by Biznaga

Image courtesy of BMG

Madrid-based quartet Biznaga has been a fixture of the Spanish pop-punk scene for a decade, but none of their albums have been as explosive as ¡AHORA! (NOW!). The album is an angsty, anti-capitalist protest against modernity with danceable pop-punk instrumentals. Vocalist Álvaro Garcia renounces the current Spanish political climate on “La gran renuncia” (“The great renunciation”) by angrily declaring the desire to live for the sake of living: “La gran renuncia es en realidad / No querer aceptar la posibilidad / De renunciar al estado de malestar / Vivir para vivir no para trabajar” (“The great renunciation is in reality / Not wanting to accept the possibility / Of renouncing to the state of discomfort / Living to live, not to work”). While the album is political at heart, it has undercurrents of melancholy paired with quick-paced rock instrumentals. One of the album’s standout tracks, “El Entusiasmo” , features a catchy guitar riff as Garcia openly declares disillusions about love. “Benzodiazepinas” features distorted guitars that illustrate the groggy side effects of taking antidepressants. Yet, the album’s closing track, “Ocupar el AHORA” (“Occupy the NOW”), still motivates its listeners to remain hopeful in the face of seemingly hopeless circumstances. Building anticipation with a steady drum beat, “Ocupar el AHORA” closes off Biznaga’s pop-punk reflection with this encouragement: “Ocupemos el ahora / El tiempo que nos queda por vivir” (“Let’s occupy the now / The time we have left to live”). ¡AHORA! asserts its presence with versatile drums and guitars, but stays in the listener’s mind as a realistic motivation for living authentically in a world that seems to push against them. — Valeria Mota

Support Biznaga on Spotify and Apple Music.

Dolores by Lola Parda

Image courtesy of Deezer

Dolores Aguirre, better known by her stage name Lola Parda, is an Argentine singer with a fresh and feminine spin on jazz music. With a smooth, sultry voice and poetic lyrics, Parda’s latest album, Dolores, is full of sparkling personality across 11 tracks. While simplistic in song production — often just Parda’s raw vocals, layered melodies, and relaxing piano — the energy behind each word delivery and the fervent-but-steady beat of the drums keeps the listener grounded. With an impromptu saxophone solo, opening track “Como un cuento,” is a pleasant surprise. Translated to “Like a story,” the chanteuse refers to a fairy-tale-like situation that seems nearly too perfect or magical to be true. “Amor Amor” transports listeners to a glamorous and ritzy jazz club, full of cheeky instrumental pauses and the tinkle of bells replicated by airy piano keys, but the musical experimentation doesn’t stop there. The next song, “America,” carries moody, drawn-out lyrics and echoing drums to enhance the drama. Parda croons, “I must confess / There’s no regret / On being crude” with such vigor and vitality that the listener can’t help but cherish America and what it stands for right alongside her. Closing out the album with “Fuegos y volcanes,” Parda showcases her vocal prowess as a medley of instruments rises behind her, and the metaphorical curtains close as the last piano notes fade into the distance. — Jencie Tomasek

Support Lola Parda on Spotify and Apple Music

Pique by Dora Morelenbaum

Image courtesy of Maria Cau Levy

Dora Morelenbaum, the Brazilian singer of Bala Desejo fame, has shot into her solo career with her debut album, Pique. Bursting with pop, jazz-funk, post-bossa nova in the style of MPB (música popular brasileira), this 11-track LP is layered with snappy, blissful beats and slow, groovy wistfulness. Several of her Bala Desejo bandmates join her on the album to provide everything from production to backing vocals, and each track explores a new texture through these rich collaborations. Songs like “Sim, Não,” “Caco,” “VW Blue,” and “Nem Te Procurar” dive headfirst into the jazz atmosphere Morelenbaum has created, with the exclusively instrumental “VW Blue” showcasing a Japanese city pop sound straight out of a Mario Kart race, full of tight drumming, funky basslines, and blippy electronics. One can’t help but dance to “Caco” as piano, whistle, trombone, saxophone, and percussion play while Morelenbaum gleefully sings the foreboding lines, “Andar a pé / E se cortar / Num vidro pelo chão / Até que dói / Mas dói no pé / E o pé fica bem longe do coração” (“Walking on foot / And cutting yourself / From a glass on the floor / It hurts / But it hurts in the foot / And the foot is far from the heart”). Even as Morelenbaum creates these merry soundscapes, intimate tracks like “Essa Confusão,” “A Melhor Saída,” and the titular “Pique,” highlight the artist’s dreamy, low vocals while delivering a devastating narrative. In “A Melhor Saída,” Morelenbaum sings, “Queira me dizer a melhor saída / Tente me falar qual a solução,” (“"Please tell me the best way out / Try to tell me what the solution is") against the backdrop of playful, swinging drums, hammond, bass, and percussion. Pique marks the exciting start of Morelenbaum’s solo career, refreshing Brazilian music genres with a modern perspective. — Julianna Riccioli

Support Dora Morelenbaum on Spotify and Apple Music

Templo del Perro by Don Couto

Image courtesy of Don Couto

Templo del Perro is a futuristic and hypnotic journey, encompassing the past, present, and future of Latin and tropical genres. Mexico City-based DJ Don Couto’s sophomore album, Templo del Perro, is an eclectic mix of disjointed, unique soundscapes. Tubular tones resembling a classical piano piece introduce the opening track, “Claro de Luna.”. The song slowly crescendos, moving from a simple kick drum to a full-on house beat, all while keeping the melodic theme of the tubular bells. The following track, “Piedras del Sol,” is the first of four collaborations on the album. It features the confident vocals of Mexican singer Pahua, backed by an electronic beat and folk-based flute melody. Eva de Marce colors “Qué He Sacado Con Quererte” (“What I Have Gained by Loving You”) with her intoxicating voice, combined with a menacing bassline and syncopated synth notes, to emanate a strong sensuality. Templo del Perro is punctuated by “Alberca,” a song with a catchy hook reminiscent of a top 40 hit. The Afro-Colombian singer Nidia Gongora sings and raps atop the catchy and fast-paced Latin beat, bringing another level of danceability not yet seen on the album. Lastly, “Arena Y Mar” sends the album off on a high note. A dreamlike, uncredited voice sings to a beat that shifts in and out of rhythm. Eventually, the voice fades out, leaving a residue of distortion from the final note, which lasts for over 40 seconds until fading out. Templo de Perro is a dynamic showcase of the range and influences of Don Couto. It’s a promising entry from an artist who holds a unique space within the Mexican music scene.  — Joseph Gonzalez
Support Don Couto on Spotify and Apple Music

Glimmer of God by Jean Dawson

Image courtesy of P+

Through an intricate approach to experiential music, Jean Dawson’s striking style resonates in Glimmer of God. The album blends pop, rock, hip-hop, and Americana elements as Dawson fluidly claws his way to mainstream stardom. With an ostentatious opening on electric guitar, followed by an abrupt fade into a drum groove, “Darlin’” sees  the singer urgently yearn for his sweetheart, posing red flag-raising questions while he expresses his affection through multiple death threats. Transitioning to a new stylistic choice on the album compared to his previous projects, Dawson effortlessly slides through the lead single “Houston,” a synth-pop track that feels like the end credits to a coming-of-age movie. Featuring spiritual lyricism combined with warm, euphoric, and intricate arrangements, he jubilantly sings, “Ima lose my soul tonight / Only for the moment right I / Sink into the lonely night.” With fluidity in mind, each track highlights a distinctive approach to experimental genre-bending, with no clear overarching category. The influence of substances bleeds throughout the album, as “Slow Heavy Ecstasy” evokes inebriated senses with punchy 808s gliding through the track, alongside bittersweet lyricism as the experimental mainstay raps, “There’s no different type of high / Running for your life.” Clocking in at 42 minutes, Glimmer of God charms its audience with thought-provoking commentary and thematic approaches of love, dependency, and melancholy, proving that Jean Dawson is far from finished in his elusive discography. — Ricardo Lopez

Support Jean Dawson on Spotify and Apple Music