Best of Latin 2023: Under-the-Radar Albums

Valenzuela’s previous outing, 2022’s “Vida Tan Bonita,” was one of the best Latin albums of the decade. Released independently, her new effort uses the anatomy of a breakup as a foundation for her ambitious artistry: sophisticated melodies, knotty keyboard patterns and a trained vocal range that can reach frightening levels of intensity. The anthemic “Continente” reveals the precise proportions of the Chilean singer’s musical recipe: one part pop hit single, two parts art-rock genius.

The music of Los Amigos Invisibles – Venezuela’s ultimate party band, and a Latin rock staple – lost some serious luster after guitarist and principal songwriter José Luis Pardo (‘Cheo’) left the original lineup in 2014. Fortunately, Cheo never stopped releasing intriguing music, and his new album showcases his ability to channel retro genres for the creation of summery new hits. On “Agujas en el pecho,” a duet with Monsieur Periné chanteuse Catalina García, the wordless vocalizing and kinetic salsa piano line evoke an enviable lightness of touch. There’s organic funk (“Esta Canción”), swanky boogaloo (“Boogaloo wassap”) and psychedelic lounge (“Flotando”) in this tropical masterpiece.

A contemporary Brazilian master, singer/songwriter Lucas Santtana allows the spirit of bossa nova and tropicália to flow freely through his music, but his ecologically minded songs are also informed by subtle touches of electronica, chamber-pop and a melodic sensibility that is very much his own. His dazzling cover of “The Fool on the Hill” – a duet with French singer Flore Benguigui – evokes Sergio Mendes’ 1968 version, then quickly turns into a more majestic, fragile affair. Santtana sings a couple of tunes in Spanish and French, but his wide-eyed approach to beauty remains Brazilian to the core.

This live album by one of the most exciting Cuban orchestras of the past decade exudes an air of effortless opulence, with nuggets from the golden era of tropical music like “Almendra” and “El cadete constitucional.” It was the great-great-uncle of bandleader Ethiel Failde who was credited with inventing the majestic dance format known as danzón  – but Ethiel has updated the sound and espoused cutting-edge dynamics. Failde’s reading of the classic Orquesta Aragón hit “El bodeguero” – the female coros are out of this world – is exuberant and transcendent.

Earlier this year, a viral session with infamous Argentine producer Bizarrap confirmed Arcángel  – a 37-year-old veteran of the reggaetón scene – as one of the wittiest rappers in the neo-urbano field. This expansive session reaffirms his spectacular flow, delirious sense of humor and the ability to mix melancholy mini-interludes with raucous party vibes. The nods to música mexicana – collaborations with Grupo Frontera and Peso Pluma – are solid, but Arcángel shines the brightest on the languid darkness of “Antonio Banderas” and the EDM delights of “FP,” a cinematic duet with fellow Puerto Rican star Rauw Alejandro.

The godfather of vallenato-rock comes full circle with an insanely passionate tribute to Colombian songwriter Rafael Escalona (Vives portrayed him in his early days as a leading actor in soap operas) At 62, the singer sounds in full form on this rollicking session that also managed the feat of pulling master accordion player Egidio Cuadrado out of retirement. From the fatalistic “Mala Suerte” to the soulful “La Historia,” “Escalona” is a triumphal confirmation of Vives’ now classic fusion of styles.

Recorded in Paris, the third solo outing by the Mexican rock star shimmers with the same sonic obsessions that inform his work with supergroup Zoé: hazy psychedelia, quirky synth-pop textures and the kind of lush, dreamlike grooves you may find in classic LPs by Pink Floyd or The Cure. A romantic at heart, Larregui also debuts as a producer on “Prismarama,” and it shows. On tracks like the cosmic love song “Amantes” and the wonderfully robotic “Su Majestad La Eternidad,” his voice brims with confidence and joy.

Nenagenix’s debut is the kind of indie record that appears seemingly out of nowhere and steals your heart with the power of its vision. Led by Martina Sampietro – her voice so wounded, yet so powerful – the Buenos Aires group grew up listening to all the right records: grunge, shoegaze, psychedelia, goth-rock. But the Spanish lyrics on the relentless “Pulso” (one of the most compelling opening cuts in recent memory) add South American poetry to the equation. One listen to the dark drama of “Igual” is enough to realize that the future of Latin American rock is in the best of hands.

Much as música mexicana continues to evolve by assimilating elements of hip-hop, urbano and even EDM, there is a touching reverence to the beauty of the roots that reappears from time to time. Born in San Francisco and raised in the Mexican state of Sonora, Adriel Favela made a name for himself with his new-wave corridos. On this album, he enlists a traditional mariachi for a collection that evokes the solemn melodies of golden-era rancheras. The stunning “Ingrato Amor” shows how a healthy reverence for the past can help you step into the future with confidence.

An intangible mood of sadness and warmth permeates the songs by this Argentine group – and the current rock star status they enjoy goes against the very essence of the unassuming music they’ve been creating since 2003. Él Mató’s previous album, 2017’s “La Síntesis O’Konor,” was hailed as a masterpiece, and these new tracks tread on similar emotional territory. One listen to the gorgeous “Medalla de Oro” should be enough to convert the uninitiated.