
Prezident Markon’s New Singles Round-Up (Laiz & The New Love Experience, Joe Bataan, Mamah Soares, Gia Chamba, Silvana Estrada and more)
28 June, 2025Summer comes but once a year… and thank heavens for that. Quite apart from my prezidential affairs of state, I’ve been so busy trying to keep cool and achieve net-zero houseflies, that I’ve struggled to find time for new singles from the Latin sphere. Nevertheless…
Calle Mambo: “Rumbo el Norte”
You can’t go far wrong with this Chilean outfit. The latest single from their recently released album, Retumba La Tierra, finds them fusing Spanish and Arabic lyrics, and electronic beats and Caribbean rhythms in a song about human resilience. It’s a tribute to the legions of migrants who risk their lives in the search for a better future by crossing the Mediterranean. The routes are long and fraught with danger. Meanwhile, the band’s long European tour continues…
Laiz & The New Love Experience: “Se Segura”
I’m still listening to and enjoying the Brazilian hip-hop artist’s 2024 album, Ela Partiu, on early morning walks with Daphne, my faithful canine assistant. On her latest 7″ single, Laiz pays homage to the sound of ’70’s Brazil and two of her favourite artists, Jorge Ben Jor & Quarteto Em Cy, in a song that’s a play on the latter’s “Salve o Verde”. It’s all about the money. As Laiz explains, “Money is not the root of all evil, but it is accumulating in the hands of humans without morals who seek destruction for profit… The best we can do is to invest in our cultures, hold on to our communities.” I couldn’t put it better in a prezidential manifesto.
Ranil y su Conjunto Tropical/Los Wembler’s de Iquitos: “Sonido Amazónico”
Back in May, our perennial favourites, Vampisoul of Madrid, released as a double A-side a double helping of Amazonian cumbia from these two Peruvian outfits. Los Wembler’s will always have a special place in my heart, not so much for the questionable apostrophe but for their “Lamento Del Yacuruna”, which once served as my radio theme tune. However, I offer you instead this splendid rendition of “Sonido Amazónico” by Ranil y su Conjunto Tropical.
Joe Bataan: “Drug Story”
Talking of perennial favourites, here’s part of this month’s ration from Madrid, the King of Latin Soul’s “lost” “Drug Story”, which Vampisoul have released as a 7″ single in two parts. Fania originally rejected Joe Bataan’s song as a glorification of drug-use, but even a cursory listen should quash that daft notion. It was eventually resurrected in 2022 by Now Again Records and this 12-minute-plus epic is the only version I can find for your edification. Fast-forward to the 4min 45secs mark to go straight to the first part of the single (Vampisoul astutely elected to cut out the rather wordy and turgid introduction).
Mamah Soares: “Banho de Abô feat. Otto”
Maga Bo’s Kaxambu Records was founded “to release new, innovative music coming out of the current Brazilian music scene that is inspired by, structured on and celebrates centuries-old Afro-Brazilian rhythms and culture.” If this single by the musician, percussionist, singer, composer and arranger from Bahia is anything to go by, the label should be a regular contender for space on this site. Soares has been in the business for 25 years or so, during which time he has collaborated with greats like Carlinhos Brown, Lucas Santtana and Margareth Menezes. “This song is a sonic offering,” he suggests. “A call to ancestral memory and to the healing of body and soul.” It’s a deliciously cool and composed mix of contemporary sounds and traditional percussion.
Panteón Rococó: “Parison”
For their latest (rousing) single, the Mexican ska purveyors have teamed up with an eclectic group of collaborators for what the band’s vocalist Dr. Shenka describes as “a musical journey between funk, hip-hop, reggae, disco, norteño and banda music.” There’s a veritable gallery of guests: Música Mexicana star, Carin León, Mexican rappers, Sabino and Lng/SHT, and singer/accordionist, Remmy Venenzuela. Too many guests can sometimes spoil the single, but certainly not in this case.
Gio Chamba: “La Danza de Los Mirlos”
Here’s some very tasty cumbia, courtesy of a duo based in Houston. They put their contemporary electronic spin on a classic by the Peruvian band, Los Mirlos. As they contend, “This cover pulses with hypnotic grooves and swirling guitars that pay homage to the original while injecting it with a bold, modern twist. With its rich textures and driving percussion, the track bridges generations of tropical sound equally at home on the dancefloor or in a cinematic slow-burn.” Put like that, I’d suggest that they don’t need no PR doctor – but I’d better not mention that to Mercedes at Press Junkie. Anyway, it’s damn fine and it’s taken from Gio Chamba’s imminent new album, Psychedelicacy. (Nice title, chaps.)
Junior Delgado: “We A Blood”
This is just one of four 7″ singles released this month by Real Rock Records, a label based in Rome and established in 2013. Real Rock specialise in roots reggae and dub on vinyl for sound systems. The current batch of four represents a selection of talent from the late ’80s and early ’90s, with all four featuring a dub version on the B-side. Here’s a sample of both sides of the Junior Delgado release. The other three are by Little Kirk , Kevin Eastwood and Sista Tahnee.
MONCHMONCH: “Coisa Linda”
For those who keep a place in their heart for punk, here’s a new take on that hallowed genre. It’s one of the so-called focus tracks for a new album by this Brazilian artist, Martemorte – described as “something between a soundtrack for the end of the world and echoes of an interplanetary reality.” It was recorded between Brazil and Portugal, where our Mr. MONCH harbours different versions of his band. The nine tracks are accompanied by a comic book, so it all sounds a little off-the-wall. Like this track, in fact.
Ruby Palomino: “Sonreía”
This Peruvian singer – who won the international version of The Voice, although I’m not sure whether that’s something in her favour – is making a name for blending traditional folk music with rock and modern sounds. This is the first single taken from an album due later this year that pays tribute to the Peruvian composer, Chabuca Granda. It came out towards the end of May, so my apologies on a postcard to Ms. Palomino. In truth, she sings so confidently that I’m sure she doesn’t need our seal of approval in addition to that of Simon Callow and jury.
Silvana Estrada: “Como Un Pájaro”
By almost complete contrast, here’s a single by a young Mexican singer-songwriter, who’s rather more my cup of tea. Pitchfork suggested that the Latin Grammy winner “could control a banquet hall with her voice alone” and I know exactly what they mean. The title translates as “Like a Bird” and there is indeed something delicate and avian about the whole quietly captivating performance. The song apparently explores the solitude and self-reflection that emerged during a time of personal upheaval. It’s rather lovely and I would be happy to wake up to this if it were part of the dawn chorus.
Liniker: “CAJU”
Blimey, I thought for a moment Gary Lineker had found himself a new career. You can’t be too careful in this game; you have to get your facts straight or you lay yourself open to public ridicule. Liniker with an “i” is, according to the Guardian, “the new Brazilian Pop Sensation”. Note the capital letters; not just any old sensation. Well, she did make history as the first trans-woman to win a Latin Grammy for Best MPB album in 2022 for her debut solo outing, Indigo Borboleta Anil. She toured Europe in the first part of June, so flagging up the single now is, I fear, a case of locking the stable door after the horse has bolted.
The Pets: “Hello, I Love You”
Let’s finish up with a final trip to Madrid for another 7″ single from Vampisoul. It’s garage a-go-go from Venezuela, courtesy of The Pets and a version of the Doors’ classic hit that would have put hairs on Jim Morrison’s chest. The A-side is magnifico, too, but don’t ask me to translate its extraordinary title, “El entierro de un hombre rico que murió de hambre”. Both come from The Pets’ sole 1967 album, which was full of covers and nuggets like these.
That’s it for this month. No doubt I’ve missed a few gems somewhere down the line, but I need to get back to work with the fly swat. I haven’t yet given up on net zero. Unlike some of my peers.
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