Maifersoni - "Partners" / "Las flores más hermosas se marchitan"

Plot twist: Enrique Elgueta aka Maifersoni's Telar Deslizante doesn't go down as another unsung Iberoamerican masterpiece and instead finds new life amidst news of Elgueta's upcoming follow-up to his 2010 debut.

We last heard from Maifersoni by way of a Michita Rex compilation. The chaotic "Andina" had an immensity that spilled over and made us cry as many times as it left us in awe. There's a markedly different approach to Elgueta's two latest tracks, "Partners" and "Las flores más hermosas se marchitan" (released jointly on Quemasucabeza) but it's one that feels like the most natural kind of progression. Going by history, it's one we've seen before once shoegaze became stifled by its own listless nature and began to indulge in the exotic qualities of dance music.

A-side "Partners" benefits the most from this fresh pop compound. Maifersoni sounds at home channeling rhythm and flute grooves into the perfect pastel rave or future twee entry, the kind James Brooks (Elite Gymnastics) promised us through his Default Genders project. "Las flores más hermosas se marchitan" takes a more wistful approach but is equally touching. Both songs signal an exciting direction for Maifersoni and one we can't wait to see fully flourish.

Planta Carnívora & Diego Adrián - "Playa Salvaje"

New tropicalesque singles from Astro, Bomba Estereo, and now Planta Carnívora & Diego Adrián are the first signs that we're very close to welcoming the summer. The latter is specially exciting for how intoxicatingly cool it manages to be. While most bloggers took "Maracanaso" as a plain novelty piece for the world cup fervor and the RSS feeds, we applauded the song's proposal of something Andrew Casillas called, "alternative reggaeton." For their new collaboration, Planta Carnivora and Diego Adrian keep it risky and very, very weird. "Playa Salvaje" boldens the casio keys and triples the use of the reggaeton beat to steady results. Planta's delivery of the verses is strong and often hillarious, while Diego's near-broken pitch is almost too obtrusive for its own good. Nothing should work here, and yet everything DOES. In a year where too many singles have lacked a definitive chorus, it's refreshing to hear a piece that doesn't stop at the bridge and actually goes for the kill. Download the MP3 of the track via Soundcloud.

Video: Ibiza Pareo - "Arido Espejismo"

Argentinean newcomers Ibiza Pareo make music sustained by tone: songs with their own pace, helmed by minimalist resources and a deadpan delivery that's anything than instantly gratifying. Marina La Grasta and Ani Castoldi seem to lack interest for the zeitgeist, and yet somehow their first single "Arido Espejismo" touches the same heart strings that make acts like Linda Mirada and MKRNI so relevant to our generation. In fact, we could easily compare the duo's music to revivalists like Los Wendys and Afrodita, subtracting the cultural appropriation of course. Featuring the best use of spaghetti western chords in any indie song since Víctor Hugo's "Así es como se arruina un verano," Ibiza Pareo's single transports us to the steamy and cleansing revelations of the dessert -just like in its video. The lack of a real definitive vocal chorus will alienate more than a few, but reward any chords lovers out there.

Fuete Billete - "Buena Vida"

We still raise an eyebrow whenever the guys from Fuete Billete refer to their masterful debut, Música de Capsulón, as a "mixtape." But when you think about it, the boricuas are just being romantic by excercising the traditional way to release urban music. It is, perhaps, a clever choice to position themselves as underdogs first. Still, no critic out there would dare to reduce something as brilliant as unofficial. The group is catching up to momentum, releasing a new single of what they're choosing to call their debut album. "Buena Vida" is the first cut unveiled from the forthcoming Papelón City (out via Mexico's NAAFI). Beneath the cathedral beats and the ample template, "Buena Vida" embraces the candor of a relative fame they've acquired and the better life they're chasing after. "Al billete 'tamo adictos," they confess, keeping their discourse as non-subersive and raw as in Capsulón. While it's missing the crescendos and catchiness of "La Trilla" (the best song of 2013), Fuete pushes other buttons to re-purpose their own welfare to afford a good ilfe. A button like throwing a "chinga tu madre" in the song -a gesture of appreciation toward their most commercially-viable audience: Mexico.

Gepe - "Hambre" (feat. Wendy Sulca)

Fellow fonograma critic Pierre Lestruhaut refers to "En la naturaleza (4-3-2-1)" as the best song of the decade thus far. The more I think about it, the closer I come to agree with him (there's another chilean song to beat in my opinion). Truth is, Gepe never ceases to surprise us, and for his latest single he has recruited noneother than peruvian sensation Wendy Sulca (whose rendition of "Wrecking ball" was a truly pleasing surprise). While the unlikeliness of such collaboration worried us a little (kitsch and exploitation run on a very fine line), we trusted Gepe's and producer Cristian Heyne's sensebilities to resolve the song putting musical virtue in front of novelty. And they sure have done it.

Like all of Gepe's first singles, "Hambre" is grand and more than the sum of its parts. Bold percussions, syncopated horns, hip-hop flirtations, and the catchiness of the andino music that glues it all together are part of a narrative that keeps unveiling its charm from beginning to end. Whether some will appreciate its function as plain escapism, we should look into its the deeper romanticism: our insatisfiable hunger for leisure, partying, and our constant search to fulfill emotional/sexual deficit. Gepe's fifth album should see the commercial light by the summer.