Alt.Latino: Xavi, Simon Grossmann, more

Summary

Podcast Summary: All Songs Considered – "Alt.Latino: Xavi, Simon Grossmann, more"

Release Date: August 13, 2025
Host: Ana Maria Ser
Co-Host: Isabela Gomez Sarmiento
NPR's All Songs Considered

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Introduction

In this vibrant episode of All Songs Considered, hosts Ana Maria Ser and Isabela Gomez Sarmiento take the reins from Felix Contreras to dive deep into the world of Latin alternative music. Embracing the summer vibe, the duo explores a curated selection of tracks that promise to be the season's soundtrack. Their engaging chemistry sets the stage for an insightful musical journey, blending personal insights with expert analysis.

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1. Simon Grossmann – "Copa del Mundo" [01:22]

Isabela Gomez Sarmiento kicks off the discussion with Simon Grossmann’s "Copa del Mundo," highlighting its beach anthem feel and metaphorical use of soccer:

“Simone's raspy, raspy voice is one I turn to all the time. I think it shines its brightest in this kind of low key beach anthem.” [01:22]

Ana Maria appreciates the song’s romantic undertones, referencing Venezuelan cultural nuances:

“In Venezuela, that's what we call la via. In English, you would call it Riz... that's the whole thing.” [03:28]

The hosts admire Grossmann's ability to infuse tropical energy even in chaotic settings, making it a perfect summer opener.

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2. Javi Kapo ft. Capo – "Bien Pedos" [04:36]

Ana Maria Ser introduces Javi Kapo’s "Bien Pedos," a dynamic pop banger that showcases Kapo’s impressive vocal range and songwriting prowess:

“Javi has one of the most impressive, dynamic vocals that I hear these days in pop music.” [05:00]

Isabela praises the fusion of Afro beats with traditional música mexicana elements:

“He's a Javi who can really fit into anything... It's really Javi being able to shapeshift into something really, really interesting and distinct for himself.” [07:16]

The track exemplifies contemporary música mexicana with afrobeat influences, positioning Kapo as a versatile artist in the Latin pop scene.

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3. Ana Frango Electrico – "Asoa Diversao" [08:38]

Shifting gears to Brazil, Isabela Gomez Sarmiento presents Ana Frango Electrico’s "Asoa Diversao," an indie pop gem rich with bossa nova influences:

“Their voice always catches me off guard because it's so sugary in a way that rises above the production but doesn't dominate the entire song.” [09:10]

Ana Maria delves into the cultural fusion present in the track, appreciating its blend of Brazilian and South American indie sounds:

“There is such a level of influence that's very obviously bossa heavy and bossa based, but there's borrowing from the Argentine indie scene... it sounds extra unique.” [10:38]

The song’s groovy congas and pocket piano create a dreamy, cloud-like listening experience, marking Ana Frango Electrico as a standout in the Brazilian music landscape.

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4. Leonpei – "Prenden Un Bleep" & "Madruga" [16:05]

Ana Maria Ser shifts focus to Leonpei's evolving artistry with two singles from her upcoming album. She first discusses "Prenden Un Bleep" featuring DJ Piek:

“The combination of them is absolutely incredible... it's a full, perfect way to open the show for me.” [16:18]

In "Madruga," Ana highlights the song’s Mexico City vibe and production excellence:

“Something about these light horns. It's a little bit 80s... very interesting to hear her adopting the styles of these different producers while defining her own voice.” [17:00]

Isabela admires Leonpei’s versatility and her ability to maintain a consistent artistic identity despite diverse collaborations:

“It shows that versatility and also how a vocalist can adapt themselves to their producer style without losing themselves in it.” [19:24]

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5. Marto & Lena Dardelette – "Sverdad" & "Ami De Ti" [20:11]

Isabela Gomez Sarmiento introduces Marto’s "Sverdad," a subdued merengue track that blends electronic elements with traditional rhythms:

“It's like a sexy little after party and a speakeasy... so mesmerizing.” [20:11]

Ana Maria connects the track to broader merengue trends, emphasizing its timeless appeal:

“Merengue never is out of style... Merengue will never die.” [25:19]

To complement, Ana plays Lena Dardelette’s "Ami De Ti," praising its minimalist production and emotional depth:

“You get to the chorus and you almost expect it to go bigger, and then it's really satisfyingly not bigger.” [23:15]

The interplay between Marto and Lena showcases the beauty of restraint in Latin music, allowing vocals and subtle instrumentation to shine.

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6. Stevie Jones – "Solo" & "Noe Nasido Rico" [26:05]

Ana Maria Ser closes the episode with Spanish artist Stevie Jones from Catalunya. She first highlights "Solo," noting his captivating pop sensibilities:

“Every single one of his songs has really, like, a captivating quality to me.” [28:09]

Isabela praises the elegant maximalist production and strong lyricism in "Noe Nasido Rico":

“Very maximalist production, but in a really elegant way... the lyricism is really, really strong.” [30:35]

Ana expresses anticipation for Jones’ forthcoming album, underscoring his unique position in the Spanish indie scene:

“I can't wait for the album. I don't know when it's coming or if it's ever coming, but I hope it's coming.” [30:49]

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Conclusion

Ana Maria Ser and Isabela Gomez Sarmiento wrap up the episode by celebrating their collaborative exploration of Latin alternative music. Their selections not only highlight emerging talents but also underscore the rich, diverse sounds that define the genre today. From Venezuelan beach anthems to Brazilian indie grooves and Spanish pop innovations, the episode serves as a testament to the vibrant landscape of Latin music.

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Notable Quotes:

• Isabela Gomez Sarmiento: “Simon’s raspy, raspy voice is one I turn to all the time. I think it shines its brightest in this kind of low key beach anthem.” [01:22]

• Ana Maria Ser: “Javi has one of the most impressive, dynamic vocals that I hear these days in pop music.” [05:00]

• Ana Maria Ser: “Merengue will never die.” [25:19]

• Ana Maria Ser: “Every single one of his songs has really, like, a captivating quality to me.” [28:09]

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This episode of All Songs Considered not only curates a stellar playlist but also offers insightful commentary on the evolving sounds of Latin music, making it a must-listen for enthusiasts and newcomers alike.

Transcript

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[Ana Maria Ser]

Okay, so it's my favorite part of the summer. Felix has finally gone away on vacation, which means I get to take over and talk about my new music. And of course, once again, I'm bringing on the amazing Isabela Gomez Sarmiento to do it with me. Hey, Isa, thanks for coming today. Hi.

[Isabela Gomez Sarmiento]

I'm thrilled to be here. I'm thrilled to be Felix Contreras today.

[Ana Maria Ser]

I always love a good Felix 2.0 moment, especially when it's you, Issa. I aim to please, and you know I love to stage a Felix coup, so.

[Isabela Gomez Sarmiento]

Well, here we go.

[Ana Maria Ser]

Are you ready to do the honors with me officially?

[Isabela Gomez Sarmiento]

I'm ready.

[Ana Maria Ser]

From NPR Music, this is Alt Latino. I'm Ana Maria Ser.

[Isabela Gomez Sarmiento]

And I'm not Felix Contreras. I'm Isabela Gomez Armiento.

[Ana Maria Ser]

Let the chisme begin. Isaac, you got my assignment. Summer songs. Not all my songs are summer songs, but I would love to hear some of yours. So what do you have for us?

[Isabela Gomez Sarmiento]

Well, I'm a good student.

[Ana Maria Ser]

I know you are.

[Isabela Gomez Sarmiento]

I would never let you down with an assignment. So, to start things off, we're going to a place I think you might know. It's called Puerto Rico.

[Ana Maria Ser]

No, never been.

[Isabela Gomez Sarmiento]

But this is actually a Venezuelan artist. This is the song Copa del Mundo by Simon Grossman. So Simone's raspy, raspy voice is one I turn to all the time. I think it shines its brightest in this kind of low key beach anthem. And I mean, just for context, for people who don't speak Spanish, the whole song is using soccer as a metaphor for bleep, bleep explicit activities, which is just like maybe the most romantic thing a Latin American man can do.

[Ana Maria Ser]

I was gonna say.

[Isabela Gomez Sarmiento]

In Venezuela, that's what we call la via. In English, you would call it Riz. But, yeah, I just. I love the song. You can, like, hear the breeze. It's got a hook that's just a bunch of whistling. I just saw Simon recently with his band playing on the side of the street in New York City. And it was a really, like, electric show. And it was kind of a chaotic setting for it, but I feel like he still was able to sort of bring this tropical centering energy. So that's how I wanted to open the show.

[Ana Maria Ser]

Wow. Issa, thank you for Taking what I said so seriously. This is exactly what I was looking for. Of course, I love how all of these Venezuelan men. Because I said I wasn't going to talk about Danny Ocean's new album today, but I will briefly reference the fact that for all of them, it's like we're on a boat or we're on the sand, and we're haciendo de la mor ful. And that's. That's the whole thing. That's the song.

[Isabela Gomez Sarmiento]

That's kind of the only thing you're taught about romance in Venezuela is like, there's beach, there's kissing, a man is singing to you with a guitar.

[Ana Maria Ser]

Maybe it's not inaccurate. It's not inaccurate. It sounds very Puerto Rican, Tamie. And I think you're exactly right about the production of it, which, again, this is this, like, perfect little marriage of the Caribbean sounds that obviously, you know this. But Rawayana, a lot of them, their work is now happening in Puerto Rico. You know, this is happening repeatedly more and more and more. And I think that, like, the tradition of it makes sense, the current sound of the island and of Venezuela makes sense together. So, you know, I'm obsessed with Simone Grossman, so this was a full, perfect way to open the show for me.

[Isabela Gomez Sarmiento]

That was Copa del Mundo by Simon Grossman. Tell me what you brought. What is your take on Summer right now?

[Ana Maria Ser]

Okay. Bien Pedos is the song I brought. It's a Javi Kapo song, and I cannot wait for you to hear this. Okay. So, I mean, first and foremost, it's a nice pop banger, but there's actually really so much to be said about this song. I mean, one Javi, to me, has one of the most impressive, dynamic vocals that I hear these days in pop music. I mean, he started a musica Mexicana. He actually started. I don't know if you remember this. Issa, his first album, was full covers. Like, it was Canciones Para Mi Mama, and it was literally just Gorrillo's covers. And so I was like, wow, this man, his voice is so. So magnetic. I mean, I say, man, he's like. He was 19, I think, at the time he released that Child. So magnetic, so gorgeous. Which it sounds nothing, right? Like his age at all. Very belly kind of in that sense. But all to say, I was kind of waiting. I was like, I don't know. He has the voice, but can he do the songwriting? His first actual album of all, his own music. Amazing. I return back to it all the time. Great. Straight ahead, Corridos kind of the contemporary musica mexicana sound until now. I mean, this is like a full afrobeats capo moment, but with of all of the accents of the musica mexicana space. Like, you can hear the chachetas, for example, which is like the. The traditional musica mexicana horns. You can hear all of these various kind of like, interspersed little moments, but in a way that really fits in with this kind of explosive Afro beats but pop sound that we're hearing all over right now.

[Isabela Gomez Sarmiento]

Totally. And I will say it's surprising for Capo, too, because I do think, like, he does this afrobeats tropical thing well. And the musica mexicana collab is a little bit unexpected for him, but it really, really works.

[Ana Maria Ser]

I think it's just that Javi and I. I have heard Javi's voice on some reggaeton tracks that have not been released yet, and I think it's just that he can really successfully kind of make any style work around his voice, if that makes sense. So with a couple who didn't deviate that far from what he does, besides adding some of those, like, instrumental accents, like, the core of this song is really Afro beats.

[Isabela Gomez Sarmiento]

Yeah.

[Ana Maria Ser]

It's a Javi who can really fit in to anything. And it reminds me a lot. Issa, I don't know if you ever heard or we talked about the interview Felix and I did with Edgar Barrera, but it reminds me a lot of the way that he described his construction of the Maluma Karin Leon song, where he was like, I took the sounds, I took three elements that sounded like Maluma to me and three elements that sounded like Karin to me. And that's kind of how I built. Like, his style is actually pretty simple around production. That's how I built that sound. This feels like that both of their personalities, their. Their backgrounds, their styles are in this. But again, like I said, it's really Javi being able, I think, to shapeshift into something really, really interesting and distinct for himself.

[Isabela Gomez Sarmiento]

Totally. I'm excited to see what he's got up his sl.

[Ana Maria Ser]

I could listen to that voice all day long. That was bien pedos by Javi and Capo. Okay, Issa, I want another summer banger. Let's hear it.

[Isabela Gomez Sarmiento]

Okay, we're sticking with my South America motif now. We're going to Brazil.

[Ana Maria Ser]

Love a theme. Felix would be proud.

[Isabela Gomez Sarmiento]

Yay. Okay, so this is Ana Frango Electrico, and the song is Asoa Diversao. So that's just like an insanely groovy bossa indie pop. It's got, like, you know, the congas, the drums. There's, like, a little pocket piano action in there. And the thing that really always catches me off guard about Ana, they're one of my favorite artists in the Brazilian scene right now, but their voice always catches me off guard because it's so sugary in a way that, like, rises above the production but doesn't dominate the entire song. Like, it's such a pleasant listening experience. I feel like I'm floating on a cloud anytime I listen to their music. And according to Bandcamp, they've got Marco Zaide on backing vocals, which is a huge freaking flex. And I think maybe the biggest co sign that Ana is part of a really cool new wave of Brazilian artists right now.

[Ana Maria Ser]

Well, and the thing that I love about this Issa is, as we know, Brazil can be pretty insular both in terms of audience language, but really stylistically. And that's just the nature of how they do things. Right. It's like they don't import or export culture. They're very much like, let's keep this contained within our country. We have enough to sustain ourselves. And there's so much about Anna that feels like it. They. They are pulling in from outside. Like, there is clearly a level of influence that's. It's very obviously bossa heavy and bossa based, but there's such a level of influence of what we hear in a lot of, like, the other alternative scenes. Like, I could hear, like, borrowing from some of the Argentine indie scene, like, a little bit of what is around them in South America, which I love. I mean, it's really, like, you don't get to hear that that often, and so when you do, it sounds extra unique. Yeah.

[Isabela Gomez Sarmiento]

It's funny because it is kind of doing, like, Latin funk in a way. And, like, thinking of someone like Cho Pardo, who just released a. An album of Brazilian sort of Latin funk inspired anthems. I think you and Felix talked about that project on the show recently. But also thinking about, like, what Los Amigos Imbicibiles was doing in the 90s. Obviously CHEO was a part of that. And then watching someone like Ana come and sort of embrace both aspects of that and turn it into something new. Like, it's just. It's all referencing itself, but it's not tired. It's just a really fun song.

[Ana Maria Ser]

Everyone's been in their funk era lately.

[Isabela Gomez Sarmiento]

Absolutely.

[Ana Maria Ser]

It's a funky time, and I'm not mad about it.

[Isabela Gomez Sarmiento]

That was a Sua Diversao by Ana Frango Electrico.

[Ana Maria Ser]

Okay. So I think it's time to take a break. I don't have a good segue. That's Felix. But we're gonna take a break and come right back.

[Felix Contreras]

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[Felix Contreras]

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[Ana Maria Ser]

And we're back. Issa. It is, I guess, officially my turn again.

[Isabela Gomez Sarmiento]

All right, what do you got for me?

[Ana Maria Ser]

Okay, so this was me better understanding my own assignment. This is Leonpei's new single. Now. I realized when I listened to her new single that I had actually missed a single that I just now became obsessed with from April. So I'm gonna play that one first. It's called Prenden Un, something that I cannot say on the radio about Nic. Okay, so I am so consistently impressed by how Leonpei keeps growing. She did this song in particular with Piek, who's a Spanish DJ who I super love. He did a song recently, actually, so with Nesquik, which, you know, is my One of my favorite.

[Isabela Gomez Sarmiento]

Oh, my God.

[Ana Maria Ser]

I know. And so obviously the combination of them is absolutely incredible. A lot of people call her Latin pop, R B, which to me, like, is usually just a term they throw out when someone's making cool music. So this is a single off of a new album that's coming in November. I want to play you the one she released just last week. It's called Madruga. That's right, yeah. So what's funny about this song is I heard it and I was like, wow, this just really sounds very Mexico City to me. Like, she's obviously Dominican singer living on the island. She's also actually an actress. And I was like, something about this just sounds very Mexico City to me. Something about these light horns. It's a little bit 80s. It kind of sounds like Nicole Hortz, if you've ever heard her, who lives in Mexico City. And I looked at the production credits, and of course it's Julian Bernal, who is one of the most prolific in the scene right now in Mexico City. He does a lot of production for, like, El Se Elmar, like, these types of artists based there. So very interesting to me to hear her kind of adopting the styles of these different producers that she's working with, but also very much continues to kind of define her own voice. Like, there is a consistency here to how she's presenting her music, what she's doing with her sound, but still keeping it diverse and interesting. And I just. She's one of these ones that I'm just waiting for the moment when it's like, oh, everyone knows who Limpe is.

[Isabela Gomez Sarmiento]

Totally. Well, it's interesting you say that because I feel like the first song, Abanico, I was like, okay, it's giving club. It's giving another club. It's giving Ibiza. And then you explained Spanish dj, but now, like, Madurugai is like, I don't know, it's like a sexy little after party and a speakeasy. It's so sultry and dark, but, like, kind of brimming with energy. I really like it. It does show that versatility and also how a vocalist can sort of adapt themselves to their producer style without losing themselves in it. It is still very much grounded in her sound.

[Ana Maria Ser]

Right. Because that's always. You know, people talk about that a lot, like, oh, an artist who just goes in to work with a producer and then becomes whatever the producer is. But there to me is a very consistent. Like, you can hear what a tastemaker she is in her work and how she Kind of hand picks the right collaborators to make diverse, yet really compelling and really like, there is a stylistic thread here. Even though she's able to do it all. Kind of.

[Isabela Gomez Sarmiento]

Totally. I mean, they're in conversation with each other for sure.

[Ana Maria Ser]

I can't wait for everyone to hear the rest of the album, because I listened to the album and it's really amazing.

[Isabela Gomez Sarmiento]

I'm excited.

[Ana Maria Ser]

That was Prendan, Unbleep, can't say the word Abanico and Madruga by Leiton Pei. Okay, Issa, I'm really excited about your next pick, actually. And also, it is consistent with what we're doing here. So go ahead. What's your last song?

[Isabela Gomez Sarmiento]

It is very consistent. We're sticking with the Doctor. We're staying on the island, as we should. Exactly, exactly. My last song is Sies Verdad by Marto.

[Ana Maria Ser]

I mean, I'm in love. I'm obsessed. Amazing. Amazing.

[Isabela Gomez Sarmiento]

This is a producer singer duo out of the Doctor, like I mentioned, and they haven't even released a debut album yet. They have an EP and a bunch of singles. I discovered them a couple of years ago because they did this electronic cover of the Juan Luis Guerra classic song Amapola that just totally transformed it and gave it new life. And this track in particular, Sias Verda, I feel like it's got, like, a little electro merengue vibe, but it's very subdued. Like, it reminds me of, you know, fan favorite Rosowski and his song Malibu talking about a summer banger, because it has those, like, really sparse but, like, lush harmonies and choruses, and the melody is, like, so energetic but somehow contained at the same time. I just, like, want to live inside those little drops. It just.

[Ana Maria Ser]

It's. It's.

[Isabela Gomez Sarmiento]

I'm completely hooked on this song.

[Ana Maria Ser]

I think subdued Merengue, which is the most hilarious oxymoron ever, is exactly what this sounds like to me. Like, it's. It's exactly the right kind of, like, very subtle, very soft, very simple. They're simple in their style, which is always, to me, what makes it work. Like, they're never shoving it in your face. It's just, like, beautiful lyricism and just a really nice. And thank you. I feel like I almost. I messaged you telepathically because this gave me an excuse to play their single from last year that I still listen to all the time that I'm obsessed with with French Dominican singer Lena Dardelette that I never played. So I'm gonna play it for you today.

[Isabela Gomez Sarmiento]

Take it away, Take it away this.

[Ana Maria Ser]

Is called Ami De Ti. Isn't that lovely? It's. It's still that same, really simple. Like, you get to the chorus and you almost expect it to go bigger, and then it's really satisfyingly not bigger.

[Isabela Gomez Sarmiento]

It almost gets smaller.

[Ana Maria Ser]

Yeah, right.

[Isabela Gomez Sarmiento]

Deconstructing in itself. But then the voice keeps you going. That's amazing.

[Ana Maria Ser]

Exactly, Exactly. It's like you pull back a little bit, you're like. And then it's just the real. And they bring in the shaker there, and it's like. It's exactly what you're describing. With this other song. They do this really light touch. Somehow feels big enough sound. It's amazing. It's. Thank you for taking me to the island, Issa.

[Isabela Gomez Sarmiento]

Oh, my God. Of course. And I will say, on the point of the subdued merengue, like, merengue is. I mean, I'm a merengue head, so I always think it's having a moment.

[Ana Maria Ser]

But I do think merengue never is out of style. I don't care what people say. Felix said to me recently that merengue was, like, so old school, no one cares about it. And I was like, are you kidding me?

[Isabela Gomez Sarmiento]

Well, Felix did not live the Projecto Uno cover that we saw as Tropical do in Central Park. Merengue will never die. So sorry.

[Ana Maria Ser]

Sorry not to slander him while he's gone forever.

[Isabela Gomez Sarmiento]

That was Sverdad by Martox and.

[Ana Maria Ser]

And Amide a Tide Mi by Mortox. Okay, I'm breaking style a little bit. I'm not gonna lie. I made the theme and I'm breaking the theme. But I've been looking for an excuse to bring this artist in, and I haven't yet with Felix because it just didn't feel right. And then when I was like, okay, Issa's coming. Now it's time for me to talk about this.

[Isabela Gomez Sarmiento]

Should I be honored or offended?

[Ana Maria Ser]

I'm gonna leave that up to interpretation. I don't know. So this is a Spanish artist. His name is Stevie Jones. He's from Catalunya, so just outside of Barcelona. And I love that. That specific detail about him because everyone's always talking about the senior Madrid. I mean, including myself. You know, I have my Spanish producer obsession. But a lot of actually, the really interesting sounds that I do hear in Spain are not in Madrid. I know a lot of really cool independent artists who are making different kind of experimental things in Catalunya in a different way. So this guy, I first fell in love with him from this single that he released that I'm gonna play first, and it's called Solo, and so I've been following him ever since. But I want to play you a little bit of.

[Isabela Gomez Sarmiento]

Okay, he's going through it and I'm right there with him.

[Ana Maria Ser]

That's exactly how I feel about it. Every one of his songs is more or less in that. In that vein. He has a couple eps, but it's mostly been singles, and there hasn't really been a full album style project yet. He's been making music since 2021 only. So now I'm gonna play you his most recent single. It's called Noe Nasido Rico. Like I said, Issa always going through it.

[Isabela Gomez Sarmiento]

Oh, my God. Mic drop.

[Ana Maria Ser]

You know, he has some of this really interesting, interesting creativity with his production that is vaguely reminiscent of the Rusiaidique, seeing all these producers in Madrid, you know, renamed Rosowski Ralphie Chu. But to me, he's a little bit closer to. Do you remember that kind of like, rockery style guy, Carlos Ares, that I was playing a lot last year? Yes.

[Isabela Gomez Sarmiento]

He was like Spanish Oasis. I do remember him exactly.

[Ana Maria Ser]

I think he's a little bit closer to that side of things. Or maybe like an Inigo Quintero. Almost like he has the poppy quality. It's like a pop that's not quite pop. And I just. I don't know. Every single one of his songs has really, like, a captivating quality to me.

[Isabela Gomez Sarmiento]

Yeah, very maximalist production, but in a really elegant way. It's not doing too much. I mean, also, I think the lyricism is really, really strong. So it's kind of like, it matches the vibe, it matches the heaviness, but also kind of manages to lift the energy a little bit.

[Ana Maria Ser]

I 100% agree. And I can't wait for the album. I don't know when it's coming or if it's ever coming, but I hope it's coming.

[Isabela Gomez Sarmiento]

Well, we'll wait and find out.

[Ana Maria Ser]

That was no En haci Dorico and solo by Stevie Jos. And that wraps us up. Issa, I think you really, really. You really did exactly what I asked for, which is amazing. Thank you for indulging me.

[Isabela Gomez Sarmiento]

Anytime. Thank you for having me.

[Ana Maria Ser]

You have been listening to Alt Latino. Our producer is Noah Caldwell, and the executive producer of NPR Music is Saraya Muhammad. I'm Ana Maria Sayer.

[Isabela Gomez Sarmiento]

And I'm Isabela Gomez Armiento.

[Ana Maria Ser]

Thanks for listening.

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