Release Radar: March 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.

Written by Afterglow Staffers

Here are our favorite albums and singles released by women during March 2024, Women’s History Month. For more reviews of recent releases, check out our album review page!

Images courtesy of Noa Sainz, Gemma Warren, and Sinderlyn

Shiny Singles We Loved This Month:

“Goddess” by Laufey

Coming off a recent Grammy win for Best Traditional Pop Vocal Album, Laufey released “Goddess,” a power ballad with operatic vocals and a beautiful piano riff. With the song slowly crescendoing in volume and rage before its heartbreaking bridge, Laufey paints an impactful yet realistic portrait of being loved as an idea and not as a person. — Valeria Mota

“curita” by Young Miko

Puerto Rico’s favorite up-and-coming trapera puts her heart on a silver platter for her lover with her melodic mid-tempo ballad “curita.” In true sapphic fashion, she seduces a woman who leaves her crooning, “Un besito más y me quedo sin aire” (“One more kiss and I’ll be left breathless”) over a soft dembow beat. — C.S. Harper

“Somebody’s son” by Haley Blais

Released as a bonus track for her album Wisecrack, “Somebody’s son” features a touching acoustic guitar as Blais explores transitioning between families. Haley Blais' emotive performance evokes a profound sense of self-reflection as she recalls experiences she had endured alongside her brother. — Ricardo Lopez

“Run Your Mouth” by The Marías 

The first single off The Marías’ forthcoming album, Submarine, is a playfully sensual and moody track guided by a soulful baseline, dreamy synths, and airy vocals. Its detached lyricism contrasts with the band’s signature psychedelic soundscape, which is at once punchy, delicate, and catchy. — Lyndsey Segura

 “Alter Ego” by Doechii ft. JT

Florida’s queer hip-hop icons follow Beyoncé’s house playbook with a vogueable track. Accompanied by soaring violins and a clubby beat, Doechii and JT embrace their alter egos in this braggadocious single. — C.S. Harper

“AMAMA” by Crumb

Crumb confirms the release of their impending third album with title track, “AMAMA,” which maintains their atmospheric shoegaze sound with a faster pace. The female-led indie-rock band leans into an eerie sound with dissonant instrumentals and vocalist Lila Ramani’s distinct soft, wistful tone. — Charlotte Keene

GLOWING ALBUMS & EPS WE LOVED THIS MONTH:

ISABEL LP by Noa Sainz

Image Courtesy of Warner Music México

Mexican artist Noa Sainz questions her existence and purpose over shimmering Latin beats on her debut album, ISABEL LP. Sainz’s soft vocals allow stellar mixing to shine, creating a space-like atmosphere that perfectly matches the album’s universal themes. Songs like “Aparecer” feature synth progressions and bass lines that make Sainz’s timeless topics feel modern and intriguing, enchanting listeners in the record’s first act. In “Sol,” subtle drum fills heighten the singer’s dread while ironically giving the song an overall sunny disposition. The album’s spoken word interludes and outros give listeners a deeper understanding of Sainz’s existential and astrological crisis, all while letting the groovy and soothing instrumentals play on. The creative way Sainz approaches common questions on her debut album will surely have listeners playing ISABEL LP on repeat, perfect for taking a walk while pondering your place in the universe. — Valeria Mota

Support Noa Sainz on Spotify and Apple Music.

Deep Sage by Gouge Away 

Image courtesy of Deathwish Inc.

Hardcore punk outfit Gouge Away explore a brooding, yet bombastic sound on their third record Deep Sage, equipped with a unique mixture of melancholic resignation in “Dallas” and unfettered aggression in “The Sharpening.” Frontwoman Christina Michelle boasts an impressive vocal range as she balances the melodic with the metallic, appealing to a variety of punk fans. Instrumentally, Deep Sage flexes hardcore punk signatures from forceful percussion to catchy riffs and gritty lyrics. The band’s third record contains self-conscious songs like “Idealized,” in which Michelle’s vocal inflection becomes increasingly exasperated as she chants, “No apology means no apology.” Cathartic, lyrically complex, and unapologetically brash, Deep Sage is a commanding compilation of passionate punk rock. — Lyndsey Segura

Support Gouge Away on Spotify and Apple Music.

ALL STARS by E’FEMME

Image courtesy of E’FEMME

E’FEMME is Spain’s contemporary answer to ’90s and aughties girl groups like Spice Girls and The Pussycat Dolls. The four-piece’s first EP, ALL STARS, released three years after debut single “Intro,” introduces E’FEMME to a growing audience with their sassy take on international pop. Opener “B!TCH U DUMB” feels like the Spanish “Vroom Vroom,” with clubby instrumentals and money-hungry lyrics like “Bitch u dumb / Mucha boca honey / ¿Pero quién genera money?” (“Lots of mouth honey / But who generates money?”). Follow-up track “más” cools things off with its crying-in-the-club feel. Members Sandy, Melania, Bubu, and Lottie sing their hearts out for a love interest, whom they demand to “Dame más” (“Give me more”) with autotuned inflection. Many tracks on the EP seamlessly fuse pop and hip-hop, like the juxtaposition of melodic vocalizations with a bouncy bassline in “Como un ángel.” But the girl group doesn’t just limit themselves to bubbly pop, showcasing reggaetón and Afrobeats influences with rapped verses and syncopated beats in tracks like “BOTA” and “Oye Mami.” Closing track “FACE,” a collaboration with producer eurosanto, sees the quartet further flex their sonic versatility. “Bring my girls / Face so dolly / Body honey,” the members rap confidently over house-infused hyperpop instrumentals. At just about 15 minutes long, E’FEMME’s debut EP gives listeners a taste of the girl group’s bubblegum pop flavor and cements their status as musical “all stars.” — C.S. Harper

Support E’FEMME on Spotify.

It’s Over by TATYANA

TATYANA’s sophomore album It’s Over is the dance-pop project meant for chronically online youth. Gen Z slang drives its immensely catchy tunes, geared towards an easy, enjoyable listen. Despite somewhat uncreative lyricism, the playful synths make it hard not to groove along with the rhythm. She targets her audience perfectly with “Down Bad,” a TikTok-ready track that opens with a scream. Electronic elements dominate TATYANA’s tracks, making her singing feel like a finishing touch except in the final three tracks. Songs like “Leave Me With the Roses” act as a comparatively stripped-back closeout to a mostly upbeat album. “Control,” which features Dave Okumu, lets both singers take control as a satisfyingly cohesive duet. The funky bassline on “Birds of Prey” demonstrates her ability to build depth in the soundscape with nicely layered tracks. Though many of the songs on It’s Over sound a bit too similar, the album succeeds in balancing lo-fi and electronic dance, making it perfect for soundtracking a study sesh or a bedroom dance break. — Charlotte Keene

Support TATYANA on Spotify and Apple Music.