The Best New Artists of 2013 (So Far)

Album: Aesthetics EP

Release Date: June 17

Sounds Like: King Krule

With only three original songs available online, Manchester's Bipolar Sunshine has already proven himself a promising talent as a vocalist and a songwriter cleverly attuned to his emotions and those of others. It's hard to choose a favorite from his Aesthetics EP, which contains the three songs he's released to the public thus far, "Fire," "Rivers," and "Blossom." The first—our introduction to Bipolar—is a gorgeous, reverb-soaked tale of love, loss, and chase. "Rivers" is anthemic and driving, as if someone stuck a little Bloc Party in Bipolar's morning coffee. "Blossom" moves away from both "Fire" and "Rivers," brooding and building on top of ominous instrumentation before breaking into its chorus, a pretty, melancholy relief. His delicate voice and often sweet tone are rare gifts for a singer/songwriter with such stylistic range, hopefully to be put to great use on future releases.—Jon Tanners

Album: Tennis Court EP

Release Date: June 10

Sounds Like: Lily Allen, Kate Nash, Regina Spektor with a hip-hop influence

The rise of 16-year-old Ella Yelich-O'Connor is a fascinating thing to watch. Although the New Zealand native has been working with Universal since the tender age of twelve, it's a seemingly inherent wisdom and poetic license that make her stand out from the burgeoning scene of aspiring pop princesses. Another unique facet to Lorde's music is that she pens it all herself, working only with her producer Joel Little to craft introspective, literary tracks that could still easily soundtrack a night at the club. It's this very dichotomy, between intellect and the dance floor, that makes Lorde a special artist in 2013—she's the future.—Caitlin White

TAKING FLIGHT: LORDE

Album: TBA

Sounds Like: MGMT, Passion Pit

Prides are one of those groups that makes pop songs so unabashedly catchy you almost forget they're pop—they cross over into the electro-rock world where pop is just an ingredient in a song that hits all the right notes at all the right moments. Towering synths and walled-in drums keep this song moving along its jerky trajectory that builds and falls in all the ways you want a summer anthem to—hitting that anthemic chorus with intensity and maintaining energy even in the instrumental lulls before the poignant sing-a-long moments. The Glasgow group is certainly doing something right, just listening to their single "Out of the Blue" evokes that sentiment with precision—something so unexpected that's immediately relatable. Unknown bands don't effortlessly attain comparisons to MGMT and Passion Pit without having a sound that is shockingly strong and well-formed, and they easily fit in with these well-established acts. It seems like Prides are just getting started this year, but their sound is undeniable, so watch for what else they do in 2013, it's going to be as big as their catchy choruses.—Caitlin White

Album: Fires In The Park

Release Date: July 1

Sounds Like: A heady mix of spoken word and electronic, TV on the Radio

London's Benin City is led by Joshua Idehen, a man who is no stranger to combining the world's of electronic music with his own gruff sometimes sing-song sometimes spoken word delivery. In 2011 Idehen teamed up with production trio LV for Routes, a glorious paean to London and its underground dance music, and now alongside Theo Buckingham and Tom Leaper as Benin City, Idehen is back to making jaws drop, never more than on the dramatic, immediate "Faithless." Strident melodies, and unstoppable bass provide the perfect foil for Idehen's shamanistic vocals, and with an LP on the way, we can't wait to hear more from this fantastic trio.—Constant Gardner

Album: TBA

Sounds Like: Florence + The Machine with more pop appeal

At the core of what we've heard from MisterWives so far is a pop mentality, but where most pop artists start off basic and in need of something to set them apart, this New York City trio already showcases lush production that swirls with strings and percussion while staying tightly bound around Mandy Lee's vocals. Songs like "Coffins" hit all the right notes at all the right times, and even though they're just starting to get noticed, they're clearly already on the path to much bigger things.—Confusion

Album: TBA

Sounds Like: Prince, the Black Keys, Peter Gabriel

Often the eclectic talents are the most difficult to properly make sense of until their careers have come to a close. When so many influences converge in a single individual, they're often both raw in the earliest stages and don't point in any discernible direction. In the case of British singer, songwriter, and multi-instrumentalist ROMANS, the variety of the scant few songs he's released—ranging from 80s influenced electro funk, to stomping Black Keys rock, and ethereal indie R&B—suggest eclecticism in the service of theatricality and storytelling, as qualities central to the singer's heretofore mysterious rollout campaign. More exciting than the copious influence and ideas combined in ROMANS' music is the fact that each song is greater than the sum of its forebears, a unique expression rather than a stale retread. Combined with his cooly drawn aesthetic, ROMANS' music makes for an engrossing experience.—Jon Tanners

Album: Solace EP

Release Date: April 7

Sounds Like: Ezra Koenig (of Vampire Weekend) making pop music

Paul Dixon used to release music as David's Lyre, but he left that alias behind, took on a new name, and started sending out emails with little more than the name fyfe, his place of residence (London), and a link to his stunning debut track "Solace." Fyfe's music was so fully formed and expertly produced that the lack of context or information was unimportant, all that was needed was to press play and you were immediately transported into his world of gentle melancholy. As we learned more about fyfe, his music continued to impress, with the three tracks on his debut EP showing off different elements of his repertoire, but all brought together by Dixon's clear, crisp vocals.

With a great debut EP out, fyfe is most certainly not resting on his laurels, returning last month with "Conversations," another slice of bright pop, this time with a more expansive, almost hip-hop influenced sound to the production.—Constant Gardner

Album: That Iron Taste

Release Date: February 25

Sounds Like: Emmylou Harris, Jessica Pratt

There's a classic glassiness to Marika Hackman's voice. It warbles and winds in and out of both alto and soprano parts, but whether she's reaching the peaks of her range or delving into the lower, throatier notes, the sheen of sound on her vocals stays, glossy and unwavering. Now singing in tight-knit full-fledged chords alongside countless other voices, then carrying a single melody with just her own voice, Hackman's mini-album That Iron Taste feels like a meaty album from mid-career, not the debut of a newcomer. Accompanied by guitars, noisemakers and strings, Hackman pairs her voice with an assortment of sounds that lean heavily on old-world folk motifs, but she twists them to meet her own needs. It's this kind of aptitude for adopting old sounds and reworking them into fresh, evocative songs that marks Marika as one to watch in 2013.—Caitlin White

Album: TBA

Sounds Like: Lykke Li with more bass, a less organic Lianne La Havas

I didn't even realize it, but the first time I heard Kenzie May was back in 2011. It was on a feature of a Sub Focus song called "Falling Down." Listening to that now, it's hard to believe that it's the same Kenzie May on "Hide & Seek." This time around, instead of being a small part of a much bigger picture, she's the focal point. The young singer seems more than ready to make strides toward being an engaging solo artist, and after years of putting in work, she's ready to become the center of attention.—Confusion

Album: Recover EP/The Bones Of What You Believe

Release Date: March 26/September 24

Sounds Like: Purity Ring, MS MR, MØ

Synth-pop is becoming rather formulaic in music today: you add a few synths here, an upbeat drum pattern there and then top it all off with a soaring, catchy chorus and you've got yourself a hit. When CHVRCHES first came onto the scene in late September of last year it would've been easy to dismiss them as another band who had mastered this equation. Yet one quick listen through their breakthrough single, "The Mother We Share," and it becomes apparent why they stick out. That's because the synth-pop sound is genuine to who CHVRCHES are, aside from whatever the current musical climate around them is. Led by Lauren Mayberry's saccharine vocals, the band has expertly crafted tracks that embody a feel of wonder and fascination while still maintaining a relatable level of emotional depth. It's an impressive combination and one that shows CHVRCHES are not trying to jump on any trend bandwagon; this is simply the kind of music they are supposed to be making. And for a band that has yet to drop a full length studio album, that's an idea that's rather exciting.—Katie K

Album: TBA

Sounds Like: When grunge and pop intersect

Young London four-piece Wolf Alice are an unpretentious rock band who succeed in imbuing each of their songs with an incredible sense of youthful energy and pure enjoyment of the music. Whether it's on the driving "Fluffy" with its powerful, crunching guitars or the more restrained "Bros" with its sentimental vocals, lead singer Ellie Rowsell has delivered assured, confident vocal performances time after time, belying her relative inexperience, and providing the impetus behind Wolf Alice's brilliant first half of 2103.—Constant Gardner

Album: Lapland

Release Date: March 26

Sounds Like: Neutral Milk Hotel, Beach Boys

Lapland's self-titled debut came out of Brooklyn earlier this year, the solo project of one Josh Mease. His sounds recall a plethora of airy new-age artists like Treasureseason and Beach House—atmospheric synths and persistent percussion abound as Mease's voice drifts in and out adding a pleasant dollop of new sound here and there. Mease is a cook, mixing jazz and classical backgrounds with a Texas rock 'n roll instinct to create the sounds you hear before you.—Graham Corrigan

Album: Tunnel Vision EP
Release Date: August 6

Sounds Like: The kind of indie pop that goes well with cold drinks and poolsides

Little Daylight has done things backwards. Instead of starting with a big single and then getting remixed, they put in time doing remixes before releasing their own original music. When it was time to put out something original, they came in with a huge, hook-happy, addictive single called "Overdose." Then, instead of picking up speed, they dropped a downtempo track with verses that outshine the chorus. And the best part: that second single, less obvious and not as instantly gratifying, turned out to be their best yet.—Confusion

Album: TBA

Sounds Like: American pop hits with a Scandinavian pop sensibility

I can't even talk about Scandinavian pop anymore because I've gushed about it so many times, but they do pop right over there. Even the catchiest stuff somehow manages to stay interesting, and Swedish newcomer Tove Lo has one of the catchiest songs out with "Habits." Structurally, lyrically, and melodically speaking, it's an obvious pop hit, but when paired with that production, it's the kind of pop song you wish American pop hits strove to be more like.—Confusion

Album: Paradise EP

Release Date: April 29

Sounds Like: A very British Kings of Leon

It doesn't happen often, but every now and then you hear a band and you think, "Why aren't they famous?" In Coasts' case, it's because they just got started. The Bristol band's debut single was "Oceans," and it's such a catchy, anthemic piece of music that it feels familiar after one listen. It's the type of song that would do wonders for a movie soundtrack, but until that happens it will do great as a summer 2013 staple. Listen below, and check out more from Coasts here.—Confusion

Album: Acid Rap

Release Date: April 30

Sounds Like: Eminem, Kendrick Lamar, Andre 3000, Freestyle Fellowship

Though Chicago's Chance the Rapper first bubbled up with last year's solid 10Day mixtape, it wasn't until April's Acid Rap that he fully announced himself as perhaps rap's next ascendant talent. With a nimble, uncommonly animated flow, a gift and constant urge for melody, and a voice like few others in the genre, Chance seems equipped with the proper starter kit for a long and adventurous career in rap. Before we fast forward, Chance has already proven he can assemble a cohesive, satisfying body of work, as Acid Rap represents the sort of project that blurs the line between "mixtape" and "album" to the point of irrelevance. His rapping ability makes him immediately intriguing, but it is Chance's knack for mixing social observation, self-deprecation, and emotional depth—all qualities of the titan that so inspired him, Kanye West—that will turn him into a lasting artist if properly wielded.—Jon Tanners

CHANCE THE RAPPER BRINGS ACID RAP TO NEW YORK CITY

Album: Still EP

Release Date: February 10

Sounds Like: inc. with the production quirks of Kwes.

As debut tracks go, "Still" is on of the most impressive so far in 2013. Layers of subtle electronics are deftly built upon each other to lush, almost tropical effect, while the delicate, breathy vocals seem both obscured in the hazy distance and ever so immediate. Qtier's music, both on "Still" and "Drift," which sees the vocals playing a bigger part, is incredibly polished, glistening and glimmering in the morning sunlight like the drops of dew on a spider's web.

There are lots of new bands exploring this hazy world of restrained vocals and hushed production, but Qtier are one of the best doing it.—Constant Gardner

Album: Crisis

Release Date: June 18

Sounds Like: The Postal Service, Grimes, Solange

Portland-based producer and electronic crooner Natasha Kmeto has been gaining steam throughout the year. First, she dropped "Take Out" and then "Idiot Proof"—both tracks that indicated the sparse, electronic sounds that would populate her forthcoming record Crisis. But when the album started streaming in full last week via HypeM, the full picture of her sonic production snapped into focus with a gleaming perspective. Deeply booming bass lines echo in and out of her tracks, acting as a foil to her lightly husky voice. Combining these two elements with drops and beats that feel more reminiscent of the EDM scene than anything else, Kmeto manages to never feel like an electronic artist despite her copious use of digital elements. Instead, it's the textures she employs across the board that stands out: there are no thinly written lyrics or weak vocals anywhere on the record, and the variety in sound and electronic elements is just another piece in the puzzle of this engaging new musician.—Caitlin White

Album: Sing to the Moon

Release Date: April 16

Sounds Like: Nina Simone, Adele

Laura Mvula is a 26-year-old composer and singer from Birmingham, England who technically burst onto the scene late last year with the EP She. But it was her full-length debut Sing to the Moon out this spring that piqued international attention for Mvula. A revolutionary of sorts, she's managed to meld serious orchestral compositions with pop sensibilites and soul vocal stylings. There's something lurking under the surface of Laura's controlled, round alto voice—gravelly undertones that contrast sharply with the cello, harp, piano and brass that inhabit her song's structures. Then, there are the harmonic arrangements, often piercing in their tonal perfection and layered textures. Each song is threaded with a struggle—a grappling with spirituality, with self, with humanity—but the fight feels like a feast in the end, a banquet of sound and fury that finally settles into celebration. If Mvula keeps up this frenetic, exotic pace, she'll be one of music's biggest names in no time.—Caitlin White

Album: The Child of Lov

Release Date: May 6

Sounds Like: The Weeknd, D'Angelo, Prince

The Child of Lov (Cole Williams) is one of those artists who you can't help but wonder what the hell they had been doing before they created music, the moment you delve into his body of work. The Dutch producer dropped his self-titled debut album, clouded by an air of mystery, and completely out of the blue. But The Child of Lov is anything but unintentional. Not only does the record contain features from notable artists like Damon Albarn and MF DOOM, but it's clear that Williams has a talent for incorporating and understanding a huge number of instruments in order to provide some of the most mesmerizing, lush production.

Above all, though, Williams is on this list because he takes his craft very seriously. He recently shared a note on his website that stated he's refusing to go on tour, despite offers for slots at popular music festivals, because he can't share his work in the way he wants to share it. In the words of The Child of Lov: "I’m a perfectionist, and I want to translate my music to a live setting the most perfect way imaginable, because I firmly and religiously believe that is what my music deserves." It's rare for new artists to not take advantage of the momentum that he or she creates and pump out as much new music as possible, but evidently, Williams is in no hurry. He just wants to share the absolute best music that he can that's worth the wait, and we don't mind.—Joyce Ng

Album: Metal and Dust EP

Release Date: February 25

Sounds Like: Florence + the Machine, Bat For Lashes

London Grammar recently collaborated with Britain's hottest electronic act—Disclosure, on the track "Help Me Lose My Mind"—but that doesn't pigeonhole the trio at all. Rather, it widens the circle of exposure for their brooding, dramatic sound. With much less of a club sensibility than the counterpoint duo of Disclosure, plenty of other people have compared their sound to Florence Welsh's poignant, yearning music. But lead singer Hannah Reid is hitting emotional notes on their stand-out track "Wasting My Young Years" that Florence hasn't touched for a while. Maybe there's something about being 23, as Reid is, that facilitates a certain sound, a certain emotion. Regardless, high-powered collaborations and chart-topper comparisons can't possibly sum up the emotional appeal of both Reid's piercing soprano and the soft pianos, heavy drums and sleety synthesizers that accompany her charismatic vocals.—Caitlin White

Album: TBA

Sounds Like: Fiona Apple, Erykah Badu

There are some artists you listen to for the production of the track: the way the instruments are arranged and effortlessly flow alongside each other. Then there are those artists you admire for their lyrical content, with songs that feature honest and raw tales of relatable life experiences. Banks is one of the rare artists that has seemed to encompass both. Seductive and sultry, her music seamlessly blends bubbling synths and oozing percussion with authentic stories of a troubled love life. She's not scared to lay it all out on the table; a fearlessness that is not only admirable in a young, new artist but one that also shows the incredible potential Banks has.—Katie K

Album: TBA

Sounds Like: John Legend, Amos Lee, when James Blake goes low on "Retrograde"

"Soul" can be a difficult character to properly assign to a voice or a singer. It gets bandied about a lot of times in regards to singers with big, powerful voices—voices with range or depth that might approximate a quality of "soulfulness," of an expressive, ineffable core, without actually reaching something more profound. Then there are those voices, the rarest of all, that possess a quality of grit and otherworldliness, a character that says "I've been through the shit and I'm here to tell you about it, even when I'm not telling you about it." While British singer Kwabs only has a handful of songs to his name and certainly hasn't proven himself to have a sound as timeless or evocative as, say, Nina Simone, there is an intangible quality to his husky baritone that suggests layers far beyond the already poignant lyrics of stunning single "Spirits Fade" or jazzy "Getaway." A talent not to be missed as he explores the promising capacity of his natural instrument.—Jon Tanners

Album: 1017 Thug

Release Date: February 22

Sounds Like: All the strangest parts of Lil Wayne and Future

Over the past decade or so, we've seen some strange things happen in hip-hop, but perhaps none as wonderfully odd as the pairing of street-oriented southern rap filtered through colorful and wildly creative personalities. Gucci Mane has solidified his spot in the niche, and next up is the Brick Squad 1017 affliliate Young Thug. He can spit like Wayne at his most unhinged, but his real specialty is crafting catchy songs with hooks that stick. Whenever Young Thug gets on a track, he steals the show, and it's only a matter of time before the masses take notice.—Confusion

Album: Life After Defo

Release Date: March 19

Sounds Like: Rhye, Autre Ne Veut, Vondelpark

Deptford Goth is shrouded in mystery. From the hushed sound in his music to Daniel Woolhouse himself (who first released his songs with publicity shots that only showed the back of his head) there's an unknown element to both the artist as well as his material. But instead of confusing us like some musicians have the tendency to do when they take this route, Woolhouse intrigues and quietly lures us in with his gorgeous, melancholy lullabies. In doing so, he puts a pronounced emphasis on his music and has created an album full of emotive electronic compositions, masterful in their simplicity. You may not know exactly what Daniel Woolhouse looks like, but you'll know exactly how his music makes you feel; and in today's world, that's truly a special feat.—Katie K