Music Recommendations Based on Artists You Already Like

London Grammar are a trio out of, you guessed it, London. Despite the gorgeous sonic backdrop that is best exhibited on songs like "Wasting My Young  Years," lead vocalist Hannah Reid's voice completely eclipses the backdrop with an ease that is palpable. The build-up from the drums and dark synth sounds that back her add an eeriness, but she has one of those voices that sends chills down your spine the first time you hear it.

Remember when Coldplay weren't considered to be a radio sell-out rock band, but were actually widely regarded as one of the best bands of their era? Think around their debut—Parachutes-era Coldplay when Chris Martin's name was still said in the same breath as Thom Yorke's due to his sheer inventiveness—that's the same feeling that we get when listening to anything by f y f e. David Lyre's sprightly tenor isn't the only thing that draws Martin comparisons—his lyrics are as poignant and heartfelt as those early Coldplay lines, and he puts his falsetto to good use, twisting and turning phrases to wring the meaning out of them.

Gloomy, borderline spooky pop music driven by otherworldly female leads and beats fit for a rap song aren't difficult to come across in 2013, but few are doing it as well as Purity Ring. Denmark's Kill J is an exception. With a haunting, quivering voice that sounds like it either comes from an angel or a ghost, it's a captivating listen, and the production adds a much-needed rigidity to the meandering vocals.

Night Beds is a folk/blues project that centers around frontman Winston Yellen, a Colorado transplant who began to channel Nashville after moving there a few years back. The way that he matches up country rock elements with highly-charged, naked lyrics brings only one person to mind—Ryan Adams. Add in the pillowy, vast expanses of Yellen's voice and it becomes clear that this recent Dead Oceans signee are on their way to the spotlight.

Matt & Kim's break-out track "Daylight"—which went gold in 2006—turned the idea of indie pop into something that hipsters and normals could consume with the same enthusiasm, and Little Daylight occupy a similar vein. It's certainly not the shiny, bubblegum pop of a Britney Spears song, but the sheen on Little Daylight's songs guarantee that they won't just be big in blog circles, but in the mainstream as well. Look for a lot more from this Brooklyn trio—who knows maybe they'll even collaborate with Matt & Kim at some point since they're both New York centric bands.

Joanna Newsom's signature voice is something that no nouveau female folk singer could possibly hope to fully copy, and in some ways, that's a good thing. Joanna's voice can be something of an acquired taste, and even polarizes the greater folk listening community. Marika Hackman has no such problems—her quavery, lulling alto goes down easy, even for non-folk lovers. In fact, that's the primary way that Hackman departs from Newsom's tradition, she adds elements of production and an affability that make her music stand out from the hordes of female singer/songwriters who purport to create compelling new music, and actually does it. But she's got all the same weirdness and quirks that Newsom has, one listen through her debut mini-album That Iron Taste reveals that her appeal crosses over genres, and it's largely due to her strange imagery and acoustic melodies.

Looking for a unique, talented singer whose voice works with the song instead of outshining it? Check out Misterwives. Lead singer Mandy Lee was trained in opera so the girl can sing, but it's the songwriting that really shines here. Songs like "Coffins" are straight up pop gems, but the skillful arrangement and top notch vocals set it apart from the rest.

INTRODUCING: MISTERWIVES

You know that song by Rusted Root that everyone knows the chorus to but no one quite knows why? That song is called "Send Me On My Way" and it is the only thing that most people have ever heard by Rusted Root. So, while Silver Firs perfectly channel that catchy vibe in their track "Motherland," luckily for them, further perusal of their Swiss label's Soundcloud page reveals greater depth. International bands manage to put a more intricate spin on pop/folk arrangements and Silver Firs are no different, also drawing comparisons to Local Natives with their heavy incorporation of harmonies.

If you just got put on to Ta-ku this year, you might be mostly familiar with his more electronic-leaning work. Through his remixes and originals, he's proven himself capable of sweeping synths and layered textures of intricate production, but on his latest album DOWHATYOULOVE, the Australian producer—who has made it known he's a Dilla fan—channels that bass-heavy, cracking hip-hop production style of guys like Dilla and Madlib. Most impressively, he pulls it off incredibly well, sounding inspired instead of derivative.

Jessie Ware's got the kind of voice that lends itself to almost any song structure and style. She can sing a smooth ballad just as easily as blending in with a more experimental electric soundscape. "Mantra" is the first we've heard from London's Abigail Wyles, but we get the feeling that she may be capable of the same. For "Mantra," she and her producing partner Holly Simpson create a mature, modernly minimal vibe that makes us excited to keep our ears open for her next move.

The resurgence of New York's own rap scene has been a welcome addition to the expansive regionalism that has entered hip-hop. Bishop Nehru follows in the footsteps of contemporaries like Joey Bada$$ and the west coast's Odd Future collective, specifically garnering comparisons to Earl Sweatshirt. Marrying jazzy, soulful production that recalls the boom bap era with his own skillful rapping and extensive visual arts skills, Nehru is the teenage rap star to watch this year.

The primary difference between Animal Collective and Braids is that the AC collective is all men, and Braids features female vocalist Raphaelle Standell-Preston front and center. But the same experimental, intensely emotional music remains—both groups are those at the forefront of the electronic/noise music that's emerging with rapidity. Based out of Montreal, the trio compose looped bloops and bleeps that coincide with bass lines and cymbals to form shaky walls of noise that never seem to completely enclose the listener, always leaving room for improvisation.

Ever since The Weeknd came out, there have been a lot of guys sounding like The Weeknd, a lot of girls sounding like the female version of The Weeknd, and a lot of variations on the dark, tortured, drug-riddled sound that Abel Tesfaye so convincingly produces. If you're looking for more of those variations on that kind of style, check out Joel Compass. With a sound that's a little less dreary than The Weeknd, calling him the British version of The Weeknd seems unfair, but it's a little hard not to.

Tanlines brought an infectious enthusiasm to indie synth pop that is hard to manufacture—many of the bands that populate this genre exist in a meager, emo realm that once entered seems impossible to leave. Not so for Tanlines, nor for rising Winnipeg six-piece Royal Canoe whose enthusiasm and optimism comes through even in their first few releases. Not only that, but their enormous size allows for a live recreation of all their pedals, synths and beats, their live show is as raucous as their rock counterparts, a welcome occurrence. Look for their full-length record Today We're Believers which will be out on September 3 of this year.

Just off the release of his new album Smart Ass Black Boy, Fat Tony is a rapper originally from Houston whose smart ass rhymes and pop culture references draw to mind former rap trio Das Racist, whose members Tony has worked with extensively. Despite his Texan roots, Tony's raps manage to feel like they're not tied to any region, a credit to his inventive rhyming and the seamless production of his longtime collaborator Tom Cruz.

Rushing strings, helpless, forlorn love and infinitely stretched and looped vocals—these are all motifs that have become synonymous with Bon Iver after his debut For Emma, Forever Ago swept the nation by storm. But those are the same signifiers that come to mind when listening to Sailor & I, an indie outfit out of Stockholm who have practically turned sorrow itself into a song on their track "Tough Love." The lyrics mourn a disintegrating love, but it's the strings that really add the ominous, inevitable tidal wave feeling to this song—something that brings to mind the emotional resonance of Justin Vernon's past work without feeling like a copy.

With the release of Once I Was an Eagle, Laura Marling effectively left behind her English, folksy peers like Noah and the Whale and former beau Marcus Mumford (yes, that one), and became a full-blown mainstream star. Her agile voice and personal poetry put her on the same level as the songwriting greats that have come before her—while many are even uttering the coveted Dylan comparison, her phrasing and overall tone still sound more like Joni Mitchell to us.

Fleetwood Mac is a band that became bigger than the sum of its parts, but, if we're being perfectly honest, Stevie Nicks was the secret weapon that made the band a force of nature. Nini Fabi, the vocalist of Haerts, seems to be channeling Nicks at some points, bending her voice almost to the point of breaking, the perceived brittleness adding a delicacy and femininity to her deafening vocals. But the band behind her churns out classic, stadium-sized rock music that won't soon be forgotten—Haerts are slowly building a legacy and it's one you will want to get onboard with.

It's surprising, but when you think about it, there haven't been many bands—ever, in the history of music—quite like TV on the Radio. Benin City has the right combination of backgrounds, influences, and style that makes them a musical cousin to TVOTR. That's not to say the two sound alike, but if you're a fan of the eclectic soul of TVOTR, you might like Benin City.

GET FAMILIAR WITH LONDON'S BENIN CITY

Lily Allen might've been the one that paved the way for Adele despite their different musical styles—Lily Allen was one of the ones that made being a fiesty, British female vocalist cool. Chloe Howl picks up right where Allen left off—she might not be as explicit as "Fuck You" was, but there's levels of defiance and swagger in her Chloe's voice that it's rare to find in American pop stars. Plus her thick English accent makes her sound  like even more of a bad ass.

Matrimony is fronted by husband-and-wife duo Ashlee Hardee Brown and Jimmy Brown, and their easy, folky sing-a-long vibes draw comparison to the country-leaning collective of Edward Sharpe & the Magnetic Zeros. Both groups point towards the increasing integration between indie rock and Americana sounds—country is crossing over out of its roped off roots and groups like Mumford and Sons brought traditional folk and bluegrass sounds right to the top of the charts. Recently signed to Columbia, Matrimony promise to continue this intermingling, and a little banjo with some rousing choruses might be just what the electronic-heavy culture of 2013 needs.

Feist didn't just succeed because she is an astonishing musician and extremely talented poetess—she has this presence that is immediately apparent, a charisma that carries an electric energy even into her softer and slower tracks. Alela Diane is much the same way, commanding a respect and power even when singing about the hardest thing to let go of—a marriage. On her latest album entitled About Farewell, Diane opens up about the disintegration of the closest relationship, but does so with enough vivacity, even-handedness and decorum to make you respect her even as she details the unwinding of her former marriage. Her smooth, crystalline voice seems capable of doing any topic justice—another point that puts her on the same level as Leslie Feist herself.

The xx carved out a special place for dreamy, lingering bedroom pop when they released Coexist in 2009, and Float Fall mimic some of their most successful points. The Belgian duo recently came to the US for a brief tour, and when they took the stage at New York's Full Moon Festival, it was clear that they would soon become popular on American soil. Drawn-out, organs and synths and alternating male and female vocal lines are the main similarities between Float Fall and their English precursor, but where The xx remain synthy and digital, Float Fall add in guitar solos that propel them to the next level. Watch for this shy Belgium duo, they're bound to become a favorite.

When this one, steamy, nu-disco track surfaced a few weeks ago, it was quick to grab comparisons even to Michael Jackson himself—mostly due to the similarities that Dornik's croon has to the King of Pop's voice. But there's another soulful, R&B singer who has been incorporating elements of electronic music and newer production styles into his music in the same way that Dornik does, and that's Miguel. They both feature a light, flexible voice strong enough to carry the high notes and memorable enough to have you itching for the repeat button even after a cursory listen. Look for more from this up-and-coming R&B singer, odds are he'll blow up much the way Miguel did in 2012.

Swedish pop group jj have achieved a cult following by releasing little EPs and tracks at rare intervals, and maintaining a general aura of mystery. Burgeoning duo Sunny & Gabe have been following a similar trajectory, with very few songs out and very little buzz so far. But, their work is just too faceted to fly under the radar much longer. Gabe's usage of Q-Tip tracks, chimes and off-kilter beats provide the ideal soundtrack for Sunny to sprinkle her crisp soprano voice in circular harmonies until the whole thing feels like one big carousel ride. Creating songs so memorable and layered that they border on becoming visual—that's what jj have been doing for years, and what Sunny & Gabe achieve with an uncanny ease.

On The Knife's most famous work (see: "Heartbeats") they balance an immediate pop accessibility with something a little more abrasive—a sharp, biting delivery. Firehorse's Leah Siegel achieves the same balance with "Bloodstream." The synths are pure pop, but Leah's voice cuts like a knife. Or The Knife.

Astronomyy is certainly less radio-friendly and mainstream than the golden god that Justin Timberlake has morphed into, but still, there's some similarities in production and vocal styling that evoke his name when Astronomyy is playing. The English crooner manipulates and modulates his voice in a fashion that's similar to JT, and his fearless incorporation of pop, indie and electronic elements like handclaps and skittering drums make this song stand out amidst a sea of submissions.

Although it still hasn't been officially confirmed that Isaiah Rashad is the latest TDE signee, a number of well-respected hip-hop sites have been posting his tracks and stoking the fire beneath the rumor that he's signed to Kendrick's label. It's easy to hear why the word got out in the first place—Rashad pairs conversational, creative voice-overs with innovative production and an incredibly fast flow, all reminiscent of good kid, m.A.A.d city's stand-out elements. Not only that, though, there's a depth to his rhymes and a humility to his posturing that liken him even further to Compton's latest star.

Olivia Chaney has one of those timeless, spare voices that works best floating above piano and quiet guitar. Similar to the great Edith Piaf, Chaney occasionally sings in all French, adding an elegance to her songs that is simply unachievable in English. The singer's debut, self-titled EP came out last year, and it already evokes touchstones like Piaf and other jazz and classical singers whose charisma helped them worm their way into the mainstream. Listen to the delicate "Ballade" below to hear her quiet magic for yourself.

Elijah Blake is set to release his debut full-length album this year, and even though he doesn't officially have a record out yet, he's already achieved a modicum of success that's hard to match. See, Blake is the one who penned the passionate, poignant Usher song "Climax" that catapulted the R&B legend back to the top of the charts last year. If that wasn't enough, his latest radio-friendly hit "X.O.X." features Common and mourns a lost love over a piano-heavy, addicting riff. He's just starting off, but even before his album is officially out, there's a solid amount of evidence to support the rise of his star to Ursher levels.