Music Recommendations Based on Artists You Already Like

Jai Paul built up a huge cult following off the back of just two songs, whilst remaining anonymous and retaining a palpable air of mystery around any releases, or leaks, that bear his name. Ben Khan is keeping things similarly mysterious with little more than a silhouette exposing the man behind the music, and he is definitely an artist to look out for if you love Jai Paul's mix of ghostly, haunting vocals and jagged electronics, but just wish the guy would put out some more music.

Even if you're not sad or lonely, if you sit and listen to a Bon Iver album from start to finish, you'll end up feeling sad and lonely. It's not a bad thing, the music just has that effect on you, and Australia's RY X has that same effect. "Berlin" is a moving melody with sparse accompaniment. Perfect for nights alone by a fireplace with a glass (or a bottle) of wine.

YOU STILL LIKE BON IVER?

For GoldLink, the comparison to Chance The Rapper is a no-brainer. The hardest part for GoldLink is going to be distancing himself from comparisons, but the Virginia rapper should be just fine. If you like Chance for his animated raps, intensity, youthfulness, and incorporation of a little melody into his flows, then you'll probably like GoldLink. Either that, or you'll hate him for sounding like Chance. Either way, he's worth checking out.

Vampire Weekend's first two albums were stuffed with poppy indie-rock songs that were pretty much perfect for summertime sunshine. Figaro capture that same carefree, whimsical feeling with "Moving Slowly," which is powered along by a sharp and bouncy little riff and an undeniable energy.

Numbers affiliated Hudson Mohawke has had a monster 2013, smashing clubs and festivals as part of TNGHT and working on Kanye West's polarizing Yeezus album. Sophie is a new name on the Numbers roster, releasing "Bipp / Elle" in June, and immediately becoming a potential future star in the world of forward thinking dance music. Punishing, hard-edged beats and bright, catchy synths are the basis of HudMo's sound, and Sophie is following in this path, making fully futuristic dance music.

London duo Pale's debut track "Too Much" may have been produced by house and techno maestro Jas Shaw (half of Simian Mobile Disco), but their music has much more in common with the slinky, seductive '80s vibes that Dev Hynes' Blood Orange project channels so effectively. With subtle electronic flourishes complementing the soft, nostalgic vocals, it would be no surprise if Pale come through with a whole album as strong as Blood Orange's excellent Coastal Grooves.

THE 10 BEST DEV HYNES PRODUCTIONS

There's a wave of new rappers that sound like they grew up listening to a lot of old rap. It's not a bad thing. There are certain elements of hip-hop that get lost with new generations who come up on electronic music and complex production styles, but there's a reason why so many hip-hop heads yearn for the "Golden Age." There's something about a simple bassline and the appreciation for a technically sound rapper that will never be unappealing. Joey Bada$$ gets it, and so does Dillon Cooper.

On "Bang," the first track we heard from him, Memphis rapper Jon Waltz sounded more like Drake than A$AP, but "Somewhere Else" is his most complete song yet, and the pitched down vocals and delivery should sit well with fans of A$AP Rocky's Southern-influenced rap style. Skip to 3:45 for the real A$AP-leaning vibes.

Gallant's sky-high falsetto is a powerful weapon in the rising singer's arsenal. It floats effortlesly above the multi-layered production, and while his lyrics may not be as dark and explicit as The Weeknd's tales of drug-fuelled debauchery, the two convey a sense of emotion and passion in their music that isn't easy to come across.

Blaenavon have an incredibly mature sound for a band made up of teenagers, a maturity that they demonstrated right from the outset with their debut EP from earlier this year. "Prague," from the band's forthcoming Koso EP, is even more powerful, with a darker edge and the sort of raw emotional peaks that make Foals' most recent album Holy Fire so stunning. Of course, Foals have matured and perfected their sound over three albums, whereas Blaenavon have a mere EP to their name, meaning the high level of this young trio's musical output is even more impressive.

Although both Friendly Fires and Troumaca come from the often overcast, fairly central British cities of St Albans and Birmingham, both make distinctly tropical, sunshine tinged songs that make you want to put on some floral pattern swimming shorts, grab a cocktail with one of those pretty little umbrellas in it, and leap into warm Caribbean waters. Troumaca are currently working on their debut album, which will be released on Gilles Peterson's Brownswood Recordings label, and if it's as lush and richly textured as the music we've heard so far, it should be

Never has hushed bedroom pop been in such rude health. With the breakout success of The xx's debut album and the further solidfying of their reputation with Coexist, muted vocals, introspective lyrics are all over the place. One of the most exciting new bands working within this framework are London's Arthur Beatrice, whose Ella Girardot was the star on debut track "Carter (Uncut)," while male/female vocals were the order of the day on "Vandals."

Arthur Beatrice' debut Carter EP is out now.

Sampha has really come to the fore recently, building on his work with SBTRKT and collaborating with Drake before releasing his excellent Dual EP. There are a lot of artists mixing R&B style vocals with hazy, gauzy dance music leaning electronic production, but Sampha, and now Basecamp are doing so in a way that is rich, warm, and eminently human.

Alt-J's debut album remained sonically interesting while remaining within the realms of pop, and this genre-mixing but still catchy aesthetic is clear in the music of Deafkid, made up of Flo Sauvaire and Chris Lockington, former members of Ghostpoet's backing band. Deafkid's sound is rawer, more visceral, and more immediate than Alt-J's, with "Vigilante" proving that a whole load of energy and eperimentation can be squeezed in to a sub-3 minute song.

Delicate female vocals float and fluctuate over a surprising mix of playfully weird, sometimes warped sounds on Rainbow Chan's latest EP, with the results being offbeat alt-pop gems. This Australian's airy vocals and liberal use of synths should strike a chord with anyone who's a fan of Caroline Polachek and Patrick Wimberley's output as Chairlift.