Best New Artists of the Month (March 2015)

On "Damn, Gravity," OKAY KAYA connects in a way that it takes some artists years to do. And this is her first song. It's not just a good song, it's something about her that makes this so intriguing. Over roomy production, this song reaches into cinematic territory—a mesmerizing introduction.

There's a lot of energy in Chicago right now, but nothing quite like Bk Bambino's. Instead of melting into the beat or settling into a melodically hypnotizing flow, Bk Bambino delivers sharply, dominating the production. He's technically skilled, but even better, he knows how to make hits—big hooks, accessible production, and tons of personality. It's easy to imagine Bk Bambino being a big deal by the end of the year.

Check out Bk Bambino's The Trailer EP here.

Do you remember the first time you heard Adele's voice? The first time you heard Sam Smith? The Weeknd? Amy Winehouse? Normally, there are dozens of things that come together to make a good song, but every now and then, it's mostly the voice. In "Ghost," Reece's voice has a breathtaking effect. No matter what comes next, I'll remember when I first heard Reece's voice.

Australia does it again. It's just stupid how good debut singles are getting. Making a strong first impression is more important than ever—one taste of mediocrity and the internet loses attention—and MYAMI delivers with "Soldier," a homegrown, stomping pop song that already feels way too big to have less than 10,000 plays on SoundCloud.

Props to Appleby for the find.

"Pilates" is the first we've heard from New York's Donmonique, but she's gearing up for a project in the spring which will feature TM88, Rome Fortune, and Mad Decent’s Swizzymack. With that kind of support and her knack for effective hooks and effortless charm, Donmonique should have a big year. "Pilates" is a great start.

Using outré elements to create something infectious isn't exactly the most uncommon technique in the world, but somehow the ways in which Dylan Brady blends sounds accessible and experimental into one cohesive whole feels remarkably fresh. His impeccable production, malformed vocals, and inventive visuals are certainly the most noticeable things about Dylan's output thus far, but there's a sense that there's more to him than he initially lets on.

There's every chance his upcoming album could be one of the most refreshingly original and alarmingly strange takes on hip-hop we've heard since Yung Lean's Unknown Memory 2002, and that's a prospect as exciting as it is terrifying.

The U.K.'s Gus BC wears many hats, and this latest headspace has us very excited for things to come. The music (singular) he's made as Kuro BC has a patient intensity to it: "Steppin On Keys" starts in a wash of effected James Blakeian piano before launching into second and third acts that invert and explode the seemingly harmless "show me what you know" sample into an anthemic riot.

Alexandra Stewart and Russ Flynn are ACES, a Brooklyn synth-pop duo making some seriously impressive chill-wave. Stewart's voice is a treasure trove of smooth, reassuring harmonics, and Flynn provides fluffy bed of echoing guitars and big snare hits for their lead single "Find Me Out." Their debut album is next, waiting in the wings. It's a collection of tracks that demands to be listened to in direct sun with an empty schedule. Until that sun comes, however, "Find Me Out" will be sure to tide you over.

Goodbye Tomorrow is from Chicago. That's basically all we know. Despite the lack of information, this emerging artist (group?) has already made a powerful first impression with the intense "JAY Z" video and a strong follow-up called "100K." With compelling visuals, an intriguing roll-out, and a throwback website, it's looking like Goodbye Tomorrow has the kind of vision it takes to stand out among so many newcomers.