Best New Artists of 2015 (So Far)

A group of young artists coming together to make R&B or hip-hop isn't exactly a novel idea in 2015, but Brockhampton aren't interested in repeating what's already been done. Foregoing the collective tag in favor of being labeled as a boy band, the group of singers, rappers, producers, and visual artists made waves last year thanks to the phenomenal debut album from Kevin Abstract, Brockhampton's figurehead. Combining their disparate talents into a cohesive whole, they really are looking to make a mark this year.

Whether it's the impassioned verses of Ameer Vann and Matt Champion, or the slick production from Romil and Bear//Face, no one in Brockhampton is a weak link. We only have a few tracks from them as a group so far, but these tracks alone promise a bright future. They might have a more unified and polished aesthetic, but they bring to mind the type of excitement Odd Future were capable of evoking when they first materialized. It feels as if we're watching the early stages of something special with Brockhampton.

For a lot of new artists, there needs to be something uniquely new to be exciting. But when you think about it, a lot of the lasting talents have a timeless quality that doesn't depend on the trends and modern styles of the contemporary soundscape.

New York-based Norwegian artist OKAY KAYA doesn't need to sound like right now to be one of the best newcomers in music. She's already made some great first steps and surrounded herself with good people like Rodaidh McDonald (producer for King Krule, The xx, and Sampha) and Tobias Jesso Jr. (who she toured with and who was one of our favorite new artists last year). Her dream-like arrangements and alluring vocals create an atmosphere that is at once intimate and cinematic, and while her first songs are simply gorgeous, there's plenty of room for expansion on her ageless songwriting.

Wait, an artist from Atlanta who doesn't rap!? Yes, there is more to Atlanta than trap music, turn-up professionals, and hit-makers. Demo Taped is the real deal, and he's making some beautiful music. The young singer/producer is still finding his voice, but by fleshing out a sound within the confines of a few signature synths, Demo Taped released one of this year's best EPs back in February.

Since then, he's released a couple more gems, with "Not Enough" topping the list. A nostalgic ear for melodies and an ability to layer sounds without any one piece getting lost has Demo Taped near the top of our list of up-and-comers.

Music today is overly saturated. Thanks to all the different platforms accessible to new artists, it doesn't take much to get your material out to the masses. In 2015, the true test for a new artist isn't getting the listener's attention, but keeping it. Over a relatively short time, DonMonique has done just that. She's been making music for a while, but it wasn't until "Pilates" that she really started generating just the right amount of buzz. Then, just as she had everyone's ear, she followed that up with two equally different but just as impressive offerings (one of which featured Danny Brown). In doing so, she proved she's capable of sustaining momentum and creating solid material, making us that much more excited for her upcoming EP.

DonMonique is playing our No Ceilings show on July 8.

At the end of last year, Fetty Wap's single "Trap Queen" started to make its rounds on various social media platforms. Although the video has technically been out since August 2014, it wasn't until several months later that "Trap Queen" slowly started to gain serious momentum that would eventually shoot the single all the way up to the No. 3 spot on Billboard's Hot 100.

Since then, the New Jersey native has provided us with too many other infectious songs for anyone to even dare consider him a one-hit-wonder. Fetty Wap's other tracks like "My Way,"—which Drake later jumped on—"Promises" with Baauer and Dubbel Dutch, "679," and "Again" can all be currently heard getting quality airtime on multiple radio stations across the country. So far, 2015 has been very good to Fetty Wap, and with his humble approach and hit-making ability, there's no doubt that it will only get better.

Nao is killing the game in 2015, bringing a blend of sensuality and aggression that continues work started by artists like Jungle and, more in terms of the vocals, FKA twigs. Unlike twigs, however, Nao's music stays accessible, anchored by sparse, echoing drums that keep time while she builds erratic tornadoes of sound above the beat.

Her recently released February 15 EP is a how-to guide on the state of modern electronic funk: from the sharp, staccato danceability of "Golden" to the sneering cool of "Zillionaire," Nao is showcasing her skills as a sound collector and vocalist in a way few others can. She's also capable of pulling it back: check out "Apple Cherry" for evidence of Nao at half-speed, breathy vocals still pulling listeners in with delicate precision.

Although we don't know what he looks like, we do know that Rationale is a London-based singer and producer who told us, "I rarely write about fictional subjects or stories, so everything you need to know about who I am is in my songs and more importantly, in the lyrics."

He introduced himself to the world with "Fast Lane," a reflection on modern life in the rat race, and a song that rides lush, timeless production that would fit right at home on a Blood Orange album. He kept the levels high with his second track "Re.Up," a collaboration with a mysterious female vocalist, and we can't wait to see what's next.

From Allan Kingdom to Drake, rappers big and small are buzzing over Boston's latest export. Cousin Stizz quickly cemented himself as a future hit maker last summer thanks to three bangers: "Life," "Fireman," and "Shoutout." The third, laced by producer Obeatz with smooth, shimmering synths, lit the final fuse. The track ignited street-side mosh pits and limb-risking turn-ups at underground venues in his home city, soundtracked Drake's Dave & Busters birthday bash last October, and kept burning through 2015 as plays accumulated.

Suffolk County, his debut tape released June 1, felt like his true announcement to the world at large. Stizz raps with a vengeance on "Bonds" and generously supplies listeners with some of the best hooks of the year (Listen: "No Bells," "Dum Dope," "Fresh Prince"). Already making a bid to run the streets, Stizz might just have what it takes to run radio.

Technically speaking, Tove Styrke isn't a "new" artist. She came in third on Swedish Idol back in 2009 and put out a debut album shortly after that. Yet she lands on this list because the music the singer made then compared to the music she delivered on Kiddo is a true rebirth.

Her current sound lands at the intersection of quirky and mainstream: some songs experiment with outside-the-box production while others rely on fantastic pop melodies. The constant throughout it all, though, is Styrke's confidence. Both on and off the stage she delivers her songs with a self-assurance that puts her at the forefront of her contemporaries.

We've only heard two songs from New Zealand's Leisure, but their smooth and funky sound had us hooked from the opening bass riff and airy vocals of "Got It Bad." Where that song took us on a psychedelia-tinged journey through a red hot desert, "Hot Love" was more like sauntering along the beach with a girl on your arm.

Thus far, Leisure have gone about their rollout like Jungle, expertly blending a timeless sound and a touch of mystery—whether or not they can take it to the next level is a question to be answered in the rest of 2015.

Chicago rap is wonderfully varied right now, and new talent seems to pop up almost weekly. The latest to catch our eye is Max Wonders, an 18-year-old who told us that he's as influenced by Elton John, Stevie Wonder, and Lou Reed as he is by Outkast and Lil Wayne.

This eclectic taste manifests itself in his rapping style and in the beats he chooses, with "88 Changes" serving as a great example of a warm, multi-layered beat pairing perfectly with Wonders' easy ear for memorable melodies.

Kaya, not to be confused with Okay Kaya who is also on this list, has been keeping fairly mysterious so far, uploading songs to her Soundcloud sporadically and with only a tumblr for us to get to know her. From it we've learned that she's from California, but not much else, and maybe it's best that way, because her gorgeous, still raw songs tell us everything we need to know.

On songs like "i don't know what i'm doing anymore" and "Night time," kaya sings over simple piano, telling dark tales and delivering memorable phrases like:

"i used to know this girl from school

a pretty face and yellow curls

she smiled one day and said im done

then next day was a funeral"

Comparisons can be drawn to early Lana Del Rey songs, but Kaya is certainly putting her own unique spin on moody singer/songwriter pop music, her untitled collaboration with producer blank body showing that she has an ear for beats that complement her vocals. Kaya is still raw, but seems like a true talent for the future.

Stormzy didn't start making music this year, not at all. In fact in 2014 he was one of the only unsigned artists to perform on the long running BBC music show Late Night With Jools Holland. But 2015 has most definitely been Stormzy's year. It's been the year of his introduction to new audiences, both at home and in the U.S., with "Know Me From" bubbling up and Stormzy's hard work paying off when he won the BET Award for Best International Act.

Stormzy just does not drop weak tunes, and his YouTube freestyles prove he's got bars for days. With a clear, direct style, and the kind of personality that helps makes fans out of doubters, 2015 is just going to get better and better for this British MC.

When we asked 20-year-old London singer/songwriter/producer Leks Rivers who his influences are, he listed off an eclectic range including Jimi Hendrix, The Supremes, and Michael Jackson. He also likes Azealia Banks, Jai Paul, and Skepta, but he admits that he doesn't listen to a lot of current artists. Despite that, there's a youthful spirit to his music, a product of the fact that he's a self-taught producer who's been figuring out music on his own.

Leks' songs are raw but wildly ambitious—huge choruses and unforgettable melodies feel almost too big for the backdrop, but as Leks keeps learning how to bring everything together, he's going to become a force to be reckoned with. He's already got an immediately recognizable sound and a gift for songwriting, and a little fine-tuning could make him a breakout star in the near future.

Around two years ago, half of the internet was discussing whether Yung Lean’s music was genuine or not. Millions of plays later, it seems that people have either given up trying to decipher the young Swede’s bizarre aesthetic, or they've come to terms with the fact that it doesn't really matter. Yung Lean is proof that confusing your audience just as much as entertaining them can elevate what was otherwise an innocuous subversion of norms into a feverish cult of grand proportions.

While Missouri-based musician Dylan Brady doesn't pile on the is-it-irony aesthetic as heavily as Yung Lean, there are some interesting parallels to be made in his music and how he presents it. The flashes of peculiarity are shared across the music by both artists, and their sounds aren't all that far removed from one another, but it’s how the internet is obviously important for both of the young artists that really ties them together.

But that’s really where the similarities between Yung Lean and Dylan Brady end. While Lean chose to rap about being sad, the emotions he was portraying alongside his Arizona endorsements never exactly felt sincere. Lean's music isn't a joke, but a lot of its content is. There’s a weird smile-inducer or two on Dylan’s debut, All I Ever Wanted, but everything about the album is very real despite it possessing so many fantastical qualities. It might not be the most polished debut of the year, but it's definitely one of the most unique and striking.

There are sweet spots between hip-hop and R&B, the space between feel-good party jams and sedated chill-out music, between accessible and interesting. A.Chal’s first couple of songs live in these elusive spaces. The Los Angeles-based singer/producer has been working in NY and LA for the past five years, but he's just now starting to roll out his new batch of music. He’s influenced by his Peruvian background and his bi-coastal lifestyle, and if he keeps the quality as high as "Gazi" and "Round Whippin," A. Chal should make a big impact in the coming years.

We've been keeping an eye on blank body (who formerly went by the name bine) since last year, but in 2015 he has really flourished. His uniquely colorful yet powerful production style sees him crafting memorable melodies from wind chimes, distorted guitar, or crisp keys, and then pairing them with unexpected breakdowns and thunderous bass. He really hasn't put a foot wrong this year, and collaborations with vocalists Night Lovell and kaya only hint at the exciting potential future moves.

blank body is a really unique talent whose music has seemingly limitless potential—don't sleep.

For more check out our exclusive mix and interview with blank body from earlier this year.

With Marauding in Paradise, Jazz Cartier cemented Toronto's rap legacy post-Drake. It's that good—a fully-realized concept album with the highest ambitions. Cartier doesn't ease off the pedal once, with verses tackling God and original sin alongside his self-aware, poisoned plans for the future ("with God as my witness, money is my new religion"). He's earned the comparisons to Travi$ Scott and the most recent incarnation of Kanye, but he doesn't stop there.

Cartier's passion is his strongest suit, and he's as forceful discussing questions of fate and mortality as he is Toronto's microcosmic inequalities. This is a rapper you'll recognize from his opening bars, and it's not just what he's discussing, it's how he does it. There's one thing that separates him from the pack: Jazz Cartier takes this music very, very seriously, and if you're picking up what he's putting down, there's a lot of gold to explore in his pre-Paradise discography.

Jazz Cartier is playing our No Ceilings show on July 8. 

In these past years, we've seen plenty of acts come out of nowhere with great music and no other details—no faces, no names, and no backstory. For this to work, the music has to be good, but it's more than that. Through music videos, imagery, lyrics, and every other little detail, an artist can communicate what they're all about, even without revealing any personal information.

Chicago artist/group Goodbye Tomorrow has done this masterfully so far. They've got a modern approach and a message, always delivered with intensity and a clear sense of purpose. So far, there are only a few songs out there and a couple of awesome videos, but whoever is behind this project has obviously put a lot of thought into their presentation, and it's worked. Goodbye Tomorrow is one of the most exciting new rap acts of the year.

No newcomer experienced the same level of success (or drew as many cries of "industry plant") as Post Malone. The Dallas talent spent next to no time in obscurity after dropping "White Iverson." The song's meteoric rise is still in process all these months later, and follow-up singles such as the tastefully radio-ready "Tear$" and melancholic "Too Young," lend additional credence to the artist behind the best song 2015 has yet to offer.

But it's not just the music: Post is always brimming with positivity in photos and was at ease in his first interview. The hip-hop-inspired singer seems ready for the next steps, and he's already carved out his own lane with just a handful of songs. In short, never question the potential of a creator who already gave us the excuse to croon "saucin' on you" and an impressive Bob Dylan acoustic cover. No ceilings.

hnrk is based in Germany, but that hasn't stopped him from collaborating with talented vocalists from across the Atlantic like Spooky Black, Bones, and Appleby. When producing for these fellow up and comers, he provides moody, ominous soundscapes, but his solo work is unmissable too, especially the recent Nachtzug EP, three tracks of Burial-inspired electronic music that avoids the pitfalls of imitation positively hums with emotion and imagination.

When new artists get attention for a breakout hit, it's more often than not a party anthem. However, 18-year-old Ontario native Alessia Cara went about it a different way, and it worked. Her debut single "Here" is the anti-party song. "Here" is sung from the point-of-view of everyone who would much rather be at home chilling than wasting time at a party with strangers–something lots of people can relate to.

Even with just one single out right now, Alessia shows enough promise to make us intrigued to hear more. The young songstress clearly has a refreshing perspective that we can only assume will be the focal point of the rest of her material. Though it may still seem too early to make predictions, Alessia is already on the right track to having a great breakout year.

Leave no stone unturned—an axiom newcomer London O’Connor personifies with his autobiographical work. The San Marcos-bred 24-year-old peeks beneath every formative pebble, but the details don’t distract from his greater vision. Life is simply something to journal; music is the medium through which he can share his dated, geographically-marked entries.

In absorbing the everyday entrapments of the San Diego suburbs, O’Connor architected his compelling debut. O∆ works like a mini motion picture. In its 29 minutes, his penchant for enveloping synths, falsetto, and slowly paced rhymes creates a gravitational pull. In short, London has already proven himself capable of world creation with his first project.

The sonic baby of St. Vincent’s “Digital Witness” and Earl Sweatshirt’s reserved raps, London took a mix of eclectic sounds and never looked back. Everything you hear—lyrics, singing, production—he’s wholly responsible for. More than a wayward singer with a fancy for kitchen dresses, O’Connor’s only direction is up.

Leon Bridges is undoubtedly sick of the Sam Cooke comparisons by now, but it bears repeating just one more time. A voice like Leon's, or Sam's, is a rarity on the mainstream stage—it feels almost too pure to be exposed to so many ears, like an orchid that can only survive off two ice cubes a week. No more, no less.

Throughout his breakout debut album Coming Home, the 25-year-old Texan eschews all of modern music's technological developments for his trusty guitar, correctly assuming it would be a crime to hide those vocals behind effects or distortion. It sounds like the man has never drooled in his life, and sing-alongs like "Coming Home" and "Lisa Sawyer" help recall a time when songwriters didn't need a drop. With Leon's help, it might just be possible to get back to those simpler days.