Music Recommendations Based on the Artists You Already Like

Chester Watson is the whole package—he produces, writes, and raps. That last one should be read with a special emphasis—Watson can rap his ass off, even if his cold and calculated delivery doesn't grab you by the throat with its intensity. But for those who lean in and listen, there's a whole world to discover.

There are strains of MF DOOM in this monotone samurai's delivery, but Watson's real sonic ancestor is Earl Sweatshirt—that nihilistic, deep-voiced darkness is evolving before our ears. The whole Past Cloaks album is great, but if you want a quick entry point, start with "Wicked" or "Spliffs."

EMI and Post Malone are different in a lot of ways, but if you like Post's production choices, check out this Seattle singer. She just debuted her first song "Phantom," and it's co-produced by Rex Kudo, who also worked on Post Malone's "White Iverson." It's a fantastic debut, and it's going to be interesting to see where she goes from here.

Jacquees is Birdman's latest center of attention, and his latest mixtape is his best work yet. He's R&B, but he's got an edge that hip-hop fans should appreciate, and there's an unpredictability about him that makes him stand out from the more formulaic R&B out there. Just listen to "Ready."

Jack Garratt's signature blend of grandiose, uplifting rock with electronic elements gets a French twist from POSTAAL, a mysterious Parisian duo who have released two scorching tracks to start their career.

"BURNIN'" and "(TAKING MY) FREEDOM" are the kind of windows-down, system-cranked anthems that can soundtrack an entire summer—and since these guys are still heating up, they just might.

If you like Coustin Stizz's knack for effortless melodies, slick deliveries, and low-key charisma, check out another dope Boston rapper named Vintage Lee. She's just getting started, but her second single "Hennythings Possible" hints at star quality.

Kwabs is a bona fide pop star now, with fans all over the world and a collaboration with Disclosure under his belt. His sound has been polished and the edges smoothed somewhat, but when we first got to know Kwabs, it was the raw, unrestrained power of his voice that caught us immediately. We got a similar feeling hearing Mickey Lightfoot's "Anxious (Modern Blues)" for the first time.

The London-based singer broke down the song for us, explaining, "My hope is those who can relate, listen and also shed a few pounds of anxiety. And for those that have never felt that, just dance around your bedrooms with the vice of your choice while strumming your air guitar and fist pumping.”

Smooth, sultry R&B is the name of the game for Jess Fairfax's X ARI project. "Float Away" is the lead single, and it's a stunner. X ARI, like British sensation Nao, is a master of vocal dynamics, and knows when to pick her spots. The song ebbs and swells over its five minute runtime, introducing new melodies and levels when you least expect them. This is pop songwriting at a high level, and it's exciting to hear.

The biggest viral sensation of 2016 (so far) has been Desiigner and his utterly addictive "Panda." It's no coincidence, then, that the Brooklyn rapper sounds like the heir apparent to Future, with a little bit of Young Thug thrown in for good measure. Desiigner has found a sweet spot with "Panda," and he's capitalizing on the virality. Kanye West has taken notice—"Panda" got Desiigner on The Life of Pablo, and the G.O.O.D. Music payroll.

There's something about "Panda" that makes us think that Desiigner is going to be much more than a one-off viral hit. Now we wait for his next moves.

Related: The New Wave: Desiigner - "Panda"

Keita Juma's music is difficult to categorize. The rapper/producer/DJ is based in Mississauga, Canada (a suburb of Toronto), was born in Bristol, England, and has Jamaican roots. He blends styles including but not limited to: hip-hop, grime, dub, reggae, house, alternative rap, and jungle, with impressively organic results.

"F R E E L Y" is a standout from Juma's Nights In Space A Short Film project, which shares a sense of adventure and sonic variety (rapping, singing, experimental beats) with Allan Kingdom's recent Northern Lights release. Also, they both fuck with Jamaican reggae artist Chronixx...what more could you want?!

Related: Allan Kingdom: Force of Nature

With only one track to her name, Jorja Smith has a long, long way to go to be meaningfully compared to Amy Winehouse in any way, but this isn't about comparing the two, just about putting you onto some great new music. With her soulful vocals and poignant lyrics the 18-year-old singer/songwriter impressed with her debut, "Blue Lights," and we can't wait to hear what's next.

“‘Blue Lights’ is a social commentary," Jorja told us. "I’m hoping this message will translate to the current generation; but, also resonate with a past generation, like my dad. It’s one of many stories I’ve written, which will hopefully make people think.”

This is an easy one—Dingo Johnson makes explicit reference to his Odd Future inspirations in his music, but in true Tyler fashion, he doesn't give a fuck about how it makes you feel. And when you're making music that pays homage in such a brutal and uncompromising way, nothing else matters. "3SUM" is a banger, complete with the kind of growling rasps and raw delivery that made Goblin a modern classic. Now all we have to do is wait for that lockjaw to subside.

We're waiting to see where Sara Hartman takes things after her bold debut "Monster Take Me Home," but after killing it at our No Ceilings London show last week, we're sure she's going to have a big 2016. Powerful vocals, pop production with a rock edge, and a personal backstory (Hartman wrote the song after moving from Sag Harbor, NY to Berlin) have had us keeping this one on repeat. Fans of Florence Welch, take note.

Field Music is the project of brothers David and Peter Brewis. They're from Sunderland, in northeastern England, an area steeped in great music history. They're continuing the tradition with the kind of jangly funk-rock that sneaks up on you, settling into a danceable groove on cuts like "The Noisy Days Are Over." They've taken lessons learned from the late great Bowie (huge harmonies, generous saxophones) and are carrying them forward in his stead.

Javon Johnson has been making waves in Houston recently. He started his hot streak with the African American Terrorist EP, and continued this month with The Outer Limits.

Johnson is wrestling with demons in his music, a struggle that's apparent from the Outer Limits intro. A conversation with a suicide hotline counselor ends abruptly when the caller hangs up instead of promising to find help. But there's a lot more on his mind than dark thoughts—one listen to Johnson's verses reveals an encyclopedic mind, with references on references that recall Jay Elec.

"Submarine" is one of the most gripping songs we've heard in recent memory. Jelani Blackman's voice emerges from murky depths to clutch your ears with a tight fist, the intensity rising like a tide at the titular chorus. And then, just like that, he's up in a tender falsetto, showcasing a range few performers can claim.

That, coupled with Blackman's offbeat, brooding instrumentation, makes the comparison to TV on the Radio clear. Granted, Blackman has a decidedly more hip-hop bent than the Brooklyn rock legends, but his unique sound could have fit right into Return to Cookie Mountain or Desperate Youth, Blood Thirsty Babes.

Frank Ocean has inspired his fair share of imitators, but not many deserve the comparison. Michael Blume does, especially on his soaring "Colors." The song's group-sing verges towards gospel, as does Blume's use of modulated keyboards and organs.

But if he's making soul music, he's doing it for a decidedly modern crowd—check that arpeggiating synth in the final third, or the juicy percussion. It's this fusion of new and old, classic and groundbreaking, that puts Blume in Frank's ballpark.

Kaiydo bowled us over when he flipped Sampha's "Without" into a hazy rap jam on "Arcade." The young Floridian made it seem easy, with a laid-back delivery that recalls that casual, honest wisdom of Isaiah Rashad. There are a lot of artists these days that get their point across with massive theatrics and booming production—and we love that, but Kaiydo reminds us that sometimes all you need is a beat you can nod to and some conversational lyrics.

The haunting, ambient production that propelled seminal albums like Sung Tongs and Merriweather Post Pavilion put Animal Collective on the map. Bayonne took those overlapping rhythms and propulsive vocals and gave them a facelift—"Appeals" is replete with moments of spasmodic joy, led by a cascading piano loop and thunderous drums that recall "The Purple Bottle." It's quite an entrance by the Austin musician, whose Primitives album is out at the end of March.