Music Recommendations Based on the Artists You Already Like

BIA's "Gucci Comin' Home" already has a spot reserved in our summer playlists, but that sunny, feel-good flow is only half the story. BIA can go hard too, as evidenced by tracks like "Whip It" and "Way 2 High (Cut It)."

She possesses a versatility few others can claim, but A$AP Ferg is one that comes to mind. Ferg can wear a number of different hats, from his guttural, introspective SBTRKT collaboration "Voices In My Head," to headbangers like "Line Up the Flex." BIA is signed to Pharrell's i am OTHER, so expect a whole lot more from her soon.

Raury's music isn't the most polished, but it's full of positive energy, and there's a youthful charm in every song. That's the case with Seattle's J'Von and his track "Seattle Girl." The song comes with a video he animated himself, and it makes up for the lack of sheen with honesty and personality.

Los Angeles-based singer Rush Davis has a hit in "Feel Trip," and he knows it. Rush describes the song as “honey on fries from Popeye’s,” a fittingly timeless treat for his modern soul sound.

He's releasing it at the right time—"Feel Trip" is coming on the heels of an incredible run by Anderson .Paak, and with Malibu still flowing out of speakers everywhere, Rush will find more eager ears than ever.

As more and more American listeners pay attention to grime, there's been a common misconception that all British rappers make grime music, but luckily artists like Avelino are emerging to combat the generalization. His F.Y.O. EP is impressive from start to finish, highlighted by the title track and "Welcome to the Future."

On his new album, grime legend Kano pushes sonic boundaries, straying far from the 140 bpm grime template, with some impressive results, and although Avelino's style is a little more rooted in hip-hop, the two are both cutting through the noise with top-level lyricism.

From what we know about 24hrs, he has no intentions of becoming the next Rae Sremmurd. The reclusive artist is a good bit more experimental than the "No Flex Zone" rappers, but there's no denying their energy and delivery is pretty compatible.

That high-pitched passion is contagious, as is their like-minded fascination with fame's trappings. 24hrs may be just starting off—and he may have no interest in Rae Sremmurd's kind of success—but he's blazing a trail using some sounds sharpened by Swae Lee and Slim Jxmmi.

Charlotte Cardin's "Like It Doesn't Hurt" sounds like it could have been written at any point in the history of recorded music. Sure, there are modern elements (the off-kilter percussion, Husser's self-assured verse), but Cardin's voice is the centerpiece.

She sounds like she'd be comfortable in a smokey jazz lounge or ampitheater. That understated power is something we've seen in Nao's music, too—though Nao has a tendency to follow through and unleash the full power of her instruments as well as her vocals.

Beyoncé has started taking on managerial responsibilities, and CHLOE x Halle are some of her first clients. The two teenage sisters have been stacking up followers on YouTube via Beyoncé covers for a while, but the first big original release ("Drop") is original indeed.

Instead of continuing to imitate their new mentor, they forge their own path and end up sounding like an futuristic Florence & The Machine—big, operatic vocals that can suddenly sink to a hushed whisper. It's intensely emotive and a step or two removed from contemporary pop, despite the modern production. Excited to see where they go from here.

Darnell Williams isn't just a rapper, but he's a really good rapper. The Detroit dual-threat directed the incredible video for his breakout hit "South Central," but its his rhymes that are sticking with us. He possesses the sort of effortless cool that only comes around once in a while, the kind of cool A$AP Rocky used to turn in one of the best albums of 2015.

Everything Williams raps is stated as a matter of fact—there's no room for doubt, and no time, either. "South Central" moves at a breakneck pace, and is over before you can really wrap your head around it. With Rocky and Williams alike, you'll find yourself playing catch-up, learning in their wake.

These two Southern rappers have already teamed up on MobSquad Nard's Everything Clean But Da Ashtray album, and it's clear why when songs like "Ashtray" hit. Nard is able to match Big K.R.I.T.'s sneering, quick-witted intensity, boasting in one breath and philosophizing the next. Hearing these two together just sounds natural, whether K.R.I.T. sticks to production or the two trade bars.

Nard has also cited his Southern peer as an influence—here's hoping they continue to work together in the future.

If liberal use of Auto-Tune and a broad swath of influences are your thing, give Pollàri a try. The Atlanta rapper has been making waves in the months since his OFFWITHHISHEAD EP, and the hits will likely keep coming when Pollàri releases his full-length Sonya later this year. That's because he's employed WEDIDIT producers D33J and Shlohmo to help round it out, a sure sign of great music incoming.

Plaitum announced their second EP, Jagwa, at the beginning of the month, telling us, “The EP gets progressively darker and sludgier. Unlike our debut EP, which was more or less psycho happy mayhem, we definitely wanted this one to more deliberate, less a frenzied crime of passion and more like a carefully formulated assassination.”

The sludge suits the London duo well—there's a tangible menace to "Jagwa"—but the hook shows there's real pop songwriting ability here too. The result is somewhere between Crystal Castles and CHVRCHES, and we're digging it.

KHIRY oviim is scrapping together a living in Washington D.C., spending what money he has on studio sessions in an attempt to get this rap shit going. It's working—"Pray" hits like a knife to the heart. He's not holding anything back, making open-hearted proclamations about the demons at his heels and the loneliness inherent to such single-minded desires.

There's a hunger KHIRY's raps that remind of Lupe Fiasco, that tireless champion of the downtrodden and forgotten. KHIRY also sounds like he could give Lupe a run for his money when it comes to lyrical athleticism.

In a surprising turn of events, comedian Jon Lajoie released an album of decidedly non-comic folk songs this week. The album is called I Remembered But Then I Forgot, and it's pretty damn good. Lajoie—or as he's known on wax, Wolfie's Just Fine—couldn't have picked a better time to release, either. News of a Fleet Foxes reunion are running rampant, Bon Iver has new material circulating, and folk music is back on its feet.

“I’d spent so long using music to satirize pop culture or comment on the absurdities of every day life, that I couldn’t really remember who I was when I wasn’t making fun of shit,” Lajoie said of the album. “When I finally asked myself that question, all these songs just sort of poured out of me.”