Stay Relevant

Digga D’s ‘DPMO’ isn’t just a comeback. It’s a study in what happens when someone tries to move forward, and the system keeps pulling them back.

Take 'Consistency' with AJ Tracey. Under the sleek production of Telz and Kofo Sound, Blaqbonez moves with ease. He’s less showing off and more reminding you that the work is done. AJ’s London groove sits beside his Lagos torque, not a clash, a handshake. It’s the first tone setter for the record. He drops the mic at the start; the room knows he’s speaking.

The match flares, then goes out of frame. Smoke hangs low. Sailorr’s grin moves first, Jordan Ward follows with the kind of eye contact that makes a lens feel too close. ‘SMOKIN POTNA’ doesn’t chase a climax. It settles, invites you to lean in.

“I Need You” thrives on what it withholds. No overblown string section, no pyrotechnic runs. Just bass heavy enough to keep the floor steady, drums locked into heartbeat tempo, keys drifting like incense. The pauses say as much as the words. He leaves silence open, and it turns into part of the arrangement the honesty of a confession you can’t quite rehearse.

This is New Orleans bounce in its purest, loudest form sweaty, joyful, a little reckless. But here, the brass cuts in too, swinging over the 808s like a second line marching through the club. It shouldn’t make sense, but it does. The song is a glimpse of the bigger thing coming: Brass and Ass, HaSizzle’s new project, a title as blunt and playful as the music itself.

The track itself swerves. Aki Oke’s production pulls garage rhythms apart, rebuilding them into something jagged and restless. The bass rattles like loose change in a pocket, the percussion darts in odd angles. KhakiKid doesn’t try to smooth it out. He leans in, tossing off lines with comic timing, then landing heavier without warning. It’s messy in the best way the kind of energy that makes you feel like the whole thing could collapse if he wasn’t holding it together.

The lead track on patching is 'Sickness' opening with a restless guitar pattern, and Runo Plum’s voice steps in like it was already mid-thought. It’s conversational, almost casual, but the words don’t slide past they catch. The song is about cycles you can’t shake: the body falling ill, the mind looping back to the same doubts, the small dailies of feeling worn down.

She recorded most of it in small rooms. Hotel setups with thin walls. Rental studios where the air conditioning clicks on in the middle of takes. That’s in the music a closeness, a lack of polish that isn’t sloppy, just human. When she sings on 'Distractions,' there’s a moment where her breath catches in the mic before the hook hits. It’s not edited out. It shouldn’t be.

Guchi’s No Skips, Just Feelings doesn’t force a narrative. It holds space for clarity, softness, and strength without ever trying to sound louder than it needs to. No overthinking. No filler. Just real emotion, handled with care.

Some songs feel like a warm can of Fanta you found under your car seat. Sweet. Sticky. Questionable. But still, somehow, exactly what you need. ' Hot Body' is not one of those songs. Ayra Starr didn’t stumble into this beat. She strutted in, turned the air conditioning off, and said, “Deal with it.” The beat clicks like acrylic nails on a glass table. The vocals? Half spell, half shrug. It’s not even confidence it’s past that. It’s that thing when you wear sunglasses indoors

That’s the funny thing about music how just a few seconds can fling you straight back into a moment, uninvited. One tiny sound and boom: you’re 18 again, in a dark room, in shoes that don’t make sense, grinning at someone you’ll never speak to again. Luv Letters did that for me.

When I clicked on Lil Shakz Do Better video, the first thing I thought was damn, you really don’t need all the flashy shit to make a good music video. There's no mad drone shots, no hired actors, no budget-busting flex. Just Shakz. On the block. Playing chess with his boys.

You ever randomly see someone just walking down the street and then weeks later they drop something that completely takes over your brain? That was me and Pozer. I was outside BBC Introducing Studios after a listening party for another artist, and as we were piling into the car, I saw him just casually walking past. Introduced myself he was super chill, grounded, no ego, just good energy. You meet some people and instantly clock that they’re moving with purpose. That’s him. F

You know that person who’s always stirring the pot but somehow you’re still pulled in like a moth to the flame? That’s Jordan Adetunji’s “Drama” in a nutshell. It’s not just a song, it’s a full-on mood, a tease, and a warning wrapped in one smooth space that knows exactly how to mess with your head and heart all at once. confusing right? He sings, “’Cause I can be your drama / The type to make your best friends mad.”  That’s the honest admission no one usually wants to say ou

There's something with black and white cinematography that to me makes the story in many ways more clear. Maybe, because we aren't distracted by multiple colour pallets. The erasing of colour let's me really see and hear the story the artist intended to tell. I also see more. Again maybe because i'm not distracted. I also find there's a lot more emotion attached in these choices of video.

The visuals grab you first. Like a trip ecstasy, maybe LSD or maybe this is just what it looks like inside Mugun’s mind when he closes his eyes. Saturated colours, sharp cuts, disorienting scenes. There’s no clear narrative. It’s not meant to be explained it’s meant to be felt.

Offset is back with a new single called “Professional,” his third release this year after “TEN” and “Bodies,” the latter featuring JID. The track is produced by Evrgn, 254Bodi, Macshooter49, and DashOTB, and it blends jazzy loops with trap beats in a way that feels smooth but grounded.

The video self directed by Claudia Valentina shot with barely a plan, just yogurt, two cameras, and whatever mood was hanging in the air captures that same contradiction. It’s both vulnerable and bold, messy and precise, like a whispered secret shouted in a crowded room.

Skye Newman words in Out Out are like a series of tiny fractures in what used to be solid ground. There’s a quiet desperation threaded through the verses a yearning for something that’s slipped beyond reach but still lingers like a scent on the skin.

Mahalia returns with a new single, “Instructions”, her first solo release since May’s “Different Type of Love” with Masicka.

For over ten years, she’s been a key figure in Los Angeles’ music scene, carving out a distinct spot with her richly detailed dream pop sound. Born in Curitiba, Brazil, and having played in early bands in Boston, she landed in LA in 2013. The city’s DIY rock community became her home, with her longtime Echo Park basement hosting countless shows and early rehearsals. Winter soaked up LA’s creative energy, its cosmic vibe, and chaotic warmth.

You spend a lot of time searching. I do too. Most weekends, I’m deep in the noise, sifting for that one sound, that single, essential voice that cuts through the infinite upload. The sheer volume of talent on this planet is staggering, overwhelming, and humbling. Every click of an upload button is a moment of bravery, a choice to share a piece of your vulnerable, beating heart with a world that doesn't always handle fragility with care. It’s that vulnerability, mixed with una

I’ll be honest, I don’t usually listen to this lane or genre of music. So it’s interesting to write about a sound that doesn’t come so naturally to me. It gives space to notice things differently, to listen without assumptions, and to appreciate where Wombo are headed with Danger in Fives . Their new single “Spyhopping” is subtle but compelling. Sydney Chadwick’s bass line introduces it with a kind of quiet memory, like something just out of reach yet deeply familiar. From th

You know the feeling when an artist drops something, and you just know they’ve figured it out? That’s Sainté with his new EP, 4L, dropped July 18th. It has confidence, a flick of the wrist that says, "Yeah, I knew this was coming, why didn't you?" He’s been putting in work, refining, doing what needs to be done.

Sissy Ford’s 'Crush' Is All Fun and Flirty Until You Realise She’s Actually Clocked You

Mega's new single, "Roots," is nothing short of beautiful. Landing after a trip to Barcelona, this song instantly evokes a desire to explore the world, while simultaneously instilling a profound sense of courage. It’s the kind of track that resonates deeply, feeling at home whether sung in a church, around a campfire, or as the poignant ending to a powerful film.

It’s a Thursday night, and someone’s spinning QuincyTellem Make Wave Great Again in a car park after hours. Someone else’s loading clips of Treez0 into a Discord thread. There’s a comment underneath: “This ain’t even music. This is memory.”

Black British artist Big Teaser just dropped her new single, 'FOR ME,' and it’s a confident, sensual statement marking a fresh chapter. The track is a fierce mix, slamming the heavy, irresistible rhythm of UK bouyon/soca against that pure dancehall energy. More than just a song, this record is Big Teaser planting her flag, kicking off the run-up to her 2026 soca/bouyon EP.

The file name on his laptop says “Explain_v7_FINALmaybe.” That is closer to the truth than any tagline. tendai trims until only the necessary remains. Words sit squarely on the beat. Silence reads like punctuation. The melody climbs by a clean interval, then stops before it spills. No flourish. No mist.

Halima builds songs like a working arranger: drums first, pocket next, melody last only because it has to sit perfectly. SWEET TOOTH, her eleven-track debut, isn’t a grab-bag of styles; it’s a set of decisions made with a clear ear Afro-Pop syncopation where the hook needs lift, R&B phrasing when the line wants room, club frameworks tightened to keep the floor moving without bloat.

A close listen to The BLK LT$ on Honey. Disciplined drums, airtight mixes, and lived in reworks that meet Wu lineage eye to eye. Out October 22.

Inside Cardi B’s Am I The Drama?: the music, “Safe” ft. Kehlani, and the arena tour that turns release week into a live argument.

'Divine' is direct. The writing places self respect at the start and lets everything else arrange around it. Mountain wrote during recovery from surgery, a stretch of quiet that sharpened how she hears time. The images are small and clear. A window cracked for air. Sun across a table after days of grey. A message typed, erased, and left for later. The lyric keeps its shape because it avoids big gestures and lands on detail. The hook states the point, then gets out of its own

The title fits the moment we are living in. 'Never Meant To Hurt You' reads like the 1 a.m. message you type and do not send, blurred labels, soft exits, doors left on the latch. We keep things that should have ended. We stay when the fit is off. We accept less and call it attachment.

The project traces to a recording camp Charisse organised in October 2024 at Baltic Studios, East London. No recycled stems, no trend-chasing bundles. Artists she’s supported on radio and in clubs in the same room, writing from zero. Supported by Nando’s, yes, but the result plays like fieldwork, not a brand exercise: direct takes, parts that earn their place, arrangements that respect what dance floors can actually handle.

FREE marks Nasty C’s cleanest pivot yet. Self-run, sharp, and unhurried, with Blxckie, Usimamane, and a focus cut in Head Up that speaks plain and sticks.

Naomi Scott's new single, "Rhythm" ft. Johnny Yukon, perfectly captures that disorienting feeling where your online life blurs with reality. It’s a personal, quietly powerful track about desire and regret, leaving a lingering impression.

If you’ve ever scrolled through old photos, felt that sting of a memory, or just really missed someone who used to sit on your couch, Campbell King’s new single 'My Mates' is gonna connect with you. It’s about the people who see you when you’re messed up and still bring you snacks.

De La Soul and MF DOOM's "Rock Co.Kane Flow" gets a fresh look with a new animated video, transforming the legendary duo into superheroes battling an alien invasion—a metaphor for the shallow lyricism threatening hip-hop today. This isn't just nostalgia; it's a powerful statement, arriving 20 years after The Grind Date solidified their commitment to raw skill and tight beats.

What makes it land is discipline. The voice doesn’t waver. She doesn’t decorate it with excess or lean on stacked ad-libs. The phrasing stays clipped, venom intact, every bar shaped like a dismissal. That restraint is what makes the track bite. You don’t hear an artist venting. You hear someone channeling the critic until their words become her weapon.

Hit play and the room shrinks. You can hear it chairs easing, a small ripple of voices that know each other by first name, the kind of intimacy you don’t stage-manage. No fog, no spectacle. Just Tiwa Savage, a tight circle of family and friends, and songs she didn’t write to impress anyone outside that circle first.

Stacy NKR and oakland’s smooth fm EP cuts through with raw lyricism and atmospheric production a 6-track dive into love, loss, and the tension of modern relationships.

Sometimes, the best way to introduce music is to just press play. That's exactly how JusHarry's "Stealth" made its impact. Mid-scroll, with emails open and music in the background, a simple "What's this called?" from someone nearby signaled that this track was something special.

The EP kicks off with the energetic "HOT GURLZ" and quickly escalates with "VIBRATE," featuring BXKS, whose verse doesn't just match the energy but masterfully flips it. Their chemistry is undeniable, showcasing two artists pushing the boundaries of the UK sound with apparent ease.

Tommy Saints 'kalila' is the second drop in what feels like a new, softer chapter for him. The first was 'control' back in June. That one already hinted at this shift toward stripped-back R&B. But 'kalila' leans even further in minimal, acoustic-led, a little swing to it but not trying to be smooth. There’s space between the layers. Nothing’s crammed in. It’s not rushed.

Now she’s back with Up The Price, produced by long-time collaborator That Producer Ryan. The chemistry is obvious. Ryan keeps the beat stripped but heavy, drums snapping clean, bass low enough to make the room vibrate. It’s production that doesn’t crowd her, instead sharpening her voice into the track’s centre of gravity. Every pause feels intentional, every line delivered like a warning shot.

A!MS is treating Peak Season as more than an album. It’s a statement about where he comes from and where he wants to take his sound. Cyprus hasn’t had many voices loud enough to ripple through global rap, but A!MS isn’t shy about putting the island’s name in the conversation. That choice already sets him apart in a world where artists often polish away their roots, he’s leaning into them.

The production feels like it was built to hold memory. Jazz, in this case, isn’t decoration it gives the track room to stretch out. Nothing is trying to hit a peak. There’s no build, no drop. Just a consistent, quiet loop that lets you sit with what’s being said. It’s music that doesn’t pull focus from the story. The story is the focus.

Fave's new single, "Intentions," hits hard. Her recent COLORS performance is a masterclass in understated power, with her quiet confidence filling the minimalist stage. It’s a song that speaks volumes in its restraint, capturing that feeling when your words linger in someone’s mind long after they’re spoken. This isn't just music; it's a moment.

Odeal continues his consistent run with the release of The Summer That Saved Me, his second EP of the year. Known for pairing personal storytelling with genre-blending production, this latest project offers a snapshot of a pivotal moment in his life.