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.

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.

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.

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.