Great Grandpa have put out some really excellent indie rock over the past few years. Their first album Plastic Cough opens with an anthemic banger in “Teen Challenge” — this track gets stuck in my head all the time. The band’s 2019 album Four of Arrows evolved their sound naturally, to a maybe more mature place — arrangements got a bit more sophisticated, production more complex, and new genre influencers were introduced — but not to worry, the anthemic bangers and emotional heft are still there. “Mono no Aware” has to be one of my top songs of 2019.

Zeroing in on concepts of renewal, often through meditative repetition, the Copenhagen-based composer and musician Astrid Sonne combines the computer-generated with the organic, an approach that allows her to maintain emotional resonances within an experimental mix. She makes complicated, computer-based music with a beating heart, which is not an easy task. She sews together viola, voice, digital washes, and 1s and 0s in ways that are engaging (and, with your headphones on, all-enveloping). Sonne’s debut album, 2018’s Human Lines, blended frenetic coded soundscapes with minimalist cloud formations and tumbling glitch cathedrals. Last year’s Cliodynamics EP put her viola at the forefront amid denser soundscapes (think buzzing digital orchestras), but it ended with a peaceful (and jazzy) acapella choir, “Strong, Calm, Slow,” a song you could imagine surfacing on a bookstore café’s soundtrack. One of that EP’s song titles is “To Change is to Continue,” an apt slogan for Sonne’s continuously morphing compositional approach.

Going from four childhood friends with somewhat daft names for one another, to becoming an integral part of the next generation of London’s punk scene, Italia 90 are a band that’ll certainly stick in your mind. Having relocated from their home of Brighton to become part of South London’s infamously creative hub, the quartet – Les Miserable, J Dangerous, Bobby Portrait and Captain ACAB – have quickly developed a reputation for melding together all manner of influences and styles to create their jagged, enticing brand of post-punk. Led by Les’ no-nonsense vocal style, their tracks come socially-charged and packed with a sense of addictive restlessness and power, that really marks them out amongst their punk peers.

Michigan grindcore trio Cloud Rat are, in some ways, typical of the genre’s Hobbesian nightmare: very fast, very loud, very rough. Even in a genre all about speed, rage, and both in excess, there’s an extra urgency that their peers and even some of their forebears lack, and that’s why they’ve garnered fans who aren’t exactly grind freaks. They draw on the melodic crust punk of His Hero Is Gone and Tragedy as much as classic Earache Records grind of yore, which not only gives their attack a hopeless longing (Madison Marshall’s vocals are especially crucial), but also adds a beautiful dimension. And they’re more willing to go aggressive with such beauty. Last year, they released two records: Pollinator, which is the grind one expects of them, and Do Not Let Me Off the Cliff, a companion EP that’s darkwave with touches of dark folk and noise.

London singer/songwriter Beabadoobee went viral with the first song she ever wrote on a guitar. That’s a cool story, but it’s not always the best way to launch a career. Overnight success can lead to a quick burnout, but Beabadoobee is one of the fastest-evolving new artists out, and she’s still only 19 years old. Now she’s signed to independent record label Dirty Hit (The 1975, No Rome, The Japanese House) and she’s built her acoustic bedroom tunes into grunge-y, ‘90s-inspired jams with rich production and sophisticated songwriting. Bea’s 2019 EP Loveworm showcased her potential as a true rockstar in the making, and she’s been putting in time on the road delivering shows good enough to convert casual listeners into fans. “I went into this thinking this was going to go nowhere,” Bea says. “I was just doing it for fun. So every time you make art, do it for fun. With no expectations.” Fun isn’t always a word you associate with the slacker rock space Beabadoobee thrives in, but her energy is contagious.

There’s nothing quite like seeing Nina Ljeti swing like a chaotic pendulum, between frenzied and a controlled ferocity as she leads Kills Birds, wide-eyed and screaming. Just like her performance, the Los Angeles-based rock outfit’s music seems to teeter at the brink of destruction — poised to unravel at any second. It’s that uncontrolled energy, driving melodies, and almost hypnotic quality that pulls you into Kills Birds and makes you never want to leave.

The Paranoyds are like my dream band, really. Firstly, they write tunes most other garage newcomers would kill for (Carnage Bargain, Courtney). Secondly, they’re tight as fuck live. Thirdly, they genuinely seem like they’re a gang — lifers, if you will — and fourth, their merch is 10/10. I first saw them playing to precisely nobody at SXSW a few years ago: I’d seen other like-minded acts like Sunflower Bean and Starcrawler bigging them up on social media, so wanted to check them out for myself. What I didn’t expect was how blown away I’d be by their nascent and primeval power. With a thrilling three-person front line, they butt heads and down tune in a straight-out-the-garage kind of way. They’re skewiff, but they’re really confident and clever too. Variously, they make me think of Sabbath, Ramones, Mac DeMarco and Hole. Do not miss them.

This band headlined my Good Karma Club tour around the UK last year and killed it every single night! Their indie pop songs are all huge, catchy, sing-along anthems and they manage to create such a fun party atmosphere whenever they play live. Go and check them out for yourself at their first SXSW, before the release of their eagerly-anticipated debut album later this year.

Erika de Casier’s debut Essentials is by far the most underrated album of of 2019. Anyone who grew up in the 90s would find something to fall in love with on this album, it’s just hit after hit and one the reveals more intricacies with every listen. Essentials is a title that may have seemed audacious for a debut until you actually sit down and listen to it. TLC, Sade, Aaliyah, G-funk stabs, smokey R&B, expertly naive lyrics — it’s all there and while the influences are crystal clear, the innovation is even clearer. Through Erika’s reinterpretations of the 90s, we get both the chance to revisit the feeling of that time while also getting a refreshing commentary of our modern world. This music, in its own simple way, epitomizes the contemporary female experience while transporting us back to when things were simpler. For the past several years, she has been affiliated with the Danish house collective Regelbau, lending her voice to tracks by DJ Central and DJ Sports and performing as one half of soul duo Saint Cava. On her debut solo release under her own name, she’s taken on a much more personal sound. It truly is liking going to the club with an old friend. If you see one act at SXSW, make it Erika de Casier.

Dry Cleaning is one of the coolest things right now. Not just one of the coolest bands — one of the coolest things. They’re the chillest while also being quietly aggressive, telling it exactly and specifically how it is. Keep an ear to the ground and be prepared to change your plans to see them. They’re instantly iconic, so classic and so fresh. Hopefully, the fact that they’re playing at SXSW means that there’s more music coming soon… fingers crossed.

The Orielles are expertly tuned musicians and poets playing undercover in a shimmering indie rock band. The U.K.-based trio’s guitar solos melt down your soul while the lyrics hit you so personally in the heart that you don’t know what to do. Their most recent album Disco Volador, released Feb. 28th on Heavenly Recordings, still has a veil of their usual intensely passionate and emotional melodies, but with a funky/danceable twist. It takes you to space in a rocket full of tears, love, and curiosities. Catch them live and you’ll do more than just sway side to side.

Overtly sexual and decked out in avant-garde experimental noise band, Model/Actriz packs an absolute verbal sucker-punch. Formed in Boston, the band is far apart from the New England city’s Puritan roots. Throughout their discography, they effortlessly blend together bits and pieces of post-punk, noise, and even dance, creating a genre frenzy that’s anything but tame. “I wanna f*ck you forever,” lead-singer Cole Haden bites on one of their more well-known tracks, “Matador,” and you can’t help but want to return the sentiment — you’ve become utterly entranced. In a live setting, the band writhes around on stage, flinging themselves from corner to corner and creating an absolute riot in their wake. Their music, their presence, their aura has an attractive quality unlike any other; it’s as if they’re living, breathing art. Model/Actriz’s latest EP No was released in 2017 and considering the time that’s since elapsed, there’s no question that we’re collectively itching for more — keep an ear open for their next sonic revelation.

Fat Tony became something of a meme — as legit a path to stardom as any these days — last year when he posted a short clip on his Twitter mashing up Brooks and Dunn’s “Neon Moon” and Too $hort’s “Blow the Whistle” at a live show. That might be a novelty to the rest of the 49 states, but it shows how very Texan he is. The Houston native is very much a product of the city’s wide spread, soaking up its signature hip-hop, as well as country, emo, and pop-punk. Like SLABs swerving on I-45, he never stays in one lane. He can release his 2018 album 10,000 Hours on punk stalwarts Don Giovanni and spit fire on Charge It To The Game — his collaboration with producer Kyle Mabson which takes its name from Silkk The Shocker’s southern hip-hop second album — and sound natural doing it all.

Remi Wolf is here to take over the world with her unique brand of sardonic, self-reflective hip-hop infused pop. “Shawty” combines Wolf’s angelic vocals with hip-hop and Caribbean influences and sounds like it belongs on the soundtrack for a hot summer, female-led blockbuster that just hasn’t come out yet. Her latest single “Bad Behavior” is a collaboration with Austin Millz where we get to see more of Wolf’s crooner and R & B sides. Her buttery-smooth vocals on this track are reminiscent of an early Rihanna. Be sure to keep an eye on Remi Wolf as she continues to break ahead of the pack.

The Haden Triplets — Petra, Tanya and Rachel — have a history of collaborations under their belts, establishing their place in the music world long before creating their own critically acclaimed albums together. They’ve worked with the likes of Green Day, the Foo Fighters and Weezer, to just name a few. Their own music focuses on their roots, with both their debut self-titled album and their most recent release The Family Songbook featuring beautiful folk and country tunes. The Family Songbook even includes songs written by their own grandfather Carl E. Haden. Some notable songs written by Haden off of the album include “Memories of Will Rogers” and “There’s a Little Gray Mother Dreaming.” The album also includes classic folk songs like “Pretty Baby” and “I’ll Fly Away,” which The Haden Triplets make their own with their beautiful vocals and perfect harmonization. They are truly a unique group that brings classic folk to the present.

Marlon Craft breathes hip-hop. His debut album Funhouse Mirror is a mature body of work, filled with punchy kick drums and live instrumentation glazed with impactful lyrics. Growing up in New York’s Hell’s Kitchen, Craft had no choice but to sacrifice his days, nights, weekends, and holidays to have a career as a rapper. He consistently uploaded albums and music videos until he landed a deal with Same Plate Entertainment in 2018. The following year, he elevated his status with his own brand of poised wordplay, freestyling on radio shows like Sway’s Universe, in which he claims he’s a blend of Nas, Talib Kweli, and Mos Def. But songs like “Gang Shit”, a nearly 6-minute track that dives deep into the systemic inequalities plaguing America’s minorities, prove that he has more than witty wordsmithing in his arsenal. At just 27 years old, Craft is steadily climbing towards hip-hop nobility with blessings from T.I. and Killer Mike.

Brighton, UK foursome Porridge Radio aren’t the type of band that washes up on the shore every day. Their 2016 debut full-length was a promising record recorded in a garden shed, but their forthcoming 2020 follow-up Every Bad could very well be the earth-shattering arrival of one of the best young bands on the planet. The group signed to Secretly Canadian and released two singles — “Lilac” and “Sweet” — that would give anyone that feeling of urgent elation that necessitates digging up every bit of online music or press that exists. Lead vocalist Dana Margolin possesses a rare voice with both disconnected cool and deep-rooted, benevolent passion. While her delivery is occasionally detached, her lyrics couldn’t be more down to earth — there’s humor, self-loathing and a brazen desire for connection and understanding. Their sound spans grand punk, snappy indie rock and lo-fi pop, but Margolin’s dark, magnetic presence and perceptible search for meaning will transcend listeners’ stylistic preferences.

Dissonance and melody are the foundation of Russian Baths. The NYC duo of Jess Rees and Luke Koz fuse the textural beauty of shoegaze and noise rock with the harshness of punk and hardcore. Their 2019 debut album Deepfake is a masterclass in tuneful foreground minimalism and ferocious background clamor. While the organized chaos of their guitars is the main event, their songs are aided by warm synths and caressing vocal harmonies — the perfect foil for their often doomy soundscapes. Aesthetically, they pull from dark clouds, sharp geometrics and rough minerals. But as moody and atmospheric as their music appears, it’s always grounded in tangible emotion.

After attending The Great Escape in 2019, I came back with a renewed hope on upcoming English rock music (something I hadn’t been interested in for a while). Squid and Dry Cleaning were present, but the ones who shocked me the most were Black Country, New Road. This 7-piece arty post-hardcore band sound far from any current hype and even further from anything immediately gratifying or radio-friendly. Their music recalls the dryness and anxiety of some of my favourite 90s bands. However, despite most of the indie-rock and post-hardcore acts sounding like renewed versions of their influences, Black Country, New Road have defined their own character adding beautiful melodies of violin and saxophone and certain Eastern folkloric vibe to the mix. With just two tracks released but tons of intensely breathtaking shows, they have become one of the most interesting and promising acts of the moment.

The soulful and emotionally stirring talents of Austin, Texas-based R&B artist Jay Wile are more than impressive. Powerful songwriting that is felt as well as heard is only one part of Wile’s playful sonic construction. Regularly texturized by a mixture of live and synthetic instrumentation that can be brandished through bright and dim palettes, each record produced by this burgeoning artist stands on the strength of its merit. His continuously growing discography, currently comprised of two albums, an EP and a handful of singles, paints a vivid picture of an artist that has yet to tell his entire story. As time continues to pass, Jay Wile will undoubtedly continue to grow and evolve placing transparency and heart at the forefront of his musical pursuits. An artist with such a noble intent not only gives a glimpse into his bright artistic future but practically ensures it through a dedication to quality.

New York’s No Wave scene was easy listening only for sadists, and nobody embodied that like Lydia Lunch. With her solo work, her spoken word records, and her infamous early group, Teenage Jesus and the Jerks, she turned macho rock posturing on its head and thrashed it around for her pleasure. The Jerks in particular were too punk for punk, mincing neither words nor terse guitars. She appeared on Sonic Youth’s “Death Valley ’69,” one of their hardest tracks in no small part due to her presence, and also recorded a series of albums with late Birthday Party guitarist Roland S. Howard, most notably 1991’s noise rock landmark Shotgun Wedding. Despite her resume, Lunch hates resting on laurels: she produced Philly punks Pissed Jeans’ 2017 smash “Why Love Now,” and her current group, Lydia Lunch Retrovirus proves that classic, squally, noisy New York confrontation isn’t dead.

Psychedelic garage rockers DTSQ are well set to add volumes to the city of Austin’s smile count for all who catch them in March. The Seoul-based foursome douse blues-based riffs and rhythmic breakdowns with a cartoonishly luminous goo, coming up with a drippy, tripped out sound brimming with bright, searing energy. Their 2017 debut LP Neon-Coloured Milky Way set the course on their sonic adventures, powered by hypnotic melodies and good times. Highly accessible with just the right amount of quirk, if Garbage Pail Kids came with a soundtrack, it would seem implausible that this wouldn’t be it.

Born out of the idea of reimagining a group as a sound system, El Guajiro, Chongo and Doctor Keyta, three of the most prominent names in the forward-thinking Colombian music scene, gathered between them the expertise, skills and vision that made Ghetto Kumbé the trailblazing live act it has become. Adding percussion, Caribbean beats and UK bass inspired elements to the mix, they blend traditional West African rhythms with Colombian sounds. Ranging from Cumbia, Palenquero, and more, the outcome is an inevitable and highly energetic dance-floor experience. Two EPs in, their sophomore album Soy Selva elevated their liking for club music with an Afro-Colombian flare. As they cast a light on their roots, traditions, relatability and respect for nature, Ghetto Kumbé, with their touch for dynamic sounds and innovation, are credible representatives of the modern Colombian electronic scene.

Praise from Houston legends like Scarface, Bun B, and Slim Thug have made Propain one of the most promising candidates to become the 3rd Coast’s next superstar. Without a major label, Propain has been able to maneuver through the industry with quality albums and crisp visuals. His vocal tone commands listeners’ ears, drawing them into his world while his southern drawl coats each lyric. Though his influences include Jay-Z and Nas, Propain’s ability to provide commentary about his community, in addition to preaching about the importance of self-reliance and ownership, could easily earn him a title as the Nipsey Hussle of the south. Though his less-than-ideal life experiences as an adult have created a tough exterior, he is versatile enough to show flashes of vulnerability, specifically on songs like “Dear Jada” – a heartfelt cut off of his latest project, In Case We Never Speak Again, about the positive impact his daughter has had on his life.

On the surface Shady Nasty takes the form of a traditional power trio, but they’ve hit on a sound and aesthetic that feels anything but traditional. Punk meets trap in the dynamic, ominous arrangements and barked vocals that have become the band’s signature. Unpredictable, considered, and dark, Shady Nasty got even more ominous this past year with their single “Get Buff”. This year they’ve dominated the Sydney live music scene — provoking crowds, splitting ears, banging heads, and setting in stone that no band in Sydney does things quite like Shady Nasty. It’s easy to see why they have become one of Australia’s most talked-about bands.

South American singer-songwriter Xavier Martinex beautifully captures the essence of indie-pop by weaving together carefully constructed soundscapes that delicately blend acoustic and electronic elements. Each track varies in rhythm but the soul of his music never strays from delivering his innate sense of earnestness, expressed gracefully through subdued vocal delivery. The soft rhythmic backbone of his music provides a catchy yet dreamlike stage for his soft whispering vocals to lure any listener into an introspective trance. Starting in 2009, Xavier perfected his craft by playing various open acoustic performances throughout his hometown of Cali, Colombia. Since then, the young artist has gone on to perform at many major music festivals throughout South America like Cali’s Oktoberfest, Sonorama DC, Sultana Festival, Converse Orange Festival, Beautiful Noise Festival, and Picnic Stereo Festival.

Reality Club shows what Asian indie music fans get into. In the beginning, the songs were danceable, dreamy, catchy, a bit rocky and easy to listen to for any young people who like musicians such as Last Dinosaurs — and then, there was Instagram. The band’s front-woman, Fathia Izzati, who now has more than 400k followers on social media, knew how to communicate with her fans and make them love their music. It was the story in 2017 when they released their first album Never Get Better which included their most beloved dream-pop song “Is It The Answer”. Two years later, the band came back with the second album What Do You Know? They show layered and uneasy emotion through well-produced garage rock songs, and they know how to throw themselves at their live performances.

Lula Wiles consists of three extraordinary players and singers — and none of them are named Lula. Isa Burke, Ellie Buckland and Mali Obomsawin are three friends who began collaborating in college and released their Smithsonian Folkways debut, What Will We Do in 2019. Like I’m With Her, they’re a folk group with three distinct voices and plenty to say. Their golden harmonies and game arrangements keep the music light and airy, but thematically they’re not afraid to tackle weighty topics like the exploitation of Native American stereotypes (“Good Old American Values”) and the ways the opioid crisis affects small towns (“Hometown”). They can rock out, but they can also sing sweet, soaring country love songs (and plenty of heartbreak songs, too). Their live show is energetic and engaging, and their storytelling is immediate. Their 2019 album includes a cover of Trio’s “The Pain of Loving You” — Dolly, Linda and Emmylou vibes, anyone? They’re one of a crop of emerging acoustic groups who are taking old-time traditions and sounds and refreshing them for a modern audience.

London-based Arlo Parks first caught our attention with her debut single “Cola,” released in November 2018, which stopped us in our tracks. Parks’ voice is wistful and melancholy with a jazz-influenced smoothness and a Billie Eilish-esque ephemerality. Singer, songwriter, poet and rapper, Parks makes pop music with soothing harmonies and crooner vocals that belie morbid lyrical imagery. The literary quality to Parks’ writing elevates her music into left-of-center pop for intellectuals. 2019 was a massive year for Parks, seeing the release of debut EP Super Sad Generation in April and her follow-up EP Sophie in December and making the NME 100 and the BBC’s Sound of 2020 lists.

Rucci was born to be a star. Hailing from Inglewood, the rapper has formed himself into a pillar in the Los Angeles underground after years of well-received projects culminating in 2019’s Tako’s Son. He showcases his ferocity on “Function in the Hood,” snarling his way through the frame with clever yet straightforward rhymes. Elsewhere on “Keep Going,” he lowers the energy to give a sentimental tribute to Sean Mackk, fellow rapper and close friend who’s life was cut short in 2017. You can feel his intensity through the speakers, but you can’t truly understand why he’s such a special prospect until you’ve witnessed his thunderous live show. Recently, he’s performed at Rolling Loud and LA’s famed Roxy Theater, and now he’ll return to SXSW to bless Austin with his West Coast energy.

Two friends from a small town west of Dublin, Tebi Rex are among the rising hopefuls eager to prove Ireland’s worth as major players in hip-hop and urban music following the success of Hare Squead, Rejjie Snow and Kojaque. Under the eaves of the Word Up collective, Matt O’Baoill and Max Zanga have created a sound that sits perfectly at the intersection between dubby, club beats, melodic pop choruses, and a hard-worn trappy flow. Blurring the genres, they’re picking up cues from the likes of Odd Future, Kanye, and Childish Gambino alongside early Chance mixtapes. The result is something with real potential to break through commercially and their debut album, The Young Will Eat The Old was one of last year’s best under-the-radar releases.

Pearla, aka 23-year-old Nicole Rodriguez, delves delicately into the past throughout her delightful, pensive debut EP from last year: Quilting & Other Activities. She asks herself on one song, “Can you forgive yourself for missing the last get-together? / It’s alright to stay inside if you think that will make you feel better.” It’s like she’s questioning her own decisions while simultaneously defending them. This dichotomy appears again and again as she expertly weaves folk and singer/songwriter fare into a twinkling mix of acoustic treasures. Equal parts Norah Jones, Waxahatchee and My Morning Jacket, she plays with psychedelia and Americana while leaving her own personalized stamp on traditional folk. Any room the Brooklyn singer plays feels as much like a poetry reading as it does a hymn sampler.

Jon Auer and Ken Stringfellow formed The Posies in Bellingham, Washington just as grunge was about to explode, but their sunny vocal harmonies and infectious pop hooks set them apart from the angsty Seattle scene. Instead, they cemented power pop’s influence on indie rock. Producing their best known work for DGC — Dear 23, Frosting on the Beater, and Amazing Disgrace, which yielded hits like “Dream All Day” and “Golden Blunders” — but quickly growing disillusioned by major labels, they book-ended their first decade as a band with staunchly DIY efforts (1988’s Failure and 1998’s Success for indie imprint PopLlama). Performing with R.E.M. and Big Star while on hiatus, The Posies caught a second wind with 2005’s Every Kind of Light, continuing their revival with 2010’s Blood/Candy and 2016’s Solid States. This new era sees the duo, with drummer Frankie Siragusa, utilizing well-honed pop sensibility as a springboard for electronic and vocal experimentation. Now searching for a new label, The Posies bring material from a forthcoming album currently in the works to SXSW alongside their legendary back catalog.

New Zealand sisters Clementine and Valentine Nixon took inspiration for the name of their musical project, Purple Pilgrims, from lives spent traveling. Spending time in Hong Kong and China, and later touring throughout the world with Ariel Pink and Gary War among others, the sisters returned to New Zealand, playing their first shows together in early 2011. They left again after the Christchurch earthquake wrought havoc on the city in February. Despite the upheaval, they released their debut 8″ later that year on Pseudo Arcana, and went on to put out a 2013 split with tourmate Gary War on Upset the Rhythm, as well as their first LP, 2016’s Eternal Delight, on Not Not Fun. They returned to their New Zealand roots for their most recent LP, 2019’s Perfumed Earth which came out on Flying Nun. It’s an otherworldly, ethereal collection of songs with suggestions of psychedelia to recall the constant motion of their lives.

This Milwaukee artist is at the very top of my to-see list — he just oozes talent, he has an incredible and compelling collection of songs, and I can’t wait to see him do this thing live. He cites his influences as everything from The Drums to Passion Pit to American Pleasure Club, with the result being Kenny’s self-titled “new wave nostalgia”, a wonderful blend of hip hop, alternative rock & bedroom pop, which once you’ve heard you’ll be simply hypnotised by. Push play on “Sore Loser” and then I’ll see you down the front at his show!

Artists with international backgrounds often find themselves stuck either in the traditional or the contemporary. Bogotá-raised, New York-based electro-pop duo Salt Cathedral is a rare pair, finding themselves comfortably nestled in the middle. Refusing to stick to one stereotype, Nicolas and Juliana create lush pop soundscapes where tropical and city meet. You’ll never find yourself standing still, as their island melodies and soft but persistent percussion will soon have your head, hips and entire body swaying along to their infectious rhythm. With only three EPs and a handful of singles, the pair has managed to entrance thousands of listeners with both their studio and live performances. This year’s SXSW performance won’t be their first, but if it is yours, I highly recommend getting lost in the jungle of their candied vocals and spicy pop beats.

Pom Pom Squad’s music is simultaneously blunt and serrated. The group subverts tired notions of things like cheerleaders or gender tokenization while making music that hinges not on calculated irony but the unvarnished truth. The Brooklyn quarter’s standout single “Heavy Heavy” approaches minor grievances like missing your train and existential depression with the same bleeding edge, as guitarist and lead singer Mia Berrin broadcasts every bit of anger and frustration in her vocals and sludgy riffs. Ow, their 2019 EP, is an intimate portrait of not only struggles, depression, and mental illness, but the exhaustion that all of those issues bring. But the instrumentation itself—all fuzzy guitar, pounding drums, and murky chords—creates a sense of catharsis, like smashing an item from a person who wronged you.

If Jean-Paul ‘Bluey’ Maunick from Incognito had been born in the middle of The Carnaval Of Brazil in the streets of Rio de Janeiro, I think his music would sound a lot like La Garfield. It’s hard to write about music without drawing these type of comparisons, but sometimes you just have to. La Garfield works great on so many levels. It’s happy music, made to celebrate life while having a piña colada by the beach on a warm sunset in Acapulco. With funky beats, horns and densely-harmonized chords played on a rhodes piano over latin percussion, La Garfield seems like a serious candidate to follow the legacy of latin dance giants Los Amigos Invisibles for many years to come.

Hailing from Glasgow’s increasingly fruitful underground scene, you can spot one of flamboyant troupe Walt Disco’s fans from a mile off: twenty times better dressed than anyone else in the room, they’re the ones who look like a tribe worshipping at the altar of Adam Ant and the late ’70s New Romantics. It would be easy to accuse a band as aesthetically on point as this quintet of style over substance, but — for their next trick — they’ve also got some proper songs to boot. “Strange To Know Nothing” begins with a hysterical trill from frontman James Potter (a man blessed vocals so theatrical it’s one step away from opera) before slinking into a synth-led stomp. Recent single “Dancing Shoes” is a seductive blend of gothic noir and shimmering new wave, while “Cut Your Hair” boasts an irrepressible dance floor bounce. Going into 2020, Walt Disco feel poised for something special.

Reykjavik trio Kælan Mikla open their third album Nótt eftir nótt with four minutes of icy dungeon music — synths, ritualistic drumming, ethereal and anguished voices, maybe even some wind — and the collection closes, among other things, with a rainstorm. Outside those bookends, it’s more gothic post-punk dance party — sometimes fast, sometimes slinky, always crystalline with a ‘80s-late-night-club atmosphere (you can practically smell the clove cigarettes). Part Siouxsie, part Suicide, part Sister of Mercy, there’s a strong pop element to these songs: Margrét Rósa, Laufey Soffia, and Sólveig Matthildur definitely know how to write hooks, so even when they’re singing their melancholic death rock in Icelandic, and you don’t speak Icelandic, there’s an urgency that’ll find you shouting along in any way you can.

Sen Morimoto is a multi-instrumentalist composer and songwriter born in Kyoto, Japan and currently based in Chicago. Brought into the spotlight by the lo-fi and charmingly nostalgic music video for “Cannonball” in 2018, his beats and mellow vocals have only become sharper: precisely-delivered lyrics inspire a sense of paranoia and anxiety, set to polyrhythmic beats that reflect jazz and abstract hip-hop influences. Morimoto’s debut jazz-rap album Cannonball! opens new avenues of creativity — if you’re looking for the future of music, find it here.

New Jersey has birthed some of the coldest rappers known to man from Redman and Queen Latifah to Joe Budden, Trech, and many others. So it comes as no surprise that Camden native Mir Fontane is a rising star in rap, known for his insane lyrical ability to match culturally relevant content and melodic hooks. Mir Fontane has been molded from the styles of today, yet has managed to create his own lane in a genre where you can’t tell where one artist begins and the other ends.

Sea Moya are a German duo based in Montreal. The band’s frontman, Elias Foerster, is a prolific DJ, and the energy he brings behind the DJ booth is also a cardinal feature of Sea Moya’s live show. The band’s funk-laden electronica regularly navigates afrobeat and krautrock rhythms. They offer a unique and energetic sound that surged through the streets of Austin at last year’s SXSW showcase. In 2019 the band toured America supporting Maribou State. You’ll likely hear some of their standout Falmenta album, or last year’s singles “Blown” and “Flourish” — unfortunately this year the band won’t feature Elias’ signature red hair, but even with a shaved head the show you’re going to get makes them an unmissable act at SXSW 2020.

Having been a hyped secret in between London’s flourishing new jazz scene for two years, everything suggests Stream Down are ready to be the next ones conquering the international circuit. With just one track out (and an EP scheduled for the next months), this collective has been simmering with a weekly jam session in South London and early support from Gilles Petterson, Kamasi Washington and The Guardian. This 12-member band includes Theon Cross and Eddie Hick from Sons of Kemet, as well as some upcoming talent who will soon also shine individually (shout out to Laura Snapes for recommending the upcoming Nala Sinephro album!). Their music mixes uptempo afro spiritual jazz with a modern, groovy urban twist, making themselves part of a scene while at the same time they make the difference. As they said in a concert review by The Guardian: “I don’t feel UK jazz is a broad enough category for us”.

Hong Kong is a city which has been — and is going — through turbulent times. In these moments, it is comforting to turn to the sensitive and contemplative music of Olivier Cong. A singer songwriter, composer and multi-instrumentalist specializing in introspective and atmospheric soft depths, his creations provide supple gusts and delicate howls without a hint of weakness. For his is a gentle tide — calm but laden with persistent intent, each movement gracefully deliberate and highly considered. Leonard Cohen, Damien Rice and Radiohead mark the reference points on his musical map, though he ploughs forward in a direction all his own. On the strength of his 2018 LP A Ghost And His Paintings, Apple Music selected Cong as their first Hong Kong Spotlight Artist. The follow-up release Through The Window I See No Star was a live recording of Cong’s ambitious performance at St. Andrew’s Church. Invitations to compose for the Hong Kong Ballet and Shanghai Opera House, amongst others, are a testament to his talent, pedigree and quiet confidence.

Nestled down in the capitol of Texas is an artist with an inherent star quality that has separated them from the rest of the pack — the Midwest-born, Austin, TX native soul singer, Alesia Lani. With a distinctive soulful voice combined with electrifying performances Alesia Lani has built up a lore all her own that keeps her in high demand. With her undeniable star quality, the southern songstress has officially put everyone on high alert that she is here to stay.

What happens when you take a band of tatted-up, long-haired bikers, dirty skaters, trouble-making misfits from the mountains of Salt Lake City, Utah and drop them in a gritty Brooklyn, NYC hole? You get the beautiful chaos of Max Pain & the Groovies, of course. Their in-your-face psych-rock clouds your brain like a dose of LSD and pokes holes in your reality. Thrash around with these party rockers at their show and you’ll have the trip of a lifetime. They’ve got new music cookin’ for later this year, but in the meantime, catch them live and buckle up for one debaucherous ride.

In 2017, when Lido Pimienta won the prestigious Polaris Prize (and the $50,000 that came with it) her album La Papessa became the first Spanish-language LP to take Canada’s top musical honor. Its title translates to “The High Priestess” and she’s embodied that persona at every turn, leading a movement towards inclusion and diversity in Toronto’s music scene while also branching out into visual arts as curator and creator. Having spent her teens in punk and metal bands protesting the Colombian government, Pimienta has retained that same sense of urgency while exploiting the malleability of electronic production in service of her politically charged messages, which drive both her lyrics and her dialogue with live audiences. Now, Pimienta returns with Miss Colombia, a collection of songs (out in April) that reckon with her status as a Colombian immigrant, her Afro-Colombian and Indigenous Wayuu roots, and queer desire. Her rousing electro-Cumbia pulses as a three-piece with Pimienta’s ardent soprano backed by traditional percussion and modern synth — be prepared to dance.

Caroline Rose is gearing up to have one of her biggest years yet. Her new album Superstar comes out right before Music Week begins, ensuring new waves of energy and excitement at her live shows. If you couldn’t tell by the title, the album is drenched in Los Angeles sunshine, complete with the excitement and earnestness of someone packing up their life and moving out to the City of Angels to make their dreams come true. If you love insanely well written pop songs with a tinge of psychedelic rock and r&b, make her a priority on your list this year. If you’re not familiar with Caroline’s live set, get ready for a mixture of impeccable musicianship and a hilarious and biting sense of humor, which makes for an unforgettable live experience. Get ready to dance, laugh, and maybe cry with your friends while you discover your favorite new artist.

If anyone out there fondly remembers Grimes’ early appearances at SXSW, around the time she released Visions, they might want to check out Norway’s Otha. Led by front person Othalie Husoy, the duo’s three singles so far have all been absolutely top quality – an alluring mix of melancholy and ice-cold defiance that successfully merge classic pop and dance in a way that few others have in recent years (I’d put Peggy Gou, Kedr Livanskiy and Yaeji in a similar, supremely talented ballpark). Playing in London last year, Otha showcased a bunch of as-yet-unreleased material that really piqued my interest, all of it immediately hummable, all of it inspired.