R&B newcomer Kevin “KC” Cossom is attempting to make the transition from life behind-the-scenes as a songwriter to being in front of the camera as an artist (he wrote R. Kelly’s hook on Young Jeezy’s “Go Getter”), and makes quite an impression with the release of his EP “PreAlbum.” Signed to hit-making producer Nate “Danja” Hill’s imprint, New Age Rock Stars (N.A.R.S.), Cossom provides listeners a glimpse of what he plans to offer as a singer-songwriter. With its palatable use of the auto-tune sound and grown-and-sexy vibe, “Late Night” can easily find itself in the rotation of many radio programmers’ playlists, as well as the bedrooms of lovers alike. “My Ex” not only features a verse from Rick Ross but also mesmerizing synthesizers that would make any snake charmer proud. Despite being opposite in tempo, “You Know What You Doin’” and “Hang That Over My Head” shows why Cossom’s number is dialed when artists need a record written. Although “PreAlbum” is only eight songs—including an intro and two interviews—it’s enough to satisfy the ear until KC drops the major label debut, which hopefully comes out sooner than later.

The year is 2719 in the futuristic city of Metropolis, and “android No. 57821, other wise known as Cindy Mayweather,” is on the lam for falling in love with a human. Sci-fi is the theme behind Janelle Monae’s epic EP “Metropolis: The Chase Suite (Special Edition),” sounding as if it could be the score to a major Hollywood or Broadway blockbuster. 

The starlet whom Diddy said “is one of the most important signings of my career,” reached into her imagination to create a musically spellbinding odyssey complete with cyborgs, electro-daggers and other galactic references. “March of the Wolfmasters” sonically sets the tone for the mini-movie, bringing the characters to life and the audio-imagery into viewing mode. The rock-gospel production and power of Janelle Monae’s voice on “Violet Stars Happy Hunting!” is sure to ignite the inner funk in many earthlings. Lush with pounding drums, haunting organ notes, and ominous horns, the musicality of “Many Moons” and “Sincerely, Jane” hint at the Kansas native’s (how appropriate a hometown) performing arts and musical theatre background, as the latter song also reflects her socially conscious side. 

“Metropolis” isn’t the run-of-the-mill record you listen to—it’s the kind of record you experience. 

Label: Wondaland Arts Society/Bad Boy Records

Genre: R&B/Soul

At first mention, one would think Tanya Morgan is a female, but in fact, the name belongs to a trio of male MCs: Donwill, Ilyas, and Von Pea. After garnering major kudos for the group’s debut album, “Moonlighting,” the guys are back with “The Bridge” EP. 

B-Boys at heart, the threesome share a penchant for lyricism, soul samples and a classic boom-bap sound. Starting off the album is the MC Shan inspired title track, “The Bridge,” which is a lyrical testimonial of the members’ Brooklyn-Cincinnati connection. The feel good vibe of “Be You” and “Get Me Inside” conjure up thoughts of family and friends barbecuing, sipping drinks and sharing laughs during the summer months. On “Hip Hop Is Dead II,” Tanya Morgan monitors the condition of hip-hop and assesses its state, as Ilyas offers his prognosis, rapping: “Speaking truth is suicide nowadays, if you’re trying to make a wage more than minimum,” and later adding, “I bring you food for thought and you decide to diet, this sh—t is getting tired, I should force you to try it.” 

With knapsack in tow, “The Bridge” is Tanya Morgan’s pilgrimage back to the essence of rap before they proceed to their next destination—“Brooklynati.” 

Label: Interdependent Media

Genre: Rap/Hip-Hop

With all of hip-hop’s globalization and commercialism, some MCs still identify with the culture through the memories of Run-DMC, Boogie Down Productions and the like. New Jersey born and California raised Raashan Ahmad’s debut solo album “The Push” is rooted in the musical tradition of his predecessors. 

The vintage boom-bap sound and turntable scratches on “Hello” produce a head-nodding beat sure to connect with b-boys. Longing to see the art form return to its former days, he raps on the aforementioned song: “can we get a real hip-hop show, where people dance to the music not just watch the flow; where the bouncers don’t ego trip, DJ spin B-sides, and brown people support the vibe.” Knocking drums and breezy horns lead the charge on the jazzy and soulfully encouraging “If I.” Even with Rashaan Ahmad’s positive temperament, he writes how “The Weight” and pressure of life can be rather stressful. Paying homage to the past, “The Crush” is a tribute to the pioneering rap artists that came before him, while “Give Thanks” expresses his gratitude for the meaningful things in life. 

Since hip-hop has given Raashan Ahmad much to appreciate, “The Push” is his way of giving back. 

Label: Om Records

Genre: Rap/Hip-Hop

“Love Money and Music” is the independent release of Browns Mills, NJ rapper 8thW1. This ten song disc (plus two bonus tracks) is a candid and spirited reflection of 8thW1’s personal philosophies about subjects that matter most in his life: love, money and music. 

In discussing matters of the heart, 8thW1 sounds extremely sincere as he expresses his sentiments regarding love on “A Fool’s Lullaby (Could It Be)” and subsequent doubts about romance on “Heartbeat.” The song “Money” finds the wordsmith longing for financial compensation for his craft, whereas the rock sounding, frat-esque “Drunken Saturday” is 8thW1’s interpretation of partying under the influence of alcohol (it’s like a modern version of the Beastie Boys’ “Fight for Your Right”).

The track “Posers” sets 8thW1’s skills as a lyricist in motion, diving in rhyme-first at the opportunity to taunt pseudo MCs, rapping: “stop chattin’ and stop posin’/fall back like Scarface with coke before stickin’ your nose in,” in addition to the sarcastically witty line, “you do this on the side/like stickin’ d—k inside your chick while ya’ll spoonin’.” 

Love, Money and Music is a fine example of the diversity hip-hop music offers audiences and is certainly an album that people can surely appreciate.

Label: Love Money and Music

Genre: Rap/Hip-Hop

Emerging on the music scene in late 2007 with the retro-inspired single “Black Mags” were the rappers Antoine “Mikey Rocks” Reed and Evan “Chuck Inglish” Ingersoll, collectively known as “The Cool Kids.” Known for their late ‘80s, early ‘90s sensibilities, the pair recently issued the release of their debut EP, “The Bake Sale.” 

With an obvious affinity for the era of gold rope chains and velour track suits, the disc embraces a minimalist production style comprised of simple bass and drum patterns, maximizing the effect of their swaggering rhymes. Sure to make trunks rattle and speakers thump are “One Two” and “Mikey Rocks,” where Mikey raps on the former song, “what it is, what it is, come check the noise, it’s the new black version of the Beastie Boys.” The boast might be warranted as the producer/rapper, Chuck Inglish, channels his inner Rick Rubin on “88,” an ode to the classic year in hip-hop and source of their musical inspiration. Even on “Bassment Party,” the duo recaptures the energy and spirit associated with the Miami Bass sound. 

Without doubt leaders of rap’s alternative movement, “The Cool Kids” did something on “The Bake Sale” that hip-hop’s elder statesmen couldn’t—they made the ‘80s “cool” in the eyes of a generation born during that period of time.

Label: C.A.K.E Recordings/Chocolate Industries

Genre: Rap/Hip-Hop

There used to be a time in R&B when male singers passionately broadcasted their love for the opposite sex. Rekindling the romance in music is Brandon Beal’s debut album “Comfortable.” 

Comprised mostly of ballads, the Texas native touches on different aspects of relationships throughout the disc, including: the courting process (“Grown,” “Girl”), cheating (“October”), breakups (“Don’t Wanna See You Again,” “Take Me Back”) and lovemaking (“Country Love”). A hopeless romantic, Brandon promises to please the target of his affection on “You Deserve,” declaring: “all I need is an open opportunity.”

Despite all of his wooing, the crooner isn’t immune to getting cold feet when pursuing women. The song “Maybe” finds the singer unable to approach the lady he’s attracted to at a bus stop—his rationale being: “maybe she was going home to her boyfriend, maybe I wasn’t the type that she wanted, maybe I coulda had her but I was trippin’.” Fortunately on “Purple Skirt,” Brandon finally gathers the courage to inform his crush that he’s interested in her. 

The production and songwriting anchor “Comfortable,” proving that chivalry in contemporary R&B still has its place when done the right way.

Label: MMG Records Inc.

Genre: R&B

Every so often an artist comes along that shuns convention and challenges the status quo of preexisting formulas. Peter Hadar happens to be that person, and his second album, “Well Dressed for the Art Show,” reflect his eccentric style. 

Fusing sounds and tones of R&B, Electronic, and Rock, the former fashion stylist turned singer/songwriter ventures into anomalous territory on the atmospheric “Painted” and spacey “Planets.” Returning back to earth piloted by the deep grooves of a base guitar is “Laugh Together,” a telltale song that explains how something so simple as laughter (or lack thereof) can affect the likelihood of a relationship advancing to the next level, as implied in the chorus: “we did not laugh together so it’s evident that we would not last forever.” Proud of his unorthodox ways, he even celebrates it on an interlude, singing: “if you’re weird and you know it clap your hands.” 

Even though “Well Dressed for the Art” defies traditional R&B formats, it proves that Peter Hadar’s presence alone is enough to make you pay attention.

Label: Cool Weirdo Music

Genre: R&B

After years of exciting the underground scene with their assortment of genre-blending sounds, J*Davey (which consists of singer Jack Davey [female] and producer Brook D’Leau [male]) has issued the debut of their double EP “The Beauty in Distortion/The Land of the Lost (if ten and thirteen songs respectively warrant the classification of an EP). 

Although signed to Warner Brothers Records, the release is a combination of two records the group previously sold independently during their pre-major label days, now being reissued on a national scale. Incorporating an amalgamation of genres, including: soul, hip-hop, funk, punk, rock, and electronic, J*Davey charms at making familiar territory sound refreshingly new. Opening “The Beauty in Distortion” are the distortedly sweet “Divisions of My Joy” and “Mr. Mister.” The sensuously funky nature of “Private Parts” produce thoughts of Prince, while Ms. Davey’s candy apple coos seduce the senses on “No More.” The ambient and lounge-like vibe of disc one dims in comparison to the grim and otherworldly production on “The Land of the Lost,” as heard on “Hi Sun,” “Rock the Dancehall,” and “Lil’Big Heads.” 

With a resemblance to the past, J*Davey is an artful expression of the future. 

Label: Interdependent Media 

Genre: R&B/Soul/Alternative