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

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

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