Fresh Picks

“Doh try to fix me, I not a house/ You want to trap me? I not a mouse/ Making noise, want to eat me; I’m not a souse/ You even want to beat me? What that about!”

Really, Dominican superstar Trilla-G said it all in the first four lines of his “Take Me As I Am” remix with Grenadian singer V’ghn. The bustling bouyon track is an immediate standout from Trilla’s new album of the same name, which arrived on Oct. 22, and the remix finds V’ghn offering a smooth, melodic counterpart to the frenetic energy of Trilla’s verses. With production as groovy as this, courtesy of producers Fr3EzE and Dernz, “Take Me as I Am” is the perfect song to kiss off 2025.

“In the eye of the hurricane/ I heard you whispered and called my name/ I am a witness of your quickness to rescue me, well,” croons Chronixx at the close of “Hurricane,” a standout track from Exile, his enrapturing sophomore studio album — and first in eight years. Chronixx likely couldn’t have predicted a storm as destructive as Melissa would strike Jamrock mere weeks after Exile arrived on Oct. 10. Still, the raw production and simple storytelling of “Hurricane” were borne out of a mind that has processed myriad forms of destruction throughout its lifetime. And that’s why “Hurricane,” and the rest of Exile, work so magnificently — Chronixx mines the past for parallels and connections, not merely inspiration.

After ruling the year with hits like “Ring Finger” and “Bob the Builder,” Lady Lava is back with a new track destined to dominate the forthcoming Carnival season. Although it’s titled “No Horn,” Lava’s new wine-inducing banger sources its energy from the punchy brass and rapid-fire drums of its jab riddim. “I know how to mek di gyals a dem wine,” she proclaims at the beginning of Boogy Rankss’ infectious production, which is all but guaranteed to be a problem at Road March competitions next year.

For the third single from Key to the Century, his forthcoming debut album, Pablo YG took a microscope to Jamaican society. Produced by Yo Jani and Tevin Richards, “Fight and Lose” earnestly addresses corruption, violence, and the unfair blame lobbed at the youth for simply making do with the unsavory cards they were dealt. “Di youth dem so bad, get worse by the hour/ But people been a bad since Noah,” he reflects over a delicate trap-dancehall beat that begs for quieter moments of introspection.

Hopping on Protoje’s “Feel It” riddim, Romain Virgo has dropped his latest in a string of standalone singles this year: “Finally.” Virgo’s signature smooth tone is the perfect complement for Winta James’ delicate riddim, and the breezy lovers rock-steeped production is the prime soundscape for reggae’s resident loverman to show out. “41 days, 42 nights/ 43 denies, 44 tries/ I must say it felt a kinda way/ But it was only you in my eyes,” he lovingly coos.

After joining forces on “Battle Cry” earlier this year, rising Jamaican reggae artist KA$E and Bob Marley: One Love star Hector Roots Lewis have reunited for their new “Hunting Season” single. “When I look inna the mirror/ All I see is a winner/ Through the cold cold time wi nuh shiver/ Jah send the message, we a deliver, the tribe a deliver,” Lewis sings over the heavy-hitting drums in the song’s second half, channeling the faith-based perseverance that courses through the genre’s most inspirational offerings.

Cjthechemist’s “NY Girls” riddim is showing no signs of slowing down, with a slew of new remixes still in the tuck. For his latest reimagining of the hit riddim, Cj recruits Bayka, who decides to deliver an ode to the one “Baddie” he can’t get out of his head. “I mek yuh pull up at mi place fast/ I mek wi distrub di neighbors,” he promises in his trademark tone that sits somewhere between haunting and seductive. The slinky “NY Girls” riddim is infectious, but every new remix must meet a higher bar than the last to avoid oversaturation — and Bayka absolutely rose to the occasion.

For his take on Protoje’s “Feel It” riddim, Mortimer balances the instrumentation’s simultaneous fire and tenderness. “Baby, I’m here, even through your fire,” he croons, throwing in melismatic runs and ascending riffs throughout his lovestruck verses. For as deceptively simple as his vocal arrangements are on “Flowers & Flames,” Mortimer executes them with almost startling ease, making his voice the most interesting instrument in the entire mix.

When Umpa steps onto a hot riddim, you must stop everything and listen. “Plishay,” the Lucian artist’s offering on the “Bwa” riddim, finds him channeling the hollowness of the DJ Lucianboy-helmed riddim’s hypnotic drums into a percussive chant that focuses more on keeping time for the dancefloor and then flaunting slick wordplay. As one of Dennery segment’s leading voices, Umpa is always good for churning out a fire new chune every few months.

After reemerging with a new name at the top of the year, 1Ski OG has kept the party going. His newest single, the Dxntemadeit-produced “Ratatata,” finds him blending distinct dancehall cadences with a trap-infused beat that’s not too far removed from the glitchy sounds dominating the Stateside underground rap scene, making for a notably unique listening experience.

Dominica-bred Boyoun artist Asa Bantan blends gospel and soca on his latest offering, “God Is Good,” and the result is one of the best soca songs of the year so far. Blending timeless gospel refrains like “God is good all the time, and all the time God is good,” Bantan attacks the thrilling drum-forward production with a vocal performance brimming with gratitude and elation. Whether your sanctuary is in a church, on the road, or somewhere in between, Bantan’s “God Is Good” reminds us how music’s energy can effortlessly permeate seemingly disparate spaces.

Back with her first solo single in three years, Grammy-winning reggae star Original Koffee is back under a new moniker, with her new single paying tribute to the artist name that secured hits like 2019’s “Toast.”

“I almost drop my liquor, ’cause right now nobody sicker/ Except the one Masicka, I tell my dawgs, ‘Go sick ’em’/ They wanna study me, but they couldn’t copy my rigor/ In the drop top, my nigga, go tell badmind fi keep up,” she nimbly spits over bouncy production from Ghanaian beatmaker GuiltyBeatz. She offers a healthy serving of her much-missed wordplay (nobody sicker/Masicka) while still honoring the age-old tradition of popping your s–t — regardless of how long you have may have been absent from the game.

Jamaican artist Bayka has been packing on the international collaborations this year, but it’s his link-up with fellow JA star Spice that’s the hottest track on his new Gyal Dem Shift EP. “Face pretty, and my two stiff titty/ Come from Lube City/ Wet, fat clean kitty/ Pum pum fluffy, this grippy and grip/ Buss off mi panty, Miu Miu, not Vicky,” Spice slickly spits at the onset of her verses, injecting her signature verve to remix the DJ Mac’s Spanish guitar-laced production.

British-Cypriot artist A!MS has joined forces with Grammy-winning reggae star Julian Marley and Grammy-winning producer Anateus for the Hypertone-assisted “Light & Love,” the lead single from A!MS’ forthcoming Peak Season LP.

Over an infectious electro-dancehall beat, Marley and South London native Hypetone croon an ode to the healing properties of the natural world, singing, “When it hurts/ Look to the Earth/ Don’t bother with chemicals/ God works miracles that you deserve/ Long life, good light and love.” Later, A!MS brings some of his signature melodic rap to carry forward the guarded skepticism of roots reggae songwriting. “They wanna leave us out in the jungle alone/ Don’t believe them, they just want the control,” he warns on the bouzouki-inflected track.

“Badman Forward Badman Pull Up” has ruled dancefloors for two decades now, and dancer-turned-deejay Ding Dong finally dropped his debut album at the top of last month (May 2). Among the album’s standouts is a new Skillibeng-assisted take on Ding Dong’s signature song, titled “Di New Pull Up.” Bridging two generations of dancehall stars, Skillibeng brings a tasteful, melodic energy to the high-octane track, which also features production from Ricky Blaze. At the same time, Ding Dong adds new verses that properly flesh out the original track.

With BAYO, his highly anticipated single-day musical festival, just a few weeks away (June 28), Grammy-winning Haitian DJ Michaël Brun has shared some new music ahead of his Barclays Center takeover. Linking with Shirazee, the pair’s second collaboration following 2018’s “Soweto,” Brun continues bridging Benin and the Caribbean with shimmering Afro-house production that cradles Shirazee’s melodious voice. With the track’s percussive elements equally nodding to Caribbean riddims and Afrobeats drums, Brun has delivered something of a calmer successor to Moliy’s “Shake It to the Max.”

A little over a year after starring in the box office-topping Bob Marley: One Love film, Jamaican multi-hyphenate Hector Roots Lewis has delivered Cosmic Roots, his debut album. Produced by Johnny Cosmic, the album explores Lewis’ take on roots reggae through solo joints and collaborations with the likes of Busy Signal, J Boog and KA$E, the latter of whom appears on standout cut, “Battle Cry.”

“You will never walk alone/ The voice inside will guide you home/ Sound the bell and let it ring/ Hear the souls, the songs they sing,” he sings in the pre-chorus, invoking centuries of defiant, resilient voices against various forms of oppression across Cosmic’s militant production.

Originally recorded in 2017, “Good Life” is the progeny of a studio session that was lost to time. Now, the mix has been recovered, and Grammy-nominated reggae stars Stick Figure and Collie Buddz have shared it with the world. “One shot cause mi need it baaad/ Next shot for the week weh mi had/ Three shots make me bun out mi job when me look pon mi check mi feel like me get robbed,” Collie sings, setting the emotional stage for his search for the “good life” through whatever vices are at his disposal.

Juvenile’s turn-of-the-century smash “Back Dat Azz Up” is an eternal anthem — but it’s also a beat that can lend itself to virtually any genre, as proven by Jamaican dancehall star Konshens. Across a sample of Mannie Fresh’s original beat, Konshens fully leans into his dancehall foundation, sacrificing neither his cadence nor lingo as he brings the NOLA bounce production to JA. He kicks off his verse with, “Cock up yuh body, yow, fling it pon di riddim,” expertly embodying the cross-genre mantle of master of ceremonies.

“I was working out at Hit Factory in Miami and Birdman sent the beat to my manager and told me to do [something] on it,” Konshens explained in a press release. “At the same time, I was in the middle of an argument that raw dancehall can fit on any beat and work… what you’re hearing is literally, exactly what we did that night [in the studio] ….100% authentic dancehall lyrics.” 

Klassik Frescobar’s “Dansa” has been the most popular track on DJ Kalli and Boogy Rankss’ riddim, but Bajan-American soca artist DJ Cheem has now entered the chat. With some help from Jagwa De Champ, DJ Cheem’s “Shots” captures the same dance and party-forward energy of Frescobar’s original, but he infuses it with a lyrical focus on the hypnotic powers of good liquor. Listen out for more takes on this riddim as “Dansa” continues its global ascent.