NS RADAR returns with a sharper focus. The series has been a space for our writers to document the artists and music catching our attention. With this new run, we’re giving that work a regular place on the platform: five selections, every Thursday, with context on the artists and our own reasons for listening. A record does not have to be new to deserve attention, and an artist does not have to be widely known to make something worth hearing.

As Nefarious Supply has grown, we’ve been thinking about how to publish more thoughtful coverage without losing the care behind it. For NS RADAR, that means making room for discoveries alongside our interviews and features. We want to look beyond the release announcement: where a project sits in an artist’s catalog, who helped shape it, and which moments make it worth spending time with. The background matters, but so does what happens when we actually press play.

Vol. 001 begins with five albums. Each selection looks at the work behind the record, the tracks that stood out, and what made us return. These are not rankings or a list of everything released this week. They are five projects we’ve spent time with, written about from our own perspective, and want to put in front of you.

Ash Levi — Vinyls and Ashtrays

Vinyls and Ashtrays is Ash Levi’s debut album, but it is not his first time shaping the sound around him. Greenlight Studios lists him as its Head Engineer, in-house producer, and co-owner in New York City. Levi maintains a relatively limited public profile, leaving his production work, studio relationships, and this record to carry most of the introduction.

Greenlight Studios’ published discography includes Nali’s I Love Nali, She Loves Boon’s DRRTTYY, and SWAVAY’s PERMANENTLY YOURS. Those credits place Levi within the independent community around the studio. Across twenty tracks, Vinyls and Ashtrays shifts the focus to his own production and the artists he brings together.

The release arrived gradually. Beginning in November 2025, Levi introduced the project through “I Admit”, “Elev8”, “Pretty Soon”, “Bitches & Hoes”, and “Stay Broke”. Vinyls and Ashtrays: Disc One followed on August 10 with the album’s first ten tracks, before the complete record arrived two weeks later. Its second disc plays as a continuation of the idea rather than a collection of leftovers, giving the album the shape of a full statement instead of an extended batch of songs.

Why it is on our radar: I found Vinyls and Ashtrays by accident. Apple Music recommended it while I was listening to artists connected to the project, including Nali, spaceluvrrr, SWAVAY, and Low.bō. I put it on while finishing another project, expecting it to sit somewhere in the background. It did not stay there for long.

The production was the first thing that pulled me in, but the performances kept my attention. These are not household names, and the album never treats that as a limitation. Each artist feels carefully placed, making the record feel less like a producer collecting features and more like a community being documented in real time. Among my favorites are “Bitches & Hoes” with SWAVAY, “Silly Me” with Storm Ford, and “Superpowers” with Isaiah Kaleo and Nali.

But “Attraction” with 3ee and spaceluvrrr is my favorite of all. Levi’s production and both vocal performances share a weightless quality, giving the song the feeling of floating through space. What stands out is how fully they work together: the atmosphere comes from the whole record, not just the beat or a single performance.

The two-disc structure gives me another reason to spend time with the album. Each half feels complete on its own, but hearing them together makes the range of this community more apparent. I came across the record through a few artists I already knew and left with more names to follow. That is the kind of discovery I want NS RADAR to make room for.

BashfortheWorld: Dinero. Dolores y Dios. (Vol. 2)

Born Sebastian Alfonso Martell, BashfortheWorld is a Mexican-American rapper from Dallas whose music has grown through restraint rather than spectacle. His delivery stays controlled, even when the writing moves through pressure, pride, money, or survival. Instead of overwhelming a record, he lets a few precise details establish the scene, then relies on a low, unhurried voice and production rooted in Southern bass to hold it together. That plainspoken approach has become the center of his appeal: the records sound composed even when the circumstances inside them are not. (AllMusic)

The independence behind the music is just as important as the sound. In his Our Generation Music interview, Bash recalled organizing his own early runs through Los Angeles, Houston, Dallas, and Arizona, then returning with a ten-stop tour through major markets. He watched the rooms grow from one run to the next, eventually selling out a 1,500-person hometown show in Dallas. Those experiences gave him more than an audience. They showed him the reach he could build without waiting for the industry to validate it, and they became part of the infrastructure behind the catalog.

Me, Myself & I established the foundation in 2020. By Mundo in 2024, the world around the music felt larger without losing its regional center. “Third World” became one of the clearest examples of that balance, carrying the looseness of a street record with the reach of something built to travel. Migo In America followed in 2025, pushing that momentum through records such as “MVP” while making his Mexican-American identity more central to the framing of the work. (AllMusic)

Dinero. Dolores y Dios. arrived first as a seven-track release in May 2026. Vol. 2 expands the project to fourteen tracks, turning the initial release into the first half of a broader statement. The title sets out its three central concerns: money, pain, and God. (Apple Music; ProStudioMasters)

Why it is on our radar: BashfortheWorld has become one of my favorite artists because the quality has remained consistent across everything I have heard from him. His newest project follows Migo In America, which expanded on his previous work, and keeps that run going. Wherever I am, the right Bash record can change the energy of the room.

The original Dinero. Dolores y Dios. opens with “Heavy”, continuing his habit of starting projects strong. But the run does not stop at the opener. “Cuban Links” is, for me, his best song to date outside of “50-0”. “300” with BabyDrill and Tommy 2, and “Pray For The Opps”, round out my favorites from that first release.

Vol. 2 plays almost like a deluxe version of the album, with “Chosen” giving the expanded project another strong opening. “Free Lunch Baby” is my favorite from the second part, followed by standouts “She Wanna”, “Wipe Yo Tearz” with Oodaredevil, and “Flirting With The Game”. The music turns me up, but it holds up beyond that first reaction. His confidence and the details in his writing feel lived-in, not put on. Across both parts, the strong openings lead into songs I keep returning to. That is what makes this feel like a run worth following, rather than just another release to check off.

Natanya: ATTITUDE ERA!

Natanya Popoola is a North London vocalist, songwriter, producer, and multi-instrumentalist whose music treats pop as something to build rather than simply perform. Her classical training and later discovery of jazz taught her to hear songs as arrangements, not just melodies. That foundation shows up in the way she layers rhythm, harmony, and small production details without allowing the technique to overpower the feeling. Her work can move through R&B, soul, electronica, and pop in the same breath, but the emotional center remains clear. (NME)

Control has become one of the defining themes of her development. “Foolish” arrived as an early self-produced introduction, while Sorrow At Sunrise gave heartbreak, empathy, and yearning a fuller frame in 2023. In her NME interview, Natanya contrasted the two projects through the control she took in the studio. For Feline’s Return, she developed the songs before bringing them into those sessions, giving her a firmer basis for directing the work.

The Feline persona gave that new control a visible shape. Feline’s Return and Act II shifted the music toward urgency, movement, and a bolder pop vocabulary. The songs became more physical without losing the emotional complexity beneath them. That evolution helped carry Natanya from a closely watched London artist to stages alongside FLO, PinkPantheress, Ravyn Lenae, Mereba, and others, while earning public support from artists including SZA, Janet Jackson, Doechii, and Tyler, the Creator. (The FADER; CLASH)

ATTITUDE ERA! turns that growth into a twelve-track mixtape built around performance, ambition, and self-definition. Inspired by the theatrical character-building of WWE’s Attitude Era, Natanya uses wrestling less as decoration than as a framework for becoming larger onstage without becoming less human. Speaking to Dazed, in an interview quoted by Sniffers, she summed up her approach: “Sing like a pop star, perform like a movie star, and train like a wrestler.” As executive producer and co-producer, she brings jazz, alternative rock, hip-hop, R&B, and post-millennial pop into the same world. The result feels like the moment her different instincts stop competing and begin working as one identity. (CLASH; NME)

Why it is on our radar: Natanya has been on my radar since her first EP. If Feline’s Return was her finding her footing, ATTITUDE ERA! is her building on that traction and taking her artistry further. What excites me is that this feels like development, not a reset. The move toward a bolder pop sound builds on the songwriting and production that made me pay attention in the first place. She is giving those instincts more room rather than leaving them behind.

“DON’T ASK!”, “PLAY WITH A KISS!” and “HUSH” were standouts for me, but “APPETITE” is the track I keep coming back to most. The production reminded me of “Flashing Lights”, which was what drew me in. It takes me back to the early-2000s sound I connect with, while her vocals make it feel distinctly hers. It has already become one of my favorites in her discography.

Kromow: FOREIGN STANDARD

Yair Kromowetjono, known as Kromow, is a twenty-year-old rapper, singer, songwriter, and self-produced beat maker from Hilversum, Netherlands. Long before the artist profile was fully formed, the production was already traveling. His work on Lambo4oe and NLE Choppa’s “Self Esteem” placed his sound inside a much larger American rap ecosystem while he was still building from the Netherlands. That early placement gave him proof that geography did not have to determine the scale of the work. (Spotify artist profile; Audiomack)

VELVET FATIGUE established his first album-length world in 2025, with records such as “CARE FOR ME”, “4TH QUARTER”, and “TO ZION” showing how quickly he could move between softness, momentum, and pressure. The seven-track 35 NIGHTS EP followed in 2026, alongside “FLY”, “RUSH”, and “YSL Sweats”. Rather than waiting between major releases, Kromow has used repetition and volume to refine the relationship between his production instincts and his developing vocal identity.

FOREIGN STANDARD gathers that development into fourteen fully self-produced tracks. Released through Veli Brand Records, the album carries the confidence of someone who no longer needs to separate beat-making, songwriting, and performance into different roles. A feature from Cochise gives the project a recognizable point of contact, but the larger statement belongs to Kromow’s ability to construct the entire environment himself. He remains one of the least documented artists in this volume, which gives the record more responsibility. For now, the music has to explain both who he is and where he intends to go. (Instagram; Apple Music)

Why it is on our radar: When I first found out Kromow was not from the US, I did not believe it. The opening track, “AGAINST ALL ODDS”, was what made me look into him in the first place. The production and the way the song opens caught my attention, while his lyrics and the message gave me more to connect with. His delivery had led me to assume he was American, so finding out he was from the Netherlands changed how I understood the artist behind the record.

FOREIGN STANDARD held that attention across all fourteen tracks because the rapping and production feel developed together. The drums and samples give each song its character, while his delivery works within those arrangements rather than competing with them. That relationship matters more to me than the self-produced credit alone. Making every beat is one thing; knowing how to perform over them is another. Kromow makes both sides worth paying attention to.

Alongside the opener, the fifth track, “WHATS WORSE”, and “SPURS” with Cochise are standouts for me. Those are the songs I would point someone toward first, but they are not the only reason to listen. I came in impressed by how Kromow raps and left equally interested in how he builds songs. FOREIGN STANDARD gives me a reason to follow him as an artist in his own right, not just as a producer with a notable placement.

Dahi: Black Boy (Alternative)

Dacoury Natche, known professionally as Dahi, is an Inglewood-raised producer, songwriter, DJ, and musician whose work has shaped some of the most recognizable rap and R&B records of the past decade. His earliest major credits already showed unusual range: Kendrick Lamar’s “Money Trees” found warmth and unease inside the same loop, Drake’s “Worst Behavior” turned restraint into confrontation, and Travis Scott’s “90210” unfolded like two songs sharing one memory. Those records did not establish a single Dahi sound. They established his ability to understand what a particular artist or story required. (MusicTech)

That flexibility made him a trusted architect across entire projects as well. His work on Vince Staples’ RAMONA PARK BROKE MY HEART and Steve Lacy’s Gemini Rights, along with his Grammy-winning contribution to 21 Savage’s “a lot”, reinforced the idea of Dahi as someone who could help other artists clarify their worlds. In his MusicTech interview, Dahi described his production work as helping other artists realize their ideas. A solo album reverses that relationship. The choices no longer have to disappear behind someone else’s voice.

That transition took twelve years. Ideas for Black Boy (Alternative) accumulated while Dahi was helping define other careers, with some songs returning to the shelf for years before finding their final form. In his Genius interview, Dahi discussed the childhood influences behind the album, including the rock and African music he loved alongside hip-hop and R&B. He also traced “Stand For Something” back to 2015, describing how he revisited and developed it over several years. (MusicTech)

Across eleven tracks, the album turns that private archive into a public statement. In his Genius interview, Dahi described a “Black Radiohead” aesthetic. The record is not an exercise in borrowing an alternative identity. It is an argument that those sounds were always part of his identity to begin with. Kendrick Lamar, Childish Gambino, Vince Staples, Channel Tres, Moses Sumney, Ravyn Lenae, Fousheé, Obongjayar, and Baby Rose appear throughout, but the familiar names orbit Dahi’s story rather than replacing it. After years of building rooms for other artists to speak, he finally places himself at the center of one. (The Line of Best Fit; Spotify album listing)

Why it is on our radar: Of all the records in this week’s volume, Black Boy (Alternative) may be my favorite. It is also the most immediately recognizable on paper, with established artists such as Kendrick Lamar, Ravyn Lenae, Childish Gambino, Vince Staples, and others appearing throughout. That level of familiarity could easily overwhelm a debut, but the album never feels dependent on the names attached to it.

What kept my attention was hearing Dahi outside the expectations attached to his best-known credits. The familiar voices are part of the appeal, but they do not make this a rap album by default. He gives his other influences room, and the collaborators help him explore them. After years of hearing what he brings to someone else's record, this feels like a chance to hear what he chooses when the direction is his.

“Running” with Childish Gambino is one of my favorites because it slows me down. In a world that constantly asks us to keep moving, the song has a calming effect on me, like my nervous system finally gets a moment to settle. Around 1:31, Gambino’s vocals and Dahi’s production feel like a warm hug. “Drowning” with Elmiene and Ravyn Lenae is another favorite. Across eleven tracks and under forty-one minutes, Black Boy (Alternative) is one of the best bodies of work I heard in September.

These five albums are where we begin. Some introduced us to artists we now want to follow; others gave us a different way to hear someone we already knew. All of them earned more than a passing listen.

Next Thursday on NS RADAR, we turn from albums to artists: five names we’ve been listening to, the records that brought us to them, and why we’re paying attention.

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Nefarious Supply has covered underground music independently since 2018. If you’re an artist and would like your work considered for coverage, submit your music and tell us the story behind it. We’ll check it out.

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