Warmer weather is just around the corner here in Boston, and it's the perfect backdrop for this month's edition of Mass Mix. Every month we're talking to local music luminaries about what music they just can't get out of their heads.

This mix is a diverse collection of hip hop, Latino punk, folk anthems, and even a little Reggaeton — some familiar names and some we are excited to introduce.

Chris Kazarian, “Catch My Breath”

Get a taste of an album ten years in the making. Worcester, MA native and Berklee alum Chris Kazarian has been writing and performing music with half a dozen groups since 2008 when he began his musical education at UMass Amherst. This single marks his first wide release of solo material. He has taken with him a little bit from each project, each partnership, each professor, and each love in his life along the way. "Catch My Breath" blends Kazarian's silky vocals with electric treats and tells a story as much with tempo and tone as it does with thought-provoking lyrics. When you feel a relationship is over in your heart and your mind is racing to catch up, struggling to preserve it. Is it worth it? That's what this song means to me. What will it mean to you? -Matt Johnson, Photographer, Sound of Boston

Stella Donnelly, "Old Man"

Earlier this month, Perth-based indie songwriter Stella Donnelly released her debut full-length album Beware of the Dogs. It's a very good record, and it opens with a gut punch of a song. The sunny strumming and girl-group harmonies of "Old Man" stand in sharp contrast with the lyrics: "Boy, if you touch her again, I'll tell your wife and your kids about that time / 'Cause this is not '93, you lost your spot on the team, you're out of line." The song is a line in the sand; the lecherous antics of the old guard of Old Men are being called out and will no longer be tolerated. I don't know if Donnelly set out to write a #MeToo anthem, but she certainly ended up penning a compelling one. -Adam XII, Afternoon Host, indie617

Evan Greer, “Last iPhone”

Boston-based trans activist, folk musician and writer Evan Greer dropped her new single “Last iPhone” this month. The album titled she/her/they/them, out on Don Giovanni Records on April 5th, was made along with an amazing cast of contributors to this work, such as Chris #2 of Anti-Flag, Bonfire Madigan, and bells roar. In this single Greer wields her political weight as a political commentator and internet freedom organizer, as well as her art of self-transformation to make a song as guarded as it is unguarded. So, if you, as I, become sentimental over Against Me! and Anti-Flag, past and present collaborators of Greer's, then this is that angsty resistance folk anthem of 2019 that invites you to flip the bird to whomever necessary, but not without ample self-reflection before and after. For me, Greer's album is a landmark of 2019, and in a politically tumultuous year and it’s indispensable for the believers among us. -Chris Hughes, Music Editor, Boston Hassle, @crsjh via Twitter and Instagram

Le Butcherettes, “father/ELOHIM”

Le Butcherettes put in a killer performance on Tiny Desk earlier this year, which got me (and everyone in our office, really) completely hooked on their lead, Teri Gender Bender. Her particular brand of intensity, and the band’s bass and drums-heavy sound is in full force on their 2019 album, bi/MENTAL, a delightful collection of Latino-infused punk. While all the songs on the album ROCK, “father/Elohim,” the fourth track on the album, is the stand out for me. With a sound that has more in common with skateboard/surf punks then normal for the band, the song combines sexual and religious themes (my favorite!) with the idea of coming-of-age freedom. But even with those heavy themes, the song is totally catchy bubble-gum punk, but with such a supreme swagger and sway you won’t be able to help screaming along with the chorus. -Andrea Wolanin, Digital Producer, WGBH

Adia Victoria, “Different Kind of Love”

Every year at Boston Calling, the invisible hand of Aaron Dessner (festival curator, and The National guitarist) schedules the artist with which he's most recently collaborated. Previous years have brought us Lisa Hannigan, and This is the Kit, who each quietly stole the show. This year, Adia Victoria will perform the very first set at Boston Calling, and she will be more than worth going early for. I've been hooked on the falsetto "WHO" in "Different Kind of Love" for weeks and weeks now, a surprising, breezy 'c'mon' in a beautiful blues song. "Between the world and me, what will it be?" is more than a dare to a lover, it's a bold invitation to make the artist the center of your attention. Her new Dessner-produced album is called Silences. -Phillip Jones, Afternoon Drive Host, 88.9 WERS

Juanes, “La Plata”

Juanes became one of my favorite Spanish-language artists way back in 2005 with the lively rock song “La Camisa Negra,” which will get stuck in your head whether or not you can understand the lyrics. Since then, I’ve kept an eye on him, as he put out rock albums that have experimented with all sorts of musical styles. This track from Juanes’ forthcoming album pays tribute to his native Colombia, fusing the traditional Vallenato styling with Juanes’ signature guitar riffs and the the Reggaeton beats of Colombian singer Lalo Ebratt. It’s actually a story of unrequited love—he has spent away all of his plata (money) trying to forget a girl—but the sound is pure fun. -Meghan Smith, Digital Producer, WGBH

Jenny Lewis, "Do Si Do"

Jenny Lewis has been writing remarkably honest and sad music for a very long time, and her new album On the Line carries that even further. We see Lewis revisiting her childhood and past relationships throughout the album; she looks back retrospectively with her ever-present chill attitude. She brought on a lot of incredible collaborators for the album including Beck and Ringo Starr (!!!). "Do Si Do" is one of the more simple songs in structure of the album, but it is catchy as all heck. The thumping drums force you to bop back and forth, even though the song is actually quite sad in its themes. She has always had a way of writing songs like that, and it's why she has always been one of my favorite songwriters. -Christine Varriale, Editor-in-Chief at Allston Pudding

Local Natives, “When Am I Gonna Lose You?”

I love this new single from Local Natives, which was released alongside the announcement of a new album - and a tour! While the song sounds upbeat, it’s actually kind of dark in its meaning. It’s about the doubt and fear of losing something that brings you happiness and joy. If this track and Local Natives’ other recent release, “Cafe Amarillo” tell us anything, it’s that the upcoming album is going to be a good one. -Alyssa Spector, Founder of Lysten Agency

Sting, Shaggy and Dave Aude, “Just One Lifetime"

This song is BIZARRE—I mean, Sting and Shaggy??—but fun and catchy and just what I needed after a long Boston winter. I appreciate the nod to one of my favorite authors and poets, Lewis Carroll, with the repeated refrain "The time has come the walrus said/to talk of many things" while the Reggaeton vibes have me thinking of sunnier days to come. -Ellen London, Digital Editor, WGBH

Circus Trees, “The Theft”

What happens when you take 90s grunge rock acts like Nirvana, young Aussie lad contemporaries Silverchair, blend them with early space-rock pioneers like Hum and Failure, and add just a splash of Mazzy Star? You get the anticipated debut EP release Sakura from Marlborough's Circus Trees. One standout track ,“The Theft,” captures the complexity of relationships with such a slow build-up of emotional catharsis, one would have trouble believing this was all created by high school-aged musicians. When the apex of song strikes, vocalist/guitarist Finola sings with such a fury it cuts right through the wall of sound the instruments create. This is not just through technically clever sound mixing though, but performed in an truly genuine way which can be felt by the listener. -Joel Gray, Editor-In-Chief, The Lowell Spin, @LowellSpin

Tashawn Taylor ft. Kay Orcel, “Hurt Nobody”

Cambridge emcee Tashawn Taylor delivers hip hop soul to Boston with the mellow summertime throwback jam, “ Hurt Nobody.” With a scuffed, vintage, melodic mid-90s beat where you can actually hear the needle on the record, Taylor brings the listener back to hip hop’s glory days where artists could create a party out of honest, reflective storytelling. Over his head-nodding, feel-good beats, Taylor tells stories about his social experiences as a young person of color. He raps about his struggle to fully enjoy his youth when constant judgment by white onlookers forces him to be overly cautious and temper the natural exuberance that he feels as a 22-year-old. As he says on the hook: “We just catchin' the vibe, we ain’t tryna hurt nobody.” To that end, the song is new take on Kid and Play’s feel-good 90’s dance jam, “ Aint Gonna Hurt Nobody,” which touts the benefits of putting your problems aside for the night to enjoy a party. Taylor’s song talks about how, for him, it’s not always that simple. -Jared Steinberg, Staff Writer, Sound of Boston

Dirt Buyer, “Josephine”

“Josephine” is pure, cathartic melancholy. The kind of song that makes you relish and delight in the gloom of a dim, grey day. However, for all its somber trappings Dirt Buyer move “Josephine” along with deceptively driving force. At first pass the song feels dirge-like, until you realize that it’s pushing you forward with the raw punk energy that radiates from the band members’ earlier, angrier projects. Singer Joe Sutkoswski’s mournful melodies worm their way deep into your head with pop-like efficiency, making “Josephine” a surprisingly strong sing-a-long. Since its release, “Josephine” has continuously been playing on the Spotify and Instagram feeds of Boston DIY artists—a notoriously picky crowd—of all shapes and sizes. Having firmly cemented itself into the canon of local DIY favorites, “Josephine” yearns for, and truly deserves a wider audience. -Kit Castagne, Staff Photographer, Sound of Boston

Maren Morris, “The Bones”

Maren Morris has skyrocketed to the top hits list in the past year thanks to her hit earworm, “The Middle,” in collaboration with Zedd, but she hasn’t made the transition to full pop-diva just yet. In Girl, her second major label studio album, Morris dips into a little bit of each genre for each song, while still forming a cohesive album. “The Bones,” a single that Morris released before the whole album came out in March, is a song with a gospel-influenced chorus, sprinkled with electric guitar riffs and driven by Morris’ vocal talent. When asked about the time-old debate on whether she’s ditching country for pop, Morris states “I just wanna make a record that sound like the inside of my head.” To get a glimpse in, we recommend you start off with “The Bones,” and slowly fall into the rest of Girl. -Audrey Wang, Digital Content Co-op, WGBH

Wolf Whistle, “Lawnmower Man”

These New Bedford hardcore beasts are back, but from the sound of this one track released so far (and their accompanying text) they’ve moved musically in a sludge rock direction. This works for me, because this one, “Lawnmower Man” is heavy as can possibly be, with the groove to keep it special. The heavy was obviously there in these guys’ earlier recordings, but the rock is more present now. This track reminds me a bit of the sounds that the mysterious band Devil Worshipper were peddling some years back. I couldn’t be more pumped for this record to come out (this will happen sometime this year on Boston’s Triple B Records). I hope these guys play a bunch of shows and commence down a path of blowing minds that winds through Boston shortly. Slays. -Dan Shea, Editor-In-Chief bostonhassle.com, @les_pred

Hope and Things, “Tug of War”

The Hope & Things track "Tug of War" sounds like an apocalyptic lullaby; soothing, melancholic, and ethereal. Suitable for a season finale song on The Walking Dead, the lyrics are hopelessly beautiful: "Here I am, torn in two, I feel the whirlpool pull me down and I don't know what to do." It's refreshing when, halfway through, it breaks into wistful hopefulness as the beat picks up and gains momentum. The track, punctuated with powerful songwriting and raw, gritty synth-based melodies, immediately hooks the listener with its eerie, lonely aura and stunning vocals. -Alexis den Boggende, Staff Writer at Sound of Boston, @alexisdenboggende