Controlled Chaos: JPEGMAFIA & Danny Brown Split Heads on "SCARING THE HOES"

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by Luke Modugno

What makes both Danny Brown and JPEGMAFIA’s artistry durable is their unrivaled devotion to the bumps and bruises of their own music. The two have mastered the art of employed imperfection, giving their records an unmistakably rugged finish. Within that artistic direction, Peggy and Danny have cultivated distinguishable styles, Peggy’s driven by beyond obscure production and Danny’s by off-kilter rhymes and delivery. The marriage of these two uncontrollable minds could be a considered a dream by some, and nightmarish by others (the hoes).

A collection of 14 volatile and abrasive tracks, SCARING THE HOES represents a caustic combination of rap’s most audacious forward-thinkers.

Jaggedly stitching together soul and gospel samples, iPhone text notifications, Lady Gaga and Ski Mask the Slump God cameos, Peggy’s work behind the boards on this record is best described as an unmitigated commitment to contrariness. As with the rest of Peggy’s work, SCARING THE HOES has distinct punk undertones, both in attitude and sonic style. Simply put, a lot of the things Peggy is trying here shouldn’t work. But they do, and they fit Danny’s unnatural tonality and rhyming superbly. Whether he’s fusing a somber jazz piano loop with hyperactive drums on “Jack Harlow Combo Meal,” borrowing a melody from a K-Pop song to blend with bouncy trap bass for “Kingdom Hearts Key,” or crafting a fidgety union of hyperpop and hip-hop on “Fentanyl Tester,” SCARING THE HOES’ uncompromisingly avant-garde nature is nothing short of incredible.

While the production is remarkable, SCARING THE HOES really comes into its own when it’s met with the duo’s clever and witty pens. Perhaps the most fitting example of the sheer power of their team-up comes in the form of “Burfict!” Draped with triumphant horns and thumping 808s, Danny’s cagey rhyme scheme and catchy hook emit pure electricity. Paired with Peggy’s raucous adlibs and closing verse, not only is “Burfict!” one of the standout songs on SCARING THE HOES, but additionally an undisputed song of the year candidate.

Neither Peggy or Danny are flooring listeners with their technical rapping ability on this tape, rather their one-liners steal the spotlight and more than a few laughs. “I feel like Papa John (insane),” raps Peggy on “Lean Beef Patty.” On the biblical “God Loves You,” Danny raps “Her with my dick like David and Goliath.” True to its humorous title, Peggy and Danny keep things lighthearted and comical throughout. Even though Peggy and Danny aren’t sharing any “Otis”-esque moments of bar trading on SCARING THE HOES, their rapping techniques are ideal foils to each other, something that is visible from one end to the other.

While this record represents a victory lap for the pair, SCARING THE HOES presents its own challenges and shortcomings. The LP sees Peggy is pushing genre boundaries while simultaneously pushing his own ability to mix the record properly. While Danny Brown mocked the criticisms of the album’s mix on Twitter, it is an entirely fair critique of the album. Danny’s verse on the opener “Lean Beef Patty” is practically unlistenable as the sidechaining essentially mutes Danny’s verse on every kick hit. Similarly, “Steppa Pig’s” brutal percussion and jumpy electronic elements nearly overpower both emcees. Conversely, looking at the mix as a stylistic choice also makes sense as well. With the title track having a similar mixing problems, the issue is certainly tangible.

But what are critiques if not perceptions? Sure, you can choose to perceive the mix as a flaw, or another calculated imperfection. Does either matter to Danny Brown or JPEGMAFIA? Do any perceptions of their music matter to them? Not in the slightest, and that’s what has allowed both to blossom into an artistic space where making such a staggeringly bold record is possible.  When collaborative records match the gravity and talent their duos command individually, the outcome is a substantial, as is the case with this album. A continuation of two brilliant careers, SCARING THE HOES is a record we’ll be talking about for quite a while.

Favorite Tracks:

Burfict!

God Loves You

HOE (Heaven on Earth)

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Luke Modugno is the editor-in-chief.

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Enter the Sensei’s of Rap: How Wu-Tang Definitively Influenced Hip-Hop

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by Giovanni Recinos

Both off the mic and on, the group of nine New Yorkers known as the Wu-Tang Clan would each bring their own different backgrounds, styles and influences to hip-hop culture. Wu-Tang would hit the scene in ‘93 with lyrics about chess, street slang, and marvel comics, all of this while sampling kung-fu flicks. Though these were not common themes in hip-hop at that time, for every reason that the Wu-Tang Clan should not have worked, was another reason that it did. On November 9th, 1993, hip-hop would be changed forever with the release of Wu-Tang’s debut album, Enter the Wu-Tang (36 Chambers).

Before the album’s release, the group’s formation would be as chaotic as you would probably expect from a group of that size. With Ghostface Killah and Raekwon initially starting as street rivals, or RZA and U-God recently leaving incarceration, and members such as Method Man just narrowly escaping death, getting them all into the studio had to be some sort of fate at work. One of the members, RZA, would play a great role in this formation. After being dropped from the label Tommy Boy, he would swear to no longer succumb to the industry’s standards of “hit-making” and would begin producing music that he believed in. The next step in achieving this goal would be bringing together the superpower team to rap over these beats. RZA started in the family, with his cousins, the GZA and Ol’ Dirty Bastard.

The album plays out as a sort of calculated chaos, with no member sounding like another. Though this is the case, they are able to find chemistry through their obvious competitive hunger to deliver the best verse for each track. Whether it was Ghostface Killah’s blunt delivery, Ol’ Dirty Bastard’s sporadic personality or Inspectah Deck’s street knowledge, the groups' varying archetypes were able to find orchestration through the RZA’s guiding direction. While on paper the many topics on the project together could be seen as nonsensical, each members’ ability to bounce energy off one another turns it from just a bunch of ingredients, to a dish. With the Wu-Tang’s choices of themes and styles playing the critical “spices and flavors” that made their “dish” stand out from the rest. It should also be noted that a large percentage of the album’s success should be accounted towards Wu-Tang’s style and branding. With their grimy and low budget music videos, the iconic “W” logo, and chants including the famous, “SUUUU.”

Enter the Wu-Tang (36 Chambers) would be an instant hit launching the careers of every member exponentially. Many labels including Def Jam Records would aim to sign the nine piece, but many of them would fail as they wanted to sign the group as solo members along with the group deal. RZA, who played the main role in deal making, would not allow this to happen as he wanted to infect the Wu-Tang brand through the entire industry, not just through one label. The group would eventually sign a group deal with Loud Records, with that solo deal freedom included. Method Man would be first, signing to Def Jam Records.

The Wu-Tang debut album would mark the beginning of Wu-Tang and RZA’s powerful streak of solo and group projects. With Method Man’s catchy Tical, following in 1994. Ol’ Dirty Bastard’s grimy and oddball personality on Return to the 36 Chambers: The Dirty Version, Raekwon’s mafioso movie inspired, Only Built 4 Cuban Linx…, and GZA’s lyrical masterpiece, Liquid Swords in 1995. Ghostface Killah would bring back his back-and-fourths with Raekwon on  his debut, Ironman in 1996. Lastly, ending with Wu-Tang’s more mature follow up project Wu-Tang Forever in 1997. A majority of these projects would be almost solely produced by RZA. All of this does not even include the great list of features provided by the members to classic albums including Moment of Truth by Gang Starr, All Eyez on Me by 2Pac and even newer records all the way up to the recent release of Mr. Morale & The Big Steppers by Kendrick Lamar.

The Wu-Tang debut set the groundwork to inspire generations with each of these projects further creating their own sub-genres and sounds. For example, RZA would be one of the first, if not the first, to adopt the “chipmunk samples” that would become a staple to early Kanye West production. Ghostface Killah would also adopt the persona Tony Starks or “Ironman” which would inspire artists such as MF DOOM or CZARFACE to adopt their own comic book inspired identities. Ol’ Dirty Bastard’s chaotic sound would open the floodgates to many experimental rappers including Mos Def, Danny Brown, JPEGMAFIA and others. Raekwon would help establish mafioso rap in New York and beyond, which would be carried into classic albums like Jay-Z’s, Reasonable Doubt, Notorious B.I.G.‘s, Life After Death and Pusha T’s, DAYTONA. The Wu-Tang Clan were not lying when they said they were for the children, as they would become strong idols and influencers to all kinds of future artists, whether they were from the East or West.

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Giovanni Recinos is a staff writer.

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A Chemistry Unbound by Temporal Constraints: “No Fear of Time” Reviewed

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by Giovanni Recinos

After 24 years, the famous rap duo Black Star returns with their new project, No Fear of Time, which is exclusively on the Luminary Podcasts Platform. The duo consists of Brooklyn’s Yasiin Bey (previously known as Mos Def) and Talib Kweli, but this time around they are joined by the legendary producer, Madlib. The two are recognized legends for their contributions as both a group and as solo artists. With Mos Def’s Black on Both Sides, being a great highlight that introduced a lot of experimentation into the hip-hop realm that would have an obvious influence on experimental artists such as JPEGMAFIA and Mach-Hommy. Both Talib Kweli and Yasiin Bey have remained fairly relevant in the industry, venturing into other forms of entertainment over the years such as: podcasts, and acting. The project is a great example of reinvention over recreation, with the two venturing into much different territories of sound when compared to their self-titled last effort.

As always, the duo delivers quality in all realms, whether it be in their lyricism, in their complex flows or in their creativity. No Fear of Time is vastly different from their other effort, avoiding a lot of the issues that can be associated with trying to reach a new height with a sequel or follow-up project. The project as a whole feels lost in time, in ways that work in their favor and in others that don’t necessarily. At times, they make recognition of both their ancestry and the continuous movement of space and time, even beyond our livelihood. As the duo would say, the project delivers that, “time is relative and the truth is everlasting.” Playing on this, the album feels spacious, yet isolated, as if you're floating through time and space.

The two as usual cover topics with unique vocabulary and an obvious thirst to teach the truth with their often stream-of-conscious style of rapping on the project. This is represented in lines such as, “atrocities committed in the name of owning property, monopolies.” Though gems of this knowledge are spread throughout the entire album, they are delivered in a somewhat messy fashion, with most songs feeling like the two are just freestyling great verses without a set destination or vision in mind. This feels like underutilized potential considering the massive growth of the two artists since their debut project.

The duo contrasts well both sonically and topically, with Yasiin Bey being great at abstract performance and often switching from singing to rapping seamlessly. Talib Kweli on the other hand, provides a more traditional balance to this chemistry, as he’s still rapping to the same standards of other New York legends such as your Jay-Z’s, your Prodigy’s and your Nas’. This quality remains relatively consistent throughout the album, with “Yonders” being a particularly standout and chilling performance from the two with lines like “Scarface chainsaw Miami got drapes drawn. Halloween, egg yolk, mustard gassing their face off.” Though this chemistry remains true, the limits of the duo seemed to not be pushed and kept in a very safe spot. Especially when considering the amount of experimentation, we’ve heard from Yasiin Bey over the years. 

The project also recognizes some of those vast changes in their artistry and in the industry over those twenty-four years. Similar to Madlib’s last collaborative effort, Bandana, the project often feels stylistically bare and simple in its production, with an often heavy and raw vocal delivery. To add onto this, Black Star’s sound this time around seems closer in relation to artists such as Mach-Hommy, Earl Sweatshirt, and Westside Gunn. This comparison is especially relevant when considering the track “My favorite band” is actually the same beat used for Westside Gunn’s “Ferragamo Funeral.” Though these are not bad comparisons, in many ways Black Star lacks a lot of its own self-identity when venturing into these new sounds. 

Though this project still has the high-quality production, sequencing, and use of samples, it lacks a lot of Black Stars’ own unique charm and complimentary with Madlib’s production. It almost feels like the beats were pre-made, and not made specifically with the Black Star brand and themes in mind. This separates the level of the project from that of other Madlib produced classics such as Madvillainy or Piñata. I would still say that this is still a very strong project for Black Star fans, Madlib stans, or those who may follow experimental artists such as Mach-Hommy.

Favorite Tracks:

Sweetheart. Sweethard. Sweetodd.

Yonders

No Fear of Time (feat. Yummy Bingham)

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Giovanni Recinos is a staff writer.

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The Top 25 Hip-Hop/R&B Albums of 2019

By StereoVision Staff

Welcome to StereoVision’s top 25 hip-hop/r&b albums of 2019. The past twelve months have been filled with highly anticipated releases that exceeded expectations, debut albums that catapulted unknown artists into stardom, and experimental projects that pushed boundaries and continued to move us towards a world where music can no longer be described by genre. With so much great music constantly being released, it can be hard to keep up and sometimes exceptional albums go overlooked. That’s where we come in. Over the last two weeks on 2019, our team of writers and critic here at StereoVision have been revisiting 2019’s deep discography and making sure that our readers won’t enter the new decade having missed out on one of the best projects of the year. For each album selected in our year-end list, our team selected three standout tracks from the record which were compiled into a playlist which you can find here:

Listen along as you read and get a taste of any project you might have not tapped into in 2019. Now without further ado, the top 25 hip-hop/r&b projects of 2019:

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25. Please Excuse ME For Being AntiSocial by Roddy Ricch

Release Date: December 6th

Record Label: Atlantic Records

At the beginning of December, LA’s golden child released his debut album Please Excuse Me For Being Antisocial and solidified his spot as one of the top emerging emcees rapping. After dropping potentially the song of the year in “Ballin” with DJ Mustard, Roddy Ricch continued to ride his momentum into his first real album creating a project that is packed with hits without ever sacrificing cohesion or the flow. The album clearly showcases everything fans love about Roddy: His vivid story telling that instantly transports listeners to South Central Los Angeles upon pressing play (“Intro”), his ear for hit melodies and cool California vernacular (“The Box”), and his piercing singing voice that always flexes perfect pitch (“High Fashion”). The cherry on top of this excellent offering is masterfully crafted transitions that allow each song to seamlessly flow into the next making the entire album feel complete. Omitting only Baby Keem, there is no new artist I’m more excited to hear music from in 2020 than Roddy Ricch. -Spencer Lobdell

Favorite Tracks:

The Box

High Fashion (Feat. Mustard)

Bacc Seat (Feat. Ty Dolla $ign)

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24. foto by Kota the friend

Release Date: May 15th

Record Label: Independent

This spring, Kota the friend dropped the incredibly bright FOTO, an instant classic for his cult following and a wholesome introduction to the New York rapper to new listeners. Throughout the album’s hour long run time, Kota uses each song as a different memory painting an authentic self portrait and helping us understand who Kota the Friend truly is. This intimate connection he is able to make with listeners is undoubtably why the rising artist has such a dedicated fan base and why his stock continues to rise everyday. On FOTO Kota accomplishes exactly what he set out to achieve. He paints a picture of his life so vivid that I felt like I was there when Kota’s mom and his aunt Marcell saw their father at the dance studio for the first time in years. Kota beautifully creates a photo album that he can go back to and reference while still keeping the quality of his music and its mainstream appeal at an all-time high. Thank you to Kota The Friend for a summer soundtrack that I predict will still be getting played in years to come. -Spencer Lobdell

Favorite Songs:

Church

Hollywood

Alkaline

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23. Outer peace by toro y moi

Release Date: January 18th

Record Label: Carpark Records

Within the first few weeks of 2019, fans of Toro Y Moi were blessed with a new album from Chaz Bear himself. During the promotion for Outer Peace, Bear frequently mentioned how he was tired of making sad love songs, and on Outer Peace there is a clear shift from the pensive sadness of 2017’s Boo Boo into a emotional range that while being fun and optimistic, still has its moments of melancholy and doubt. At 10 tracks long, the Bay-Area native provides his fans with a diverse family of tracks, some low-fi and melodic like “New House” or “Monte Carlo” featuring Wet, others infectiously catchy and uplifting like “Freelance” and “Who Am I”. This was my favorite record of the year, and I have found myself revisiting these tracks almost constantly. The record is perfect for every occasion, so don’t be afraid to throw this on next time you get aux. You won’t regret it. -Carter Fife

Favorite Tracks:

Law of the Universe

New House

Monte Carlo (Feat. Wet)

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22. Rap or go to the league by 2 Chainz

Release Date: March 1st

Record Label: Def Jam Records

Completely A&Red by LeBron James, Rap or Go to the League is a triumphant comeback for our favorite trapper, 2 Chainz. The album is conceptual and frequently draws parallels between rap and basketball while diving deeper into the troubling idea that the two occupations are two of the only viable options for underprivileged blacks to succeed in America. Chainz uses a polished pen to do so and flexes some of his most impressive verses since his come up on this project. With help from an impressive feature list including Kendrick Lamar, Travis Scott, Ariana Grande, Lil Wayne, E-40, Chance the Rapper, and many others, it should come as no surprise that Rap or Go to the League secured a spot on our list. -Spencer Lobdell

Favorite Tracks:

Money In The Way

Momma I Hit a Lick (Feat. Kendrick Lamar)

I’m Not Crazy, Life Is (Feat. Chance The Rapper & Kodak Black)

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21. Perfect ten by Mustard

Release Date: June 28th

Record Label: Interscope Records

LA producer Mustard, formerly known as DJ Mustard, gave us everything we wanted and more in his third studio album Perfect 10. Aside from many features from hot artists like Roddy Ricch, Migos, and Nipsey Hussle, Mustard killed the execution on the production side. It is chock-full of anthems and there is so much bounce throughout the whole project that it’s almost impossible to sit still while bumping the album. His #1 song off of the album, “Ballin”, is now grammy nominated for best rap/sung performance. This turned out to be both Mustard and Roddy Ricch’s first ever grammy nomination, and it was definitely well-deserved. -Colson O’Connor

Favorite Tracks:

Baguettes in the Face (Feat. NAV, Playboi Carti, & A Boogie Wit Da Hoodie)

Ballin’ (Feat. Roddy Ricch)

Perfect Ten (Feat. Nipsey Hussle)

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20. Fever by Megan Thee Stallion

Release Date: May 17th

Record Label: 300 Entertainment

Megan Thee Stallion is the “it girl” of 2019. This summer, Megan blew up with her mixtape Fever, ​released in May. ​Fever​ was the perfect project to kick off the summer, with Megan trading in her Tina Snow persona for a new one she deemed “Hot Girl Meg.” Hot Girl Meg was what she called a “college party girl,” and was the embodiment of sex appeal, independence, and a carefree attitude. On ​Fever​, Megan showed her range in being able to rap about anything from sensual lovemaking to robbing a man of everything he is worth. Truly an inspiration for the girls. -Kaila Cherry

Favorite Tracks:

Cash Shit (Feat. DaBaby)

Best You Ever Had

Simon Says (Feat. Juicy J)

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19. The Life of pi’erre 4 by pi’erre bourne

Release Date: June 21st

Record Label: Interscope Records

The return of famed rapper/producer Pi’erre Bourne has been long awaited. Since wrapping up 2018 with his collaborative record with fellow producer Cardo, many have been anxiously awaiting the fourth installment in the ‘The Life of Pi’erre’ saga. When the album finally dropped in June 2019, fans were not disappointed. TLOP 4 is a rollercoaster through contemporary hip-hop from the eyes of the man who has helped shape it. From forming the careers of artists like Young Nudy, Playboi Carti, and 6ix9ine, Pi’erre Bourne’s influence and expertise in modern hip-hop/trap synthesis cannot be understated. On his newest record Pi’erre constantly flexes his production skills and his songwriting abilities, delivering heartfelt and saccharine tracks like “Ballad” and “Racer” in one moment, and fast-paced bangers like “Routine” and “Speed Dial” the next. Each track is dense with expert engineering skills and tactics, while still being accessible enough to appeal to hip-hop fans both old and new. -Carter Fife

Favorite Tracks:

Poof

Routine

Speed Dial

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18. baby on Baby by dababy

Release Date: March 1st

Record Label: Interscope Records

DaBaby shows the world that short men do in fact have rights with his infectious breakthrough project Baby on Baby which was the beginning of a dominant 2019 for the Charlotte newcomer. DaBaby does not take himself too seriously in his music or his visual aesthetic. His music videos are completely kitschy and absurd. He has posed as figures such as Scarface and Suge Knight, and even filmed a video that parodied sitcom television. DaBaby’s bars are hilarious and clever. But do not get it twisted: He is not one to mess with. He is tough as hell, and, as he spits in the track “Suge,” if given any disrespect he will “... beat your ass up all in front of your partners and children.” Baby on Baby is a refreshing project that is funny, surprisingly crude, and full of dope bangers prime for all your summer antics. —Kaila Cherry

Favorite Tracks:

Suge

Pony

Carpet Burn

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17. assume form by James Blake

Release Date: January 18th

Record Label: Polydor Records

Ominous, hypnotic, and ultimately gorgeous, James Blake blends his signature downtempo sound with elements of rap and trip-hop on Assume Form. Blake’s vocal melodies soar over the album’s minimalist production, and the instrumentals show just how much he can make out of so little. Moments such as the climactic ending to “Barefoot in the Park” and James’ vocal cracks in “I’ll Come Too” are enough to conjure emotions on their own, and his candid lyrics only make these segments more potent. His arrangements are simply beautiful—even experimental at times—and the result is an extremely cohesive blend of alternative music and hip-hop. -Owen Tait

Favorite Tracks:

Mile High (Feat. Travis Scott & Metro Boomin)

Where’s the Catch (Feat. André 3000)

Don’t Miss It

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16. Everythings for sale by boogie

Release Date: January 25th

Record Label: Interscope Records

Compton MC Boogie made some major waves in 2018 when he received a huge Eminem cosign and an actual record deal from Shady Records. In January, the young rapper returned with his Shady Records debut Everythings For Sale and it did not disappoint. Over the 40-minute run time, Boogies honestly reflects on a broken relationship, new fame, and his current day to day life. Throughout the tape Boogie proves why Pitchfork called him one of the best young emcees in the country. The tape is exceptionally cohesive and if you immerse yourself in Boogie’s world and experiences you should find that 40-minutes will feel more like 20. Boogie’s lyricism is a perfect mix of cool California dialect and witty lines that emphasize his smart and reflective themes. He gives us up-beat bangers like the JID assisted “Soho” as well as introspective reflections like “Lolsmh” or “Whose Fault”. This album is complete, thought-provoking, and one of the best releases of the year. -Spencer Lobdell

Favorite Tracks:

Silent Ride

Soho (Feat. JID)

Live 95

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15. crash talk by schoolboy q

Release Date: April 26th

Record Label: Interscope Records

From a rap standpoint, Schoolboy Q has everything. Critical acclaim came to him with the Blank Face LP. He is a member of arguable the most respects collective in hip-hop in TDE. Yet his life outside of music has not been a walk in the park. On CrasH Talk Q looks at himself as a man and takes a step back to evaluate his own life and the people around him. This is the most relatable he has every sounded on any project. He does stay true to his hardened exterior on excellent cuts like “Numb Numb Juice”, on which he sound cut throat and motivated from the start. While this was the single released from the album, what is a more accurate representation of what makes CrasH Talk so quality is a song like “Black Folk”. Schoolboy strips away all ego and is just a man with many doubts and fears which he articulates over the ominous production in the background. This is what people want from artists when they release projects, not more of the same. This is an honest picture that Schoolboy painted for us of his life right now, he isn't a gangster or famous rapper, but a person just like you or me with doubts about himself, his carrer, and the world around him. While it may seem like a melancholy collection of music, Q finds a way to communicate these feelings in an interesting way and still come the conclusion that no person to ever walk this Earth is immune to what he, and a lot of us, are going through and that is perfectly okay. -Miles Hagan

Favorite Tracks:

Drunk (Feat. 6LACK)

Black Folk

Dangerous (Feat. Kid Cudi)

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14. flamagrama by flying lotus

Release Date: May 24th

Record Label: Warp Records

Very few names carry the weight that Flying Lotus’s does in music. A mysterious prodigy who masterfully meanders through genres like electronic, experimental, R&B, jazz, funk, and hip-hop, Lotus returns from a long hiatus to deliver ‘Flamagra’, a 27-track record that spends approximately an hour showcasing Lotus’s musical prowess. It is impossible to sum up this album in just one paragraph, but listening to this album is an experience very akin to Alice’s trip through Wonderland. While some tracks may not last as long as one might wish, they each leave lasting impressions that resonate within long after Flying Lotus transitions to another musical ideas. Featuring help from artists like Thundercat, Toro Y Moi, Solange, David Lynch, Denzel Curry, and Anderson .Paak (just to name a few), Flamagra was certainly worth the wait. -Carter Fife

Favorite Tracks:

Post Requisite

More (Feat. Anderson .Paak)

Land of Honey (Feat. Solange)

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13. The lost boy by ybn cordae

Release Date: July 26th

Record Label: Atlantic Records

Although he is only 22 years old, YBN Cordae managed to get two Grammy nominations on his debut studio album The Lost Boy: one for best rap album and the other for best rap song. YBN Cordae seemingly came out of nowhere and took the world by storm. He released his album in July and is already touring internationally with hundreds of thousands of fans screaming his lyrics. Cordae brings an original sound and flow to the table that is undeniably smooth. When you take that and pair it up with a couple features from incredibly successful artists such as Anderson .Paak and Chance the Rapper, it’s a no-brainer he was grammy nominated twice. The best part is, he is only just getting started, and we’re excited to see what the future holds for him in 2020. -Colson O’Connor

Favorite Tracks:

RNP (Feat. Anderson .Paak)

Broke As Fuck

We Gon Make It (Feat. Meek Mill)

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12. revenge of the dreamers iii by dreamville

Release Date: July 5th

Record Label: Interscope Records

This year J. Cole and the rest of his Dreamville team set out to create a rap album unlike anything we’ve seen before. With fear of regret not working with more artists in his career, Cole decided to host a 10-day rap camp. Golden ticket-like invites were sent out to over 100 artists and producers from all over the music genre spectrum. Not only was it the diversity of the artists that was so important, but the blend of popular and low-key artists is what made the project so special. It gave smaller artists a chance to finally get some recognition for their outstanding talent. A documentary was released along with the album, and it truly painted the picture of the competition that was created among themselves. In a situation like this, you don’t get put on the album by being passive. You gotta come with the heat and you must make the most of your opportunities as only the top songs will make the cut. This created a friendly and competitive energy, and they would feed off of each other to push themselves to bring out their best work. When discussing the top rap album of 2019, Revenge of the Dreamers III must be in the conversation. -Colson O’Connor

Favorite Tracks:

Under the Sun (Feat. J. Cole, Lute, & DaBaby)

Down Bad (Feat. JID, Bas, J. Cole, EARTHGANG, & Young Nudy)

Sacrifices (Feat. EARTHGANG, J. Cole, Smino, & Saba)

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11. Angel’s pulse by blood orange

Release Date: July 12th

Record Label: Domino Recording Company

Following the release of his fourth studio album ​Negro Swan ​in 2018, Blood Orange kept the up his momentuem with the drop of his mixtape ​Angel’s Pulse i​ n July. Blood Orange is an incredibly multifaceted artist who, over the course of his decades long music career has created rock tracks, funk, R&B, indie pop, and even dabbled in a bit of hip hop and rap. ​Angel’s Pulse ​is nothing short of these influences with Blood Orange traversing through different musical styles and genres effortlessly throughout the course of the project. With his wonderfully smooth and funky production style coupled with his immaculate lyricism, ​Angel’s Pulse ​was undoubtedly one of the most refreshing and artistic projects of the year. -Kaila Cherry

Favorite Tracks:

Dark & Handsome (Feat. Toro y Moi)

Benzo

Tuesday Feeling (Choose to Stay) (Feat. Tinashe)

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10. All My Heroes are cornballs by jpegmafia

Release Date: September 13th

Record Label: EQT Recordings

Rapper & experimental producer JPEGMAFIA follows up his captivatingly chaotic Veteran with an equally unpredictable and glitchy trip on All My Heroes Are Cornballs. Opting to incorporate sung hooks and melodic verses, JPEG’s delivery is more dynamic than ever, and the plunky synths and heavy chords he casts across the record compliment his characteristically unhinged drum patterns extremely well. Despite this instrumental shift in tone, JPEG’s lyrics are as aggressive and self-aware as ever, and he evens manages to shout his way through verses on tracks such as “PRONE!” and “Kenan Vs. Kel.” Overall, the album displays a larger range of what JPEGMAFIA is musically capable of, all while remaining compact, cryptic, and undeniably awesome. -Owen Tait

Favorite Tracks:

Kenan Vs. Kel

All My Heroes Are Cornballs

Thot Tactics

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9. Zuu by denzel curry

Release Date: May 31st

Record Label: Loma Vista Recordings

Coming off his most conceptual album to date (TA13OO), many wondered what direction Denzel would head next. The answer to that was obvious to Curry: he would go home. With ZUU, Denzel tastefully simplified his music showing us that sometimes the obvious answer can be the best answer with proper execution. ZUU is a short album with no skippable tracks. It’s abrasive and in-your-face without being inaccessible for less intense fans thanks to cuts like “WISH” and “SHAKE 88”. Songs like “BIRDZ”, “AUTOMATIC”, and “RICKY” provide long term Denzel fans with his unmatched flow and clever lyricism that they have grown to expect. All-in-all, Denzel made an excellent career decision and the result is a Miami masterpiece. -Spencer Lobdell

Favorite Tracks:

WISH (Feat. Kiddo Marv)

SPEEDBOAT

CAROLMART (Feat. Ice Billion Berg)

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8. Bandana by freddie gibbs & madlib

Release Date: June 28th

Record Label: RCA Records

If it’s bars you’re looking for, look no further. Backed by lush, opulent instrumentals from legendary hip-hop producer Madlib, Freddie Gibbs flows effortlessly throughout the vast majority of Bandana’s runtime. The midwestern rapper tackles his past, his success, his wrongdoings, and an array of sociopolitical issues that truly allow his lyrical & storytelling abilities to shine. And while Gibbs is certainly capable of manning an album by himself, he is more than happy to add excellent features from his A-list friends, with Pusha T even turning in Complex’s “Rap Verse of the Year” on the sixth cut “Palmolive”. The power behind Gibbs’ words and his technical abilities were enough to make the album continue to grow on me throughout the year, and standout features from Gibbs’ colleagues solidified the project’s spot on my list. -Owen Tait

Favorite Tracks:

Palmolive (Feat. Pusha T & Killer Mike)

Flat Tummy Tea

Giannis (Feat. Anderson .Paak)

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7. Mirrorland by earthgang

Release Date: September 6th

Record Label: Interscope Records

BREAKOUT ALBUM! That is the only way that Mirrorland can and should be described. Johnny Venus and Doctur Dot put the rap game on notice that they are a force to be reckoned with and maybe the best duo in rap right now. Mirrorland sounds exactly like them, and it is incredible to see these young artists make their major label debut and not compromise. Instead they use it to get a host of guest features that simply lift the album to a completely different level. Young Thug on “Proud of U” brings an energy that perfectly matches EARTHGANG, and it seems like the three Atlanta rappers have been spitting together for years. As the album slows down the group calls upon Kehlani to deliver a seductive smooth verse on “Trippin”. Mirrorland perfectly displays the versatility of the group. The first half of the project gives audiences the energy and flows that caught the attention of people early on in their careers, but the second half where they slow their storytelling ability and emotion makes the project so great. They should get praise for getting T-Pain to deliver on of his best contributions to a song in a very long time. It all come to a fitting conclusion on “Wings”, where the boys reflect on where they came from and where they want to go. If Mirrorland is any indication, they have a very bright future. -Miles Hagan

Favorite Tracks:

Tequila (Feat. T-Pain)

Trippin (Feat. Kehlani)

Wings

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6. Die For my bitch by baby keem

Release Date: July 19th

Record Label: Independent

If you tapped into Baby Keem’s Die For My Bitch in 2019 you witnessed history. On my personal favorite album of the year, fans witnessed an artist with an unmatched ceiling come into his own and deliver his first excellent body of work. The LA artist showed significant growth since his last project highlighting his aggressive rise to inevitable stardom. The tape sacrifices unity and cohesion to instead display Keem’s wide variety of sounds and styles that he is proficient in, a great decision for an upcoming rapper looking to catch the attention of unfamiliar fans. While “ORANGE SODA” was one of the most fun hip-hop moments of the year and introduced the world to Keem’s sharp flow and one-of-a-kind vocabulary, some fans might not have realized that Keem’s entire album is equally as captivating and entertaining. All the claims I made throughout 2019 saying that Keem was a superstar were confirmed in November when I went to his show in Los Angeles and was treated with one of the most electric live performances I’ve ever been to. There’s a reason that A$AP Rocky and Kendrick Lamar were spotted at his shows on the Die For My Bitch tour. There’s a reason he was photographed having lunch with Jay-Z this past winter. There’s a reason that Drake called Die For My Bitch the best album of 2019 along with Young Thug’s So Much Fun. On the second track “Honest” the LA artist raps “Baby Keem, shit I’m chosen” and after one listen through Die For My Bitch, it’s hard not to believe him. -Spencer Lobdell

Favorite Tracks:

ROCKSTAR P

ORANGE SODA

APOLOGIZE

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5. When I get home by solange

Release Date: March 1st

Record Label: Columbia Records

Solange Knowles’ radical album When I Get Home is easily the most artistic project of the year. When I Get Home is not easy to explain, to start, what exactly is the genre? Is it hip-hop, as suggested by features with prominent rap artists Playboi Carti and Gucci Mane? Is it soul? R&B? Further, what is the “home” that Solange is referring to? Is this place literal or figurative? Solange manages to answer all of these questions throughout the course of the album. When I Get Home is an iconographic representation of the black experience in the most celebratory sense. Solange embraces her black womanhood and embraces Houston, Texas. The project radiates warmth and familiarity. It creates a home within itself. When I Get Home is wholly inviting, sonically stunning, and lyrically beautiful album that I cannot help but come back to when I am in need of empathy, of comfort, of a place to call home. -Kaila Cherry

Favorite Tracks:

Almeda (Feat. Playboi Carti)

My Skin My Logo (Feat. Gucci Mane)

Binz

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4. BUBBA by kaytranada

Release Date: December 13th

Record Label: RCA Records

It has been over three long years since the Montreal prodigy Kaytranada released his debut LP 99.9%, a funk-laden electronic record complete with over a dozen guest appearances (including names like hip-hop favorite Anderson .Paak and jazz legend Karriem Riggins). BUBBA, Kaytranada’s recently released sophomore album, is another example of masterful and intentional dance/hip-hop/funk synthesis. On tracks like “10%” with Kali Uchis and “Grey Area” with Mick Jenkins, fans are treated to a signature style of electronic that urges the listeners to lean forward, and lay back simultaneously. Not every track is played safety to Kaytranada’s strong suits however, as certain dancehall-inspired tracks like “Go Dj” and “Vex Oh” show signs of risk-taking that pays off as the record becomes more familiar. It was a long wait for BUBBA, but after hearing Kaytranada collaborate with industry heavyweights like Tinashe and Pharrell, it is safe to say that fans will be satiated for a while. -Carter Fife

Favorite Tracks:

2 The Music (Feat. Iman Omari)

Puff Lah

The Worst In Me (Feat. Tinashe)

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3. Ventura by Anderson .paak

Release Date: April 11th

Record Label: Interscope Records

Anderson .Paak’s Ventura showcases everything we love about the soulful California native. Said to be a counter-part to his prior album Oxnard which was released five months earlier, Ventura showcases Paak in his ideal environment being authentically himself. It is musically unmatched and conceptually rich. It’s both sexy (“Jet Black”) and politically charged (“King James”) but always in moderation to keep it tasteful. Ventura is an album that proved it’s enduring replay value by getting better everyday since it’s release in early April. With Ventura Anderson truly created timeless music as I foresee songs like “Make It Better” and “What Can We Do” staying in my musical rotation until I can no longer hear. Well we all would like to be, no one is quite as smooth as .Paak. -Spencer Lobdell

Favorite Tracks:

Make It Better (Feat. Smokey Robinson)

King James

Jet Black (Feat. Brandy)

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2. So Much fun by young thug

Release Date: August 16th

Record Label: Atlantic Records

Does Young Thug Speak English? I think he answered that question with 2018’s Slime Language. The album title speaks for itself. So much of what makes So Much Fun great can really be seen through the way Thugger has talked about the project both before and after the release. There is no concept, no real goal or take-away, rather it is just Thug having a good time making music that will make his fans have a good time listening to. What we received was once again a version of the Atlanta rapper we were not accustomed to. “What’s the Move” and “Hop off a Jet” have a crisp beautiful island sound of production that captures the listener's ear instantly. The features across the board do not disappoint and help carry the project. So Much Fun also features what may be one of the most popular songs this year with “Hot” and its remix. Thug’s protegé, Gunna, shines on this effort and his verse on “Diamonds”on the deluxe version of the album needs to be talked about. What can really be taken away from this album is how it fits into the landscape of 2019. Hip-Hop has lost a lot of great talent recently because of the drug culture that artists like Young Thug and Future were a large part of creating. Thugger seems to be moving away from those narratives, or at least doing his best. There is a way to be this same well respects talented performer without the use of such detrimental lyrics, and its seems like Thug may have caught on to that. So Much Fun is a breath of fresh air, with an artist at the peak of his powers creating a vibe of positivity. -Miles Hagan

Favorite Tracks:

Hot (Feat. Gunna)

What’s The Move (Feat. Lil Uzi Vert)

Big Tipper (Feat. Lil Keed)

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1. igor by tyler, the creator

Release Date: May 17th

Record Label: Columbia Records

In a time where it feels like so many creatives are doing things for popularity or to be the next big meme, an artist who goes against expectations to make a beautiful piece of art that is entirely authentic is invaluable. This is exactly the feat Tyler, the Creator accomplishes on IGOR. This project comes on the heels of his most successful mainstream record yet, Flower Boy. Expectations were high and everyone was wondering what was next for the 28 year old rapper. If Flower Boy was his most honest album, on IGOR he tells the best story. The entire album plays like a movie not navigated by lyrics, but by stellar productions. Songs like “I THINK” and “RUNNING OUT OF TIME” are so incredible because they capture the feeling of falling for someone despite your best efforts almost entirely through the way the track sounds. Throughout, it seems Tyler’s character IGOR is trying to find out what is next the same way we all are and it is beautiful. Tyler still has tracks where he flexes his skills as an emcee. “A BOY IS A GUN” has bars from front to back, but he never overstays his welcome. Gone are the days of him trying to shock the world with every bar that comes out his mouth, now he is focused and precise with everything that he touches. That is what makes IGOR album of the year. There is nothing else that came out this year that sounds anything like it, and Tyler is an artist that is still hungry to get better, and that deserves to be celebrated. -Miles Hagan

Favorite Tracks:

EARFQUAKE

A BOY IS A GUN*

ARE WE STILL FRIENDS?

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JPEGMAFIA's “All My Heroes Are Cornballs” is Anything but a Disappointment

By Kaila Cherry

JPEGMAFIA (also known as Peggy) is a man of eclectic tastes. His musical style is a hodgepodge of different genres, themes, and intentions. In 2018, JPEGMAFIA rose from the underbelly of hip hop with his breakout album Veteran, his second studio album following the release of Black Ben Carson in 2016. Veteran makes its presence known with its glitchy beats, biting lyrical content, and Peggy’s range of rap flows and vocal inflections. On tracks like “1539 N. Calvert” and “I Cannnot Fucking Wait Til Morrissey Dies,” he envokes a flow that is cool and effortless, spitting lines like “You talking shit, I'm talking shit, you catch a beat down” and “Pull up on a cracker bumping Lil Peep” with no anxiety, just straight confidence. He does not have to present himself as an aggressor in order to make you believe that he could beat your ass. JPEGMAFIA says it like it is, and if you don’t believe him, then he’ll show you in no uncertain terms. On other tracks, such as “Real Nega” and “Baby I’m Bleeding” JPEGMAFIA’s flow is as fast and erratic as the production under it. Veteran is also a showcase of Peggy’s politics, as he takes jabs at conservative figures such as Kelly Conway and Tomi Larhen, calls out the commodification of rap by privileged white people, and critiques neoliberalism on the track “Libtard Anthem.” 

When Veteran dropped, we did not know how to categorize JPEGMAFIA. Some said he was experimental, some said he was industrial, some said he was lo-fi. What was undeniable to anyone to listen to his work was that JPEGMAFIA was a different breed of rappers. Here was a man playing with sounds, lyrics, flows, and ideas in ways the hip hop community had not seen before. Here was someone with something to say, and we were going to hear it. JPEGMAFIA’s music and persona have an ineffable quality to them that commands our attention. It is hard to turn away from him once you have gotten a glimpse of what he has to offer. That is why when Peggy promoted his newest project over the course of the summer by calling it a “disappointment,” fans were doubtful that this would actually be the case. After the release of two singles and a few videos showing the behind the scenes of the album’s creation, JPEGMAFIA dropped his third LP entitled All My Heroes Are Cornballs on September 13th. 

All My Heroes are Cornballs is a clear diversion from Veteran. While Veteran is very punchy, hard hitting, and contentious, All My Heroes Are Cornballs is mellow, subdued, and self reflective. If one can argue that Veteran was intended to introduce JPEGMAFIA to a larger audience, then one can also contest that All My Heroes Are Cornballs is Peggy’s response to gaining that substantial following, to becoming a “celebrity.” The title serves to this idea by poking fun at the concept of idealization. We tend to put celebrities on a pedestal, believe them to be some kind of superior beings to us due to their talent and status. JPEGMAIFIA does not want to think of those he admires in this way and does not want his fans to do the same to him. In an interview with Billboard, JPEGMAFIA said “The idea of me being an icon or something is a very funny thing, just because of my own weird insecurities....I’ve basically been every version of a rapper you can be. I’ve been the n---a with 50 views on YouTube, I’ve been the n---a with three downloads on Bandcamp, I’ve been that n---a with two fucking plays on SoundCloud for years. That was literally my lifestyle until last year.” This sudden launch into fame and the implications of stardom are the dominant themes that carry throughout the duration of All My Heroes Are Cornballs. 

The project opens with the track “Jesus Forgive Me, I Am A Thot.” The song begins with a glitchy instrumental very much in line with his previous albums. A crowd’s cheers are distorted, followed by the voice of a woman that says “You think you know me.” The track then flips on itself, going from eclectic to melodic. Peggy raps on the verses before singing on the hook, a surprise for JPEG fans who are most familiar with his punchy rap style. This singing on the opening track is the precedent for the rest of the album, in which he busts out his vocal chops more than he has ever done on a JPEGMAFIA project. Singing, however, is nothing new for him. If one were to go back into his discography and find the projects he produced several years ago under different pseudonyms, it would become clear that Peggy is taking reference from himself on All My Heroes Are Cornballs and revisiting elements of his artistry that he had temporarily set to wayside. 

JPEGMAFIA subverts expectations on All My Heroes Are Cornballs by playing with the idea of “giving the people what they want.” On the track “Kenan vs Kel,” the first half features JPEGMAFIA spitting over a beat filled with electronic piano and soft guitar riffs. In the second half, the tone switches completely. The beat is intense and overbearing. The guitar blares, the drums make themselves present, and JPEG employs the aggressive vocal style that gained him notoriety in the first place. It is as if Peggy is telling the audience, “I know what you expect of me, and I’ll give it to you, but in the way that I want to.” If you want to hear JPEGMAFIA go berserk, you are going to have to hear him contemplate first. In this way, All Of My Heroes Are Cornballs requires more from the listener than his previous projects did. You are not being asked to simply listen, but to engage with the content on a deeper level. And if you cannot do that, then you can listen to something else. Peggy couldn't care less. 

JPEGMAFIA continues to toy with the preconceived notions of the audience on the tracks “JPEGMAFIA TYPE BEAT,” “Grimy Waifu,” and “BasicBitchTearGas.” Less than a minute long, “JPEGMAFIA TYPE BEAT” is an instrumental interlude that layers samples on top of each other and speeds them up to create something wholly overwhelming to the listener. The beat is an undeniable allusion to the production style of industrial hip hop outfit Death Grips, an act that Peggy is constantly compared to despite them only being similar to a certain extent. For those who say “JPEGMAFIA sounds like Death Grips,” here is JPEGMAFIA purposely invoking their style to poke fun at such comparisons. “Grimy Waifu” is structured as a love song. It is slow and melodic, with JPEGMAFIA rap-singing about the figure in the song taking bullets for him. On the surface, the track is romantic. The romance he has, however, is not with a woman, but with his gun. Inspired by how military general encouraged soldiers to treat their guns like their girl and keep it with them at all times (Yes, JPEGMAFIA is an actual veteran), Peggy takes the concept even further with an entire ode to his rifle. 

Photo Via “Le Guess Who”

On the interlude “BasicBitchTearGas,” JPEGMAFIA covers the classic TLC track “No Scrubs.” Peggy is no stranger to flipping pop songs. Last year he released the one-off track “Millennium Freestyle,” a reinterpretation of the song “I Want It That Way” by the Backstreet Boys. Much earlier in his discography, he also covered Carly Rae Jepsen’s “Call Me Maybe” in 2013 under the name Devon Hendryx. JPEGMAFIA takes “No Scrubs” from a jaunty pop hit to a haunting R&B slow jam. His version of “No Scrubs” is completely separate from that of the source material, so much so that someone who had not heard the predecessor would not think they were even remotely the same song. JPEG’s singing on the track is impeccable, giving the song an emotional weight it did not have before. When we hear the lyric “A scrub is a guy who thinks he’s fly,” we know what we are expecting to hear. Again, Peggy turns our expectations on our heads, forcing us to adapt to his perspective. 

Thematically, All My Heroes Are Cornballs is JPEGMAFIA’s most vulnerable project to date. With fame comes insecurity, anxiety, and a pressure to preform always. These concepts are explored most explicity on the track “Free The Frail.” In the intro, Peggy sings the lyric “Don’t rely on the strength of my image.” This lines repeats later in the song, incoperating itself into the chorus. In this way, JPEGMAFIA wants his art to speak for itself, no to be conflated with or dependent on his persona in order to reach audiences. In the first verse, Peggy says that he feels “annoyed,” “strange,” “afraid,” and “framed,” he feels as if there are so many eyes on him that failure is not an option. This need to succeed is reinforced by the outro, sung by Helena Deland. The music cuts out and she sings the lines, “Quicksand's too thick to stand (Go on, then)/ Figure out now what it is that you need/I'll step out for a minute to breathe/One set of footsteps in the sand, but I'm not being carried/If it gets out of hand, you can go on without me.” These lyrics indicate that JPEGMAFIA feels as if he is being weighed down but has no one else to place this weight onto. Because of this, he beleives he must he deal with his strife on his own. 

All My Heroes Are Cornballs continues to solidify JPEGMAFIA’s status in the rap scene as revolutionary. His newest project, although different than his previous two studio albums, is refreshing. He gives us themes we had not had to deal with and sounds we had not heard before in his music. His interpretation of stardom is unique to him and it shines on the album. It is a pleasure to see JPEGMAFIA get more in touch with his artistry and to see him explore the conventions that exist within rap just to throw them back in our faces, chopped and screwed, completely distorted from what we thought they would be. One could say JPEGMAFIA is pushing boundries. I would say he is creating his own game with his own rules and his own playing field. JPEGMAFIA has undoubtley made a name for himself. It is no longer up to him, but for other rappers, to step up to the plate. 

Favorite Tracks:

All My Heroes Are Cornballs

Thot Tactics

BasicBitchTearGas

Rating: 9

Listen to All My Heroes Are Cornballs here:

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