How J Dilla's "Donuts" Permanently Reshaped Hip-Hop Production

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by Luke Modugno

Art is fluid, everchanging. Altered by powerful voices and minds, potent creatives seem to always carve out new paths and directions within the artistic bounds of their medium. However, you seldom see a singular composition definitively erase the once unnavigable borders of art and delineate new ones. Circumstance, unmitigated creative fearlessness and a willingness to adapt are required in order to shift the tectonic plates that lie beneath the surface of an art as ancient as music. All of those requirements were met when fabled rap producer J Dilla left the world of art with his groundbreaking beat tape Donuts.

Donuts was born out of circumstance. J Dilla emerged in the late 90’s as a prominent underground producer for local rappers, until breaking through with the notable rap collective Slum Village. Working with acts such as A Tribe Called Quest, Common, The Pharcyde and more, Dilla quickly made a name for himself with the complexity in which he chopped and looped his beats. Dilla’s production wasn’t just unique and ear-catching. There was distinct warmth, vibrance and vivaciousness erridating from the way Dilla’s kicks, drums and loops sat. 

Whenever Dilla decided to hop behind the boards, his beats exemplified personification of the human experience. The intimate guitar on “Didn’t Cha Know'' projects the image of a dawn sunrise peeking through a window with the curtains flapping in the wind, especially paired with the silky-smooth vocals of Erykah Badu. The kicks draped over the melancholic vocals of The Pharcyde on “Runnin’' sounds like a comfortingly warm summer night. Uptempo, drawn-back, soulful or bouncy. Dilla was a chameleon that could shape-shift his production style to fit the artist he was working with flawlessly. Dilla didn’t just produce, it was more than that. His dense hip-hop orchestras reverberated with listeners at a deeper level. 

It was this boundless talent, along with tragedy, that allowed for the creation of Donuts. In 2005, Dilla was diagnosed with a rare blood disorder known as Thrombotic Thrombocytopenic purpura (TTP). Unfortunately, TTP is extremely deadly, with a fatality rate of 70-80%. Despite at first continuing to tour and work, Dilla was eventually confined to a hospital bed as his symptoms continued to worsen. Understanding his mortality, Dilla brought his MPC3000 and a record player to accompany him in the solidarity of his hospital bed. The goal? Use his ingenious, renaissance-level production skills to create a project that acted as a love-letter to his family, friends, fans and his time spent on Earth. 

As friends and family came to visit Dilla, they would contribute to the creation of Donuts, by gifting him new records to chop, loop, manipulate and organize into his cacophonously intricate production style. Being the chronic sampler that Dilla was, his ear became immensely picky.

In a documentary made about the album's creation, Dilla’s mother illustrated just that, “When I took the crate up, and he looked through it, I think out of a whole milk crate full of 45s, I think he might have taken a dozen out of there and set them aside. He said 'you can take that back to the house'. He said 'none of that's good'." Using inspiration and direction from the people he loved most is a wholly tangible and immediate feature of the record, as Dilla cycles between a diverse set of genres and sounds for his samples, demonstrating the crate digging done on his behalf. From 70s soul records to traditional African drums, Donuts sounds what it would feel like if the complete contents of a dusty, out-of-date record store smelted the entirety of its stock into a singular vinyl disc. Borrowing literal milliseconds of various records for miniscule portions of songs off of Donuts, Dilla’s patchwork style blends and pairs endearingly well with the tools his family provided him with. 

Throughout the final year of his life, Dilla’s condition worsened considerably. His legs and arms would periodically swell, hindering his ability to work on Donuts. If the pain of using his fingers to operate his MPC became too much to handle, his mother would massage his fingertips, he was simply bent on finishing the record. His sheer determination radiates from each track. From the roaring, vigorous guitar that defines the blood-curdling opener “Workinonit,” spry dance tracks such as “Dilla Says Go” and “Light It,” somber love songs like “Stop”, to signature soul loops on “One for Ghost” and “U-Love,” “Donuts” is a 31-song exhibition in sampling mastery and pushing the boundary of what it means to produce into uncharted territory. This isn’t hyperbole either. Think John Coltrane, Duke Ellington, Wolfgang Mozart, this is the company J Dilla stands in with just how innovative projects like Donuts are. Let me explain.

Dilla wasn’t just chopping samples in a way that made your head bop, he was tinkering with and altering our conception of music time. Thanks to the compositional study done by author Dan Charnas in his novel “Dilla Time: The Life and After-Life of J Dilla,” we have a genuine understanding of just how indelible Dilla’s mark on music is. Let’s take a deep-dive into some music theory.

The vast majority of European music counts its rhythm evenly, meaning every beat is of equal length. This is otherwise known as straight time.

Things changed with the introduction of jazz, particularly African-American jazz. Early jazz goliaths such as Louis Armstrong started introducing the concept of beats coming long-short, long-short, which then became known as swing time.

None of that meant anything to J Dilla. With the technological revelation of the MPC, rules like that were nothing more than a musical custom. Thus brought the creation of Dilla Time, fusing both swing and straight time simultaneously. Effectively shredding the shackles of hip-hop producers for eternity, Donuts quite literally reimagined how we view music. 

Donuts was officially released on February 7, 2006 to immediate critical acclaim. Sadly, Dilla passed away just three days following the release of the record, unable to revel in the musical feat he had just accomplished. Although Dilla was relatively underground at the time of his passing, the hip-hop world has never glossed over the significance of his work.

“We have to make music and think ‘if Dilla was alive, would he like this?’” said Kanye West in an interview with HYPEBEAST. “It was like he was making Quincy Jones production sessions out of his MPC. His music just felt like drugs.” Frequent collaborator, friend and fellow member of the Mt. Everest of legendary hip-hop producers Madlib has been outspoken in his praise of Dilla. “ “[His production was] like that human feel, and the selections that he chose to sample. Every producer bows down to Dilla whether they like it or not, because everybody took something from him like Coltrane.”

Madlib isn’t wrong. Dilla’s influence reaches well beyond the borders of hip-hop. From modern jazz to R&B, to funk, to lo-fi, Dilla’s bold defiance of musical rules continues to inspire waves upon waves of producers who think outside-the-box. Every off kilter drum, kick or vocal sample that sounds uniquely out-of-place can be traced back to this record and the mind of Dilla. In that way, much like the shape that a donut embodies, Dilla’s impact on hip-hop will be never ending. Rest in Peace Jay Dee.

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Luke Modugno is the editor-in-chief of StereoVision.

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An Ode to the Rebellious: Odd Future’s Impact a Decade Later

By Luke Modugno

Courtesy of The Independent

Odd Future members pictured: Tyler, The Creator, Earl Sweatshirt, Frank Ocean, Syd, Jasper, Taco, Domo Genesis, Hodgy, Left Brain.

perhaps the most influential rap collective of all time, we examine odd future’s profound effect on the music industry

Every rap purist remembers the first time they heard the expression “Odd Future Wolf Gang Kill Them All.” Beside the fact that LA’s divergent hip hop collective Odd Future’s moto was blasphemous on its own, it could be argued that their unavoidable presence in the early 2010’s rap scene was just as abrasive. For some, the group and their work was akin to that of a petulant child. For others, Odd Future’s polarizing brilliance was simply a continuation of the long-celebrated musical trope of the industry outcast, which has only been further reinforced by their individual excellence in the past decade since their meteoric rise to stardom. 

On the surface, Odd Future simply shouldn’t have worked. For some, the lyrical content of rap music is repugnant as is. For those people, head-huncho and founder of Odd Future Tyler, The Creator’s early material made the ears bleed and the eyes melt. From provocative cuts like “Tron Cat” to grotesquely seminal visuals of the “Yonkers” music video, Tyler and his crew weren’t exactly on good terms with mass music media. “Odd Future and the acts from which they’ve descended make us confront a kind of disgust that is mercifully absent from our everyday lives,” said GQ staff writer Zach Baron back in 2011. “Nobody wants to talk about this stuff, nobody feels comfortable talking about this stuff, because this stuff is awful.” 

With slogans like “kill people burn shit fuck school” it was nothing short of hilarious to see bloggers and writers fall into the same trap set for them by predecessors of provacutering like Eminem. While OF was ruffling feathers in the industry and nationwide, the rap collective resonated deeply with younger listeners. There wasn’t a single day in my middle school experience in which I didn’t see the emblematic donut on a shirt, pair of Vans or “OFWGKTA” scribed via Sharpie onto a rancid bathroom wall. 

Courtesy of Wallpaper Access

For some reason, it makes perfect sense that Odd Future’s sound connected with middle schoolers. Beside catering directly to the mind-numbingly dull middle school brain through profane lyricism, OF’s art had a profound psychological effect on their target market: the youth. Researchers at the University of Glasgow and the Scottish Music and Health Network found that the music children identify with is profoundly influential in helping them develop a sense of identity. “Music can support and enrich the development of a positive self-identity as well as provide confidence, motivation and a sense of belonging,” reads the study. “Music can enhance creative, social and emotional skills. Music can be both a sense of self-preservation and fundamental wellbeing, providing a source of support when youth feel stressed, troubled or lonely.” Adolescence can be a confusing time. In many ways, Odd Future was making music as weird as their audience felt, allowing for a cult community of fans to bloom. 

Enemies of the industry and of society at large have always held a special place in the hearts of music fans. Odd Future is simply a perpetuation of the trend. Seattle punk legends Nirvana had a knack for snatching the ears of the youth via their nihilistic lyricist and leader Kurt Cobain. Cobain’s life pushed him to say things like “I'm a product of a spoiled America,” messages that reverberated with socially awkward 90’s teens and their frustration with society. Although a near 15 year gap exists between their apex’s, the nihilistic messages of Nirvana and Odd Future display the universal appeal of a group fixated on catering to the societally uncatered. “Ultimately the function of art is to express something and move an idea from one person to another, and the tools of that can include revulsion and discomfort,” said Steve Albini, esteemed producer for Nirvana, Sonic Youth and more. It doesn’t stop there, a target market for those who feel disenfranchised by society at large has always existed within the music industry. From the anti-war and hippie teachings of music acts like Jimi Hendrix, Pink Floyd and The Smiths, music has been a historical haven for the societally shunned. While the agendas of these musical icons spanned a diverse blend of issues such as racial equity, capitalistic systems and pointless wars, the central motif of their sonic art was simple: challenging the status quo and questioning if what we consider “normal” really is normal. Although conveyed in a slightly more elegant, albeit less humorous manner, “Another Brick in the Wall, Pt. 2” off Pink Floyd’s legendary 1979 project “The Wall” transmits many of the same sentiments found in Odd Future’s catalog. A fiercely anti-education ballot, Roger Walters and David Gilmour’s critiques of traditional societal expectations and uniformity are only temporally separated from Odd Future’s commentary. 

While many wrote Odd Future’s early success off as a fluke, the transcendent individual talent of OF alumni Frank Ocean, Earl Sweatshirt and Tyler have validated the group’s unique talent for connecting with the human experience beyond being an awkward teen. From the painfully gnarled and distorted production down to the heart-crushingly honest bars, Earl’s 2018 album “Some Rap Songs” sounds what it feels like to be in a dismally depressive state. Earl’s raw and overwhelming poetry on “Some Rap Songs” produced a project that has been widely used by listeners as a musical outlet to their suffering and mental health struggles. “Some Rap Songs” doesn’t have a happy ending, there’s no pot of gold at the end of the black and gray rainbow representative of the albums brief 18-minute run time. It’s simply a 24-year-old going through hell, an anxious cacophony of solace-seeking tracks that are painfully real. 

Love and heartbreak are two emotions that are ingrained in the human condition. The universally recognized sound of heartbreak is Frank Ocean’s 2016 magnum-opus “Blond.” What is there to say about this project that hasn’t already been said? Tracks like “Self Control,” “Ivy,” and “White Ferrari” speak for themselves, as Frank channels his heartache and despair over a love lost. You can palpably experience Frank’s splitting emotions, as his sheer disappointment and shame bleed through his angelic vocals. 

Resonating with listeners in many of the same ways as “Blond,” Tyler’s 2019 project “IGOR” is a toxic relationship personified. Across 12 retro-futuristic synth-pop anthems, Tyler depicts his romantic relationship with a man who is dating another woman. The harmonious bridge powered by Solange and Charlie Wilson on “I DON'T LOVE YOU ANYMORE,” the blood curdling scream near the climax of “ARE WE STILL FRIENDS?,” and the desperate confusion that is expressed on “PUPPET.” All of these gorgeously vivid musical moments on “IGOR” proves Tyler’s ability to transmit human feeling through his pen and MPC.

Whether it’s the oddity of being a teen, dealing with feelings of rejection, heartbreak, depression or love, the solo work of Odd Future’s big three has only elevated their ability to detail our feelings as we navigate the gamut of life. The rebellious are always remembered. Such is the case for Odd Future and their predecessors. However, their staying power has been demonstrated time and time again by their acute understanding of what it means to be a human being. As long as there are musicians that push people's buttons, making the media feel uncomfortable and ultimately connecting with the human spirit, the essence of Odd Future will live forever.  

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Luke Modugno is the Editor-in-Chief. Follow him on Twitter: @lmodugno5

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Does Money or Music Talk? Examining Marketing & Branding in Music

By Luke Modugno

Let’s take it back to last summer. The sun peeked over the clouds of spring, pandemic mandates were being lifted left and right, and the music industry was being set ablaze in Los Angeles. No, it wasn’t due to the record high temperatures or the arid Santa Ana winds emblematic of June in California. The music industry was brought to a grinding halt by a simple set of billboards that read “CALL ME IF YOU GET LOST” plastered over a pair of pastel stars with a phone number below. 

Courtesy of r/tylerthecreator on Reddit

After calling the number, you can hear Tyler, The Creator’s mother ranting about the trials and tribulations of raising her son. Thus began the concentrated frenzy of a rollout for Tyler’s latest classic record CALL ME IF YOU GET LOST. Besides the genius production, intricate, vivid world-building and luxuriously braggadocious bars, the album’s succinct and memorable rollout was the unexpected recipient of heaps of praise from fans and industry execs alike.

Despite encapsulating fans in a universe brought to life by vivid lyrical images of Swiss lakes, music videos akin to fully-fledged Wes Anderson films, and accompanied by the launch of a luxury brand that just smells of opulence, Tyler, The Creator was simply trumped by a masked Kanye West as he began a rollout of his own. Seared into the very fabric of social media dialogue for months on end, the summer of 2021 was home to two of the most remarkable marketing campaigns the contemporary music industry has witnessed. The unmitigated and astounding success of both campaigns begs the question: what’s more important? The music, or the marketing?

Well, if you ask Kanye West, the answer is very simple: rollouts. A Billboard report from 2021 showed that between just two of the three listening parties Ye hosted for Donda in Atlanta, the rapper generated between $1.5 and $2.7 million. Additionally, the pure spectacle of the listening events drove his streaming numbers up 37% in just two weeks according to the same report. According to MRC data, that equates to $350,000 on top of whatever he took home from the listening events. Conversely, Donda recently reached one billion streams on Spotify which after both Spotify and his label take their piece of the pie, equates to less than $2.5 million net revenue in seven months.

Of course, we all understand marketing occupies a significant space in the selling process for any item, good, or service. However as it pertains to music, the marketing scheme can often directly contribute to the product overall. “[Tyler] creates these worlds that people are obsessed with,” said music marketer and artist coach Amber Horsburgh on the Trapital Podcast. “Everything from the teasers, to the passport on the cover, the billboards, music videos, everything he posted on Instagram, it was all from the same world. And that world was very different from the ones he built for ‘IGOR’ or ‘Flower Boy,’ so it became this really compelling artistic reinvention.”

Courtesy of Complex

Geniuses of the marketing game like Tyler or Kanye generate such compelling worlds and realms of artistic vision that their fans buy into the music with their ears and their wallets. At both of the Donda listening parties in Atlanta, Kanye was seen donning a baggy Yeezy Gap puffer jacket. Simply due to the iconic nature of the moment and performance, Yeezy Gap made $7 million overnight following the release of the jacket according to Yahoo Finance.

Similarly, Tyler’s new luxury line, GOLF le FLEUR*, accompanied the release of CALL ME IF YOU GET LOST. While the financial data isn't available yet, if a $225 fur ushanka hat is selling out in minutes, it's safe to assume it was a massive success. Fueled by each respective rollout, fans not only wanted to passively spectate the universe created by Ye and Tyler, they wanted to be a part of it physically.

This is all to say at the end of the day, if the music is subpar, the spectacle of an album’s rollout will be unquestionably diminished. However, an effective campaign can make a listener have plenty of positive predispositions about a record, in turn upping the chances that an artist strongly resonates with a listener. “Your brand is way more than just your music,” states Puris Music Consulting’s website. “Your brand has to consist of everything from your name, your wardrobe, your messaging during your sets, your nonverbal communication from the stage, your album art, your community service platform, your story of why you are an artist and so on.”

Plenty of an artist’s focus in the modern music industry is or should be locked on branding correctly. Why? According to a study conducted by a marketing strategy consultancy group, 78% of anything you and I buy, as music consumers, isn’t about the content of what we are buying, it’s about how we feel about the content. Think about how artists are introduced to us. Oftentimes we view multiple pieces of branded content before hearing a second of sonic content. Whether it’s cover art, an artist’s profile on a streaming service, a concert set, or their social media presence, artists work just as hard on their music as their marketing agencies do on promoting their branded content.

Unless you’re a business savant and musical genius in an all-in-one package like Tyler or Ye, hiring a consulting or marketing agency is the most common, yet most costly strategy for upcoming artists. Thankfully, the most efficient form of marketing is free. According to Nielsen Holdings, 92% of consumers believe recommendations from friends and family over all forms of advertising. While artists with established and lengthy discographies are able to utilize word-of-mouth marketing more immediately, it’s not an impossibility for smaller artists. It’s proven that out-of-the-box ideas are more than capable of matching the efficacy of a fully-fledged campaign.

Look no further than Soulja Boy’s initial utilization of YouTube, which revolutionized music marketing for years. At the time an innovative strategy, Soulja was the first artist to successfully promote his music through the platform, sparking conversation industry-wide. Generating over half of a billion views (510 million), viewers were captivated by music’s integration into the internet. Shared hundreds of thousands of times and generating heaps of traditional media coverage, “Crank That” flew to the top of the charts. And considering a study conducted by Swedish researcher Guy Madison and Gunilla Schiölde found that repeated exposure to music categorically increases your enjoyment of it, regardless of its complexity or your “taste,” Soulja’s strategy has been copy and pasted by the entirety of the industry since.

Let’s be honest, we can all agree “Crank That” isn’t a musical masterpiece. But its promotion strategy, however, was nothing short of brilliance, allowing it to be one of the most successful smash hits of the 2000’s.

While potent and timely case studies, Tyler, Soulja, and Ye are far from the only successful campaigners. The music industry is constantly searching for innovative ways to captivate fans beyond the traditional product. In some ways, the money is talking just as loudly as the music is playing.

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2021 YEAR END SPECIAL!!! // TheStereoVision Podcast Ep. 29

In today's episode, Miles and Spencer discuss some of the top music and events of 2021. Thank you everyone for a great year, and we have much more in store in 2022!

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StereoVision's Favorite Albums of 2021

By StereoVision Staff

Although 2021 seriously left something to be desired, the music that was released this year did not. Our favorite musicians put us in their backpacks and create worlds for us to live in while disease, hate, and ignorance plagued ours. From some of the most celebrated artists of our generation dropping new albums (Tyler, the Creator, Kanye West, Drake) to exciting newcomers making a serious claim for the throne (Baby Keem, Don Toliver, Yeat), 2021 was jam-packed with exciting releases and excellent music. Without further ado, the StereoVision team is proud to present out top 30 albums of 2021:

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30. Mercurial World by Magdalena Bay

I’ll be real with you - I love weird shit that isn’t afraid to build worlds, push music forward, and most importantly, take risks. Luckily, Magdalena Bay was able to check all of those boxes with their debut album Mercurial World - an album equally concerned with existential terror, time, space, and crafting insanely-detailed indie-pop anthems for our enjoyment. It would be impossible to boil down everything I love about this record in the few sentences allotted to me, but this album truly is a modern pop masterpiece that somehow balances a careful love for pop’s past, present, and future. Take tracks like “Hysterical Us”, “Dawning Of The Season” or “Secrets (Your Fire)” - do those songs not sound like they were written in the year 3000? Whether or not you have a strong affinity for pop music, Magdalena Bay’s Mercurial World stands alone amongst the pile of new releases we got this year. -Carter Fife

Favorite Tracks:

Hysterical Us, Secrets (Your Fire), & Prophecy

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29. Navy’s Reprise by Navy Blue

The budding voice of the underground, Navy Blue’s consistent output of refreshingly personal raps over avant-garde production continues with Navy’s Reprise. Behind the boards or using his pen, Navy puts his oozing talent on full display here. Quickly becoming one of the most talented acts in rap music, Navy Blue is a name to remember going into 2022. -Luke Modugno

Favorite Tracks:

My Whole Life, Not a Lot to Fear, & Suite 11

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28. Do it for demon by sahbabii

For an artist who prefers to stay out of the spotlight, the release of this album reminded us of his talents, and put him at the center of attention once again. Sahbabii perfected his sound on this album, giving us a new version of himself while also sticking to his roots that are reminiscent of his 2018 tape, Squidtastic. Songs like “Dickalasionship” and “Crosswalk” were flooded with lines that made me laugh at how unexpected yet hard they were at the same time. It’s moments like these that make a project memorable and shareable with friends; Sahbabii kept an upbeat and hopeful vibe throughout the project, celebrating the life of his late childhood friend, ‘Demon Child’, for whom the album is dedicated to. This pleasant listen is light on the ears and is easy for you to zone out to, just appreciating the melodies and ambient vocals. -Q Hollomand

Favorite Tracks:

I see, Crosswalkk & Bread Head

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27. 1 Night I Took Acid by Bigbabygucci

BigBabyGucci truly used his 2021 release to evolve from SoundCloud rapper to overall musician and mogul and the experienced ear can tell by simply listening. There is so much to say about this artist and this album. For those unaware, BigBabyGucci is tearing up the underground with his barrage of albums and versatility on different beats. On this album, Gucci takes a step back from the grunge, dark beats he had on his previous tape Assume the Worst and makes this one much livelier and inviting. He incorporates dancehall beats and makes his music more personal with song intros and a banger with Coldhart. All in all, be on the lookout for Gucci, he is only getting started. -Drew Jenkins

Favorite Tracks:

Hotel California, Tuesday, & Before Us

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26. Cinema by The Marias

Cinema is the long-awaited debut record from LA-based indie rock group The Marías, a record that seamlessly pulls influences from indie rock to ethereal pop, classical, and latin music. Tracks like “Hush” and “Calling U Back” are hard-hitting and perfectly-polished bangers that somehow fit on virtually every playlist, and tracks like “Spin Me Around” will make you feel like you’re literally floating above your body. Their sound is hypnotic, and whether they’re delivering you a seductive and downtempo bilingual groove like “Little by Little”, or a transcendental wall of dream-like sound on “All I Really Want Is You”, every second is a perfectly polished moment from one of LA’s most promising acts. -Carter Fife

Favorite Tracks:

All I Really Want Is You, Calling U Back, & Little By Little

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25. Van goghs left ear by zelooperz

 Though it might be shallow if you are looking for an album to bump while cruising and want heads to turn immediately, Zelooperz has blessed you. Each track has an insane beat that matches a voice that could only come from Detroit. Crash bandicoot samples to ones that will make you research a blind opera singer Zelooperz brought the range to this album. He even took advantage of his vocal prowess by singing which only added another layer of complexity. -CJ Allen

Favorite Tracks:

Bash Bandicoon, Essential Worker, & Don’t Leave

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24. Still Over It by Summer Walker

The energy that Summer Walker carried into her second studio album was undeniably that of a star. Her debut album Over It established her as a force in the industry, and she took it a step farther on Still Over It. There are moments where this project feels straight out of the early 2000’s in the best way possible, but it is backed by a very modern bounce. She never shies away from her experiences, positive or negative, and makes it all sound incredible. The lyrics are cutthroat and empowering at the same time. On a track like “No Love”, she and SZA make it apparent just how quickly they will cut off all emotional contact once they feel mistreated. Songs like this don't feel like heartbreak anthems, but rather they feel like the product of putting yourself first and understanding personal needs. Summer has one of the best voices in the industry, and she is able to float over slow sexy ballads like “Unloyal '' with Ari Lennox as well as bouncy club records like “Dat Right There” with Pharell. With Still Over It, she sent a very clear message to the next man that tries to play with her. -Miles Hagan

Favorite Tracks:

No Love, Switch A N***a Out, & Toxic

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23. sixtape 2 by blxst & bino rideaux

At this point, there’s no denying that Blxst and Bino Rideaux are the West coast’s most dangerous duo. With one joint project under their belt (2019’s Sixtape) and a handful of excellent tracks, the LA duo was already aiming for the afro-mentioned title before solidifying their claim with Sixtape 2, the infectious 12-track project that was the undisputed soundtrack of the summer in Los Angeles. The project is as bouncy as it gets and Blxst’s ear-worm melodies perfectly complement Bino’s mesmerizing flow. On songs like “One of Them Ones” the duo is able to inspire and communicate confidence in a similar way to that of their mentor Nipsey Hussle well making that confidence as accessible as ever. Songs like “Program” and “Stressful” are obvious standouts in both artists’ discography due to an absurd amount of replayability. All-in-all, Blxst and Bino did it again and crafted one of the most fun projects of the year. -Spencer Lobdell

Favorite Tracks:

Program, One of Them Ones, Stressful

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22. Right Now by willie Jones

If there is one album you must listen to that may be outside of your usual music taste, it has to be this one. Willie Jones killed his album debut and personally ignited a flame in me that is now constantly searching for the next country star. Even though the album involves a mixture of many styles, that will allow even the most intense country hater a chance to enjoy it. There is no doubt that this is a unique country album. It will be evident once Willie’s baritone voice transports you to the backroads of some wheat field. -CJ Allen

Favorite Tracks:

Down for it, Trainwreck, & Back Porch

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21. epiphany by ka$hdami

epiphany: the epitome of a plugg album. This 17-song album truly brought plugg music to a broader audience, making Dami one of the first artists in a while to have more mainstream success in this subgenre of rap. The progressive production, paired with a direct vocal delivery by Dami makes for a euphoric listen; each song having its own ear candy that makes you go back for another song. This album solidified Ka$hdami as a staple in the underground youth culture. His rise this year is linked to countless songs going viral on Tik Tok, but in a cool way, avoiding his songs being ‘ruined’ by the app’s abilities to sometimes do so. Features from SSGKobe, BabySantana, Riovaz, and more do not disappoint, making this album a star-studded collection that unites the underground scene. -Q Hollomand

Favorite Tracks:

Reparations, Wake Up, & Receipts

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20. to hell with it by pinkpantheress

Pinkpantheress shows out on her first album. In an online age where everyone has heard almost everything, pinkpantheress homage to an expired British music scene and homey sounding garage beats stands out from the overall mainstream crowd. The sound feels familiar but not repetitive. Pinkpantheress’ lyrics are also a vital part of her sound; songs centered around love, emotions, slight existential crises’, and mental health hit a soft spot for today’s generation. pinkpantheress is this generations artist, and tiktok was only her vessel. I see many good things to come from this artist, and I hope they keep pushing forward with whatever sound they find. -Drew Jenkins

Favorite Tracks:

nineteen, passion, & break it off

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19. This Thing of Ours Vol. 1 & 2 by the alchemist

Very few artists have reached the legendary status that Alchemist has obtained in his career. He is a testament to consistency and always cultivating new relationships in the industry. His genius on This Thing of Ours is in his subtlety. These are not concept albums yet they feel undeniably cohesive. The album feels like we are listening to old vinyls we didn't know we had, in a dusty attic, and having the time of our lives for about 30 minutes. From Earl Sweatshirt, to MAVI, to Zeloopeerz, everyone shines and sounds perfectly at home. While there is no consistent subject matter from song to song, there are no wasted bars from anyone, and that intentionality keeps the listener focused. On a project where every song is a moment we are left asking, “How did Al do it again?” -Miles Hagan

Favorite Tracks:

TV Dinners, Loose Change, 6 Five Heartbeats

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18. USEE4YOURSELF by idk

There are many words that you can use to describe IDK, but luckily radio-silent is not one of them. Having released a project every year we’ve known him, few hip-hop artists have developed their style and sound as quickly as IDK. USEE4YOURSELF is a reflection of this, because it doesn’t just feel like a yearly release at this point. A conceptual album tracing IDK’s troubled relationship with love and traditional masculinity to his childhood, USEE4YOURSELF is a heartfelt and vulnerable meditation on intimacy and self-reflection. Aurally, the album is packed to the brim with bangers, and with Mike Dean helming most of the production, perhaps hip-hop has it’s newest dynamic duo. Tracks like “Pradadabang” with Young Thug and “Peloton” are decorated with forward-thinking mixes and writing that effortlessly moves IDK into a lane of his own. It’s hard to summarize this record in a few sentences, but take it from me - USEE4YOURSELF is one of the strongest releases this year, and I’ll be anxiously awaiting what IDK does next. -Carter Fife

Favorite Tracks:

Puerto Rico, Pradadabang, & Shoot My Shot

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17. BO JACKSON BY BOLDY JAMES AND THE ALCHEMIST

Hip-hop has always been about collaboration, and nothing elevates the genre quite like when a producer and emcee have undeniable chemistry. Detroit's own Boldy James and the legendary Alchemist linked up once again this year for a follow-up to their 2020 masterpiece The Price of Tea in China, with Bo Jackson. This time around, the duo brought a seriously upgraded guest list, including Freddie Gibbs, Earl Sweatshirt, Benny The Butcher, Roc Marciano, and Curren$y. A pairing of artists who just can't quite seem to miss, Bo Jackson was one of the best projects hip-hop's underground scene had to offer in 2021. -Luke Modugno

Favorite Tracks:

Brickmile to Montana, Fake Flowers, & Turpentine

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16. Sometimes I might be introvert by Little Simz

Meaningful introspection is something that can be a confusingly-difficult learned skill for artists. This is not the case for the UK’s rising rap star Little Simz and her fourth studio album. Production and unmitigated honesty are the strong points here, as Simz contemplates her journey of self-discovery under the limelight. -Luke Modugno

Favorite Tracks:

Miss Understood, Two Worlds Apart, & Woman

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15. WEIGHT OF THE WORLD BY MAXO KREAM

When you have Tyler the Creator, A$AP Rocky, Freddie Gibbs, and more well-known heavy hitters on a project and don’t lose your own spotlight, you know you’ve made something special. Maxo Kream has been a prominent artist, but this album felt different. Once you have heard the song that tells the story of his brother a new tone is added to the album. Maxo was even able to make a bop about the words he’s been hearing from his haters. Talented storytelling and an overall level of wittiness helped create a masterpiece. -CJ Allen

Favorite Tracks:

They Say, Trips, & Believe

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14. TWOFR 2

Although Kalan.FrFr has been a familiar name in Los Angeles since 2018, the Roc Nation artist really established himself as one of the most exciting rising artists on the West Coast with the spring release of TwoFr 2. The 13-track project was so exciting to music fans everywhere because it’s got a little bit of everything. From undeniable bangers (“Look at Me” & “Scorin”) to emotional cuts (“Never Lose You” & “Run Away”), on TwoFr 2 Kalan asserted himself as a versatile artist that is excited to push the boundaries of LA hip-hop and innovate at every turn. -Spencer Lobdell

Favorite Tracks:

Look At Me, Big Dog, Never Lose You

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13. THE LIFE OF PI’ERRE 5 BY PI’ERRE BOURNE

Pi’erre did nothing but deliver on his 5th edition of the TLOP series, this one being the standout amongst the five. What made this album such a relief was Pi’erre’s choice to include fan-favorite leaks; songs like ‘Switchin’ Lanes’ ft. Playboi Carti and ‘Drunk and Nasty’ ft. Sharc made the final cut. The signature Pi’erre production on every beat and his nonchalant, but catchy vocals create a mind-numbing effect on the listener. Every song transitions into the next one, making each listen feel like a new experience(I think that “Groceries” into “Butterfly” is the best transition). Pi’erre is finally getting the recognition he deserves as a vocalist as he continues to display his simple, yet intricate production. -Q Hollomand

Favorite Tracks:

Butterfly, YNS, & Drunk and Nasty

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12. CERTIFIED LOVER BOY BY DRAKE

From the moment Drake shaved a heart in his hair the music world was waiting for Certified Lover Boy. After some leaked versions, clothing line drops, and renting out Dodger Stadium for a date night, debatably the biggest rapper in the world dropped his latest project. Drake sounds as hungry as ever on “Knife Talk '' and “No Friends in the Industry ''. These tracks are high energy and filled with high hats, and the latter provided us with one of the best 21 Savage features of the year. Then, two songs later, we get “Pipe Down” and “Get Along Better”, over lush production and with lyrics that undeniably live up to the persona he has created. All of this while still giving us an epic intro and heartfelt outro, one-liners that will be captions for years to come, and everything else we have come to expect from The Boy. Drake and 40 were able to curate an amazing list of guest features and some of the most influential producers in hip-hop. While it was going to be nearly impossible for the album to live up to the hype that was built for it before release, Certified Lover Boy was still able to capture some of the best moments of the year. -Miles Hagan

Favorite Tracks:

Papi’s Home, Fair Trade, Pipe Down

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11. UNTOURABLE ALBUM BY MEN I TRUST

Released amidst a global pandemic, the aptly-titled Untourable Album is the newest release from the dream-pop powerhouse Men I Trust. Though the world has turned upside down since their last project Oncle Jazz dropped in 2019, Men I Trust put their best foot forward by returning with a fairly-sized collection of new tracks. Seamlessly blending elements of dream-pop with jazz and indie rock, Untourable Album is the perfect album to get lost in when you need a break from 2021’s chaos. From the record’s delectable downtempo basslines to Emmanuelle Proulx’s dulcet vocals, this year Men I Trust came through with an album that sounds like they never left. -Carter Fife

Favorite Tracks:

Tree Among Shrubs, Sugar, & Oh Dove

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10. UP 2 ME BY YEat

Yeat’s parade truly is a marvel to behold on Up 2 Më.  Yeat starts to perfect the gloomy and eerie sound he is going for (like on '“Swërved It”) and begins to experiment with his sound on the last two tracks of the album. Yeat shows continual progression and adaption to an ever-expanding rage music scene along with him beginning to compete with his previous self. Yeat notoriously limits his features to friends and confidants, and on this tape, he only has a feature with his label partner and good friend Septmebersrich. This ability to control a song without having multiple voices or people truly goes to show how groundbreaking Yeat is for not just the underground but hip-hop in general. The way he goes about distorting his voice, and how he is getting more into the production side of his music, we will be seeing a lot greater things from this young artist. -Drew Jenkins

Favorite Tracks:

morning mudd, money so big, & told ya

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9. MICHIGAN BOAT BOY BY LIL YACHTY

Lil Yachty's Michigan boy boat mixtape was his only tape in the year 2021. With this, he shows his versatility and genuine connections in hip-hop by creating a mixtape that attempts to encapsulate the niche underground Detroit/Flint rap music scene. This mixtape was a surprise to many avid hip-hop listeners, Lil Boat and Detroit music fans alike. This was not a total commercial stunt as Yachty has had multiple songs with Tee Grizzley and Sada Baby in his past years of being a mainstream rapper. The scene, rampant with notorious Hitmakers like a BabyTron, Rio da Young OG, and the previously mentioned Sada Baby en-captures a grimy but flavorful stab at what it looks like to be a lyrical rapper in today’s hip-hop. Historically, his music is quite contradictory to a Michigan style of rap, which made fans skeptical but also hungrily await what the MC was cooking up. -Drew Jenkins

Favorite Tracks:

Never Did Coke, Final Form, & Concrete Goonies

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8. VINCE STAPLES BY VINCE STAPLES

It is fitting that his self-titled album is his most personal. Vince Staples is one of the most complex figures that music has to offer. While he is loved by the masses for his slick comedic timing and unrelenting honesty, there are parts of himself and his life that he clearly keeps away from the public eye. He slightly pulls the curtain back on this album, but in the most Vince way possible. He paints pictures with his lyrics and the tone is perfectly set from the opening track “ARE YOU WITH THAT”, where he is honest about how he moves and the things he comes from, but makes it very clear that this life is not for everyone. There is not a bad song on this album. The entire tape is produced by Kenny Beats and he shows his full range. Vince has never rapped over a stripped-back beat like “TAKE ME HOME”, but he sounds like a match made in heaven next to the beautiful singing of Foushee. If you still want to question if he’s really about that life, there are also songs like “LIL FADE” and “MHM” to reassure you. -Miles Hagan

Favorite Tracks:

Law of Averages, Sundown Town, Taking Trips

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7. AN EVENING WITH SILK SONIC BY Silk Sonic

Since the announcement of this collaborative tape, we knew exactly what we were going to get: a masterpiece, plain and simple. Paak and Bruno complement each other incredibly well, with Paak shining lyrically and Bruno crafting hooks that get stuck in your head like gorilla glue. After listening to a track like “Smokin Out the Window,” there’s really only one valid conclusion a listener can come to: Silk Sonic is a duo sent to us by the music gods. -Luke Modugno

Favorite Tracks:

Smokin Out The Window, Fly As Me, 777

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6. LIFE OF A DON BY DON TOLIVER

There’s no feeling as gratifying as seeing someone reach their true potential. From the first time I pressed play on Don’s 2018 mixtape Donny Womack it was obvious that the Texas artist could be incredible but after an underwhelming follow-up project (Heaven or Hell) I was unsure what the future held for the Cactus Jack artist. I’m so happy to say that with the release of Life of a Don this year, Don Toliver has finally become the artist I always knew he could be. From top to bottom, the 16-track album is packed with biting flows, a psychedelic aesthetic, undeniable range, and everything fans love about Don. In my opinion, no album had better beat selection than Life of a Don in 2021, and when you combine that with Don’s killer vocals and a feature list containing Baby Keem, Travis Scott, SoFaygo, and Kali Uchis, it’s clear to see why this is one of the best albums of the year. Well I don’t think that Life of a Don was the best album of 2021, I do think it was the album I pressed play on the most this year (and it’s not close). -Spencer Lobdell

Favorite Tracks:

Swangin’ on Westheimer, OUTERSPACE, Flocky Flocky

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5. THE MELODIC BLUE BY BABY KEEM

From dropping one of the best albums of the year, to being featured on Kanye West’s Donda, to being brought out by Kendrick Lamar at Day N Vegas, Baby Keem made a serious claim for 2021’s MVP, an absurd feat at only 21 years old. The epitome of his explosive year was undoubtedly the release of The Melodic Blue, a project that was released in the same two-week period as Certified Lover Boy and Donda but still managed to command the moment. The Melodic Blue is undoubtedly this year’s most exciting body of work as Keem experimented with sounds throughout the whole album, taking necessary risks and delivering fans music that sounded like nothing they’d ever heard. Songs like “Family Ties” and “Vent” showcased Keem’s innate ability to make a crowd lose their mind whereas slower tracks like “16” and “Lost Souls” exemplified Keem’s ability to craft beautiful, genre-bending pieces of art. Nothing sounded like The Melodic Blue in 2021 and it absolutely deserves to be sitting with the big dogs in our top 5. -Spencer Lobdell

Favorite Tracks:

Scapegoats, Trademark USA, & 16

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4. THE HOUSE IS BURNING BY ISAIAH RASHAD

“What am I supposed to do outside but get rich”. It is almost arrogant that despite Rashad being reluctant to embrace the spotlight his talent demands, he is aware that the second he does step outside it's over with. These are the first words Isaiah Rashad utters on The House is Burning. He may be the most self-aware figure we have in music, and may even argue that it is to a fault at times. That is what makes this one of the best albums of the year. Before its release, he went on a press run and spoke to multiple publications about his struggles with alcoholism and drug abuse, which landed him in rehab before he could release this project. All of this comes through on The House is Burning. This album is honest, vulnerable, and a celebration of taking life and the healing process a day at a time. This all culminated in some of the rawest music of the year. -Miles Hagan

Favorite Tracks:

RIP Young, Headshots (4r Da Locals), HB2U

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3. WHOLE LOTTA RED BY PLAYBOI CARTI

It is with no doubt that I say that this album has changed the sound and aesthetic of rap more than any other album has. With countless false release dates, anxious fans, and entire album versions leaking to the internet, Carti finally brings us an already classic album that has ushered in a new era of hip-hop. Dropping on Christmas of 2020, its life in 2021 started out rocky, with the rap community split on the controversy of his new ‘vamp’ style and punk-themed music. Now, a year later, the album still feels as fresh and new as ever, with the majority of people now in positive favor of WLR. The standout production of F1lthy and Art Dealer bridges the gap between rock and hip-hop; the sharp synths and aggressive drums bring a new addicting sound to the genre. Whole Lotta Red’s influence on pop culture will continue to play out over the next few years, solidifying it as 2021’s best album. -Q Hollomand

Favorite Tracks:

Stop Breathing, Control, & Over

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2. CALL ME IF YOU GET LOST BY TYLER, THE CREATOR

Which genius concept would you rather see fleshed out by one of our generation's best: an album all about traveling the world released during a global pandemic, or a heartbreaking yet morally-confusing story about being involved in a passionate love triangle? How about both, but we disguise it in a DJ Drama-produced Gangsta Grillz mixtape to give every level of fan a different theme to latch onto? This is exactly what Tyler, the Creator did with his sixth studio album Call Me if you Get Lost, a project that is undoubtedly my album of the year and honestly probably the best album I’ve heard since Mac Miller dropped Swimming in 2018. Despite being on repeat for the entire year, the album continued to take on new meaning as 2021 progressed and although I’m sure I’ve spun the record over 100 times this year, something tells me that this album still has more to teach me about myself and the world around me. -Spencer Lobdell

Favorite Tracks:

Sweet / I Thought You Wanted to Dance, Safari, Massa

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1. DONDA BY KANYE WEST

Albums that possess the ability to command the attention of pop culture are truly legendary. Whenever Kanye West has new music to share, of course we are willing to lend an ear, but this time was decidedly different. With an album rollout that completely defined social media dialogue for months, Donda's musical content matched the unparalleled hype generated by its marketing strategy. Concretely pivoting from the religiously-centered JESUS IS KING, Ye takes center stage as he struggles with the absence of his mother, divorce, and passing of close friends. With a whopping 32 songs over 2 hours, Ye makes yet another solid entry to his already stacked catalog of classic records. -Luke Modugno

Favorite Tracks:

24, Believe What I Say, & Come to Life

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Day N Vegas Vlog // Kendrick Lamar, Baby Keem, Tyler the Creator, Griselda, Teyana Taylor, & More!

Day N Vegas was undoubtedly one of the best weekends of our lives so we're very excited to bring to you this year's vlog which includes interviews and exclusive concert footage from your favorite artists

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Tyler The Creator: Call Me If You Get Lost Review

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By Luke Modugno

In many ways, Tyler, The Creator has come so far as an artist, without actually going anywhere at all. Perhaps the best example of this artistic dichotomy is the presence of his newest masterpiece record CALL ME IF YOU GET LOST.

The LA rapper is back with his sixth studio album, continuing his consistent musical output of dropping new projects every odd year. Spanning 16 tracks and 52 minutes, CALL ME IF YOU GET LOST is one of Tyler’s longer projects. While the project is longer and features no central narrative, Tyler keeps the listener captivated with near flawless production, intriguing flows, bombastic bars regarding traveling the world, and unexpected featured artists. 

From the opening seconds of the intro track “SIR BAUDELAIRE,” Tyler is taking a major pivot from the artistic direction he pursued with IGOR. Scrapping the lo-fi, synth jazz, neo-soul littered production that defined his last project, Tyler uses “SIR BAUDELAIRE” to ensure the listener understands that CALL ME IF YOU GET LOST is heading back to Tyler’s roots. Co-written by Westside Gunn and produced by Conductor Williams, Tyler clearly wants to prove himself as a bonafide rapper, which he does successfully here and across the record.

Along with the opening track, the first three on CALL ME IF YOU GET LOST reinforce the idea that Tyler is locked in as a rapper for the duration of the project. From the hard baselines of “CORSO” and “LUMBERJACK,” to visceral head nodders “MASSA” and “MANIFESTO” featuring Odd Future standout Domo Genesis, many of the soundscapes favored by Tyler harken back to the early days of his sonic progression that appear on Wolf, and even Goblin. 

While Tyler makes sure to remind us that he is one of the quintessential rappers in the game currently, CALL ME IF YOU GET LOST still features melodic, neo-soul strokes that keep newer fans of Tyler’s music satiated. “RISE!” is a clear highlight of the record, with Tyler taking subliminal shots at A$AP NAST while flowing flawlessly behind a hook aided by DAISY WORLD. “WUSYANAME” is a harmonious love song pushed along by beautiful background vocals from Ty Dolla $ign and a gorgeous feature by NBA Youngboy. But the clear centerpiece of CALL ME IF YOU GET LOST comes from the tenth track, “SWEET / I THOUGHT YOU WANTED TO DANCE.” Tyler again favors the sounds that characterized portions of IGOR and Flower Boy, flexing his singing voice while serenading a lover. Tyler recruits the help of the angel-voiced Brent Faiyaz for “SWEET,” who completely steals the limelight with a verse and vocals that simply melt in your ears. The track only gets better when it transitions to “I THOUGHT YOU WANTED TO DANCE.” The song emits the same energy as the title, with reggae and samba production that makes for one of the best songs released this year. Fana Hues turns in a stunning feature on this track as well, fitting the sonic vision of the track entirely. 

There is an endless amount of things to praise CALL ME IF YOU GET LOST about. From DJ Drama’s valuable contributions on various tracks to the eight-minute catharsis that is “WILSHIRE,” this project is unquestionably flawless. CALL ME IF YOU GET LOST is a summation of everything Tyler does well musically. He revisits and refines the edgy, rap-heavy days of his early career and the Wolf era while building on the ingenious innovation he’s displayed with Flower Boy and IGOR. CALL ME IF YOU GET LOST checks all the boxes, it’s by far and away the best album that has dropped this year and debatably the best work he’s released.

Favorite Tracks

SWEET / I THOUGHT YOU WANTED TO DANCE (feat. Brent Faiyaz & Fana Hues)

RISE! (feat. DAISY WORLD)

HOT WIND BLOWS (feat. Lil Wayne)

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Tyler The Creator - Call Me If You Get Lost Reaction/Review

Welcome back to StereoVision! Tyler the Creator dropped his new album yesterday and it's unlike anything we've ever heard. Watch Miles and Spencer listen to 'Call Me If You Get Lost' for the first time in today's StereoVision reaction video

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Ranking Tyler The Creator Albums // TheStereoVision Podcast Ep. 20

Welcome back to TheStereoVision Podcast. In today's episode Miles and Spencer rank Tyler, the Creator albums. The duo also talks about new music that has come out, DaBaby's involvement in the Tory Lanez/Meg the Stallion beef, and who hasn't released yet but is in the deepest bag

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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

---

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)

---

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)

---

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)

---

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

---

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)

---

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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Top 20 Hip-Hop and R&B Albums of the First Half of 2019

By Spencer Lobdell, Miles Hagan, Kaila Cherry, Carter Fife, & Izzy Stroobandt

Welcome to StereoVision’s top 20 albums of the first half of 2019. It has been a great six months for Hip-Hop, R&B, and music in general making this list challenging yet insanely fun to form. The creation of this list came from compiling all of our writers personal AOTY (Album of the Year) lists as well as extensive album debate and conversation throughout the first half of the year to ensure we have the perfect list that represents exactly what we dig at StereoVision. To get this list out in time, we had to cut off all albums released after June 23rd from consideration meaning albums like “Bandana” by Freddie Gibbs that were released in the last week of June are not eligible for selection. Listen along to our top 20 albums of the first half of 2019 by tapping in to our Spotify and Apple Music playlist which contains three spotlight songs from each selection. Stream it here:

This platylist contains three spotlight songs off of each of our top 20 Hip-Hop/R&B albums released during the first half of 2019

Without further ado, our top albums of the first half of 2019:

20. Still Summer in the projects by 03 greedo

Release Date: April 19th, 2019

Record Label: Alamo Records

03 Greedo is a living legend and if his face tattoo of that exact phrase doesn’t convince you, one listen through Still Summer in the Projects should do the trick. The album is Greedo’s most cohesive effort to date and plays smoothly from start to finish. Greedo raps about familiar topics such as living life in Watts (“10 purple Summers”) as well as unfamiliar ones like a new perspective he received from being in the middle of a 20-year prison sentence (“Visions”). Overall Still Summer In The Projects is another exceptional release from 03 Greedo and with news that Greedo might be able to get out after five years on good behavior, we can only prey this is the case and continue to support his truly unparalleled music. Greedo is a musical anomaly, a figurehead for his hood, an LA icon, but above all, a living legend. Free 03! -Spencer Lobdell

Favorite Tracks:

10 Purple Summers

Gettin’ Ready

Visions

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19. Grey Area by Little Simz

Release Date: March 1st, 2019

Record Label: Independent

At the beginning of March majority of the United States was introduced to London-based emcee Little Simz and the pleasure was all ours. Deviating from the eccentric, dreamy, synth sounds that characterized her last album, on GREY Area, Simz opted for a blend of aggression, vulnerability, and genre-splicing to convey her experiences growing up and developing as an artist in a male-dominated industry. While following a theme of self-discovery and personal development, Simz displays true artistry through the presence of influences from a variety of musical genres that elevate her voice and message. The English artist displays great strength with hard hitting verses on cuts such as “Offence” and “Boss” but reels it back allowing us to invade her headspace on songs like the excellent “Venom”. With every bar she spits it’s clear that Simz has something to say and she demands you listen. -Izzy Stroobandt

Favorite Tracks:

Offence

Wounds

Venom

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18. diaspora by goldlink

Release Date: June 11th, 2019

Record Label: RCA Records

Diaspora is an ambitious project. GoldLink tasked himself with consolidating the global sounds of the black experience into a single album. And with each genre he explored, he owed it to the culture in which he drew from to do their music justice, to represent them accurately and genuinely with his audience. Diaspora is just that: the amalgamation of the black cultural experience as told through the sound we engage with in each pocket of the world we inhabit. GoldLink features afrobeat, house, Carribean dancehall, reggaeton, trap, classic hip hop, and more on his extremely diverse and funky project. Not the most lyrically strong, GoldLink nearly makes up for it with how well he executed the concept for the album. Diaspora is an accessible project for anyone, from the person who wants to globalize their ear to the person who just needs some tunes to vibe to. -Kaila Cherry

Favorite Tracks:

Joke Ting (feat. Ari PenSmith)

Maniac

U Say (feat. Tyler the Creator and Jay Prince)

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17. Baby on Baby by Dababy

Release Date: March 1st, 2019

Record Label: Interscope Records

DaBaby shows the world that short men do in fact have rights with his infectious breakthrough project Baby on Baby. 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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16. We All shine by ynw melly

Release Date: January 18th, 2019

Record Label: Independent

YNW Melly’s We All Shine is far and away the best music he has every released. The Florida rapper is packed with personality and it comes through on every track. His songs are filled with authentic emotion giving them a powerful effect on listeners. “Ingredients” is fun and infectious to the point where you can’t listen without smiling while “No More” is a passionate public service announcement where he calls out a homie on his bullshit. If it wasn’t for a timely jail sentence, We All Shine showed every sign of being Melly’s coming out party and ushering him towards being a household name. Hopefully he can get out soon and continue to make excellent music full of emotion, substance, and his unparalleled pipes. -Spencer Lobdell

Favorite Tracks:

Robbery

Mixed Personalities (Feat. Kanye West)

Ingredients (Feat. Fredo Bang)

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15. Flamagrama by Flying Lotus

Release Date: May 24th, 2019

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)

9 Carrots (Feat. Toro Y Moi)

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14. Assume form by james blake

Release Date: January 18th, 2019

Record Label: Polydor Records

James Blake’s presence in contemporary music has grown heavily over the past several years. No longer is the singer-songwriter confined to the occasional appearance or feature on throwaway tracks, instead now Blake has evolved into a cultural mainstay. While previously established as an expert in the realm of laments and dejected tracks laced with heavy electronic instrumentation or glitchy production effects, Assume Form sees Blake exiting a depressive period. Blake quite literally assumes form on tracks like “I’ll Come Too” or “Power On”, where the listener can track in real time Blake shedding his reserved and destructive tendencies in the enjoyment of a new love interest. Each track is just as incredible as the last, featuring help from artists like Travis Scott, Moses Sumney, Andre 3000, Metro Boomin and ROSALÍA. Although some of the moments on this record could be explored more thoroughly, James Blake offers a precise and relatable emotional tone on this record that will not soon be forgotten. -Carter Fife

Favorite Tracks:

Assume Form

I’ll Come Too

Power On

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13. Foto by kota the friend

Release Date: May 14th, 2019

Record Label: Independent

FOTO was the perfect album for the summer. Kota the Friend is an artist who seems to have really found a signature sound on this project. He mixes his slick flows and relatable lyrics with laid back gorgeous beats. Rather than attempting to force a message on the listener, he paints a vivid picture with each track. A stand out single from the project was “Birdie”. On the album, he added a beautiful saxophone from Hello Oshay which compliments the song perfectly. He captures what it feels like to really be in love with the girl of your dreams. He shines on this project when he is really just rapping about his thoughts and feelings because Kota is a very relatable character. “Hollywood” offers a realistic perspective on fame and all that comes with it. Kota doesn't want to be that stereotypical rapper who went “Hollywood” and forgot who he was, but rather wants to attain this success in the industry through remembering and honoring where he came from. This idea of him paying homage to the people and experiences that brought him to this point is what makes FOTO so endearing to even the most hardened of listeners. -Miles Hagan

Favorite Tracks:

Church 

Birdie (Feat. Hello Oshay)

Alkaline

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12. Outer Peace by Toro y moi

Release Date: January 18th, 2019

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”. Although I wish it were longer than half an hour, this summery record has something for everyone. -Carter Fife

Favorite Tracks:

Laws of the Universe

Freelance

Monte Carlo (Feat. Wet)

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11. Rap or go to the league by 2chainz

Release Date: March 1st, 2019

Record Label: Def Jam Recordings

It seems like whenever 2 Chainz releases a project at least one song off of it is a hit single in clubs and at parties all over the country. He has made some solid projects over the years, and is an established vet in the rap game. That being said Rap or Go to the League felt different. From the lack of singles before its release, to it being executively produced by LeBron James, this had the potential to be a great album from the well-versed trapper. What we got was actually one of the most cohesive projects of his entire career. A Standout track like “I’m not Crazy Life is” shows just how good this project is when it’s at its best. 2 Chainz flows over stellar production that allows him to really get across a point to the audience. There is a constant parallel between rap music and basketball throughout the album which intentionally alludes to America’s current social climate where young African American males feel like those are their only two ways out of their current situation. While Rap or Go to the League does have a message, there are still some bangers. “Momma I Hit a Lick” may take some listeners a few times to appreciate, but eventually the hard beat and unique flows from 2 Chainz and Kendrick Lamar are too much to deny. Overall this project succeeds because its feels like 2 Chainz really had a goal in mind this time around, rather than aim for as many radio plays as previous works. -Miles Hagan

Favorite Tracks:

Forgiven (Feat. Marsha Ambrosius)

Momma I Hit a Lick (Feat. Kendrick Lamar)

I'm Not Crazy Life Is (Feat. Chance the Rapper & Kodak Black)

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10. the falling man by duckwrth

Release Date: May 17th, 2019

Record Label: Republic Records

For those whose know Duckwrth solely from his earlier works such as I'm Uugly (2016) and An Extra Uugly Mixtape (2017), they will be quite surprised to hear the direction the South Central rapper went for his latest EP, The Falling Man. A complete divergence from the pop influenced lo-fi aesthetic he leaned on for the first leg of his career, The Falling Man shows Duckwrth experimenting with genre, voice inflection, and lyrical depth in a way he has never done before. Duckwrth dips his toes into rock, gospel, and trap throughout the course of the album and each venture is a success. The Falling Man is, for lack of a more creative term, a very solid album. It is a reliable listen that keeps listeners engaged and intrigued. Seeing Duckwrth explore and expand the scope of his music is exciting, and I am eager to see what he has in store for us next. -Kaila Cherry

Favorite Tracks:

Bow

King King

Nobody Falls (feat. Kiana Lede, Terrence Martin, Madasin)

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9. Arizona baby by Kevin Abstract

Release Date: April 25th, 2019

Record Label: Question Everything Inc/RCA Records

Kevin Abstract has managed to maintain his individual stardom while being part of the wildly successful super-group, Brockhampton. He has been able to accomplish this rare feat by always making sure his music contains emotion. Each track on ARIZONA BABY, no matter what the subject matter or actual lyrics are, is uncompromisingly honest. Sometimes this honesty is beautiful like on the track “Peach”, which features two of Kevin’s Brockhampton band mates in Joba and Bearface as well as rising star Domonik Fike. Like many of the songs on this project, it is able to mix a more sing song chorus and beautifully played guitars with some solid rap verses from Kevin. While the appeal of this track mainly stems from it just simply sounding beautiful, Kevin really shows his talent as a rapper on a track like “Use Me”. This has one of the most interesting and unique beats to be used in a rap song. Kevin experiments with different flows and tells a compelling story on this cut, but is so impressive because like most of the other tracks on ARIZONA BABY we have never heard anyone spit over sounds like this. This project shows what the bright future of rap in this generation has the potential to be. A seamless combination of rap and incredibly produced pop music. No other mind would be better equipped to spearhead this new sound than the very talented Kevin Abstract. -Miles Hagan

Favorite Tracks: 

Baby Boy

Use Me

Peach

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8. The Life of pi’erre 4 by Pi’erre bourne

Release Date: June 21st, 2019

Record Label: SossHouse/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:

Ballad

Doublemint

Speed Dial

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7. Anger Management by Rico Nasty

Release Date: April 25th, 2019

Record Label: Sugar Trap Records

Rico Nasty is one of the most awesome, if not the most awesome female rappers to enter the game over the past few years. To take note of her womanhood is not to say that she does not hold her own in comparison to male rappers. It is instead to say that what Rico Nasty does as an artist and a personality is extremely revolutionary, and her gender is a large part of what makes what she is doing right now so impactful. On her newest project Anger Management, Rico Nasty does not water down the aggressive, in-your-face rap style she became known for with singles such as “Smack a Bitch” and “Key Lime OG.” Rico Nasty reclaims anger not as something inherently negative. She rejects the notion that black women are angry without cause. On Anger Management, Rico Nasty explores the various facets of aggression, frustration, and how such emotions dissolve into, or are perhaps fronts for, melancholy and exhaustion. And with the entire tape produced by the dynamic Kenny Beats, Anger Management is not a project to sleep on. -Kaila Cherry

Favorite Tracks:

Cheat Code (Feat. Baauer)

Hatin

Big Titties (Feat. Baauer and EarthGang)

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6. Everythings for sale by boogie

Release Date: January 25th, 2019

Record Label: Shady Records/Interscope Records

Compton MC Boogie made some major waves last October 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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5. Crash talk by schoolboy q

Release Date: April 26th, 2019

Record Label: Top Dawg Entertainment/Interscope Records

When a TDE project drops it is almost a lock that it will be one of the best of the year and CrasH Talk seems like an album that Q really made for himself. This album finds the Los Angeles artist in a vulnerable headspace as he not only was going through depression, but also dealing with the passing of two of his peers in Mac Miller and Nipsey Hussle. What came out of this tragedy was an album that really gave us an audience a look into the inner workings of Schoolboy Q’s mind. A track like “Numb Numb Juice” is still able to be one of the standouts on CrasH Talk because of just how hard hitting and quality the beat is, and the way Q is able to sound so cut throat during the duration of the song. That being said this is in stark contrast to a song like “Black Folk” which is very self deprecating. Q acknowledges his shortcomings and fears not even just as a rapper, but as a man walking through life. He no longer has the gangster exterior that audiences have grown so accustomed to, but instead is now a vulnerable man who is just trying to do right by himself and the people he loves. That is the whole theme of CrasH Talk and it can be seen even more clearly in the title track “CrasH”. Though we all may not be famous rappers or have grown up in the streets of California like Schoolboy Q, we all could “crash” at some point. No person is invincible to the struggles of life, and Schoolboy reminds us that we should embrace these difficulties and use them to make us that much better in the long run. -Miles Hagan

Favorite Tracks:

Numb Numb Juice 

Drunk (Feat. 6LACK)

Black Folk

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4. ventura by anderson .paak

Release Date: April 11th, 2019

Record Label: Aftermath Entertainment/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. 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. -Spencer Lobdell

Favorite Tracks:

Make It Better (Feat. Smokey Robinson)

Jet Black (Feat. Brandy)

What Can We Do (Feat. Nate Dogg)

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3. When I get home by solange

Release Date: March 1st, 2019

Record Label: Columbia Records

Solange Knowles’ radical album When I Get Home is easily the most artistic project of the year so far. 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:

My Skin, My Logo (Feat. Gucci Mane)

Jerrod

Beltway

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2. Zuu by denzel curry

Release Date: May 31st, 2019

Record Label: Loma Vista Records

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:

ZUU

RICKY

AUTOMATIC (Feat. Tay Keith)

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1. IGOr by Tyler, the creator

Release Date: May 17th, 2019

Record Label: Columbia Records

Tyler, The Creator can't be ignored any longer. It is officially his time. Gone are the days of him trying to shock the audience more and more with each track on an album. On IGOR, Tyler manages to continue his incredible growth while also remaining appealing to mainstream audience. A song like “EARFQUAKE” sounds like nothing else that has been put out this year, but is also topping the charts and is able to seamlessly utilize one of the most unique talents rapping today in Playboi Carti. Not only is IGOR sonically interesting, but it also tells a story of falling in and out of love that any listener could relate too. While a song like “A BOY IS A GUN” has some of Tyler’s best rapping on the project, what shines through is what he is saying about the dangers of falling for someone who may not feel the same way back. What makes this the album of the year thus far is that we are seeing an artist who knows his talents as a lyricist, yet still tries to make an album that is great without the traditional constraints of the rap genre. Each track is produced with great care and focus so that the beats aren't just something in the background of him rapping, but actually what helps the listener really feel what Tyler wants them to feel. The perfect example of this is the closing track of the album “ARE WE STILL FRIENDS”. This is a beautiful conclusion to the journey that Tyler just took us on. On this conclusion, Tyler doesn’t even rap but instead he once again lets his amazing production take the stage and what comes out of it one of the most heartfelt and emotional tracks on an album that deserves every bit of critical acclaim that it has received. Though clearly not a trained singer, Tyler doesn't shy away from his more melodic side and it comes across as honest and real. IGOR is one of the best albums of the year because it isn’t just a great rap album, but a great musical experience throughout. -Miles Hagan

Favorite Tracks:

Earfquake 

A Boy is a Gun

Are We Still Friends

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GoldLink Explores the Diverse Landscape of Black Sound on Debut Album "Diaspora"

With summer almost here, Goldlink has given us something to groove to with the release of his debut studio album entitled Diaspora. Hailing from the DMV, Goldlink has put out three mixtapes prior to Diaspora, the most recent and most successful of which being the 2017 commercial project At What Cost. The mixtape is scattered with contributions and features from an array of artists such as Wale, Steve Lacy, and Kaytranada among others. At What Cost is a demonstration the stylistic diversity GoldLink utilizes in his work. Although the project is mainly known for its two most pop oriented and R&B inspired tracks “Crew” and “Herside Story,” At What Cost also calls upon the genres of funk, East Coast hip hop, and alternative rap with songs like “Hands on Your Knees (feat. KoKayi),” ''Kokamoe Freestyle,” and “Some Girl (feat. Steve Lacy).”

Two years later, GoldLink has furthered embraced the many different styles of music which have made him into the artist he is today. Diaspora is a homage to the sounds originated and developed by different pockets of black culture from all around the world. When placed together on a single project, these sounds are able to be threaded together, compared, contrasted, and skillfully coalesces various aspects of the black soundscape onto a single album.  

To understand the concept and intention of GoldLink’s album, one must have an understanding of what a diaspora is. Defined as “the dispersion of any people from their original homeland,” diasporas are seen within the histories of several displaced minority groups. The most well known example of this spread is the Jewish Diaspora. Beginning in 587 BC, the Jewish Diaspora was marked by the exile of the Jews from Israel by the Romans and their subsequent spread to various parts of Europe and, thousands of years later, to North America. With the advent of the Atlantic Slave Trade, Africans were abducted from their countries and shipped to different parts of Europe, South America, and North America for over 300 years. Even after slavery was abolished in most parts of the globe, most freed people did not have the means to go home to their native lands and thus stayed in the places they were. This is what is called the African Diaspora.

Map of the Trans Atlantic Slave Trade which led to the development of the African Diaspora.

GoldLink explores the genres of reggae, dancehall, afrobeat, trap, house, R&B, afropop, and traditional rap on Diaspora, fully living up to the project’s namesake. After a 23 second intro entitled “//error,” Diaspora kicks off with the infectious bouncy track “Joke Ting.” Featuring South London R&B singer Ari Pensmith on the chorus, GoldLink begins the album with light, catchy, and contemporary tune that could easily fit onto a summer party playlist. GoldLink’s flow is smooth and punchy with an effortless cool, due in part to the melodic tone of his D.C. drawl.

The next track, however, sounds nothing like the first. This is a trend that is prevalent throughout Diaspora. As one listens through the project from beginning to end, they clearly recognize that they are to expect the unexpected, to accept that the cohesion of the album hinges less on the consistency of a particular sound and is instead the collage of diversity of music styles. The following track, “Mania” is an eclectic trap song dressed with vocal effects like autotune and echoes, lyrical repetition, electric piano, bass drums, and high hats. After “Maniac” is “Days Like This,” a mellow self reflective track featuring Khalid that showcases a much more stripped back production style and some of GoldLink’s most poignant lyrics on the entire project.

“Zulu Screams” is the first time the international influence on Diaspora is presented to the listener. Featuring artists Bibi Bourelly and Maleek Berry, “Zulu Screams” is a loud, in-your-face dance/house banger headed straight for the club. The following track “More” is inspired by the Jamacian genre of dancehall, with its roots in reggae and reggaeton music. One of the most well known singles from Diaspora prior to its release is the flirty afrobeat track “U Say,” featuring Tyler the Creator and Jay Prince. The song’s production is minimal, allowing GoldLink and Tyler to spit sexy verses about the women they want to bring home.

The last two standout tracks on Diaspora are “Yard” and “Spanish Song.” “Yard” is a mix between dancehall and R&B while “Spanish Song” is a latin inspired dance song. Although there are four more songs after “Spanish Song,” they fail to make much of an impression. Coming back to the contemporary rap styles showcases at the start of the album, these tracks sound more like slightly altered versions of the three opening songs than as stand alone songs. The exception to this assessment of the last quarter of the album is the song “Tiff Freestyle,” which has a more classic East Coast hip hop sound in comparison to the other three. Still, however, “Tiff Freestyle” does not engage my ear in the same way the songs before it did.

In addition to the weakness of the last leg of Diaspora, GoldLink’s lyrical prowess leaves more to be desired. A common pitfall of newer rappers is the inclination to rap about the same subject matter in the same ways. Throughout Diaspora, GoldLink speaks on topics such as fame, parties, sex, crime, and overcoming struggle. However, he rarely raps about these subjects in a way that is unique. It is clear that the production and the concept of Diaspora took precedent over the creativity of the lyricism. If GoldLink’s bars were as fresh and inventive as the sound of the album, Diaspora would be close to a perfect album.

GoldLink’s Diaspora is an auditory tour of the expanse of the black musical landscape. GoldLink demonstrates his ability to hop seamlessly from genre to genre, finding a place for himself in each without trying to cheaply intimidate or rip off another’s sound. Instead, he engages in a dialogue with the various genres of black music, adding his own sense of personality and style to each genre he takes inspiration from. The collaborative sense of the album is further enforced by the slew of artists featured on it as well. Despite the last few songs falling flat and the blandness of the lyrics, Diaspora is still a solid album that is as fun as it is educational on the diversity of black sound. A great collection of songs to vibe out to, I definitely recommend checking out Diaspora and bumping it all summer long.

Favorite Tracks:

Joke Ting (feat. Ari PenSmith)

Days Like This (feat. Khalid)

U Say (feat. Tyler the Creator and Jay Prince)

Rating: 7

Listen to Diaspora here:

Diaspora, an album by GoldLink on Spotify

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Tyler, the Creator Allows the Music to Paint a Picture on His Newest Concept Album “IGOR”

By Miles Hagan

At this point everyone should be familiar with Tyler, the Creator. If you weren't one of the millions of middle schoolers running around with Odd Future gear or Supreme because of him, then you may have heard of him from his last album Flower Boy, which was his most mainstream body of work to date. We have all had the pleasure of watching him grow and mature as both a person and artist. Tyler announced IGOR much to the surprise of everyone, because he had not previously talked about seriously working on new music yet. That being said he has an established reputation as one of the most reliable and creative musicians in the game today, so the excitement for any new project was expected to be very high. Everyone was wondering what the next step in his career would be after he got so personal on his last effort. IGOR is our latest update on what is going on in the mind of Tyler.

The promotion for this album was very unexpected to say the least. Tyler could come out with snippets of him with blonde hair in a bowl cut, and he would be jumping around to some music that sounded like it was made in the 80’s synth era. “IGOR’S THEME”, the first track on the album, continued the tone set by the promotions. It is loud and engulfing from the start. The song is very similar at its start to a “Distorted Records” off A$AP Rocky’s Testing album. He keeps the lyrics very minimal and some of them are even barely audible. This was a theme that I didn't pick up on until later in the album. “IGOR’S THEME” takes us into what many will say is the standout track from this album.

IGOR takes off and doesn't look back once “EARFQUAKE” begins. This time the singing is clear and Tyler uses his pitched up vocals to sing about his love for someone.  He loves this person so much that they leave his entire world shaken up. Though Obviously not the most classically trained singer, it is clear he has so much emotion behind each word he croons. The beautifully arranged synths and chords in the background create a cascading back drop to Tyler’s lyrics of love. This is also one of the most obvious features on the entire album. Playboi Carti comes in for a lightning quick verse that doesn't add much lyrically, but his high energy and excellent flow make even the most hardened of listeners bob their head.

Love continues to be the focus of IGOR on the track “I THINK”, where Tyler is assisted by Solange in creating a song that makes the idea of falling in love actually feel like you're falling into an abyss. The music behind them is almost frantic and would sound perfect in a chase seen. The word “Fuck” is repeated at the beginning of the song almost to say that despite Tyler’s best efforts he could escape the feeling of love, and now there is nothing he can do about it.

Up until this point we haven't heard Tyler really rap a single time. Lyrics at this point seem to only be used to push the narrative created by the music forward. The first few songs on IGOR show the listener that this isn’t just the average Tyler rap effort. He is trying to do something different with this body of work, and this lack of emphasis on himself as a rapper may be met with a lot of criticism by more casual fans.

he middle portion of the album sees Tyler return to a more traditional sound. “NEW MAGIC WAND” would fit perfectly on Cherry Bomb and the chords nearer the middle of the track are a staple for Tyler and sound amazing as he begs the person he loves not to leave him.

The next cut “A BOY IS A GUN” is another stand out from the project as a whole. The repeated “Don’t shoot me down” tiers in perfectly with the title of the track to articulate how dangerous love can really be. This boy that Tyler has feelings for is like a weapon because at any point if he leaves or rejects Tyler it will be a fatal blow to his heart. He then completely submits to his lover control on “PUPPET”, where he has finally given into the love that he has been fighting and trying to understand for the entirety of IGOR. This love has full control of him and the song actually sound like it could be at the end of a film. It is also assisted by a quick quest verse from Mr. Kanye West himself. Tyler is able to articulate his love for this person so honestly and clearly.

IGOR closes on a more somber note with “I DON’T LOVE YOU ANYMORE” and “ARE WE STILL FRIENDS”. The latter has a mesmerizing guitar solo near the middle coupled with some killer harmonies to finish it out. The last track features an excellent appearance from Pharrell who is one of Tyler’s biggest inspirations, and he helps Tyler deliver a closing track that lives up to the incredibly high standards set by the rest of IGOR.

What makes IGOR so great is what makes any Tyler project great. He is able to articulate raw human emotions better than almost anyone in the game today. The difference between this and much of his older work is that instead of doing it with his words he is doing it almost solely with his production. The verses on IGOR are far from subpar, but what makes it some of the best new music out now is just how eccentric and complex the sounds throughout the album are.

The first half of the album sounds like what it feels like to fall in love. There is so much beauty and happiness, but there is also fear and confusion because you are giving another person so much power over you by falling for them, despite the fact they could leave without warning. Throughout the album he keeps asking this person not to leave him, because he is afraid of what might happen  without them in his life. It almost sounds like there is a sense of desperation on the first half.

After “WHATS GOOD” the album switches focus to tell a story of love lost, but in the most mature way possible. The last words uttered before embarking on this second half of the album are “I dont know whats harder, letting go or being ok with it. Igor or Tyler fell in love gave in then that love faded which is an unfortunate fact of life. The album up until this point was spent worrying about what would happen if this person left, until he realized that maybe it might be best for both people if the relationship didn’t continue. But rather than end with anger or ill feeling toward this past love interest, Tyler ends by asking if they are still friends. The listener is able to follow a story from track one till track 12, and that is something that most albums today can't deliver.

At this point unique beats and clever rapping are expected from an artist of Tyler, the Creators stature, yet he continues to push the envelope and impress with each new album. On IGOR he pushes himself by limiting himself, which may be  difficult to understand. Without the use of lyrics it forces the beats to remain interesting enough to keep people attention on a song to song basis. Tracks like “EARFQUAKE” and “ARE WE STILL FRIENDS” don't feel like typical hip hop songs because they are big and cinematic and create an atmosphere that the listener can be fully engulfed in rather than just nod their head to.

No one knew what to expect next from the mind of Tyler, the Creator, and yet IGOR seems like the perfect continuation on his musical journey after Flower Boy. Though we may not know what is coming next, it can not be denied that Tyler has delivered one of the best projects of his entire career.

Favorite Tracks:

EARFQUAKE

A BOY IS A GUN

ARE WE STILL FRIENDS?

Rating: 9.5

Listen to IGOR HERE:

IGOR, an album by Tyler, The Creator on Spotify

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Songs of the Week: May 19th

By Spencer Lobdell

Welcome to “Songs of the Week” a weekly segment where I highlight three of the best new songs released the week prior along with one throwback song of the week. To stay up to date on all new music, follow my Spotify playlist “What I’m Feeling” which is updated weekly to always include the freshest new music. Always 30 songs, hottest always at the top. Stream it here:

A playlist updated weekly with whatever new songs I'm feeling at the time. Always 30 songs and in order with what I'm feeling the most at the top.

New Songs of the Week:

“Zulu Screams” by GoldLink (Feat. Maleek Berry & Bibi Bourelly)

Zulu Screams (feat. Maleek Berry & Bibi Bourelly), a song by GoldLink, Maleek Berry, Bibi Bourelly on Spotify

Last Tuesday DMV rapper GoldLink blessed us with one of the most infectious cuts released this year. “Zulu Screams” is packed with energy and the pulsing P2J instrumental makes it impossible to not get up and move from the first four-count. While I’m unsure of the status of GoldLink’s next album, it seems safe to assume that “Zulu Screams” will make the cut meaning we will hopefully get the tape sooner rather than later. Maleek Berry gives the smooth joint a latino feel with a beautifully sung hook that gives us a break from GoldLinks unorthodox flow that is so captivating. Bibi Bourelly comes in on the bridge for an intense, dance-hall inspired deviation from the cut that really ties the song together and sets it apart as one of the most interesting releases this year.

“Feelin’ like a brand new me
And the entourage where the latest be
And the sun don’t shine where the gangstas be
And we Russian roulette to a game of three”

— GoldLink "Zulu Screams"

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“I THINK” by Tyler, The Creator (Feat. Solange)

I THINK, a song by Tyler, The Creator on Spotify

While many songs off of Tyler’s newest album IGOR could’ve been selected in this spot, “I THINK” was chosen because of Tyler’s extremely relatable writing, the awe-inspiring production that graces the entire album, and Solange’s beautiful vocal layering and background melodies on the hook. On “I THINK” Tyler wonders if he should continue to be vulnerable with a partner who has hurt him. While he knows it would be in his best interest to separate from this person, he is overly curious and hooked like many of us have been before. Two minutes into the track the songs dives into an instrumental bridge that is carried by one of Tyler’s favorite synth sounds as it dances across a scale and beautifully builds us up back into the hook. “I THINK” is one of my favorite moments off of IGOR.

“Mess with T on-off
Fuckin’ up my ambiance, pause
You drive me cuckoo and I cough
’Cause I want you like Leon Ware ”

— Tyler, The Creator "I THINK"

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“Higher” by DJ Khaled (Feat. Nipsey Hussle & John Legend)

Higher (feat. Nipsey Hussle & John Legend), a song by DJ Khaled, Nipsey Hussle, John Legend on Spotify

Where it was difficult to pick which Tyler track to feature this week, it was a no brainer (no pun intended) when it came to DJ Khaled’s new album Father of Asahd. The late king of LA and Crenshaw rapper Nipsey Hussle delivers two excellent verses in his first release since his passing. His first verse is uplifting and motivating as he raps about his grandparents and how he came to be in America. For the second verse, Khaled switches the beat to something less grand and more mischievous. Nipsey matches this instrumental perfectly and reflects on the harder parts of his life living in South Central. This verse is harder to listen to now that we know Nipsey’s tragic fate. Lines like, “Emptied out the clip, it was broad day/Fuck niggas always gotta learn the hard way” hit different when you’ve seen videos of the late rapper getting shot in the middle of the day. R.I.P to a true king, the marathon continues, long live Nipsey Hussle.

“South Central state of mind, high crime rate
Homicide, hate, gang banging’ll get you all day
And look at my fate”

— Nipsey Hussle "Higher"

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Throwback Song of the Week:

“65 Hunnid” by Vince Staples

65 Hunnid, a song by Vince Staples on Spotify

“65 Hunnid” is the second track off of Vince’s Staples’ Def Jam debut mixtape Hell Can Wait and one of the hardest songs in his discography. The greatness of this song begins with the eerie instrumental by Infamous. The horns at the beginning of this song are so fitting and beautifully segway us into the first hook. The drums used on this track are unusual but yet feel right at home under Vince’s Long Beach drawl. Lyrically, Vince is extremely sharp which should surprise no one. Throughout the song he continues to switch up his flow and use different rhyme patterns I’ve never heard before. “65 Hunnid” is an absolutely essential track from one of the most talented emcees making music right now.

“Feel the 4, when I’m feelin’ low, time to stretch a nigga
Ridin through ya section, shit, I hope you got protection with ya”

— Vince Staples "65 Hunnid"

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Check back in next week for three new hot songs and one new throwback! Follow us on Twitter and Instagram to get updated when we post:

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How "Wolf" Helped Tyler, The Creator Become the Voice for an Entire Generation

By Miles Hagan

Tyler, The Creator is the general of one of the biggest armies in the world. His army is filled with teens and young adults in cuffed pants, polo shirts, and converse shoes. But how exactly did he get to this point? While Flower Boy is the album that brought him much of his mainstream fame, Wolf is what many of his core fans believe to be his best body of work. From the beautifully sung “fuck you” at the start of the album in the song “Wolf” all the way until the sparkling piano chords on the final song “Lone,” Tyler takes us on a journey through his mind from the perspective of some crazy kids at a summer camp. It's astonishing that someone who was barely 21 years of age was able to convey so many different powerful emotions while also using sounds that no one in the industry had ever touched before. He had been making noise in music years before this, but it was at this moment that he was finally heard.

Bastard was Tyler’s first project that he put out as a 18 year old kid who was supposed to be attending community college, but was instead making one of the most controversial mixtapes in recent memory. Tyler struggled with people mislabeling his music as “horrorcore” because he was speaking about murder, rape, and other subjects that are seen as very taboo in music. He did not actually mean the things he was saying, but as a young artist he didn’t understand why people would ever take his lyrics seriously. Though it was divisive, it was undeniable that he had immense talent as both a rapper and producer as he begin to gain praise from several established artists in the industry including the like of Kanye West.

The traction that he was able to gain carried over into the second commercial release, Goblin. This is what truly put him on the map as a force to be reckoned with in the rap genre. It featured hits like “Yonkers,” “She” featuring Frank Ocean, and “Tron Cat.” Audiences got a much more in depth look into the mind of Tyler, The Creator on this album as compared to Bastard. The aforementioned songs as well as a few other tracks are seen as cult classic in many circles, and Tyler showed continued growth as a lyricist. All the while, he was also the leader of one of the biggest collectives in music: Odd Future. This was much bigger than anyone, including Tyler, could have ever imagined. Middle and high schoolers all over America had their OF donuts plastered over everything they owned. He was seen as a voice for the youth as kids everywhere were filled with the belief that he and his friends were the coolest people in the world. Tyler inspired thousands of kids everywhere to want to wear Supreme, Vans, and learn to skateboard.  His career and popularity were the highest they had ever been, and everyone was excited to see what crazy thing he would say or do next, yet Wolf  was still able to catch everyone by surprise.

Wolf, an album by Tyler, The Creator on Spotify

“Domo23” was the only single released prior to the album coming out. It featured signature Tyler talking about his controversial views on homosexulaity, and even more controversially,  how he is pretty much superior to every other rapper in the industry. He is also not afraid to name drop celebrities of all sorts including Jada Pinkett, David Beckham, and even One Direction. The track opens with horns that immediately command the listener's attention. After that, it all descends into other chaos, similar to the video which accompanied the song. The music video quickly changes scenery and begins to play another cut from the album titled “Bimmer.” This is closing piece of the three part masterpiece that is “PartyIsntOver/Campfire/Bimmer.” Tyler really shows his chops as a producer on these moments of the album. Though his rapping takes a back seat on each of three shorter tracks, the amazing instrumentals are what carry the tracks. “PartyIsntOver” features glistening chords that would make any fan of music melt. “Campfire” transports the listener to the woods sitting around a fire making smores. “Bimmer” features amazing vocals from the always incredible Frank Ocean. Tyler and Frank manage to take the last two minutes and 40 seconds of the song to make a killer track in which Tyler talks about a girl he is chasing and how she reminds him of his car.

Love is a very large theme on this album. The two main characters in the skits throughout the album, both voiced by Tyler himself, are fighting for the love of a girl named Salem. The song “Awkward” beautifully describes the nerves and awkwardness of a first date with someone you are really interested in, and what that first kiss feels like. Then a song like “IFHY” talks about what it feels like to love someone who always hurts you. Moments like these are what make an album like Wolf and an artist like Tyler, The Creator so accessible to young people. It isn't that he has the most complex rhyme schemes or creative beats, rather it is the fact that he is able to communicate such raw emotion into a three minute song. He puts into words the things that every young person has felt during at least one point in their life. The reason it is so polarizing is because these emotions, feelings, and thoughts aren't always pretty or clean cut, most of the time they are vulgar and sometimes controversial.

Today, Tyler, the Creator is one of the biggest voices in the music industry. The crazy kid from the Ladera Heights neighborhood in Los Angeles, California who once ate a cockroach for a music video, has gained the respect of some of the greatest voices in rap history. Wolf  may not be regarded as his best body of work, but it is the album that really pushed him forward as an artist. This was the album that showed that he was more than a young rapper trying to cause controversy using his crazy lyrics for shock value. He got people to listen to what he had to say, while still staying true to a sound that was absolutely him. It set him up for all of the success that he has gained today. His music festival that he started when he was 18, Camp Flog Gnaw, is now so big that it had to be hosted at Dodger Stadium in 2018. Tyler is also expanding his reach to fashion with the launch of his Golf Le Fleur clothing line. In addition to everything else, he also just finished scoring his first film in the animated version of the Christmas classic, The Grinch. This is the same kid that back in 2013 on Wolf’s only song “Domo23” said, “And while y’all are rolling doobies, I be in my bedroom scoring movies.” It looks like he might have known what he was talking about all those years ago.  

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Five Highly Anticipated Albums We're Excited For in 2019

By Miles Hagan

Kanye West - Yahndi

Yahdi has been talked about since November. Kanye has pushed back the release date multiple times for many reasons in typical Kanye fashion. All of that being said, the music world is still waiting on what is coming next from Yeezy. Last year he released a solo album (Ye) and joint project with Kid Cudi (Kids See Ghosts), both which were well received by the general public. He closed the year with some pretty average performances with some artists like Lil Pump (“I Love It”) and 6ix9ine (“MAMA KANGA”). Kanye has given us a lot of interesting features, singles, and albums over the years, and his opinions will always be questionable, but one thing is for sure; Kanye will always have the public’s interest.

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Childish Gambino - TBA

Awaken My Love was a huge step in Gambino’s career. He had already established himself as a force to be reckoned with on Because the Internet, but fans were unsure of what the multitalented rapper would do next. He proceed to launch one of the most critically acclaimed TV shows in recent memory, Atlanta, and show his impressive skills as an actor in many major roles in films. Aside from these two things, he began to change his music style from mainly rap to a mix of R&B and Neo Soul. He released two solid singles at the end of the summer in “Feels Like Summer” and “Summertime Magic”. This was more of the sound from Awaken My Love rather than his other huge single of 2018, “This is America,” which showcased him going back to his roots of rapping. Though Childish has not directly said he's putting out a project his fairly steady output of content hints that he's still in the studio, so fans should be look forward to whatever he has planned for 2019.

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Isaiah Rashad - TBA

The young TDE rapper showed a ton of promise on his last record The Sun’s Tirade. This came after the scare of being dropped due to the break he took from music after his debut album Cilvia Demo. Ever since, the rapper has seemed focused and poised for another, even bigger release for his next project. Rashad has hinted at releasing new content for some time now especially on his social media. Aside from the occasional feature he hasn't put out anything to really give fans an idea of what new sounds he's working with. That being said his potential is undeniable especially with the team backing him in his label.

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Tyler the Creator & A$AP Rocky - Wang$ap

This is a project that has a lot of conflicting information regarding the release from the two main parties in A$AP Rocky and Tyler, the Creator. Rocky made it seem like project was well underway and fans should be expecting a release in the near future. Tyler almost immediately dismissed these remarks via Twitter saying that the album wasn't even full flesh out year and was still in the idea stages. The only real information that the public knows is that the two friends have been working together for a while now sporadically on music. “Potato Salad” came out in July of 2018 and had fans excited for more content from the two excellent rappers.

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Dreamville - Revenge of the Dreamers III

The young TDE rapper showed a ton of promise on his last record The Sun’s Tirade. This came after the scare of being dropped due to the break he took from music after his debut album Cilvia Demo. Ever since, the rapper has seemed focused and poised for another, even bigger release for his next project. Rashad has hinted at releasing new content for some time now especially on his social media. Aside from the occasional feature he hasn't put out anything to really give fans an idea of what new sounds he's working with. That being said his potential is undeniable especially with the team backing him in his label.

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Bonus: A Non Hip-Hop Release We’re Excited For

Vampire Weekend - Father of the Bride

Vampire Weekend has been quite for a number of years now after they took a break from making music after their 2016 Modern Vampires tour. Key member Rostam Batmanglij was rumored to be leaving the band, though it has since been confirmed he is still a partial collaborator on their upcoming record. Talk of a new album was on and off till lead singer Ezra Koenig officially announced via his instagram that the group would be releasing a new album titled Father of the Bride September 6th of 2019. Leading up to the project there will be two new songs per month till its official release. The first two singles “Harmony Hall” and “2021” have received high remarks from fans and critics alike. They feature great vocals per usual from Koenig, and feature beautiful instrumentation and captivating lyrics throughout. From all that we have seen Vampire Weekend seems just as sharp as ever and prepared to make their way back into the forefront of music.

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