Underrated Songs From 2015

With amazing releases like To Pimp a Butterfly, Rodeo, Barter 6, and If You’re Reading This It’s Too Late, 2015 gave us some of the best hip-hop music we’ve ever heard, which means it also gave us some of the best hidden gems we’ve ever discovered

jump off the roof by Vince Staples (Feat. Snoh Alegra)

Vince Staples has a unique ability to inject the listener with energy from the moment he touches the mic. 2015’s Summertime ‘06 was his coming out party with standouts like “Norf Norf”. That being said “Jump off the roof” is the kind of energetic darkness that represents Vince. It’s darker message and undertones over a beat that smacks you in the face is the perfect combination. He’s so charismatic on this song he almost makes you want to join him. -Miles Hagan

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I’m Ya Dogg by Snoop Dogg (Feat. Kendrick Lamar & Rick Ross)

Though Snoop Dogg’s 2015 record BUSH was far from critically acclaimed at the time of its release, the Pharrell-produced record was actually home to some of both Snoop and Pharrell’s biggest sleeper hits. “I’m Ya Dogg” features none other than Rick Ross and Kendrick Lamar - who I personally believe delivered his career-defining performance - over Pharrell’s signature taught and bouncy production with a dash of ambiance thrown in for good measure. Though it may be a while until the culture starts to appreciate “I’m Ya Dogg” for the banger that it is, you can catch me yelling “Head in the Maybach boomin’ / thank God for leg room!” every time it comes on shuffle. -Carter Fife

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Holy Ghost by A$AP Rocky (Feat. Joe Fox)

Although to simply say that AT.LONG.LAST.A$AP is Rocky’s best project to date is a freezing cold take, I like to spice things up by attribute the album’s potency to the energy Rocky opens the project with on the tape’s intro, “Holy Ghost.” The song opens with long dramatic guitar bends that instantly cue listeners that what they’re about to hear is no rap song, but rather a sermon of epic proportion featuring pastor Flako at the peak of his powers. Rocky raps two of the best verses of his career cementing this as one of his best songs and one of the most criminally underrated tracks of 2015. -Spencer Lobdell

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Two Matches by Mac Miller (Feat. Ab-Soul)

There will never be enough R.I.P.s to fill the void Mac Miller left in the music community. GO:OD AM was Mac Miller seemingly coming out of a very dark place in his life. With an Ab-Soul feature that almost steals the show and a hook that makes anyone wanna sing, “Two Matches” is a standout from this project. Mac reminisces on the dreams he had as a kid and the realities that came along with realizing those dreams. -Miles Hagan

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Albums to Ride Out Quarantine 2

By StereoVision Staff

Last year, the Stereovision Staff compiled a list of some of our favorite records for our readers to enjoy while indoors safely riding out Covid-19 (also known by its government name, Coronavirus). Since then, it seems like this Covid business has only gotten worse, with the emergence of an anti-mask brigade, negligent partygoers willing to risk their lives to see The Chainsmokers, and more new strains than a PDX dispo. Here we are, a whole year since the world shut down, and we’re still stuck inside. We at Stereovision commend those that have spent the past year living responsibly - either by social distancing and/or simply maintaining a sacred love and respect for their fellow neighbor. Let this article deliver you a handful of records for you to revisit - or potentially discover - as we all wait patiently for life to go back to normal. With multiple vaccines in production, let’s all hope this is the last article of its kind. -Carter Fife

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What’s Going On (1971) - Marvin Gaye

On what is probably my favorite record of all time, Marvin Gaye takes his confusion and frustration with the current state of the world and focuses it into 40 minutes of the best R&B/Soul music you’ll ever hear. At the time of its release, America didn’t look quite so different to how it appears today - multiple wars were being fought overseas, racial discrimination was plaguing the sociopolitical realm like a moral rot, and barely 3-weeks prior a massive march on Washington D.C. took place condemning the Vietnam War. In what can only be described as musical catharsis, the next month Marvin Gaye released a collection of ethereal and sentimental tracks that would forever alter the lives of many - including himself. Though What’s Going On did not end a war on its own, or achieve universal racial equity and justice, what it did do was offer a lifeline of hope to those struggling, letting people know that things would get better and that they were not alone. While stuck inside in the midst of a deadly pandemic, we could all use another album like this one. -Carter Fife

Favorite Tracks: Flyin’ High, What’s Going On, Mercy Mercy Me

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Madvillainy (2004) - Madvillain (RIP)

Being back home has its perks, but for the most part, it is hard not to feel like you’re stagnating. Sleeping in my childhood bed has actually made me feel as if I had been reverting into my past self, filled with existential terror that 7 years have passed since I was 16. This has led me to revisit some of my high-school favorites while safely-nestled in the protective cotton of my old comforter and low thread count sheets. I should probably start talking about the record though - we’ve all heard it, we know it’s a classic. Already-nostalgic samples paired with some of the oddest and most infectious rapping heard on a record to this day, DOOM and Madlib did not have to snap like this. Hearing of DOOM’s passing was one of the lowest points of the past year, but it was a healthy and sobering reminder to appreciate the legends around us while they’re still here. Even though DOOM may be gone, his influence will never be forgotten. -Carter Fife

Favorite Tracks: Curls, Accordion, Eye

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Honest (2014) - Future

Because of the intense listening fatigue that is inevitable when you’re a music junkie in a global pandemic, going back and combing through the catalogs of your favorite artists is an absolute COVID essential. Very few deep dives were as enjoyable as that of Future Hendrix and while listening I was reminded of all the amazing drugged-out atmospheres I hadn’t explored since high school. If there’s one obvious observation I made during these sessions though it was that Future’s 2014 sophomore studio album Honest was the peak of the first act of his career and is without a doubt the most underrated thing in his discography. From the moment you press play on the intro and hear Pluto preach over the infectiously epic “Look Ahead” instrumental you can tell you’re in for a wild ride. Honest is so special because it’s the moment that Future evolved from a gifted young trap-rapper to one of the most influential artists of our generation. He takes countless risks over the course of the 66-minute run time and every single one results in an exciting moment that plays its part in moving the genre forward and cementing Fu as a true visionary. All this goes without even mentioning the legendary list of features that includes the likes of Kanye West, Drake, Andre 3000, Pharrell Williams, Lil Wayne, and many more. Honest is an absolutely essential piece of Future’s legacy and is home to some of his most prolific songs ever. -Spencer Lobdell

Favorite Tracks: Look Ahead, Special, Benz Friendz

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Some Rap Songs (2018) - Earl Sweatshirt

An album with endless layers, Odd Future alumni Earl Sweatshirt’s sophomore record Some Rap Songs is best listened to with an attentive ear. With stripped-back, minimalist, and oftentimes rugged production, the beat palette allows Earl to be cathartic, grieve, and mourn across an extremely tight 24 min runtime. Frankly, the raw emotion displayed on Some Rap Songs is something that millions are going through during a time like this. It’s nice to know that you aren’t alone in misery at times, and Earl does just that. -Luke Modugno

Favorite Tracks: Nowhere2go, Eclipse, Riot!

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Donuts (2006) - J Dilla

School, exercise, sleep, repeat. For many people, quarantine has been a constant cycle of repeating the same day over and over. If you want an easy way to break that, give J Dilla's classic beat tape Donuts a spin. Donuts keeps you on your toes, relentlessly throwing extravagant, intricate beats at the listener through the project. Besides being a quintessential classic in hip hop, with no lyrics, it’s the perfect background music for any quarantine activity. -Luke Modugno

Favorite Tracks: Workinonit, Time: The Donut of the Heart, Gobstopper

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Control System (2012) - Ab-Soul

For many people (including me) quarantine is accompanied by a perpetual boredom and lingering anxiety that we frequently evade but is always there. For these moments I found myself grasping for a record that could capture me entirely and allow me to escape my reality through vivid storytelling and profound ideas for my mind to explore. Over the past year, no album has been able to consistently hold my attention like Control System by Ab-Soul. Over the course of the record, Ab-Soul is strikingly honest which results in him finding something he had yet to discover prior to the 2012 release: His sound. This psychedelic sound he’s able to pull on sounds nearly biblical and his unique perspective on these emotions as someone with a foot in the streets makes his music powerful. Well tracks like “Terrorist Threats” and “Pineal Gland” showcase Ab-Soul’s cryptic mind, he doesn’t forget to have fun on his sophomore project, and songs like “Mixed Emotions” and “Illuminate” allow him to flex his ability as a generational rapper and can be added to playlists intended for lighter listening sessions. The prophetic project is Solo’s best work and should definitely be included in the conversation about the best TDE releases of all-time. -Spencer Lobdell

Favorite Tracks: Mixed Emotions, Illuminate, The Book of Soul

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Is It Selfish If We Talk About Me Again? (2020) - Kacy Hill

To be honest, I don’t have a long-winded explanation for why I’ve listened to this record so much since its release last July, or even why I recommend it to those struggling in quarantine. Kacy Hill’s sophomore record is a beautifully written and performed meditation on romance, growing up, and becoming the person that you are - and though I can only speak for myself, quarantine has really fucked my shit up. Let's be real, staying inside in your early 20’s can not be a good start to some of your most formative adult years. Perhaps it is for this reason that I find myself circling back to this record so frequently, for it offers me a rare dose of perspective and serenity that other albums lack. Yeah, things are borderline terrible right now, and I know that things will get better, but in the meantime, I want to be able to feel the reality of it all - all in hopes of avoiding age’s jaded numbness that quarantine seems to be catalyzing. Anyway - listen to this record. Cashmere Cat produced one of the tracks and it is god-tier music. Maybe I did have a long-winded explanation after all. -Carter Fife

Favorite Tracks: Palladium, Everybody’s Mother, Unkind.

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Hell Hath No Fury (2006) - Clipse

Although the majority of modern listeners seem more ready to talk about Clipse’s classic debut Lord Willin’ due to its energy and bite, it’s really the darker tone of their 2006 sophomore album Hell Hath No Fury that’s been pushing me forward through quarantine. With palpable chemistry that could only exist between brothers, Pusha T and No Malice craft a cocaine classic jam-packed with punch-lines like daggers and dazzling wordplay. That goes without even mentioning the emotional depth that the duo explores across the entire project - something that Push credits to Pharrell’s consistent encouragement to push boundaries and go deeper well recording the album. Speaking of Pharrell, Hell Hath No Fury (which was executively produced by The Neptunes) contains production which was so unique and electric that it would inspire an entire generation of hip-hop producers. The true beauty of Clipse’s second classic is that it isn’t even about coke, but rather everything that surrounds life in the dope game, from shinning highs to sobering lows. -Spencer Lobdell

Favorite Tracks: We Got It For Cheap, Hello New World, Nightmares

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Finally, when writing this article I reached out to some people on Instagram to hear what they had to say about their favorite records to listen to in quarantine. Unsurprisingly, a lot of the albums were either extremely low-tempo or the exact opposite. Selections like Tame Impala, Solange’s When I Come Home, and Raveena’s Moonstone EP were juxtaposed against Ken Car$on’s TeenX, redveil’s Niagara, and Kanye West’s Yeezus. There were also a lot of guilty pleasure records like Nothing But Love by Just Friends and Bath’s Ocean Death EP, but above all, I saw a lot of artists responding with their newly-created records. Even Nashville Rapper $avvy took the liberty of recommending his own record - which actually warmed my heart for a moment. It was a nice reminder that despite all the shit that has plagued the past year, there has still been an inspiring amount of resilience, strength, and creativity from the artistic realm. Without artists - especially now - quarantine would have been somehow worse than it already has been, so for that Stereovision wants to shout out every artist that has not let Covid-19 fuck with your creative spirit. Keep doing your thing, as long as it involves staying indoors, and hopefully, we’ll see you all at a music festival safely later this year (fingers crossed). 

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A$AP Twelvyy: "Little After Sunset" Review

By Cori Carpenter

A$AP Twelvyy, from the notorious hip hop collective A$AP Mob, features alongside PineappleCITI on Sam Silver’s “Little After Sunset”. This track brings juxtaposition to a new level. Starting off at a steady pace, Twelvyy’s flow opens up the track spitting lyrics about the ups and downs of relationships. A song of transitions, his flow is sped up steadily and climaxes into a dance/electronic break. PineappleCITI, a rising hip hop artist/songwriter, enters the track as the break fades out, almost like the song is restarting. CITI is singing, speaking on broken hearts and breakups, before breaking into rap. Her verse ends in the same dance/electronic break and the track finishes. The opening line of the song couldn’t be more perfect. “This how music make you feel”, is the most accurate description for the trip that this track is. It’s a slow ride with unexpected turns, but all to be enjoyed in the end and enough fun to leave you wanting more. Twelvyy is introducing a new side of versatility with this track and newer fans like myself are here to enjoy every bit of it. A$AP Twelvyy and PineappleCITI on top of Sam Silver’s production is an unexpected combination, but what each individual artist brought to this track is what makes it extremely impressive. But if you want to be taken on a real ride, go watch the chronicles of “Little After Sunset” in the trippy animated music video. The elements of this collaboration know no limits and this track is one of the best showcases for the new wave of music to come in 2021.

Listen to “Little After Sunset” here:

Listen to Little After Sunset on Spotify. Sam Silver · Song · 2021.

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Artist Spotlight: Tanerelle

By Cori Carpenter

Tanerelle is an independent artist whose music is sure to take you on a journey. Her music embodies seduction, desire, and space. Space, as in outer space. If you want to know what I’m talking about, go listen to her 2019 single “A Trip Through Space to Clear My Head”. She blends R&B, Rock/Alternative, and Dance/Electronica music genres with ease, encompassing a sound that is one of a kind. Her aesthetic captures the influence of 1970s disco queen, Donna Summer, with an added space element. Referring to herself as “Mama Saturn”, also the title of one of her singles released in 2019, the independent artist masters that aesthetic in every way possible. Her Instagram is nothing but series of different photo shoots mostly with intergalactic overtones, that have many infatuated.   

Tanerelle (pronounced tuh-nair-ree-elle) is born and raised in Atlanta, GA and moved to Los Angeles when she was 18 to pursue a career in music. In 2015, she released her first single titled “Siren”. With a more upbeat, rock/alternative sound, “Siren” shows off Tanerelle’s versatility and how a voice like hers can transcend across a wide range of production. In 2017, she released an EP titled “11:11”. The seven tracks carried a similar tune as “Siren” while also introducing a newer sound that I and many other fans have fallen in love with. On track 4, “Dali”, Tanerelle repeats the line “I don’t do drugs, I am them”. Her seductive voice over a slowed alternative beat leaves one in a feeling of ecstasy. The releases that would follow would hook me and many others. “Dreamgirl”, a single released in 2018 is my personal favorite. The track embraces a tale of seduction and temptation all over a production that travels through space. The experience, to say the least, is otherworldly. 

Releasing a few singles a year, Tanerelle gives her fans just enough to fulfill them while keeping them wanting more. As we wait for another EP or perhaps a debut album, we appreciate the newfound recognition she is receiving. In 2020, Tanerelle reached new heights in her artistry. Prior to the pandemic and quarantine, the independent artist kicked off the year going on tour for the first time, opening for Ari Lennox in Australia and New Zealand. Her 2020 single “Nothing Without You” made it onto the season 3 soundtrack of HBO’s Insecure and was also given consideration for a 2021 Grammy nomination. She was also named Playboy’s December 2020 Playmate making history as the 40th African-American Playmate. And lastly, she had nearly 9 million streams on Spotify over the course of the year.  

As an artist just beginning to scrape the world of mainstream, Tanerelle is going to shake the world very soon and like the rest of her fans, I can’t wait. Mama Saturn is coming.

Listen to 11:11 below:

Listen to 11:11 on Spotify. Tanerélle · Album · 2017 · 7 songs.

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Scott Mescudi’s Beautiful Scenery: Man on the Moon III Review

By Carter Fife

Last month Kid Cudi released the long-awaited Man on the Moon III: The Chosen, his final installment in a trilogy whose completion spanned over more than a decade. Though this record was initially announced in 2014, Cudi delayed the album in favor of 2015’s A Speedin’ Bullet to Heaven, but following its unfortunately negative reception he abandoned the idea entirely. MOTM3 became a pipedream for many hip-hop fans that eventually came true when Mr. Rager announced its revival in October, and it is because of this that I have struggled with how to approach MOTM3. How do we critically examine a record whose hype arguably eclipses every other trilogy in modern hip-hop? Artists like Jay-Z, Kanye West, Lil Wayne, and Travis Scott have all had monumental trilogies in their careers, many including records that would become cultural turning points in music. None of them, however, had taken this long to complete, or had their trajectories paved with intoxicating highs and dysphoric lows. The culture has changed dramatically since 2009, so what if after all this time Kid Cudi fails to adapt and stick the landing? Luckily, this record sees the Cleveland rapper experimenting with different styles, some old and some new, delivering fans the project that they have been waiting for since the original Man On The Moon. 

Man on the Moon III is a love letter to not only Kid Cudi fans, but to the culture that has fueled his career by fostering his artistic development. In the four years since his last solo record Kid Cudi has been featured on over half a dozen commercial hip-hop releases, and he even had his own collaborative record with Kanye West in 2018. Despite this, I went into this album anxious, maybe even skeptical. Though Cudi has done well keeping up with the culture, consistently proving himself as versatile through his features, I was worried that a solo full-length project like this was potentially being released for the wrong reasons. After all, he has an upcoming show to promote, and it has been a while. During my first listen, it did not take long for me to feel like an idiot. 

Though the record is divided into multiple acts (like the previous MOTM entries), Man on the Moon III stays pretty cohesive in its two halves. The first half is where Kid Cudi switches up his usual repertoire and adopts a much heavier and abrasive style - think Travis Scott, Night Lovell, the rare up-tempo track from The Weeknd. The album begins briefly with “Beautiful Trip”, a track that pairs the Rager’s eerie-yet-iconic four-note theme with a spacious introduction - complete with hums. “Tequila Shots” follows, setting the stage for what many of the upcoming tracks will cover. The mix is glittering, ambient, and ethereal, but the percussion is hard-hitting with thunderous bass signals and punchy hi-hats that cut through the noise no matter how loud. The writing is top-notch, the composition is clean and makes sense, and the chord progressions are interesting and literally make me think about space. Somehow Kid Cudi is able to take many of the styles that have become industry-standard over the past few years, and orient them in ways that feel new and exhilarating. Almost every track here sounds cinematic, like I could watch the new Blade Runner film on mute with this playing the whole time. 

Not every song in the first half sounds like it came from the Birds in the Trap Sing McKnight cutting room floor, however, as “She Knows This” begins as an inexplicably fun and percussion-laden track. As the song progresses, the momentum of Cudi’s raps and melodies culminates into one of my favorite beat switches from 2020. The drum pattern gets swapped for something on the lower end of the frequency spectrum, and a distorted and robotic synth malfunctions as Cudi chants “This for my sanity / Some play, some days turn into night / I say you can’t judge me babe / I’m twisted in the brain”. The lyrics here capture many of the main ideas found in the first act: Cudi is balancing between peace and struggling recklessly with love, substances, and his mental health. He sometimes illuminates these issues through a cautious pensiveness, other times with a demonic optimism that only Kid Cudi could pull off. 

There are many other great moments in the first half of the record, notably “Dive” which sounds like it is trying super hard to emulate the Pharrell production we saw on Cudi’s 2016 record Passion Pain and Demon Slayin’. The track is littered with hi-toms and bouncy bass patterns, which pair well with the echoey vocals that make Kid Cudi sound almost godly. Another is “Show Out”, and although I’m not sure how I feel about the Pop Smoke feature on the chorus, Skepta and Kid Cudi spar like pro-boxers talking about their mythical statuses and guns that are the size of Kevin Hart. Though the production feels overly drill inspired considering how little Pop Smoke appears on the track, Kid Cudi truly has the gift of sounding good with just about everyone.

Man on the Moon III’s second half (composed of its final two acts) is much more lowkey, adhering to the classic Kid Cudi style that many of his fans may have been waiting for. While this section of the record still maintains Cudi’s patented atmospheric-euphoria, the trap and commercial hip-hop styles are left behind in favor of something slower. What is interesting about this part of the record is that though these are older styles in Kid Cudi’s wheelhouse, the themes of these two acts cover topics that are largely new to the rapper. “Elsie’s Baby Boy” acts as a flashback to Cudi’s past, something fans have not seen in this level of detail since 2009’s “Soundtrack 2 My Life”, and “Sept.16” focuses on Cudi’s present relationship and the love and support he gets from those close to him. The record’s final eight songs all focus on affection, perseverance, confidence, and resilience. Cudi even enlists indie-rock favorite Phoebe Bridgers for “Lovin’ Me”, a track about self-love and persevering through hard times. The album’s closer “Lord I Know” is a song full of self reflection, with Kid Cudi coming to terms with his imperfections, his past, and his faith - all while looking towards a brighter future. It is a moment that truly provides closure to a trilogy many fans have been invested in for years. 

The strong points of Man on the Moon III are easy to observe. Kid Cudi comes back swinging after four years without a solo record. He can rap effortlessly with Skepta, he can ride a whole host of different and subversive beats, but he can also take it down a notch and sing over a guitar track with Phoebe Bridgers. He has mastered his 2013 Indicud braggadocio, and his pensive sensitivity. He masters vulnerability when acknowledging his own shortcomings, but he shows wisdom when knowing he is not alone or lost. Since there are two distinct styles at play on this record, it appears that there is something for everyone to enjoy. Most of all, this album feels like a colossal ‘Thank you’ from Kid Cudi to his peers and his fans for supporting him after all this time. Of course, the way he delivers this message is by assembling his dream team of Dot Da Genius, Plain Pat, and other contributors that have been with him since day one.

Despite these benefits that Man on the Moon III carries, it is not without its stale moments. There are trade-offs that come with having such a closed and exclusive circle, and the biggest one is that though the individual tracks were good, altogether it is hard to feel like I was not given the same two songs 8 times each. While I enjoyed this record, it would have been nice to add more contributing artists and producers without diluting the final product. Seeing production credits from E.Vax and Take A Daytrip was great, but I couldn't help but wonder why certain artists were left out. Kid Cudi spoke to Zayn Lowe about Travis’s influence, but he was nowhere on the record, and neither was Kanye, Pharrell, or any of the artists that Cudi has appeared with since PP&DS. It is known that Cudi is very against doing the same thing twice, and I enjoyed the four features included on the album, but I couldn’t stop wondering why they were chosen. It appears that it would have been more wise to turn this ‘love letter’ into a ‘celebration’ of MOTM by including the friends he had made along the way. This is ultimately a small complaint, as Kid Cudi has announced that he has a slew of new records on the way (WZRD 2, Entergalactic, KSG2, Project with Travis Scott), so it’s likely safe to say that we will get some more collaborative efforts sooner rather than later.

Though Man on the Moon III was exactly what I was hoping for from Kid Cudi, there is still a part of me that wishes he took more risks. He is a talented artist, and it’s sad to think that on the one solo record fans get every four years from him, the biggest risk he took was using styles that had developed since in absence. This is also a small complaint, as this is a final entry into a decade-old trilogy, so the conceptual space for risk-taking is admittedly small. Still, despite my enthusiastic enjoyment of this record, I would have loved to hear some tracks that made me double-take in the same way his music did eleven years ago. That’s not to say that “Tequila Shots” and “Dive” did not make me double-take, just for a different reason of course.

Man on the Moon III: The Chosen is a solid entry by Kid Cudi into an already impressive discography. Though my expectations were admittedly low, this album scratched my itch for classic Kid Cudi music, as well as for a more modern Kid Cudi style that he previously played with on Travis Scott’s 2016 banger “Through the Late Night”. Completing the MOTM discography, Kid Cudi managed to establish himself as an impressive rapper while also ending his 11 year narrative. In addressing both past and present, Kid Cudi leaves fans looking to the future (and the eventual deluxe of this record) for what new styles, colors, and scenes he will innovate towards. Whatever he decides to do, I’ll definitely be there. 

Favorite Tracks

Tequila Shots

She Knows This

Sad People

Rating: 8

Listen to Man on the Moon III: The Chosen here:

Listen to Man On The Moon III: The Chosen on Spotify. Kid Cudi · Album · 2020 · 18 songs.

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Our Top 50 Albums of 2020

By StereoVision Staff

2020 was rough on all fronts, but perhaps unsurprisingly, its saving grace was the new music released over the past year. Though the industry was hit hard, and most live music has been suspended indefinitely, many artists and their teams overcame this new adversity. Together they worked to release records to tide fans over in tough times, and we couldn’t be more appreciative. Our team at StereoVision listened to a lot of music this year, and lately we’ve been hard at work compiling a year-end list showcasing our favorite projects of 2020. Well this list is mostly comprised of albums and mixtapes, some EPs were so damn good we just couldn’t leave them off (See God Bless the Child). Projects released between December 13th, 2019 and December 11th, 2020 were eligible for selection meaning that well some bold claims were certainly made about Playboi Carti’s Whole Lotta Red in the StereoVision group chat, it was not considered for this list. Without further ado, please enjoy StereoVision’s top 50 albums of 2020:

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50. Father: Come Outside We Not Gone Jump You

Spotlight Track: Backbreaker

Read our Review

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49. Pop Smoke: Meet the Woo 2

Spotlight Track: Element

Listen to the Album

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48. TiaCorine: 34TiaCorine

Spotlight Track: Lotto

Read our review

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47. Nick Grant & Tae Beast: God Bless the Child

Spotlight Track: FEDS

Listen to the album

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46. Hook: Crashed My Car

Spotlight Track: Fell in Luh

Read our review

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45. Drake: Dark Lane Demo Tapes

Spotlight Track: Chicago Freestyle (Feat. Giveon)

Read our review

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44. Arca: KiCk i

Spotlight Track: KLK (Feat. ROSALIA)

Listen to the album

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43. Kacy Hill: Is It Selfish If we Talk about me again

Spotlight Track: Unkind

Read Our Review

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42. Polo G: The Goat

Spotlight Track: Martin & Gina

Read our Review

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41. Rico Nasty: Nightmare Vacation

Spotlight Track: OHFR?

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40. Larry June & Cardo: Cruise USA

Spotlight Track: Meet Me In Frisco

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39. Yves Tumor: Heaven to a tortured Mind

Spotlight Track: Kerosene!

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38. Logic: No Pressure

Spotlight Track: man i is

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37. Young Thug & Chris Brown: Slime & B

Spotlight Track: Go Crazy

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36. Boldy James & The Alchemist: The Price of Tea in China

Spotlight Track: Surf & Turf (Feat. Vince Staples)

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35. A Boogie Wit Da Hoodie: Artist 2.0

Spotlight Track: Numbers (Feat. London On Da Track, Gunna, & Roddy Ricch)

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34. Spillage Village: Spilligion

Spotlight Track: Mecca

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33. tkay maidza: Last Year was weird, vol. 2

Spotlight Track: Shook

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32. Future & Lil Uzi Vert: Pluto x Baby Pluto

Spotlight Track: Drankin N Smokin

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31. Giveon: Take Time

Spotlight Track: The Beach

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30. 21 Savage & Metro Boomin: Savage Mode 2

Spotlight Track: Many Men

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29. chloe x halle: Ungodly Hour

Spotlight Track: Do It

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28. G herbo: ptsd (Deluxe)

Spotlight Track: In a Minute

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27. Gunna: Wunna

Spotlight Track: Nasty Girl

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26. g herbo: ptsd

Spotlight Track: Intro

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25. bryson tiller: anniversary

Spotlight Track: Things Change

Bryson Tiller’s third studio album ANNIVERSARY shows a Tiller consumed with his use of time. Although its level of impact does not match his debut album, TRAPSOUL (2015), ANNIVERSARY is an ode to the classic because of Tiller’s raw emotion and undeniable relatability throughout the approximately thirty-minute project. My favorite song “Things Change” victoriously demonstrates an exchange between Tiller and an ex-lover who is obsessed with closure. -Amaya Lorick

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24. kota the friend: Everything

Spotlight Track: Long Beach (Feat. Hello O’Shay & Alex Banin)

EVERYTHING is a brilliant compilation of varying perspectives that discuss the purpose of life. Although Kota the Friend’s 2020 album was under appreciated because of the width of his fanbase, its May release was essential during a time where many felt uncertain about their livelihood dealing with the coronavirus pandemic. With a descriptor as the saddest song on the project, the introductory track “Summerhouse” epitomizes coming to terms with unwanted realities and recognizing life’s beauty. 2020 prompted many to engage in self-reflection and EVERYTHING poses two arguably abstract questions: “What means everything to you?” and “What does it mean to have everything?” -Amaya Lorick

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23. bino rideaux: Outside

Spotlight Track: Brand New (Feat. Blxst)

On Bino Rideaux’s Def Jam debut, OUTSIDE, the 27-year-old delivers his best music to date while simultaneously making a legitimate case for the hottest rapper in Los Angeles. The 15-track record has something for everyone ranging from trunk-rattling, west coast bangers like “BET” and “BREAKFAST” to more emotional chill cuts such as “COLD FEET” and “FUCCWITCHU”. Over the course of the 28-minute run time, Bino is assisted by fellow LA natives Ty Dolla $ign, BlueBucksClan, and most notably, Blxst on the album’s fantastic climax “BRAND NEW”. With the release of OUTSIDE it’s clear that Bino Rideaux is more than just Nipsey Hussle protege; he’s a budding superstar whose stock will continue to rise as the rest of the country catches wind of his hypnotic flows and the enthralling landscapes he’s able to craft and communicate, three short minutes at a time. -Spencer Lobdell

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22. run the jewels: rtj4

Spotlight Track: goonies vs. E.T.

If there’s one word I could use to describe Killer Mike and El-P’s return to their critically-acclaimed Run The Jewels series, it’s “massive” as everything about this project seems to have upped the stakes from their last installment. The duo’s verses hit harder, are more aggressive, and eager to call out the vast injustices that the United States has grown complacent with over the past few years. El-P and Killer Mike call out Pseudo-Christians failing to condemn the injustices caused by the Trump administration, the racism ingrained in our nation’s police forces, and a wealth disparity that grows larger every day, among other subjects. Meanwhile, El-P’s production serves as some of the strangest from the duo’s entire discography; the melodies are sparse, the ambiances are overbearing, and the bass slams against the top of the mix from start to finish. With plenty of strange samples and unfiltered performances, this project is often as difficult and complex as it is invigorating, and I believe its message is only emphasized by the endless chaos that we lived through this year. -Owen Tait

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21. Thundercat: It is what it is

Spotlight Track: Funny Thing

It is fascinating how an artist can work on a project for months, maybe even years before they plan to release it to the public and yet once it drops, it speaks to zeitgeist as if it was written yesterday. This is the case with Thundercat’s fourth studio album It Is What It Is. Released less than a month into many of our state sanctioned lockdowns, It Is What Is was the breath of fresh air we all needed during such an uncertain time. On the album, Thundercat explores themes of melconchony, loss, and directionlessness in tandem with tongue and cheek humor for an album that can either make you laugh or cry depending on what you need to express during each listen. Complimented by Thundercat’s immaculate instrumentation that has made him a mainstay in the industry for two decades, It It What It Is is a poignant reminder to have fun, let go of fear, and trust the process no matter how difficult things may get. -Kaila Cherry

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20. Big Sean: Detroit 2

Spotlight Track: Deep Reverence (Feat. Nipsey Hussle)

When Detroit 2 was released, you could immediately tell Big Sean was on a mission. In an era of short length albums, Sean decided to release a whopping 21-track project. There were many Detroit-themed bangers on this album, and what stood out to me was that he even included stories from talents like Dave Chappelle and Erykah Badhu. This was the first time in a while where I felt the essence of a true “album experience.” There is a lot of depth to this record and every time I play it through I find a new favorite song. And I mean, who doesn’t enjoy listening to Sean’s swagger filled wordplay? -Colson O’Connor

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19. Childish Gambino: 3.15.20

Spotlight Track: 12.38 (Feat. 21 Savage, Ink, & Kadhja Bonet)

Of all the projects to come out this year, the latest album from Childish Gambino might have been the most surprising. From the rollout to how sonically all over the place it is, 3.15.20 almost seems like a random release from Childish. This led to the project being one of his more slept on pieces of work, but it is also some of the best music of 2020. Gambino captures a sound that is futuristic, yet also has moments that would impress most people’s parents and grandparents. Gambino uses a different vocal inflection on almost every track and manages not to miss once. While doing all of this there is still a track like 12.38 that could be one of the biggest hits on the radio if it got the play it deserved. In a time where he could have rested on his previous success, he continues to challenge himself and the listener to take a deeper look at what music can be. -Miles Hagan

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18. lil uzi vert: eternal atake

Spotlight Track: Prices

Lil Uzi Vert had a very busy 2020. He dropped not one, not two, but three full-length albums this year after not releasing new music since 2017. The project that kicked off this trio of drops was Eternal Atake which came out in early March. With the reality of the pandemic causing this album to fall to the wayside for some time, as the year comes to an end and we are reflecting on the music we were met with, Eternal Atake is coming back into the spotlight. A concept album about Uzi’s abduction by aliens and subsequent travels through space, Eternal Atake is without a doubt one of the most unique projects to come out of 2020. Not only is it a concept album, but it also is broken up into three sections that reflect Uzi’s three artistic personas: Baby Pluto, Renji, then finally, Lil Uzi Vert. Like the rest of Uzi’s discography, Eternal Atake is a well-produced, fantastical, and fun project that will make you want to type like a scene kid from 2008 with no remorse. -Kaila Cherry

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17. Lil Uzi Vert: LUV vs. the world 2

Spotlight Track: Strawberry Peels (Feat. Young Thug & Gunna)

Though there seems to be some debate on who started the ‘surprise-deluxe-double-album’ trend, it is hard to deny that Lil Uzi Vert mastered it earlier this year. LUV vs. The World 2, which released as a sister record to the long-awaited Eternal Atake, is a nonstop rollercoaster that arrived just a week later. While EA’s only featured artist was Syd, this record is the polar opposite - collaboration heavy and decorated with features from artists like Young Thug, Chief Keef, 21 Savage, and Future. EA helped solidify Uzi as a talented lyricist and rapper, and this project returned to a more exciting and light-hearted register where Uzi simply sounded like he was having a great time - and I had a great time listening to it. Though some of the tracks had leaked beforehand, LUV vs. The World 2 managed to fulfill the high expectations set after the popularity of the first LUV vs. The World, and it isn’t hard to see why. -Carter Fife

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16. Lil BAby: My Turn

Spotlight Track: Emotionally Scarred

Lil Baby did not disappoint with the drop of his second studio album, My Turn. Lil Baby displays versatility in his sound, giving us songs to blast in the car like “Sum 2 Prove,” and even songs to vibe to like “Catch The Sun”. He manages to deliver trap hits such as “Forget That” and “Woah”  as well as highlighting lyrical depth, as he opens up on songs like “Emotionally Scarred”, with narratives of his past and personal rap journey. As if his graceful flow wasn’t enough, Lil Baby teamed up with artists like Lil Uzi Vert, Lil Wayne, and Future to offer even more heat. -Chloe Clark

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15. westside gunn: Prey for paris

Spotlight Track: $500 Ounces (Feat. Freddie Gibbs & Roc Marciano)

Griselda was locked in this year. From Boldy James' stunning collaborative project with The Alchemist The Price of Tea in China, to Benny the Butcher’s LP Burden of Proof, it’s safe to say Griselda did not miss in 2020, including label head-honcho Westside Gunn. With Pray for Paris, Westside Gunn delivers exactly what you'd expect: hard coke bars, production defined by dusty drum loops, and the iconic Westside Gunn ad-libs. Although Gunn may be infamously known for valuing quantity over quality in terms of album releases, Pray for Paris is easily his most concise and focused work to date. With guest appearances from Tyler, The Creator, Joey Bada$$, Freddie Gibbs, The Alchemist, Wale, and the rest of the Griselda crew, Pray for Paris put the rap game on notice. -Luke Modugno

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14. Charli xcx: how I’m feeling now

Spotlight Track: enemy

Following the seamless blend of pop and experimental aesthetics that appeared on her 2019 outing Charli, fans were definitely eager to see where UK pop artist Charli XCX’s sound would venture next. Trapped in self-isolation, she took the time to reflect on her relationships with her significant other, her friends, and herself—a process that resulted in her most intimate and innovative project to date. On how i’m feeling now, Charli pushes further into the strange than ever before, as the majority of the tracklist is saturated with glitchy percussion, distortion, noise, and busy synths that perfectly compliment Charli’s heavily-manipulated vocal delivery. Additionally, Charli manages to bring one powerful performance after another to the table, delving into a variety of introspective topics such as her love life, friendships, and mental health. If you’re searching for the future of pop music, look no further than how I’m feeling now, a one-of-a-kind sugar rush that I would deem pop record of the year. -Owen Tait

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13. blxst: no love lost

Spotlight Track: No Love Lost

No new artist burst onto the scene in 2020 with half as much confidence, momentum, and poise as Blxst. The LA native’s breakout year was largely due to an incredible debut solo project, No Love Lost, an addicting 8-song album jam-packed with beautiful hooks and exceptionally polished writing that had me smashing repeat for months. This tape is the definition of “no skips” and I can confidently say that any of the eight songs could’ve been the spotlight track. Over the course of the quick 18-minute listen, Blxst tells vivid stories of the fast life in the city of angels while captivating listeners with mesmerizing melodies and a slew of slick bars that leads me to believe Blxst could out-rap half of my favorite emcees. No Love Lost is a damn-near perfect project in my eyes making it my personal favorite release of 2020. -Spencer Lobdell

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12. Future: High off life

Spotlight Track: Accepting My Flaws

With Future’s release of High Off Life he gave another hour of pure heat. With his signature sound, we received bangers like “Hitek Tek” as well as more mellow cuts like “Outer Space Bih”. Lyrically, narratives of trapping display Future well in his element, but in “Accepting My Flaws”, he takes on a different route. In this song, he speaks of asking for forgiveness, as he fights against demons and acknowledges his struggles.  Much like other hits on the album, the booming beat carries the song. Along with production, features are another element that elevates the album as Future feeds off great appearances from artists including Young Thug, Travis Scott, and NBA Youngboy. -Chloe Clark

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11. brent faiyaz: fuck the world

Spotlight Track: Fuck the World (Summer in London)

Brent Faiyaz solidified his spot in the R&B scene with the release of his album Fuck the World. In this album, Faiyaz touches on the themes of love, lust, and loss. Lyrically, Faiyaz invites the listener in on an intimate experience as we listen and relate to similar heartfelt emotions. His angelic vocals, paired seamlessly with the smooth beats, offer nothing but chill vibes. Specifically on the song, “Let Me Know”, Brent sings over a repeated instrumental and piano keys, while elaborating on self love and reflection.  With only 10 songs on the album, it is a true testament to quality over quantity. -Chloe Clark

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10. kid cudi: man on the moon III

Spotlight Track: Tequila Shots

Kid Cudi delivers on MOTM III, rapping harder than we’ve ever seen him rap before, bringing together an unstoppable and classic team of producers like Plain Pat and Dot Da Genius to start the decade off right. The first and innovative act of the album sounds like it could have been written with Travis Scott last year, and the second act sounds like the classic 2009-era Cudi that many of us grew up with. MOTM III’s final act sounds like something entirely new itself, which is rare for an artist to do in the third decade of their career. I would have enjoyed more guests on the record to celebrate the trilogy’s conclusion, but it is hard to complain when the guests we got include Skepta, Phoebe Bridgers, and even a posthumous Pop Smoke hook. Though fans can expect a whopping four more records from the Philly rapper in the future - WZRD 2, Entergalactic, KSG 2, and an untitled project with Travis Scott - hopefully MOTM III will tide us over until then. -Carter Fife

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9. smino: she already decided

Spotlight Track: 2Much Fronto

Smino is one of the most unique acts in music today and She Already Decided is the project that shows how close he is to greatness. From a vocal standpoint, he flips between slick bars and constant flow changes to melodies that make you question if he should even be considered a rapper. He combines classic R&B sounds with some of today’s biggest hits from the past year to create a sound that feels necessary in 2020. The album is upbeat and engaging, while also still feeling relevant and in the moment. Smino is able to ease the listeners’ mind for a little while he focuses on the few things we can control and enjoy in a time like this. -Miles Hagan

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8. jhené aiko: chilombo

Spotlight Tracks: Triggered (Freestyle)

Grammy-nominated Chilombo has been a top contender for album of the year since its release. The use of alchemy crystal singing bowls within every song indicates Jhené Aiko’s intention to not only entertain but provide her listeners with tools for healing. The Los Angeles native’s initial single “Triggered” was packed with painful lyrics describing relationship strains but also includes the first and sixth chakras to promote clarity and stability. It is clear when a project is strategically constructed beyond the order of its tracklist. From the sequencing of the selected singles to their implementation onto the album, it’s clear that Chilombo is destined for success throughout the rest of this decade. -Amaya Lorick

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7. aminé: limbo

Spotlight Track: Roots (Feat. JID & Charlie Wilson)

Limbo, Aminé’s 14-track masterpiece, surpassed all of my expectations by miles. From the very first track Limbo feels bigger and more important than anything Aminé has released to date. The beat selections, the few but well-placed features, and the versatility of Aminé’s sound are among the many reasons why Limbo will go down as one of the most impressive albums of 2020. -Colson O’Connor

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6. mac miller: circles

Spotlight Track: Right

In his posthumous record Circles, Mac delivers a love-letter to his fans and a completion of a generation-defining artistic evolution. Transforming and refining himself from awkward frat rapper to musical genius, Mac leaves his legacy with his most sonically elegant project to date. Narratively, sonically and lyrically, Circles accompanies Miller's magnum-opus Swimming, building on the jazzy, lo-fi soundscape and mental-health centered lyrical content. Circles is a truly beautiful work of art and is well-deserving of its top 10 spot on this list. -Luke Modugno

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5. Jay electronica: A written testimony

Spotlight Track: A.P.I.D.T.A

In my review earlier this year I touched on the mythos surrounding this record, though months later, all you really need to know is that A Written Testimony is a big deal. Jay Electronica and Jay-Z go head-to-head throughout just about every song on this project, showing a versatility previously unseen from the Louisiana Rapper. One moment, he’s trading bars about success and expectations with Travis Scott over a beat from Hit-Boy - the next he and Jay Z are lamenting the loss of loved ones over a Khruangbin instrumental. Though the two Jay’s do not invite too many artists to share their spotlight (The-Dream is the only other guest), there are so many styles and sounds at work that anyone can find something to enjoy here. This was my favorite record of the year for most of 2020, though it’s hard to name what makes this record so special. Perhaps it’s the almost prophetic lyricism, or the confident cadence of the two rappers, or maybe it’s just the fact that many of us have been ravenous for more Electronica music for close to a decade. They say absence makes the heart grow fonder, but I’m hoping we get another Electronica record before the end of the 2020’s. -Carter Fife

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4. the weeknd: After hours

Spotlight Track: Faith

Selling 444,000 units first week and having two platinum singles, After Hours was one of 2020’s biggest, and best releases. The album was an artistic reinvention for The Weeknd, taking inspiration from 80’s pop music. Much like Tyler the Creator’s “IGOR” The Weeknd created an entire new identity for this album, which made the rollout and the listening experience one of the most memorable moments in music this year. -Courtney Fields

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3. pop smoke: shoot for the stars aim for the moon

Spotlight Track: Got It On Me

One of the most anticipated albums of the year that delivered far beyond the public’s expectations. Pop Smoke’s posthumous album proved that he was no one-trick pony. While he did popularize himself off of one particular sound, this project showed us that Pop was an artist who was destined for stardom. Shoot for the Stars Aim for the Moon is one of the most addicting albums of the year and because of Pop’s unique artistry all signs point towards this album getting even better with time. -Courtney Fields

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2. benny the butcher: burden of proof

Spotlight Track: Where Would I Go (Feat. Rick Ross)

Griselda's own Benny the Butcher has been quietly crafting a compelling niche within the Buffalo collective. With projects under his belt like The Plugs I Met and Tana Talk 3; Benny has what it takes to be one of the elite rappers in the world. Burden of Proof sees Benny realize his full potential, as the project is chalk-full of reasons why Benny has a legitimate claim to being the best rapper in Griselda and in turn, one of the best in the game. Executively produced by the legendary Hit-Boy, Benny kills each and every one of the beats laid down for him. Burden of Proof is one of few projects this year I can legitimately say has no skips. -Luke Modugno

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1. freddie gibbs & The alchemist: Alfredo

Spotlight Track:

In a year full of inconsistency and turmoil, Freddie Gibbs and Alchemist came through and delivered in every way possible. With the incredible release of Bandana in 2019 many fans of the rapper were left wondering where he would go next, after seemingly conquering the drug rap game. Freddie responded by linking up with one of the most creative and dynamic producers of the last decade in The Alchemist, and they created the cinematic masterpiece that was Alfredo. From the merchandise, to the vinyl, to every cut throat bar Freddie delivers, this drop felt like it was aiming to be some of their best work. Alchemist provided Freddie with a blank canvas for him to paint a picture on. Alfredo was a coke rap kingpin reflecting on his incredible rise to power and asking himself, “who can stop me besides me.” -Miles Hagan

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Playboi Carti: Whole Lotta Red Review

By Kaila Cherry

If there is one thing Playboi Carti knows how to do, it’s build suspense. In 2018, he gave every man I have ever dated something to live for with the release of his debut studio album Die Lit. The project came in at #3 on the US Billboard 200 and was loved for its abrasiveness, ferocity, and dynamism. It was on Die Lit in which Playboi Carti’s most notable tropes; The baby voice and his eclectic adlibs, fully came into themselves. This solidified his image in pop culture as rap’s newest darling. Plucked straight from the r/RickOwens subreddit and launched into the spotlight, fans were eager to hear more from him as soon as possible. What they got instead was a nearly two-year hiatus with Sir Cartier only doing the occasional feature with artists such as Lil Yatchy, A$AP Mob, and Solange among others. Fans were so rabid for new Carti music that several leaks made their rounds around the internet. The hunger of fans was not helped by speculation that his second studio album would drop by certain dates or times, only for us to go on Apple Music or Spotify to no new music and broken dreams. In April of this year, Playboi Carti began posting on Twitter for the first time in nearly a year to promote the release of his single “@ Meh.” Although reviews were mixed, fans were still excited for the single as it meant that maybe, just maybe, there was an album that would come with it. 

After April, Playboi Carti did not post on Twitter again until November. At first, it was thought his tweets were about an album, but in actuality, he was promoting a track from Future that he dropped a verse on. It wasn’t until December that Carti began dropping direct hints that his second album would be coming. Repeating the words “red,” tagging specific artists in tweets, and posting pictures with Kid Cudi and Kanye West, it was clear that something substantial was on its way and very soon. Finally, on Christmas Day, Playboi Carti released his second studio album Whole Lotta Red. Despite it being a day to commemorate the birth of our Lord and Savior Jesus Christ, many traded in the godly sentiment of the holiday for the satanic energy of Playboi Carti’s newest release. The project was immediately met with passionate reactions. Some raved over Whole Lotta Red while others deemed it #WholeLottaTrash. The fact is this: If you expected to hear a Carti leaks compilation album, this project will disappoint you. If you expected to hear Die Lit 2, this album will devastate you. However, if your favorite thing about Playboi Carti is his alternative musical style, pseudo-punk aesthetic, and general unhinged belligerence, Whole Lotta Red is the project you have been waiting for. 

Whole Lotta Red opens with a bang. The first track “Rockstar Made” sets the precedent for the album instantly and tells us that we are in store for a new Playboi Carti. Produced by F1lthy and Jonah Abraham, “Rockstar Made” is a cacophony of heavy bass and spacey synths supplemented by Carti’s ablibs that become a part of the beat in it of themselves. Carti experiments with his vocals on this track as well, restricting his vocal cords throughout most of the song to add extra rasp to his performance. Unlike other Playboi Carti songs in which his voice is more aligned with the production of the track, on “Rockstar Made” his voice is extremely prominent and forces us to pay attention to Carti himself instead of letting him fall to the wayside on his own song. As suggested by the title, the song commits to the idea that rappers, Carti specifically, are “new age rockstars.” The concept of rappers being the new rockstars is not new, but Playboi Carti is perhaps the first rapper to embrace this title to the fullest. When listening to the track, it is clear that it was made for the mosh pit. And not one of these little baby mosh pits every rapper tries to do at their shows, but one where elbows are being thrown and someone may end up in the hospital just as God intended. 

In terms of the general musical style of Whole Lotta Red, the tracks can be grouped into two main categories: Brash rap-punk and light bouncy internet hip hop reminiscent of his earlier work. The strongest tracks falling into the former category are “Stop Breathing,” “No Sl33p,” and “On That Time.” “Stop Breathing” and “No Sl33p” both express Playboi Carti’s deep seeded inkling to commit murder. He communicates these desires very bluntly, with the lyrics “Ever since my brother died/ I’ve been thinking about homicide” in “Stop Breathing” and “When I go to sleep I dream about murder” as the chorus in “No Sl33p.” It is not an exaggeration to say that “No Sl33p” is one minute and thirty second ode to Playboi Carti’s gun, his beloved Draco. Complemented by adlibs meant to emulate gun sounds, one could argue that, based on the amount of airtime given on Whole Lotta Red to his Draco specifically, that Playboi Carti may pay more attention to his gun than to the mother of his child. “On That Time” further proves this point as the chorus is simply “Ride around town with the Draco, bitch/ D-R-A-C-O.” Sonically, “Stop Breathing” and “On That Time” lean the most heavily into the rap-punk aesthetic and align themselves with the sound presented on “Rockstar Made.” While “No Sl33p” is more subdued instrumentally, it makes up for it in the extreme boldness of the lyrics in which Carti was so open about wanting to kill someone that the Atlanta and Los Angeles Police Departments have probably printed out the lyrics and added them to his file. 

The latter catagory, light bouncy internet hip hop, is something that will satisfy fans of the “Old Carti.” Three tracks that speak to this vibe are “Beno!,” “New N3on,” and “ILoveUIHateU.” “Beno!” is the third song on the album, coming in as an open and airy refresher to the first two intense production heavy tracks. The melody is bright and plucky, like the sound effects in a video game. Carti’s flow is flawless and the track is an instant hit with it’s easy to follow and rhythmic chorus. The production of “New N3on” is eerily similar to that of a Lil Uzi Vert track. This suspicion was confirmed upon learning that it was worked on with Philly-based producer and frequent Uzi collaborator Maaly Raw. As enjoyable as “New N3on” is with just Carti alone, one can only imagine how the track could have been elevated with an Uzi feature. “ILoveUIHateU” enlists the efforts of P’ierre Bourne, so you already know it is going to be good. Rapping about drugs and women with a hint of nihilism over a spacey beat, Carti and P’ierre come together to create a track that could have easily fit on Die Lit and will bring comfort to those put off by his new sound. For those of us who love both the new and the old, “IHateUILoveU” is sure to trigger nostalgia for that iconic 2018 summer. 

Although Whole Lotta Red is very strong in terms of solidifying Carti’s rockstar persona while keeping true to his roots that got him to where he is today, one cannot overlook the album’s biggest weakness that can be seen the minute one sees the tracklist: It’s way too many songs. I love Playboi Carti. I really do. But I did not need 24 songs on a single project. He is already tweeting about the delux album and I am already tired just at the throught of there being any more songs added to an already lengthy project. To make matters worse, a good quarter of the songs are just ok, not terrible but not amazing either. The most glaring disappointment on the album is “M3tamorphasis” featuring Kid Cudi. On a project where most of the songs are 2-3 ½ minutes long, “M3tamorphasis” comes in at whopping 5 minutes and 12 seconds. The fact that Carti gave the track so much airtime is suprising seeing as it is by far the most boring and uneventful track on the album. There’s not a ton going on lyrically, it is not very catchy, Carti’s vocal inflections fall flat, and Cudi’s verse adds nothing to elevate an already weak song. Had Playboi Carti cut this track along with about five others, Whole Lotta Red would have easily been his best, most holistic, and most fully realized project yet. 

Despite the strong mixed reactions Whole Lotta Red has received in the days since it’s release, it is far from the “trash” many are saying it is. Personally, I love the new direction Playboi Carti is going in with his music. I love the fact that he is fully indulging in his long held interests in alternative culture and not letting societal expectations keep him from expressing himself in whatever ways he wants to. Whole Lotta Red was the next logical leap for someone who loves the movie Gummo, has the anarchy symbol tattooed on his neck, and dresses like a new age Nosferatu. Whole Lotta Red is one of those projects that filters out those who actually understand and ride for Carti’s artistic vision versus those who are stuck in 2017. I’m on the wave. Are you? 

Favorite Tracks

Stop Breathing 

Teen X 

ILoveUIHateU 

Rating: 7

Listen to Whole Lotta Red here:

Listen to Whole Lotta Red on Spotify. Playboi Carti · Album · 2020 · 24 songs.

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Rico Nasty: Nightmare Vacation Album Review

By Kaila Cherry

For the past year, Rico Nasty has continued to build upon her outrageous, punk, and off-the-wall brand and strengthened her cult following along the way. Anticipation for her next drop was building since November 2019 when she shared a snippet of a then-unreleased hyper pop track produced by Dylan Brady of the experimental pop group 100 gecs that fans raved over. In February of this year, Rico Nasty was on the remix of the song “Ringtone” by 100 gecs, featuring other experimental pop artists Kero Kero Bonito and Charli XCX. These features from Rico Nasty led fans to believe that she was headed in a more gitchy and electronic direction for her next album. And they were right. In early December, after several single and music video drops, Rico Nasty released her debut studio album Nightmare Vacation to an audience who was starving for a full length project from her. Ever since then, Rico Nasty stans and casual listeners alike have been fed. One could even say they were treated to a wonderful meal that, while it may have been a little unusual, maybe even out of their comfort zone, it was absolutely satisfying and one that they will remember for years to come. 

Nightmare Vacation opens with the track “Candy.” “Candy” shows Rico Nasty in her element as she brags over a bass boosted beat with a quirky melody that ties everything together. The first line of the track opens the album in a simple but effective narrative fashion. She says, “On a dark and stormy night I don't blend in, bitch I shine bright.” With this lyric alone, Rico Nasty tells us that she stands out in every sense. She is a star no one can tell her otherwise. The project then moves into the next track, “Don’t Like Me.” “Don’t Like Me” utilizes the first two of several features on the album, Gucci Mane and Don Toliver. The song is light, bubbly, and highly addictive. “Don’t Like Me” is another foray of Rico Nasty into the world of pop. Although she does her fair share of rapping throughout the track, the melody during the chorus is so smooth and fun it will only take a couple of listens before you are singing along with them. The features from Gucci Mane and Don Toliver balance out the track nicely, providing a sense of grounding for the delightfully aloof track. If I had long blonde hair, I would absolutely twirl it around my finger while listening to “Don’t Like Me.” 

If there is one thing Rico Nasty is going to do, it’s make an amped up track that makes you want to fight the next person you see for no reason. Nightmare Vacation does not disappoint with two songs that undeniably embody that sort of energy: “STFU” and “Let It Out.” Even the music video for “STFU” is a play on the idea of an underground fighting ring with Rico’s gang challenging another to a brawl that dissolves into a mosh-filled rave. Both tracks show Rico spitting her most aggressive bars, putting the most rasp on her voice, and screaming her loudest screams. “Let It Out” in particular is extremely cathartic, with her, as the title suggests, holding nothing back in her performance. The ad libs are a character in it of themselves on the song and add another layer of attitude to a track that was already powerful in its own right. The production of “Let It Out” is as eclectic as ever and fully leans into the chaos with no reservations. “Let It Out” is the perfect punk/rap fusion and will be blasting in my ears at full volume the next time someone tries me (I feel bad for them in advance :)).

Perhaps you’re not in the mood to fight but you are in the mood. Nightmare Vacation has you covered on that front, too. “Back and Forth” featuring Amine and “Pussy Poppin” are both sensual tracks that speak to demon time like no other. The chemistry on “Back and Forth” between Rico and Amine is effortless. It also helps to have a man with a sexy voice on a song about sex and Amine fits the bill quite well. “Back and Forth” is much more subdued than it’s counterpart “Pussy Poppin.” Gitchy and cute, “Pussy Poppin” is one of four songs produced by 100 gecs and/or member Dylan Brady. On the track, Rico Nasty plays up a bimbo-esque trope with the lyric “I don’t really talk like this/I know/ But the nigga got a real big “wooo” fasho” said with her voice nasally and words drawn out like an airhead. Of course, this is all apart of the performance, as Rico raps explicitly about being in control of her sexuality throughout the song. 

One cannot talk about Nightmare Vacation without talking about the track that began the hype: “IPHONE.” “IPHONE” is what became of the teaser Rico Nasty played on Instagram Live on the faithful day in November of last year. This song is without a doubt the most experimental of all the songs on the album. The influence of Dylan Brady and 100 gecs can be heard as soon as the beat drops. Rico Nasty’s vocals are pitched up extremely high, comparable to the signature vocal style of 100 gecs lead singer Laura Les. The production style is extremely abrasive but controlled, creating a listening experience that is both frenzied and streamlined simultaneously. It is a paradox only 100 gecs and Rico Nasty can master with flying colors. In a Genuis Verified interview, Rico Nasty states that “IPHONE” is about relationships and how they can become toxic. This is demonstrated in the track as the song begins with the depiction of a couple infatuated with each other leading to a break up in which the man become obsessed with his now former love. A track that was already contemporary with it’s concept, “IPHONE” became even more telling of the times with the lyric “Smoking so much gas I forgot to put my mask on.” Originally a play on the term “gas mask,” now the line is something I’m sure many of us can relate to. 

Nightmare Vacation is the debut album of every fan’s dreams. The project is wholly Rico Nasty’s own, with all kinds of sounds and influences that she has explored throughout the course of her career all rolled up into one cohesive collection. With another winner on her hands, Rico Nasty continues to have me in the palm of her hand as she solidifies herself as one of my favorite artists out right now. Her work never ceases to amaze me and she truly is one of a kind. If you still haven’t hopped on the Rico Nasty train, now is your time before it leaves the station. Nightmare Vacation is just the beginning for Rico Nasty and from the way her career has progressed so far, it can only get better from here. 

Favorite Tracks

Let It Out 

OHFR? 

Pussy Poppin

Rating: 8

Listen to Nightmare Vacation here:

Listen to Nightmare Vacation on Spotify. Rico Nasty · Album · 2020 · 16 songs.

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Our Top 50 Songs of 2020

By StereoVision Staff

2020 was rough on all fronts, but perhaps unsurprisingly, its saving grace was the new music released over the past year. Though the industry was hit hard, and most live music has been suspended indefinitely, many artists and their teams overcame this new adversity. Together they worked to release records to tie fans over in tough times, and we couldn’t be more appreciative. Our team at StereoVision listened to a lot of music this year, and lately we’ve been hard at work compiling a year-end list showcasing our favorite tracks of 2020. We hope that you enjoy it - here’s to 2021!

As you read, listen along with our “Best of 2020” playlists on Spotify & Apple Music here:

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Freddie Gibbs & The Alchemist: 1985

With the amount of time & artistry that went into Freddie Gibbs’ 2019 effort Bandana, I’m sure very few people were expecting an immediate follow-up this year. Yet Alfredo goes to show just how efficient two artists can become when they’re both at the top of their game. On “1985,” Gibbs gives a borderline flawless performance—he’s focused, he’s hungry, and his flows damn near float over an obscure Rúben Rada sample flipped masterfully by executive producer The Alchemist. The track is a brief, explosive opener to what otherwise serves as a pretty calm & collected listen, but it’s this separation from the rest of the album that lands it on this list. -Owen Tait

Listen to 1985 on Spotify. Freddie Gibbs · Song · 2020.

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The Weeknd: Blinding Lights

The production, the vocals, the synths, and The Weeknd’s sheer energy on this song is enough for me to replay it five times every time it comes on in the car. The 1980’s Pop Synth sound brings The Weeknd’s voice to its peak and I’ve never seen an artist shift their sound and fit into a new lane as comfortably as he has this year. Although the entirety of After Hours is 80’s inspired, this song in particular fits that mold and shows us why it works so perfectly for Abel. -Courtney Fields

Listen to Blinding Lights on Spotify. The Weeknd · Song · 2020.

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Childish Gambino: 12.38 (Feat. 21 Savage, Ink, & KAdhja bonet)

With global lockdowns and new releases from Uzi, PND, and The Weeknd, it’s safe to say that March was a month full of curveballs. Among the month’s records was Childish Gambino’s 3.15.20, an album both as dynamic - and inconsistent - as 2020 itself. Luckily “12.38” (unofficially called “Vibrate”) exists as the needle within the album’s haystack - a slow and off-kilter track that weaves together elements of jazz, R&B, and hip-hop. Guest appearances from 21 Savage, Ink, and Kadhja Bonet do not overstay their welcome, as all of them culminate for a truly cinematic ending that is worth the runtime. -Carter Fife

Listen to 12.38 (feat. 21 Savage, Ink & Kadhja Bonet) on Spotify. Childish Gambino · Song · 2020.

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pop smoke: got it on me

Pop Smoke’s posthumous album cut “Got It On Me” is one of those moments when listeners can truly see how beautiful music can be. This “Many Men” remix is the essence of life comes full circle. The song is ironic, sad, and simply great. I deemed it necessary to include a Pop song on my list, with the year that he had it was pretty disrespectful to see almost no blogs had a single one of his songs on their lists. -Courtney Fields

Listen to Got It On Me on Spotify. Pop Smoke · Song · 2020.

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Future: Ridin Striker

Back in January of 2020, if you would’ve told me that an aging Future would be in the running for rap MVP I would’ve laughed and told you to go back to 2015. To my delight, over the course of the year the Atlanta trapper proved me wrong with the release of his excellent solo album High Off Life, a terrific collab project with Lil Uzi Vert, and a slew of fantastic features. No moment shined brighter though than “Ridin Strikers,” a song that will go down as one of his best in an already loaded discography. Everything from the DS2-esque instrumental to Future’s captivating vocal performance is perfect and that goes without even mentioning the ominous outro where Fu and accomplices rob a bank well pourin’ up drank. -Spencer Lobdell

Listen to Ridin Strikers on Spotify. Future · Song · 2020.

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Drake: Chicago Freestyle (Feat. Giveon)

In early May, the six-god blessed us with the chilling “Chicago Freestyle” which, despite it’s name, feels like the newest edition to his AM/PM series due to his reflective writing and focus on location. Drake locks into one of his most addicting yet laid-back flows of his career on this track and his interpolation of Eminem’s “Superman” is everything you could want. While the entire song is great, the best part about “Chicago Freestyle” might just be the fact that it was majority of the worlds introduction to the generational talent that is Giveon who steals the show and kills the hook. -Spencer Lobdell

Listen to Chicago Freestyle (feat. Giveon) on Spotify. Drake · Song · 2020.

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Mac Miller: Good News

The lead single from Mac's posthumous album Circles, Good News is nothing short of a heart-wrenching listen. The plucky guitar strings and lo-fi production allow Mac to showcase his gifted singing voice. The song is easily a standout in the already stacked tracklist and one you'll find yourself revisiting over and over again. -Luke Modugno

Listen to Good News on Spotify. Mac Miller · Song · 2020.

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Jay Electronica: a.p.i.d.t.a.

In addition to many other great records, Jay Electronica’s debut album was released in March. Made in 40 days with Jay-Z and a slew of celebrity producers, the album was worth the wait - especially for the record’s final track. The acronym stands for ‘All Praise Is Due To Allah’, and features Jay-Z and Electronica trading melancholic bars over a Khruangbin instrumental. This is probably my song of the year, as their meditations on death and serenity helped ground me in a time when Covid was turning the world upside down. -Carter Fife

Listen to A.P.I.D.T.A. on Spotify. Jay Electronica · Song · 2020.

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Big Sean: Deep Reverence (Feat. nipsey hussle)

Big Sean teamed up with Nipsey Hussle the Great in his song, Deep Reverence, off the album Detroit 2. Nipsey opens up the song giving free game as always with lyrics like “from the mastermind first you master grind then your team catch it”. Big Sean follows up with reflective perspectives on everything from his relationships to mental health. -Chloe Clark

Listen to Deep Reverence (feat. Nipsey Hussle) on Spotify. Big Sean · Song · 2020.

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Westside Gunn: $500 ounces (Feat. Freddie Gibbs & Roc Marciano)

Easily the best song on the project, every guest, including The Alchemist, does their part to make a grimy, classic Westside Gunn song. An absolutely essential 2020 listen. -Luke Modugno

Listen to $500 Ounces on Spotify. Westside Gunn · Song · 2020.

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spillage village: mecca

Few releases this year felt as good as Spillage Village’s Spilligion and “Mecca” embodies everything the record stands for in such a perfect way. On the track, Earthgang and JID spread love all around the world well also showcasing a specific adoration for South Africa by using several of the nation’s slang terms. From the moment Johnny Venus kicks off his first verse with “Big ol’ bird I fly across the world and don’t look down” you can tell the song is special. The song sounds absolutely massive and contains a specific spiritual energy that Spillage Village seems to posses in abundance. -Spencer Lobdell

Listen to Mecca (with JID & EARTHGANG) on Spotify. Spillage Village · Song · 2020.

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Jhené aiko: 10k hours (Feat. nas)

In this song from the excellent 2020 album Chilobmo, Jhene expresses emotions of heartbreak and loss. The lyrics are capable of relating to various audiences through raw expressions of love and nostalgia. Jhene’s angelic vocals are complemented by a feature by one of the industry’s best, Nas. -Chloe Clark

Listen to 10k Hours (feat. Nas) on Spotify. Jhené Aiko · Song · 2020.

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Thundercat: funny thing

Thundercat has some kind of nerve releasing the perfect party song during the midst of a global pandemic where partying isn’t even possible. However, he will be forgiven because “Funny Thing” is such a wonderful track. The song exudes euphoria and puts a smile on my face during every listen. A simple track about the joys of getting intoxicated around friends and pretty people you want to get it in with, it is filled to the brim with tales of social life’s past. “Funny Thing” will make you reminiscent of those nights where you felt so good you felt like you were the main character. Although it allows one to reminisce, it does not leave room for one to let depression seep in. “Funny Thing” will have you on your feet in no time at all, dancing your worries away whether that be in the club or in your bedroom (and I hope for all our sake’s that until there’s a vaccine, it's the latter.) -Kaila Cherry

Listen to Funny Thing on Spotify. Thundercat · Song · 2020.

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Lil baby: the bigger picture

This single released in midst of the Geogre Floyd protests mentions many of Lil Baby’s experiences with the criminal justic system, which in turn is also many other black people’s experiences as well. I for one, am proud that Baby dropped this. Often newer artists tend to stray away from social issues in an attempt to not take a side to not displease certain members of their fanbase. Baby’s stance was clear: the song is a direct jab towards the crooked criminal justice system and its neverending list of flaws. -Courtney Fields

Listen to The Bigger Picture on Spotify. Lil Baby · Song · 2020.

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giveon: the beach

While the majority of people’s introduction to Giveon was his feature on “Chicago Freestyle”, his debut project Take Time blew almost everyone away. This track stands out as one of the more upbeat songs he has released in 2020. His voice is as strong as ever as the beautiful guitar in the background makes the track absolutely captivating. I wouldn't think of a better way to start a debut project. -Miles Hagan

Listen to THE BEACH on Spotify. Giveon · Song · 2020.

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baby keem: hooligans

Somehow, despite only releasing two songs, Baby Keem had a terrific 2020 where he nearly doubled his monthly listeners, was interviewed by Kendrick Lamar, and had a very successful merch drop. Released alongside one of the best music videos of 2020, “hooligan” is a striking example of why people obsess over the young rapper. From the insanely catchy hook to Keem’s completely unique flows and lyrics, it’s obvious that there’s no ceiling on Baby Keem’s potential. -Spencer Lobdell

Listen to hooligan on Spotify. Baby Keem · Song · 2020.

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Bino Rideaux: Brand New (Feat. Blxst)

In 2020, thanks to his terrific project OUTSIDE, Bino Rideaux, one of Nipsey Hussle’s proud proteges, finally got the love he’s deserved for years. This was in large part to “Brand New,” one of the last tracks on the excellent album that features one of 2020’s most impressive breakout stars, Blxst. This song is as smooth as it gets and do to it’s absolutely addictive qualities rose to become my most played track of the year. If you’re a fan, this video of the two LA artists recording the cut is an absolute must. -Spencer Lobdell

Listen to BRAND NEW on Spotify. Bino Rideaux · Song · 2020.

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aminé: roots (Feat. jid & charlie wilson)

“Roots” by Aminé is one of those songs you can listen to at any time of the day, it doesn’t matter if you’re taking a shower or going on a late-night drive. Aminé’s verse is jam-packed with self-confidence, always making you feel good about yourself. Next thing you know JID comes out of nowhere and begins playing with the pockets like has ‘em on a string. And to top it all off, Charlie Wilson steps up to the plate and adds the melody you didn’t know you needed. This song is guaranteed to help keep you grounded during those uncertain times, and because 2020 was so uncertain, that might be why this song resonated so much with me. -Colson O’Connor

Listen to Roots (feat. JID, Charlie Wilson) on Spotify. Aminé · Song · 2020.

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Larry June & Cardo: Meet Me in Frisco

There were so many great songs and records this year, which has made this list hard to choose. Surprisingly, this track is from an artist I didn’t even know about until this record dropped. A Bay-Area Native, Larry June links up with producer mastermind Cardo to deliver this summery banger. This song is so bouncy and upbeat it almost makes me upset that I spent the summer listening to it in quarantine. If you haven’t checked out this project, I would highly recommend you do so. -Carter Fife

Listen to Meet Me in Frisco on Spotify. Larry June · Song · 2020.

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Charli xcx: claws

For my fifth slot, I had to be honest with our readers - this is by far my most played song this year. I have no idea how, but I guess it makes sense. I play this song constantly, and I love how Charli’s sound has matured over the past few years. Her developed artistic register allows songs like ‘Claws’ - where she revisits musical ideas previously covered on projects like “Vroom Vroom” - to sound brand new. This song is a banger, it is catchy as hell, and it is produced so well it makes me resent the Ableton icon on my desktop. Though I was tempted to include other tracks for my fifth slot, I had to give credit where it was due. -Carter Fife

Listen to claws on Spotify. Charli XCX · Song · 2020.

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gunna: nasty girl

This song is captivating from the moment the best drops. It’s is the type of unique sounding best and infectious flow that changes the energy in a room. This is the epitome of everything great that Gunna was able to do on WUNNA. “NASTY GIRL” feel like taking an exotic trip and having way too much fun, and in a year like 2020 what could be more perfect. -Miles Hagan

Listen to NASTY GIRL / ON CAMERA on Spotify. Gunna · Song · 2020.

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rod wave: rags2riches 2 (feat. Lil baby)

One of my favorite moments of 2020 was watching Rod Wave’s inevitable rise to stardom during the first quarter of the year. The soulful singer/rapper proved to be a source of strength for many listeners and few songs were as motivating as “Rags2Riches” off his album Pray 4 Love. The song features a thumping instrumental and a mesmerizing hook sure to be stuck in your head all week. The song got a notable upgrade when Rod released the deluxe version of Pray 4 Love and switched out ATR Son Son’s mediocre second verse for an excellent Lil Baby feature that successfully ensures the entire song is held to the same quality standard set by Rod. -Spencer Lobdell

Listen to Rags2Riches 2 (feat. Lil Baby) on Spotify. Rod Wave · Song · 2020.

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action Bronson: Latin Grammys

Action Bronson genuinely surprised me with his 2020 effort Only for Dolphins. Clearly, the best song on the project is the lead single Latin Grammys, a microcosm of the success Bronson found on this record. -Luke Modugno

Listen to Latin Grammys on Spotify. Action Bronson · Song · 2020.

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future & lil uzi vert: drankin n smokin

The best song on Future and Lil Uzi Vert’s Pluto x Baby Pluto, “Drankin N Smokin” is an enthralling hit that shows listeners why exactly this tape works so well. Future floats on top of the mesmerizing, guitar-driven instrumental leading to one of the most memorable hooks of the year. His chorus and first verse are so damn good that by the time that Uzi comes in at the two-minute mark you’re surprised because you’ve completely forgotten that this is a collab album at all. His off-the-wall flow gives the listener even more reasons to love the already amazing song and cements this track as one of the best of the year. -Spencer Lobdell

Listen to Drankin N Smokin on Spotify. Future · Song · 2020.

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Juice wrld: stay high

“Stay High,” found on Juice’s posthumous album Legends Never Die, was one of the primary songs that helped me get through 2020. The song explores the idea of countering hard times in life by using substances and getting high. If you’re familiar with substance abuse, you know it hits differently when you are getting high for a reason (though it is typically not a good idea). This track evokes this emotion in me as I find myself wanting to lift my spirits when everything around me is bleak and depressing. This relatable theme, matched with the smooth, calming tone of Juice’s voice, is why this song earned the #5 spot on my list. -Colson O’Connor

Listen to Stay High on Spotify. Juice WRLD · Song · 2020.

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nick grant & tae beast: feds

The first time I heard this song I was in complete shock. This might have been the best display of pure rapping that has come out all year. The best takes a back seat to the bars but provides a sense of urgency to everything Nick is saying. Above anything else the emotion of this song is that of someone with their sight on the top of the rap game. -Miles Hagan

Listen to FEDS on Spotify. Nick Grant · Song · 2020.

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g herbo: in a minute

If you know me, you know that I never shut up about being the first guy to call Herb “Baby Hov”. Having listened to him for what seems like forever and knowing what he’s capable of lyrically, and I don’t think it’s that big of a stretch to say he reminds me of the GOAT, Jay-Z. For years I’ve been wondering when Herb would indulge more in sampled beats. The “A Week Ago” sample used in this track is one of the best lyrical performances I’ve heard this year, I hope Hov heard it. -Courtney Fields

Listen to In a Minute on Spotify. G Herbo · Song · 2020.

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Mulatto: muwop (feat. gucci mane)

This remix to Gucci Mane’s “Freaky Girl” is arguably better than the original. The East Atlanta legend showed his support for the newcomer with a verse that added the perfect amount of male energy to the song and he even states how he had hopes of signing Mulatto. Name a better way for Mulatto to pay homage to her hometown and her favorite rapper than “Muwop.” -Amaya Lorick

Listen to Muwop (feat. Gucci Mane) on Spotify. Mulatto · Song · 2020.

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J. Cole: The Climb Back

Unfortunately, the release of J. Cole’s highly anticipated album The Fall Off is still up in the air, however, he released two tracks that are said to be from the project, “Lion King On Ice,” and “The Climb Back.” The latter resonated much more with me, and quite honestly I’ve only heard Cole rap as hard as that on a handful of other tracks. When Cole’s main objective is to spit bars relentlessly, he doesn’t disappoint. He doesn’t do it very often, and I’m not exactly sure why he did it, but it sounds like he wanted to show off his lyrical capability and prove to others that he still got it resulting in one of the most entertaining performances of the year. -Colson O’Connor 

Listen to The Climb Back on Spotify. J. Cole · Song · 2020.

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blxst: wrong or right

Off of his excellent project, No Love Lost, Blxst fails to miss and “Wrong or Right” might just be the projects peak. Over the harmonies and guitar strings, Blxst sings about the unconditional love and loyalty he shares with loved ones. The song, of course, showcases a true west coast vibe with Blxst’s smooth vocals and lyrics. -Chloe Clark

Listen to Wrong or Right on Spotify. Blxst · Song · 2020.

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070 shake: guilty conscience

In 2020, we’ve watched a multitude of artists hop on the trend of fusing modern pop and R&B with synthwave and other New Wave aesthetics. Artists like The Weeknd or Dua Lipa may come to mind, but one artist who mastered this trend and flew under the radar this year was 070 Shake. Modus Vivendi, her debut album, features layers upon layers of beautiful synth & drum arrangements, and Shake’s powerful voice and tight songwriting seal the deal on this track in particular. If you need another dose of faux-80s magic in your year-end playlist, definitely check this one out. -Owen Tait

Listen to Guilty Conscience on Spotify. 070 Shake · Song · 2020.

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the weeknd: faith

In the midst of this dark banger about hedonism through partying, Abel poweful exclaims “And if I OD, I want you to OD right beside me” creating potentially the best moment on one of the years best albums. The entire track morphs countless times as if it were alive, truly showcasing The Weeknd’s once-in-a-lifetime artistic vision and ability. The song is a beautiful rollercoaster of emotion in the amusement park of lust, drugs, and toxicity easily making it one of 2020’s best releases -Spencer Lobdell

Listen to Faith on Spotify. The Weeknd · Song · 2020.

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reason: extinct (feat. Isaiah Rashad & jid)

This is a lot of guys who are very good at rapping in their peak form. Isaiah Rashad, Reason, and JID spend 4 minutes painting a beautiful picture over a beat that hasn’t been done justice since “Pennyroyal” by Joey Badass. It's a story of the trials and tribulations of love, that highlights the fact that we all aren’t perfect when it comes to relationships but we’re gonna keep trying. -Miles Hagan

Listen to Extinct on Spotify. REASON · Song · 2020.

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bino Rideaux: mismatch (Feat. young thug)

Bino Rideaux switches it up on this remix by adding a feature from Atlanta legend Young Thug. The two great artists have so much fun on the song and truly create a banger. Bino provided` his laidback quality and Thug came with his signature flow. A vibe, to say the least. -Chloe Clark

Listen to Mismatch (The Remix) feat. Young Thug on Spotify. Bino Rideaux · Song · 2020.

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kacy hill: unkind

After waiting 3 years for a new record, Kacy Hill delivered with July’s “Is It Selfish If We Talk About Me Again”. Though ‘Unkind’ begins as a spacy and ambient pop track, it gradually evolves - ending up as one of the most cinematic tracks I’ve heard this year. Kacy Hill’s mastery of track momentum reaches its fever pitch in the last 30 seconds of the song, with hard-hitting electronic tracks and vocal layers that truly makes ‘Unkind’ a moment to remember. She’s currently hard at work on her third LP, and hopefully next year we’ll get to put another one of her tracks on this list! -Carter Fife

Listen to Unkind on Spotify. Kacy Hill · Song · 2020.

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21 Savage & metro boomin: runnin

Admittedly, I wasn’t a huge fan of the first Savage Mode from powerhouse duo 21 Savage and Metro Boomin, but this track alone made me return to check it out. To put it simply, “Runnin” knocks. It starts out soft with a dark, eerie Diana Ross vocal lamenting over sinister laughter and vinyl crackling, but as soon the beat comes in, neither 21 nor Metro let up. 21 delivers quotable after quotable and a haunting hook in his trademark growl, and Metro Boomin finds time to experiment with subtle textures in the beat, ensuring that the mix stays fresh and dynamic until Morgan Freeman ushers in the track’s finale. -Owen Tait

Listen to Runnin on Spotify. 21 Savage · Song · 2020.

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rico nasty: ohfr?

Very few songs make my jaw drop when I first hear them, so the fact that my jaw stayed dropped until after I finished listening to this song for the first time (and I had to pull over to park my car) is a testament to just how hard it goes. Rico almost always sounds confident in her music, but this track exudes a boldness and ruthlessness that I’ve heard few other artists match in 2020. Bars such as “I do the same thing that you do / it's just with me they feel it” and “When I ask you what the issue is / you hard of hearing” easily earn Rico her stage name, and car-shaking production from Dylan Brady cements this track in my year-end list. -Owen Tait

Listen to OHFR? on Spotify. Rico Nasty · Song · 2020.

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hit-boy: Nominated (feat. dom Kennedy)

In this song off of Hit Boy’s The Chauncey Hollis Project, Hit-Boy teams up with one of LA’s greatest, Dom Kennedy. The sample from The O’Jay’s “Desire Me” creates a familiar feel within the beat, with an updated twist. Hit-Boy and Dom K push narratives of grit and true hustle, even touching upon Nipsey Hussle’s relationship with Hit-Boy and lasting impact. -Chloe Clark

Listen to Nominated on Spotify. Hit-Boy · Song · 2020.

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645ar: sum bout u (feat. fka twigs)

I have said it once and I will say it again: I am an unironic 645AR stan. It is easy to discredit him because his shtick is so absurd that he quite literally is the trap KK Slider. But who hasn’t wondered what it would sound like if their favorite Animal Crossing musician was a Bronx/Atlanta rapper? On his track “Sum Bout U” the squeaky-voiced legend collabs with ethereal experimental pop icon FKA Twigs for a truly earnest love song. On the track, FKA Twigs carries the chorus and bridge while 645AR holds it down on the verses. “Sum Bout U” has a kitschy 90s/early 2000s R&B sound that is played up by the duet style structure of 645AR and FKA Twigs’ lyrical exchanges. -Kaila Cherry

Listen to Sum Bout U (feat. FKA twigs) on Spotify. 645AR · Song · 2020.

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Freddie Gibbs & the alchemist: babies & fools (Feat. Conway the machine)

Perhaps a less popular pick than the standouts “1985”, “Something to Rap About” or “Frank Lucas”, “Babies & Fools” is quietly the best song on Alfredo. The song features the most unique beat offering from The Alchemist, as well as the best guest verse from Conway. Freddie delivers an amusing verse full of child support puns and hard-hitting bars. Overall, the song is my favorite from the elite Alfredo. -Luke Modugno

Listen to Babies & Fools (feat. Conway the Machine) on Spotify. Freddie Gibbs · Song · 2020.

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g herbo: ptsd (feat. Juice wrld, lil uzi vert, & chance the rapper)

G Herbo’s latest album PTSD dropped at the end of February, and from the moment Uzi’s well-crafted outro came to a close, I knew the title track was a top contender for song of the year. G Herbo’s harsh and aggressive tone exposes the realism of the topic at hand: inner-city violence in Chicago. G Herbo speaks from the mind of an assailant, and next follows Chance, who sheds light on the thoughts that run through the mind of a victim. This representation of both sides conveys the message that nobody wins on the streets and EVERYONE involved mentally suffers from it. The reason I love this song so much is that the artists were courageous enough to put down their shields, reveal the psychological toll that the trauma takes on them, and show people stuck in a similar position that what they are feeling is normal. Juice WRLD’s catchy hook is just the icing on the cake, sealing the deal for becoming my favorite song of 2020. -Colson O’Connor

Listen to PTSD on Spotify. G Herbo · Song · 2020.

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chloe x halle: do it

“Do It” has Tik Tok and a fun dance to thank for its success but that shouldn’t discredit its value. With lyrics that promote female independence and effortlessly capture a Black girls night out, “Do It” deserved its Gold certification. -Amaya Lorick

Listen to Do It on Spotify. Chloe x Halle · Song · 2020.

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lil uzi vert: prices

Although there were many standout moments on both Eternal Atake and LUV vs. The World 2, no song on either tape satisfied by Uzi craving like “Prices”. The lively banger houses everything fans love about Uzi: Braggadocios lyricism, infectious energy, and fascinating vocal inflections. The tasteful sample of Travis Scott’s “Way Back” is the icing on the cake and solidifies this track as one of 2020’s best. -Spencer Lobdell

Listen to Prices on Spotify. Lil Uzi Vert · Song · 2020.

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pop smoke: tunnel vision

In a year full of tragedy, the untimely passing of pop smoke really hit home for many fans of hip-hop across the country so the release of his excellent posthumous album Shoot for the Moon Aim for the Stars was especially potent. The album builds and builds until it climaxes in epic fashion on the breath-taking outro, “Tunnel Vision”. -Miles Hagan

Listen to Tunnel Vision (Outro) on Spotify. Pop Smoke · Song · 2020.

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thundercat: fair chance (Feat. ty dolla $ign & lil b)

It Is What It Is, Thundercat's third studio album is possibly the most sonically beautiful album 2020 had to offer. At the front of the pack was Fair Chance, featuring angelic vocals from Ty Dolla $ign and Thundercat. The song, like the rest of the project, is dedicated to Thundercat's late best friend Mac Miller. Although the song features an awkward feature from Lil B, the production and meaning behind the song overpowers his awful verse and present one of my favorites of 2020. -Luke Modugno

Listen to Fair Chance on Spotify. Thundercat · Song · 2020.

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playboi carti: @ Meh

While I will say I’ve enjoyed the replacement tracks we’ve received from Mario Judah in the past month or so, there will only ever be one Playboi Carti. “@ MEH,” Carti’s first official streaming release since he put out the legendary Die Lit, struck up quite a bit of controversy from fans, as many said he had gone too far with his “baby voice” and were simply over it. And look… while I do agree with the sentiment that Carti’s “baby voice” could potentially ruin Whole Lotta Red, it did absolutely nothing to hinder this track. Carti’s inflections on “@ MEH” are fun, playful, and expressive, and the track carries an insane amount of replay value that kept it in my rotation year-round. -Owen Tait

Listen to @ MEH on Spotify. Playboi Carti · Song · 2020.

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Cordae: the parables

Although this year we didn’t get a new Cordae album, he didn’t completely leave us hanging out to dry. The talented rapper dropped a couple of singles, one with Roddy Ricch, and one that I consider to be one of the hardest songs of the year. “The Parables” is loaded with nonstop bars and phenomenal drums that showcase the immense potential of his second studio album, most likely dropping in 2021. I have never heard Cordae sound so hungry on a song before, and I think this track was intended to let other rappers know he’s coming for the crown. -Colson O’Connor

Listen to The Parables on Spotify. Cordae · Song · 2020.

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aminé: burden

Undoubtably one of the best intros of the year, “Burden” kicks off Limbo perfectly by showcasing Aminé’s artistic growth and giving us a taste of what to expect. He opens the first verse with “When your skin darker, shit get harder/This a black album like Shawn Carter” letting us know off rip that Aminé will spend a portion of the next 45 minutes speaking on race issues with a potency that few modern rappers could achieve. The song flaunts some of the best rapping Aminé has ever done and the “Thank You God” sample perfectly ties everything together. -Spencer Lobdell

Listen to Burden on Spotify. Aminé · Song · 2020.

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hook: act up (feat. 645ar)

Hook was my favorite breakout artist of 2019 and she has stayed on my radar in 2020. She released three projects over the course of the year along with a slew of singles. The track of hers that clung to my ear the most out of everything was “Act Up” with 654AR. I love how this track showcases Hook at her best. Her off-kilter rap style shines, her rhymes are as hyphy as ever, and the production is simple, allowing both Hook and 645AR to be the stars of the track with no distractions. As a passionate 645AR fan, having him on the song works to elevate it even more. The piece de resistance of “Act Up” is the refrain at the very end of the track. There, Hook goes into her own rendition of Crime Mob’s “Knuck if You Buck.” Essentially, “Act Up” is all of my favorite things wrapped up into one song. -Kaila Cherry

Listen to Act Up on Spotify. Hook · Song · 2020.

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Charli xcx: i finally understand

I will admit it: I am late to the Charli XCX party. For years, I thought that I was someone who didn't like electronic or pop music very much and with Charli XCX being the sweetheart for both of these genres, I stayed away from her. That was until this year. I was intrigued by the concept for the project she released this year entitled how im feeling now. The project was made during quarantine and all about her relationship with her long time and long distance boyfriend. how i’m feeling now as a whole is a sweet and sentimental album that speaks to all of the romantic cravings of my little Pisces heart. In particular, I fell in love with the track “i finally understand.” The song speaks to the experience of meeting someone and finding yourself falling for them but being afraid of going further in case the relationship does not turn out how you’d like to be. “i finally understand” speaks immaculately to the question: “I like you. What now?” -Kaila Cherry

Listen to i finally understand on Spotify. Charli XCX · Song · 2020.

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Alex The Large: “Backwoods” Single Review

By Owen Tait

I’ll admit, despite all the time extra COVID has given me to discover new artists this year, I’ve found it difficult to reach out and explore unknown territory. Whether I’ve been trapped in the same playlist for days or being home in Illinois has given me reason to get nostalgic with my listening habits, I haven’t found much in the way of underground hip-hop (and I mean underground) that has stood out to me. But perhaps it was this same sense of nostalgia that sucked me into “Backwoods,” a recent single from Alex The Large, founder and member of the World Wide Native label and collective. Released in October of 2020, “Backwoods” laments about old memories, as well as both hope and confidence for the future —sentiments I believe young listeners can all get behind in this stage of our lives.

The track takes its time to get started, leading with soft, reverb-heavy guitars and sentimental lines that allude to old remedies and friends. Alex references “throwing stones up at your window,” followed by a repetition of the line “is there anybody home,” and we quickly get a sense that things aren’t how they used to be. Immediately after, his flow picks up, and the same emotion lingers as he weaves some pretty introspective lyrics around gentle percussion and a sea of strummed ambience. Relationships, expectations, and his current mental state are all subjects on the itinerary, but one line that stuck with me in particular was when Alex confessed “In your eyes I’m nothing, but I know what I’ma be one day,” a mindset that most artists, dreamers, and underdogs can relate to.

As the track progresses, Alex seems to grow more into his voice, finding more charismatic melodies and vocal inflections to build his verses upon, and the steady, subtle changes in the instrumental compliment these transitions extremely well. Alex also seems to grow into his skin in terms of attitude, tuning to the perspective that old relationships pale in comparison to the confidence a person can give themself; he doesn’t need validation from people in his past to know where he’ll end up, and he seems comforted by that. He finds his self-assurance in how far he’s come at this point in his journey, and as he does so, the peaceful instrumental fades into a voicemail, likely from a friend or mentor. “Stick to it… definitely daunting and scary, but keep breathing, keep moving,” the voice says. “You can do this.”

And having heard the song, I completely agree with the voice on the phone. Despite a few lines that could be considered cliché and a couple minor hiccups in his flow, Alex delivers a track that’s fit to be any introspective rapper/singer’s streaming debut. I enjoyed the gentle, relaxed tone of the record, and Alex’s bars come off as organic, almost like a stream of consciousness. It manages to feel both nostalgic and forward-thinking at the same time, and if you need a track to relax or reflect to, I’d highly recommend it. If you liked the track, be sure to keep up with future releases from World Wide Native, as I’ve heard they have big plans for 2021. 

Listen to “Backwoods” here:

Listen to Backwoods on Spotify. Alex The Large · Song · 2020.

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Mario Judah has Grown Impatient with Playboi Carti, and has Dropped his own 'Whole Lotta Red' Single

By Carter Fife

Tired of waiting for Playboi Carti, Mario Judah has just released ‘Bih Yah’, a self-proclaimed single to his own upcoming record Whole Lotta Red. After warning Carti and giving him a “grace period”, Judah dropped the track today after Carti failed to meet his demands. “Today is December 6th, and you have still not dropped Whole Lotta Red”, he said on Instagram. “I warned you…You have until 6pm today to drop Whole Lotta Red…. I will drop exactly one-minute later…if you do not drop [Whole Lotta Red] by 6pm.”

You may recognize Judah from his track ‘Die Very Rough’, which went viral following its release in September. Ubiquitous both as a meme and as an interesting character synthesizing elements of prog-rock, punk and hip-hop, Judah has been making waves the past week for his impassioned pleas directed towards Carti. A man of the people, Judah has expressed to Playboi Carti how he is letting his fans down by delaying the release of his long-awaited record. It seems, however, that Judah has had enough and is now entering his endgame. ‘Bih Yah’ marks the first of (potentially) several tracks made to emulate Carti, making up for his absence to the delight of fans of both artists.

The track itself is solid, though to what extent Judah intended ‘Bih Yah’ to be satire is still is yet to be seen. Judah emulates Carti’s high-pitched and abrupt vocal register well, and he flows well over an aggressive beat decorated with booming bass signals and oscillating synth beeps. Judah’s lyrics range towards being indecipherable, like many of Playboi Carti’s own tracks, but nevertheless his vocal performance is entertaining - meme or not.

Like many watching this feud unfold, I am excited to see how things escalate before the release of Whole Lotta Red. Will Judah help catalyze its release, or will be a force contributing to another delay? Many things still remain unknown. Though many of his tracks begin with “Who the fuck is Mario Judah”, it seems like it is not long until we all know his name.

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Father: ‘Come Outside, We Not Gone Jump You’ Album Review

By Kaila Cherry

Father is probably the best rapper that you’ve never heard of. Or maybe you are familiar with his breakout single from 2014 called “Look at Wrist” featuring rising OVO Sounds star iLoveMakkonen. A pharmaceutical student turned college drop out, Father left traditional education for art school in his early 20s. Through his involvement in the Atlanta underground alternative rap scene, Father began building his own independent collective and recording label Awful Records. Prior to the release of “Look at Wrist,” Father had several EPs under his belt with collaborations with his peers Archibald Slim, KeithCharles Spacebar, and Slug Christ. He has worked with prominent artists before they became known in the mainstream such as Tommy Genesis, ABRA, and even Playboi Carti. After the release of “Look at Wrist” Father has put out a solid stream of albums including his debut project Young Hot Ebony (2014), Who’s Gonna Get Fucked First (2015), I’m a Piece of Shit (2016), and Awful Swim (2018). Over time, Father has become known for the sexually charged, drugged out, and ironic nature of his discography. His most recent release Come Outside We Not Gone Jump You sees Father tackle his signature subject matter with a new sound. Instead of leaning more into the heavy bass and synths of true Atlanta trap as he has done for most of his career, Father indulges fully in what some have called “Trap R&B.” Come Outside, We Not Gone Jump You, in contrast to what the title might suggest, is Father’s most welcoming project yet. 

Consisting of nine songs and only being 22 minutes in length, Father has the perfect balance of sultry slow jams and bass boosted bangers with each one being more addictive than the last. The first track “9 Lives” pulls the listener right into the project with little hesitation. After twelve seconds of lead in, the beat drops and Father hits the ground running with his fast paced flow and range of vocal inflections. Using the common myth about cats having nine lives as a simile for all the bodies he has, the song is more aggressive in tone and rhythm but far from abrasive. The high energy yet subdued nature of “9 Lives” leads effortlessly into the second track “Risotto.” Here, the energy is still high but the tone goes from aggressive to dreamy. With the aid of Father leaning heavily into his singing and a piano melody comparable to a lullaby, “Risotto” is a prime example of the concept of “Trap R&B” in practice. The track details the crime spree of Father and his “crew of rag tag niggas” who will steal your jewels and your bitch with .38 caliber pistols on their hips. The irony of the production versus the content of the track is one of the many novelties about Father’s music that never fails to impress. The clever belligerence of “Risotto” culminates in what may be my favorite lyric on the album: “Shake yo ass damn/ Like I’m the last man/ Like I’m the last nigga on earth and I’m your last fan.” (Get it? Last fan? Only fan? ;))

Another track on Come Outside, We Not Gone Jump You that mashes up trap lyrics with an R&B sound is the slow and meditative song “Fist of the North Star.” This song is indicative of Father’s progressive experimentation with singing on his tracks. He moderately utilizes a sung chorus on the song “Lanes” from his second album. In 2019, Father committed much harder to a sung melody on the track “Iceman” from his EP “Hu$band.” “Fist of the North Star” marks the first time Father did not rap on a track at all. He can carry a tune fairly well and with the addition of a little bit of autotune, the result is something unconventional for him, yet grounded in familiarity. Although the mood of “Fist of the North Star” is very stripped down and emotive, the lyrics are just as explicit as any other Father song with talk of guns, sex, money and drugs. No matter how NSFW the lyrics may be, the melody is so smooth that you won’t be able to help but sing along. Be careful before someone hears you harmonize about wanting to start a turf war. 

Two more stand out songs on the album are “Spell Book” and “Backbreaker.” “Spell Book” is a seductive song filled to the brim with references to magic and the divine. Always one to go against the grain, Father depicts himself as a Black magic practitioner who can, with a simple flip of his spellbook, some hexes, a bit of magic, and a love spell or two, manifest a drop top car, the woman of his dreams, and wealth beyond his wildest dreams. The mystical aspect of the track revolves heavily around his lover, leading one to think that he too is perhaps under a trance. “Backbreaker” appears two tracks later. Coming in at one minute and thirty two seconds, it is the shortest song on the album. However, Father is no stranger to short but sweet tracks. The booming bass is complimented nicely by a staccato guitar melody that sounds like if the Spanish guitarist from Cheetah Girls 2 and Metro Boomin had a baby. Because it is so short, “Backbreaker” is very straightforward lyrically. This leaves room for the production and Father’s quick rhythmic flow to shine. There is an effortlessness to “Backbreaker” that makes it easy to listen to over and over again without getting tired of it. It is one of those songs that you wish was longer. Sometimes, less is more. This is something Father knows very well and uses to his advantage time and time again throughout his discography. “Backbreaker” is no different.

Come Outside, We Not Gone Jump You is undoubtedly one of the most fun albums of the year. Father’s music is entertaining but not mind numbing. There is a lot of artistry behind his work that some try to downplay due to it’s wildy explicit content. Just because Father does not take himself too seriously does not mean that there is not merit to the music he creates. On this album, just like all of the ones that came before, Father is expanding the scope of Atlanta trap to encompass different styles and aesthetics that are not seen often within the genre. Come Outside, We Not Gone Jump You is a must listen for all the sensitive thugs out there. Even if you’re neither of those things, there is still so much to enjoy about Father’s newest album. Perhaps this will be the project that will finally lead rap fans to give his flowers. They are well overdue.

Favorite tracks

Backbreaker

Spellbook

Risotto

Rating: 8

Listen to Come Outside, We Not Gone Jump You here:

Listen to Come Outside, We Not Gone Jump You on Spotify. Father · Album · 2020 · 9 songs.

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The 63rd Annual Grammys: Top 10 Snubs & Disappointments

By Owen Tait

As many of you have likely read, the nominees for the 63rd Annual Grammy Awards were announced Tuesday, and in a not-so-shocking turn of events, music listeners everywhere were disappointed. I’ll admit, there were a few choices I was pleasantly surprised with this year: Freddie Gibbs was nominated for Best Rap Album, Phoebe Bridgers and Fiona Apple both received recognition in the Best Alternative Music Album category, and Thundercat & Jhené Aiko were submitted for Best Progressive R&B Album. Regardless, in the grander scheme of things, I would argue that this was a weaker year for the already out-of-touch award show. Almost instantly, I came up with a long list of artists that could’ve been rewarded over the current nominees, so without further ado, here are my top 10 snubs of the 63rd Annual Grammy’s (in alphabetical order), along with their best performances.

1. Aminé  

With the recent release of Limbo fresh in everyone’s minds, I was fairly surprised Aminé didn’t snag any nominations this year. Not only was his most recent project his most sonically diverse and simultaneously most cohesive, but I also felt that it was a project that contained his strongest and most mature performances. Songs such as “Roots” and “Mama” showed us a softer, more introspective side of Aminé I felt I was missing on his previous releases, yet hits such as “Shimmy” and “Compensating (feat. Young Thug)” ensured a mainstream appeal that the Grammy’s tend to gush over. Add Amine’s endless charisma and energetic pen game to the mix, and it’s almost baffling how this project received no recognition.  

Best Performance: “Pressure In My Palms”

2. Charli XCX

While Charli XCX does tend to stray into the experimental every now and then, her albums feature all the qualities of what someone should expect from an outstanding pop project. The personality, catchy lyrics, ear-worm melodies, and clean production were all there in her most recent project how i’m feeling now, and let’s not forget that she released yet another critically acclaimed album last year with Charli. That’s right: not one, but two outstanding and extremely creative pop records in the span of one Grammy cycle, yet no awards to show for it. Utterly disappointing.  

Best Performance: “Thoughts”  

3. Denzel Curry

Yes, it’s true that Denzel Curry’s recent projects haven’t pushed the same numbers that many recently nominated artists have. However, in a year where the nominees for Best Rap Album include less popularized artists such as Freddie Gibbs and D Smoke, I don’t think the idea of Curry being nominated should be contained to wishful thinking. And even if UNLOCKED was not enough to warrant a nomination for this category—it was a shorter project, around 20 minutes long—I could’ve easily seen Denzel taking home Best Rap Performance for tracks such as “‘ Cosmic ’ .m4a” or “DIET_.” He simply brought an energy and hunger this year that has yet to have been paralleled.  

Best Performance: “‘ Cosmic ’ .m4a”

4. FKA Twigs

Once again, aside from the gorgeous track “cellophane” and a short feature on Ty Dolla Sign’s “Ego Death,” FKA Twigs is an artist who hasn’t boasted numbers in recent years.  However, she has received Grammy nominations in the past, and the almost ethereal quality of last year’s Magdalene landed her an interview in Rolling Stone’s 2021 Grammy Preview, a series in which the publication highlighted artists likely to sweep the show. Despite all the hype, Twigs received a whopping zero nominations, a revelation that left me almost as sad as her album did. Perhaps Magdalene delved a tad too far into the strange or simply didn’t sell enough to make  waves at the Grammys, but this only demonstrates the award show’s misdirected prioritization of accessibility over quality.  

Best Performance: “sad day”  

5. Lil Baby

I know what you might be thinking: “Isn’t Lil Baby already nominated for multiple Grammys?” Yes, he is, and rightfully so. His track “The Bigger Picture” is—in my opinion—one of the better tracks that was nominated for Best Rap Song and Best Rap Performance, and I look forward to seeing if he’ll take the trophies for those categories home. However, I’d like to argue that he got snubbed for Best Rap Album on the criterion of sheer numbers. I’m admittedly not the biggest fan of Lil Baby, but given that My Turn is one of the top selling rap albums of 2020 and has remained in the top 10 on the Billboard Rap Charts for 38 weeks, I believe some credit is  due.  

Best Performance: “The Bigger Picture”  

6. Mac Miller

I’m typically hesitant when awards shows nominate or tease wins from artists who have passed away for the sake of views and clicks (see Mac Miller’s last project, Swimming). However, I’ll be damned if Circles wasn’t the best posthumous album I've heard from any artist in the past ten years. As opposed to the way other artists’ posthumous releases have been handled (see Juice WRLD’s Legends Never Die), Circles felt as if it was crafted with care from start to finish, and a handful of the tracks on it still make me emotional to this day. It’s a beautiful and heavy album that I can see people genuinely struggling to come back to, but it's this raw emotion the project evokes that makes it all the more worthy of praise.  

Best Performance: “Good News” 

7. Pop Smoke

Yes, his hit “Dior” got him a nomination for Best Rap Performance, but how could I mention the late Mac Miller without bringing up Pop Smoke, an artist who gained massive momentum and captivated listeners just prior to an all-too-soon passing. I was skeptical going into his posthumous project Shoot For The Stars Aim For The Moon, but upon listening, I was met with a consistent ensemble of drill & pop rap anthems set for anyone’s gym playlist or a drive down the PCH. For an artist who was still on his way up, Pop Smoke demonstrated impressive range and an early mastery of his sound, and the fact that Shoot For The Stars Aim For The Moon remains one of the highest selling rap albums of 2020 shows how appreciated he was by the hip-hop community.  

Best Performance: Make It Rain (feat. Rowdy Rebel)  

8. Run The Jewels

Killer Mike and El-P, the masterminds behind the groundbreaking Run The Jewels series, are no strangers to addressing politics in their music. With 2020 quickly establishing itself as a heated, year-round fight for the presidency, the duo chose not to hold back artistically and politically, and it’s safe to say they delivered. RTJ4 saw Killer Mike and El-P delivering some of their most politically charged verses to date over trunk-knocking production, and this amalgamation of sounds perfectly embodied the passion behind various sociopolitical movements we’ve witnessed this year; if there’s one album to represent the social and political climate of the 2020, it’s this one.  

Best Performance: “a few words for the firing squad (radiation)”  

9. Tkay Maidza

If there’s one artist this year who I would have personally nominated for Best New Artist, it would have to be Australian singer & rapper Tkay Maidza. Her most recent project, Last Year Was Weird, Vol. 2, was a short yet eclectic group of tracks that blew me away upon my first listen, and it currently sits as one of my favorite albums of 2020. A handful of cute, R&B flavored tracks somehow transition perfectly into grimy, dark bangers such as “Awake” and “Grasshopper”—which in turn transition back into floaty, breezy alternative pop records. It’s a feat that I’ve seen few other artists pull off to the extent Maidza does, and I would say her range and songwriting skills make her an artist to watch.  

Best Performance: “Awake (feat. JPEGMAFIA)”  

10. The Weeknd

I’m just going to state it plainly: what the fuck happened here? Not only did Canadian R&B artist Abel Tesfaye (as if he needs an introduction) come out with one of the most commercially successful albums of the year that gave birth to some of the biggest hits of the year, but After Hours was a complete critical success as well. The project had everything: a unique blend of genres that had rarely been explored in R&B past the 2000s, stunning vocal performances, tight & transformative production, a highly consistent narrative arc, stellar pacing, dark & haunting lyrics characteristic of The Weeknd’s signature style… the list goes on and on. To top it off, the Grammys couldn’t even be bothered to nominate Tesfaye for one of the highly conceptual music videos he’s released over the past year. Nearly every instinct within me expected this album to not only be nominated for Album of the Year, but to win it as well. Unfortunately, I was wrong in what was easily my biggest Grammy upset of the year.

Best Performance: “Scared To Live”

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Small: “SMALL World” Single Review

By: Kaila Cherry

SMALL world is the debut single by 18 year old Bay Area graphic designer, photographer, and video artist Jamahl Edwards. Under the alias Small, Edwards wrote, performed and co-produced the track. Coming in at 2 minutes and 25 seconds long, Small succinctly tells a story of personal and cultural insecurity as he struggles to navigate the environments he has been made privy to without his control. “SMALL world” is a pensive track that encourages reflection as we are let into the intimate mental space of the artist who spills his soul out to us like we are his journal. With the pure authenticity of Small’s lyricism and delivery, we are able to easily open ourselves up to him and eagerly give him the space he needs to speak his truth. 

The track opens with a flash forward to a later part of the song. Slowed and pitched down over a droning guitar melody that carries throughout the track, Small recounts an account of theft enforced by the immaculate lyric “reaving spirits Keanu sees when it drops.” Once the song transitions from the intro into the main track, Small keeps his voice deep and grainy as he raps “It’s a small world we live in/It’s a small hurl to fit in.” As the narrative of “SMALL world” unfolds, what reveals itself are the lamentations of someone who has been forced into conformity and yearns to be free of such constrictions on their personhood. Lost in a world of pills, spirits, and hitting licks, the narrator cannot distinguish the real from the fake or the good from the evil. Through confusion, however, there is hope (or desperation) for salvation. Maybe a Hail Mary or a prayer will allow Small to transcend their material condition. Or perhaps it is this very faith that further plunges him into uncertainty. 

A very moody track, “SMALL world” employs fairly bare bones yet emotive production. The guitar is the most tangible aspect of the instrumental, bright against the brooding sound of the percussion. A subtle synth adds an element of dreaminess to the song, further enforcing the bittersweet energy of SMALL world. One could easily compare Small’s musical style to that of Earl Sweatshirt, the king of solemn and introspective rap music today. Both dare to explore their dark emotions with the utmost care for themselves and the listener, creating something that is undeniably moving without being wholly triggering. To see this vulnerability, especially from Black men who are hypermasculinized by society, is not only incredible, but revolutionary. 

“SMALL world” may be Small’s first song but it is not amateur by any means. He has hit the ground running with what has quickly become one of my favorite singles of the year. It is easy to look at what is trending on Spotify or Apple Music and add that to your music library. However, more often than not, some of the best music out there is being made by unknowns. Their work is hiding in plain sight. As music fans, it is imperative that we stay curious and receptive to new sounds, new styles, and new artists. The work of Small is the perfect place to start. 

Listen to “SMALL world” here: 

Listen to SMALL world on Spotify. Small · Single · 2020 · 1 songs.

Follow Small on Instagram: @jamahl_edwards

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Performing in a Parking Lot: Thundercat and Hannibal Buress Live in Los Angeles

By Carter Fife

Last weekend in Pasadena, fans of comedy and music flocked to the suburbs to watch Thundercat and comedian Hannibal Buress play a drive-in show in the Rose Bowl Stadium parking lot. Though this was certainly not the ideal way to see the two performers, attendees were respectful and responsible - following the COVID guidelines and mask requirement. As the LA sun set on the large patch of grass, a stage was illuminated while guests did their best to hide their drinks under their blankets and LA Dodgers afghans. 

Taking the stage first was Thundercat, whose performance was lively and upbeat - definitely a much-needed dose of fun for fans during the pandemic. Wielding a massive bass guitar, the LA musician offered fans a heartfelt ‘thanks for coming’ before playing a litany of tracks from his newest record It Is What It Is. To fans’ surprise, Thundercat even brought out Ty Dolla $ign to perform their track ‘Fair Chance’ - a chill moment that was far from a harbinger of what was to come. As quickly as it started, Thundercat ended his set with ‘Funny Thing’, and fans were treated to a brief pre-recorded video of the two discussing topics like video games, Cowboy Bebop, to backstage fights at music festivals. After about 30 minutes, Hannibal graced the stage.

Hannibal’s set was not as straightforward. Though it is unclear whether or not he was unprepared, or under the influence, or both, the Chicago comedian stumbled through a mixture of old bits, awkward banter, and personal songs. It wasn’t all bad - at one point he brought out Open Mike Eagle, and it was fun watching the band members behind him cringe as he tried to play off poorly timed jokes about Chadwick Boseman. While it would have been more enjoyable if his set was better, or if he bombed harder, attendees seemed to be having a good time, if not a little confused as to what was going on. Selena Kuikahi, an attendee at Saturday’s show, noted that Hannibal looked like he “didn’t try”, but the performance was not without its moments. Another highlight was when Hannibal made his way through the parking lot in a UFO, asking fans what their biggest regrets in life were. Though the bit didn’t last long, it was still great to watch a grown man talk about VR porn for an hour. 

Though the pandemic has hit the live performance industry hard, and many fans are ravenous to go out and live their lives again, shows like these are a solid way to get out of the house safely, and to forget about present anxieties for a few hours. The audio quality was surprisingly good, especially compared to when I watched Tenet in Sparks Nevada at another drive-in. Unlike that one, the audio did not sound like it was being played through a walkie-talkie, and we did not hear gunshots within 15 minutes of the performance. Parking was easy and it didn’t take long to leave the stadium, so I would highly recommend performances like these as a great way to revitalize both your mental health and a suffering industry right now. Thundercat and Hannibal put on a great show, given the circumstances, and I look forward to eventually seeing the two of them at a show in the future. 

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Action Bronson: ‘Only For Dolphins’ Album Review

By Luke Modugno

Everyone can appreciate a well-executed album concept. Weather it be a psychedelic journey through Travis Scott’s fantasy theme park in ASTROWORLD, a journey through the complex, intricate layers of the mind of a troubled genius in Kanye West’s My Beautiful Dark Twisted Fantasy, or the depiction of a world ruled by a ruthless masked conqueror in Madvillainy, albums simply separate themselves from the ordinary with a intriguing concept. That was absolutely the case with the tropical, exotic new Action Bronson record, Only for Dolphins. 

Excluding his collaborative record with The Alchemist, we haven’t heard a full-length solo album from the New York native since 2018. Since then, Bronson has clearly been in the lab, as Only for Dolphins is by far-and-away his most eccentric, compelling and distinguished record to date. 

From the opening moment of the record, the production is extremely unique and attention-grabbing. Defined by the occasional dolphin noise, the sound of waves crashing and warm, plucky guitars and inviting pianos, the listener can’t help but feel transported into a Miami-vice-esque world created by Bronson’s beat selection. With help from prestigious producers The Alchemist, Harry Fraud and Daringer, Bronson spits entrancingly smooth bars about his foreign travels, eating international exquisite cuisines and his driving his luxury cars “like Dale Sr.” The infusion occasional oceanographical reference along with Bronson’s usual lyrical topics add a signature touch to Only for Dolphins, definitively isolating it from the rest of his discography. Conceptually, the project is unparagoned and inherently enthralling. Only for Dolphins’ soundscape makes you feel as though you’re laying on a exotic beach in a cabana, or riding down Calle Ocho in a drop-top convertible. 

Bronson also dabbles in genre-bending, as multiple records on Only for Dolphins have unmistakable reggae influences, including “Cliff Hanger,” and “Golden Eye.” Additionally, Bronson favors more psychedelic, hypnotizing subject matters and beat selection on tracks like “C12H16N2,” as we follow Bronson through a shroom trip while attending an early screening of “The Irishman” at Lincoln Center. From the lethargic, slower beats on “Vega” and “Hard Target,” to uptempo head-nodders like “Latin Grammys” and “Mongolia,” Bronson kills whatever challenge comes his way. Bronson’s usual boom-bap, classic New York sound is nowhere to be seen. Instead, Only for Dolphins represents Bronson’s arc of progression as an artist, as he seems much more comfortable taking on a diversified palette of beats. 

One of the few negative aspects of the project comes from the lack of guest appearances on Only for Dolphins. Excluding two tracks, the album is devoid of features. On tracks like “Latin Grammys,” “Hard Target,” or “Marcus Auerlius,” a feature from an R&B artist would’ve helped mitigate moments where Bronson somewhat awkwardly delivers hooks. 

All across Only for Dolphins, Bronson chooses to slow things down. While he sounds less hungry than he did on earlier works like Mr. Wonderful, Bronson sounds older and wiser on this project, as he spits on “C12N16H2,” “I got older and realized there were no heroes/Dont even talk to me unless you’re talking more zeros.” The lack of venom in Bronson’s flows fits the album perfectly, as the sonic backdrop provided by the production fits a more lackadaisical delivery. Additionally, we get flashes of unusual introspection from Bronson on tracks like the off-kilter closer “Hard Target,” where he raps, “The weed don’t even hit me like it used to/When I was youthful/Man, I don’t even know how to pray dog.” Only for Dolphins is the perfect project for those missing vintage Bronson, but are ready for something significantly distinct as compared to his prior efforts.  

Through-and-through, this project is easily one of the best-produced records to drop this year. At this point in his rather distinguished career, Bronson can truly take his artistry in whatever direction he likes and it will likely be a success. Bronson challenges his own artistic tendencies with Only for Dolphins and it pays off.

Favorite tracks

C12H16N2 

Latin Grammys 

Sergio 

Rating: 8.5

Listen to Only For Dolphins here:

Listen to Only For Dolphins on Spotify. Action Bronson · Album · 2020 · 12 songs.

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Can Lightning Strike Twice? 'Savage Mode 2' Album Review

By Carter Fife

Four Years ago 21 Savage and Metro Boomin released Savage Mode, a dejected and hyper-violent mixtape that helped elevate the two young trap artists into hip-hop stardom. The record was a dejected and bleak portrayal of poverty, betrayal, and gang violence - so miserable and grim that it was almost indulgent in the exploration of its own suffering. Metro’s innovative production and 21 Savage’s signature vocal tone and thematic register would work in tandem to create ubiquitous and universally-known tracks like ‘X’ with Future and ‘No Heart’ that still resonate in hip-hop’s canon today. After several months of rumors and cryptic hints, Metro Boomin and 21 Savage finally released the long-awaited sequel Savage Mode 2, sporting a nostalgic bling-rap cover with a knife separating the two icons. The record is six tracks longer than the original, and this time around Metro Boomin’s production is not only decorated with a host of new guests, but also a more developed 21 Savage. Thankfully many of the tracks were worth the wait, but whether or not it will stand the test of time like the first Savage Mode did is yet to be seen.

One of the first things one hears listening to Savage Mode 2 is not 21 Savage or one of Metro Boomin’s notorious production tags. The first voice on the record is instead, Morgan Freeman, who narrates over half of the songs on this record. Occasionally he will gracefully make an appearance to offer some wisdom on the nature of violence, snitching, or what Savage Mode means. While some found this to be corny, Freeman’s narration actually has two purposes - the first is to obviously flex on the audience with a star actor delivering ideas that you would never expect to hear come out of Morgan Freeman’s mouth, but the other is to add a sense of levity to the record. Since the release of Savage Mode, 21 Savage has gradually incorporated his subtle sense of humor into his music, perceivable only to those that keep a close eye on what Savage is putting down, which admittedly is easier said than done. Though the first track is entirely Freeman’s musings, the album wastes no time getting to the music.

Savage Mode 2 sees 21 Savage and Metro Boomin at arguably the prime of their careers. Though Metro frequently takes time off to ‘retire’, 21 Savage has spent the past 4 years consistently developing as an artist with each release. It is rather strange to think about how the original Savage Mode came out right after 21’s placement on the XXL freshman list in 2016, and now we see him 5 platinum singles later, with placements from artists like Travis Scott, Post Malone, Drake, Nicki Minaj, and Offset under his belt. On Savage Mode 2 he shines, delivering hard-hitting raps that no longer need to rely on meme-esque threatening or overly-violent one-liners. 21 Savage demonstrates a versatility that is uncommon to see in an artist his age, flowing effortlessly on desolate bangers like ‘Glock In My Lap’, pop-rap hybrids like ‘Mr. Right Now’ with Drake, and even more laid back and vintage sounding cuts like ‘RIP Luv’, ‘Said N Done’ and ‘Rich N**** Shit’ with Young Thug. Where there used to stand an indulgent one-dimensional rapper, today exists a multifaceted and skilled artist who can hold his own when working with even the most commercially-successful industry heavyweights.

This time around Metro Boomin’s production does not seem as game-changing or innovative, which is not entirely his fault. Over the past few years, Metro has seen his production methods and styles become the industry norm, so much so that at this point songs like this rarely are classified as trap music. A negative side effect to Metro Boomin not being one of the only ones in his lane anymore is that now his style sounds generic - like commercial hip hop. Despite this, Metro Boomin still works against the trends to deliver some hard-hitting and incredibly well-composed mixes, even if seconds after their release he inspires a whole new wave of ‘type beats’ to drop on YouTube.

Album cuts like ‘Glock In My Lap’ and ‘Brand New Draco’ are spacious and cinematic - a surprising departure away from the ambient and dangerous beats that he used to compliment 21 Savage’s style so many years ago. The record’s first half is full of great beats, ‘Runnin’ and ‘Slidin’ both capture the energy of the first Savage Mode, albeit a bit more moderate. Though some of Metro’s mixes may appear as less lustrous as they would have 4 years ago, like ‘Snitches and Rats’ with Young Nudy and the first half of ‘My Dawg’, others are hard not to praise despite not being incredibly enjoyable. The first that comes to mind is ‘Steppin on N****s’, a percussion-heavy beat that sounds like it was ripped straight out of the ’80s, and the klaxons used on the chorus with 21 Savage’s monotone evoke almost Planet Rock-type vibes. It is easy to wish that Savage Mode 2 sounded more like the first, filled with haunting minimalism and low-key instrumentals that help capture 21 Savage’s misery and struggle, but the choice to include a more dynamic array of beats was likely the right one as 4 years later, neither Metro nor 21 are the same artist that they used to be. This may be a good thing, no matter how much love Savage Mode receives.

Ultimately there is not too much to criticize about this record. Like most records of its type, it is a lot to digest while listening to the entirety in one sitting, but this mixtape has many positives that its predecessor didn’t. Savage Mode 2 is far more versatile than the first, and though it may not have its euphoric highs, it makes up for this with consistency, talent, and versatility. 21 Savage’s departure from his reliance on extremely sinister lyrics signals a substantial change, and despite the fact that his writing is still far more melancholic and violent than the average rapper, he now has many more skills and tricks at his disposal this time around. Hearing 50 Cent on ‘Many Men’ was an incredible moment that wouldn’t have fit the monolithic register of the first Savage Mode, and this record certainly makes a strong argument towards investing in a new artistic direction. It is not easy to make lightning strike twice, and perhaps it did not with Savage Mode 2, but maybe that is a good thing. Metro Boomin and 21 Savage’s turn towards a more dynamic and insightful aesthetic will likely pay off in the long run, but only time will tell. If you haven’t checked out this album yet, you owe it to yourself to do so - it is streaming everywhere and best believe if they decide to tour once the pandemic is over, you’ll have to bite and claw to get a ticket.

Favorite tracks

Glock In My Lap

Said N Done

Many Men

Rating: 8

Listen to Savage Mode 2 here:

Listen to SAVAGE MODE II on Spotify. 21 Savage · Album · 2020 · 15 songs.

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StereoVision's AOTY Power Rankings: October

By StereoVision Staff

Welcome to our Album of the year power ranking series! Each month all our team members submit their “top 10 albums of 2020 so far” along with some notes about why their list looks the way it does. These lists are then compiled into our overall power rankings which you can find below. Keep scrolling to see each team members personal list which gives interesting insight on how different albums age over the course of the year for specific people. Thanks for reading, we hope you enjoy the article!

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the teams picks:

I’d be surprised if anyone’s list changed as much as mine since the last installment of power rankings. My top ten got a complete facelift due to new releases along with me escaping my childhood basement and moving back to LA, two completely different worlds where I perceive music differently. Well Alfredo is still my album of the year, Benny the Butcher’s new album Burden of Proof is right there and has only been out a week - don’t be surprised if those two switch places by the year’s end. Pop Smoke’s album gets better every month and the smooth five song run near on the backend of the album (Enjoy Yourself to Diana) gets more play than almost anything else that came out this year. Blxst is the hottest thing to come out of LA this year and is without a doubt my favorite artist out right now. If you have’t heard his debut EP No Love Lost you NEED to tap in, I’m not exaggerating when I say I play it on the daily. I can’t wait to see what the last two months of 2020 have in store for us, hopefully drops from Isaiah Rashad, Baby Keem, Drake, and Smino all see the light of day this winter and shake my list to the core. -Spencer Lobdell

Y’all know I’m not budging and leaving CHILOMBO in my top spot for Album of the Year. The versatility in Jhenè’s ability to heal and inspire is crystal. While I was oblivious to his influence prior to 2020, Benny the Butcher ranks highly on my list. Burden of Proof contains cohesion, content, and featured artists of high quality. The Chicago girl in me is attached to PTSD and the deluxe because my ear cannot get enough of G Herbo’s sound. Aminè, Chloe x Halle, and Kota the Friend all have my heart. I crave music that I blast during solo car rides but also bump with friends. It’s safe to say my list won’t shift much come December. Most of my favorite artists have delivered their best albums to date this year. -Amaya Lorick

Alfredo holds on as my album of the year after a lot of thought. Though with the way the year seems to be heating up that spot is definitely up for grabs. No Love Lost by Blxst was a huge surprise this year. This is a seven track project with no misses. Benny the Butcher also has his introduction to my list with his incredible album Burden of Proof. Griselda has been on fire this year and so has Hit-Boy. Burden of Proof might be both parties' best release of the year. After this are two familiar picks in 3.15.20 and A Written Testimony. While Limbo was an early favorite for me it was still able to find its way onto my list at number 7, and it remains one of the most pleasant listens of this year. For the last of the new additions to my list there is Also Known As. Another great release produced by Hit-Boy, Dom Kennedy sounds very comfortable over every single hard hitting beat. The list rounds out with two of the best R&B albums of the year in Take Time and F**k the World. -Miles Hagan

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As we head into the final months of 2020, it is entirely safe to say it has been nothing short of a phenomenal year in rap, R&B and soul music alike. Although my top 5 has remained the same, the rest of the list was extremely difficult to formulate, given the plethora of strong releases in recent months. While Alfredo certainly stole the show upon its release, I've noticed myself re-visting Mac Miller's Circles more often and enjoying the album considerably more than Freddie Gibbs and The Alchemists' project. Meanwhile, Logic's impressive final album No Presure was a heartwarming and impressive way to end his career. And who can resist the Miami Vice-esque vibes emanating from Action Bronson's latest LP Only for Dolphins? -Luke Modugno

After Hours, my favorite Weeknd album, has truly stood the test of time throughout the year. No album released this year is touching After Hours sonically. Picks 1-5 were probably the easiest picks, they were everything a great album should be: great lyrics, great vocals, great production, released with intention, and pre-release felt like an event. I had to put Herb’s deluxe up here, I’m a little angry that the deluxe wasn’t the actual album, since these tapes don’t often get the publicity that initial releases do. I’m sure if this deluxe was the original PTSD album, Herb would be huge right now. -Courtney Fields

Although 2020 is nearing its final moments the music seems to be doing anything but winding down. The past few months have given us great records like Kacy Hill’s newest project and RTJ4, though Smino, Jay Electronica and The Weekend continue to dominate my rankings. There were many great albums that I couldn’t include on my list, but hopefully I’ll be able to add a new Isaiah Rashad, Kanye, Drake or Kaytranada record by the time the year is up! -Carter Fife

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My list has changed quite a bit from the last installment of our Power Rankings series. The new Charli XCX album easily replaced After Hours to take the top spot on my list, as Charli’s unique production choices combined with super intimate songwriting made for a tight, thrilling dose of innovative pop music with high replay value. Yves Tumor created a dense, constantly-shifting alternative rock soundscape on Heaven to a Tortured Mind, and Sevdaliza did the exact opposite on Shabrang, a sparse, psychological journey that combines elements of art pop, trip-hop, and grunge. Meanwhile, Freddie Gibbs’ recent collaboration with legendary hip-hop producer The Alchemist made its way onto the top half of my list, as Gibbs continues to prove his abilities as one of the most technically proficient MCs in the game right now. Bladee’s 333 provided a nocturnal journey into the mind of one of Sweden’s most prolific young voices (Yung Lean’s Starz could have just as easily taken this spot), and Last Year Was Weird, Vol. 2 by Tkay Maizda flexed the Australian artist’s extremely fluid songwriting skills and range. -Owen Tait

Over the past few months, I have been pleasantly surprised by the new releases that came from two of my favorite artists, Father and The Neighbourhood. Both projects from both acts maintained the perfect balance of innovation upon their sound and keeping the ethos of their work the same as before. For a returning listener, this is all I could ask for and more. I have also been excited by the work from several up and coming artists. North Carolinian rapper TiaCorine released her first EP in September and I have been unable to turn it off. A month prior to that, Australian rapper Tkay Madiza put out the appropriately named project This Year Was Weird Vol. 2,  an eclectic album guaranteed to up your energy and put you in your power. As I have focused more on my personal growth, Thundercat’s It Is What It Is has moved up my list. Could it possibly overtake my prevailing favorite Man Alive? We’ll see in three months ;) -Kaila Cherry

Never would I have thought Aminé would be in my top ten for 2020, let alone my #1. With the release of Limbo, my whole perspective shifted dramatically. This project was so fun, thoughtful, and cohesive. Spillage Village secured the 2 spot by creating something so different and beautiful. The collective came with the bars, the emotion, and the complex instrumentals that always kept me on my toes. The Alchemist and Freddie Gibbs came with the elaborate production and clever bars that I still probably haven’t even fully digested. Pop Smoke’s album was everything I could have asked for and more. You already know I’m running it back every Wednesday, at least! I was never bumping Juice WRLD’s leaks, so Legends Never Die was brand new to me. This project was bittersweet, and the thing that I love about Juice, is his ability to convey emotion over hypnotizing melodies. Mac used to run the top spots in my list, but over the year I caught myself playing it less and less. Nothing short of a fantastic album, but I definitely feel like I have moved on a bit. I was rocking with PTSD ever since it released, and I have become a much bigger Herbo fan over the course of this year. I still think the title track is still one of the rawest cuts to drop in 2020. I’m excited to see what comes out during the final two months of 2020 and reveal the final form of my AOTY list. -Colson O’Connor

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Armani Caesar: 'THE LIZ' Album Review

By: Luke Modugno

The Griselda crew has had nothing short of a historic year in rap. From Westside Gunn’s eccentric debut Pray For Paris turning heads and newly inducted member Boldy James blessing his fans with a collaborative project with The Alchemist, to the group announcing the release of four albums in the coming month (Westside Gunn, Benny the Butcher, Conway the Machine and Armani Caesar), Griselda has completely stolen the show. But it's one the groups most omitted members that has shined the brightest. At just 11 tracks spanning a tight 26-minute runtime, Armani Caesar’s debut record, THE LIZ, cements her spot as the group's hidden gem.

The first and most poignant attribute that stands out on THE LIZ is the beat selection. Sounding awfully similar to her Griselda counterpart’s beats, Armani Caesar’s brassy voice fits flawlessly with the dusty, drum-heavy production. Let's be clear: these are some of the hardest beats to rap on. Often wonky, dreary and low-energy, the onus is on the MC to deliver verses worth listening to. And Caesar does just that, time-after-time on this project. Not only does she deliver verses worth listening to, but she also competes with the likes of Benny, Conway and Westside Gunn on multiple tracks, trading bar-for-bar, and verse-for-verse with the top dogs of Griselda. 

On “Mac 10s for Everybody,” Griselda head-honcho Westside Gunn steps aside as he provides a catchy, proficient hook for Caesar and of course, his signature ad-libs. But THE LIZ really begins to shine toward the halfway point. Within a 3-track-span, Caesar completely outraps Conway on “Gucci Casket,” trades bars with Benny the Butcher on “Drill a RaMA,” and goes toe-to-toe with Benny again on “Simply Done.” Not even Westside Gunn can say he clearly had the best verse on every song on his project, but Caesar absolutely can. Toward the end of the project, Caesar rides a dreamy, luxurious beat on “Palm Angels,” making for a clear highlight on the project. 

However, Caesar’s versatility is something that the MC neglected to display on THE LIZ. On her previous projects like Pretty Girls Get Played Too and Caesar’s Palace, her sonic aesthetic is geared more toward a Nicki Minaj fan. What this project lacked was exactly that: a wider array of beats to compliment Caesar’s considerably large skill set. For example, Griselda teammate Conway The Machine displayed his musical versatility earlier in the month when he dropped From a King to a GOD, as he delivered melodic hooks, rapped over trap production cooked up by Murda Beats, and still killed any dusty drum sample passed his way. Caesar was actually a feature on the project, and showed her knack for flowing impeccably over a trap beat, as she did on “Anza.” Especially with debut albums, a MC’s full range of artistry should be present, and Caesar’s just isn’t all there on THE LIZ. 

While the concesity of the album is mostly a positive attribute, it leaves the listener wanting more from Caesar. Nevertheless, in the 11 tracks she did provide, Armani Caesar impressed me thoroughly. Over the coming years and while the Griselda crew continues their meteoric rise to fame, Caesar is most definitely one to watch and one to be respected.  

Favorite tracks

Mac 10s for Everybody (feat. Westside Gunn)

Drill a RaMA (feat. Benny the Butcher)

Palm Angels 

Rating: 7

Listen to THE LIZ here:

Listen to THE LIZ on Spotify. Armani Caesar · Album · 2020 · 11 songs.

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TiaCorine "34Corine" EP Review

By Kaila Cherry

TiaCorine’s path to where she is now was slow, steady, and calculated. Although Corine had been making music since she was in the third grade, it was not until 2018 that the 27 year old rapper would release her breakout single. Her infectiously catchy track “Lotto” took over Tik Tok and Instagram throughout 2019 and garnered praise from big names like SZA, A$AP Rocky, and Drake. However, TiaCorine was not ready to release a full project at the height of her virality. This is an unprecedented and bold move for her. In our current zeitgeist, immediacy has become the norm for everything from album drops to Amazon package deliveries. Yet TiaCorine decided not to ride on the hype and to instead build a solid fan base before putting out her first project. The wait was worth it. At the start of September, TiaCorine released her debut EP 34Corine. Punchy, bubbly, and fun, TiaCorine undoubtly leans into the niche she has created for herself (which she calls “Anime Rap”) and makes it clear to anyone listening that she is worthy of our respect. 

34Corine derives it’s name from the rapper’s hometown of Winston-Salem, North Carolina. Referred to as the tre-fo by locals, TiaCorine’s proximity to the Dirty South, Trap, and East coast hip hop/R&B scenes meld together on the production of her debut project. TiaCorine plays with flow, pitch, and inflecction all throughout the EP. On tracks such as “IYKYK” and “In My Room” she utilizes autotune as a character to accent her “girliness” while subverting what exactly that “girliness” is supposed to encompass. In her sweet pitched up voice, Corine makes it clear that men shouldn’t touch her if they can’t afford her, that she is not here for the “stupid fuck niggas” because she is too “awesome.” Along with being girly and bragadocious, TiaCorine can also be sensual and alluring. The track “34 Faucet” is enchanting with it’s 2000s-esque R&B sound, sweet melodies, and sexually charged lyrics are sure to attract any man she sets her sights on. 

Where TiaCorine shines the brightest, however, is on the tracks where she shows us she can truly rap her ass off. On “30” and “Mine,” Corine flexs her ability to rap fast, coherently, and with vibrant rhymes and clever wordplay. Her humor comes out on lines like “Damn, I just popped a bean/Damn, what’s a bean?” and “Booty too bad, Nickelodeon slime/Got spare change but still look like I’m a dime.” These tracks are the most high energy of the bunch and with them they bring so much carefree fun to the project. “30” and “Mine” are the ideal songs for recording yourself throwing it back in your bedroom, which is perfect for these quarantine times. (PSA from Kaila: Wear you masks and keep 6 feet from others! Damn!) 

34Corine is one of the most refreshing, lighthearted, and addicting EPs to come from an up and coming artists this year. TiaCorine’s name is getting murmurs when it needs to be getting shouts. Don’t be that person who, in a year or two one she blows up, will be thinking “Wasn’t that the girl who made that Tik Tok song?” Instead, be the one who has been there from the start, has followed her growth, and can say “I’m proud to see that TiaCorine is finally getting the recognition she deserves.” That all starts with giving her latest EP a listen. You won’t regret it. 

Favorite Tracks

Mine

30

34 Faucet

Rating: 7

Listen to 34Corine here:

Listen to 34Corine on Spotify. TiaCorine · Album · 2020 · 8 songs.

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