De La Soul - Cabin In The Sky

Cabin in the Sky is a rare kind of Hip Hop album: reflective without drifting into sentimentality, steady in its craft, and shaped by the absence of David “Trugoy the Dove” Jolicoeur. This is De La Soul’s first release since 2016 and the first made after Dave’s passing, though his voice, humor, and creative rhythm stay present throughout. Posdnuos and Maseo treat the album with care, but they also allow it to move with the curiosity that defined the trio from the start.

De La Soul’s history hangs quietly in the background. From the free-spirited experiments of 3 Feet High and Rising and the gravitas of De La Soul is Dead, to the musicality of Buhloone Mindstate and the sharpened writing of Stakes Is High, to the conceptual arcs of the AOI series and the Hip Hop core of The Grind Date, the group built a catalog that expanded the space Hip Hop allowed for imagination and emotional range. Their independence, samples, storytelling, and internal chemistry shaped the foundation of alternative Hip Hop long before the term had a fixed meaning. That history informs Cabin in the Sky without turning it into a retrospective; the album works as a continuation rather than a summary.

The title points to transition and spirit, taking its cue from the 1943 film. Giancarlo Esposito’s narration builds that atmosphere, guiding the listener into a space that shifts between celebration and reflection. The album feels like a gathering that spans eras, where guests step in to contribute to a shared moment rather than steal attention.

The features—Nas, Q-Tip, Slick Rick, Common, Black Thought, Killer Mike, Bilal, Yukimi Nagano, Busta Rhymes, and others—fit naturally into De La’s cadence. These artists enter with intention, adding color without disrupting the album’s internal rhythm. The production lineup—DJ Premier, Pete Rock, Supa Dave West, Nottz, Jake One, Just Wazzx3, and Trugoy—creates warm, layered beats grounded in soul, jazz, and subtle grit. The sound feels lived-in and patient, built to hold verses that sit close to the heart.

Trugoy’s presence is woven in with clarity. His appearance on “Good Health” brings an easy warmth, and other moments built from past recordings feel integrated rather than patched in. His last verse on “Don’t Push Me” closes the record in his own voice, giving the album a calm, grounded finish.

Cabin in the Sky impacts with the confidence of artists who understand their history and refuse to flatten it. It honors a long partnership without turning grief into spectacle. It is warm, honest, and steady—an album built on a bond that continues to hold shape, even after life has taken one of its architects from the room. (Full review here.)

Release date: November 21, 2025.

billy woods - GOLLIWOG

billy woods’ GOLLIWOG opens like a trap door. It doesn’t provoke with shock—it simmers with dread. Structured like a horror film in reverse, it lingers, stalks, and unfolds with controlled unease. Across 18 tracks, woods delivers some of his most vivid, fractured work yet. A rotating lineup of producers—The Alchemist, Preservation, Kenny Segal, EL-P, Steel Tipped Dove, and others—constructs a soundscape of industrial rot and psychological decay. Every beat feels like it’s rising from a flooded basement; every verse flickers like a dying flashlight.

The opener, “Jumpscare,” sets the tone with groaning metal and stillness that creeps under the skin. woods doesn’t raise his voice—he mutters, like reading a coroner’s report down the hall. “STAR87” is equally tense. Conductor Williams layers wires, phones, and strings into something jagged and sharp. woods doesn’t organize the noise—he moves through it like he’s lived there for years.

The bleakness isn’t just sonic—it’s emotional. On “Misery,” Kenny Segal loops a brittle piano under static and hiss. woods sounds buried but cutting, tired in a way that can’t be faked. “Waterproof Mascara” is nearly unbearable in its tension—Preservation loops a warped scream under anxious piano hits. woods doesn’t flinch. He floats above it, already elsewhere.

“Corinthians” finds EL-P and Despot in a grim cipher, cold and distorted. “All These Worlds Are Yours,” produced by DJ Haram and Shabaka Hutchings, spirals in metallic menace. No hooks, no relief—just static and dread. On “Maquiladoras,” al.divino and Saint Abdullah build a haunted factory floor. woods raps like he’s reporting from the wreckage, not performing.

Even the more spacious cuts offer no comfort. Yolanda Watson’s ghostly vocals haunt “A Doll Fulla Pins,” and “BLK ZMBY” crawls with skeletal minimalism. “Lead Paint Test” turns a drum loop into a pressure cooker as woods, ELUCID, and Cavalier trade hushed verses. The closer, “Dislocated,” ends in near silence—jazz-soaked, submerged, unresolved.

GOLLIWOG doesn’t guide or soothe. It disorients. woods scatters his lyrics like crime scene fragments, never offering clarity or closure. The beats are sparse but heavy, full of hisses, echoes, and distant crashes. The record feels like sitting with trauma—not witnessing it, but inheriting it. There’s a constant pressure in the space between snares, in the surveillance-style samples, in woods’ unflinching descriptions of inherited violence. This isn’t a poetic horror. It’s just horror. And it’s never exaggerated—it’s familiar.

GOLLIWOG is both a continuation and a leap in the context of billy woods’ discography. It deepens his themes of alienation, Black identity, and historical trauma while embracing an abstract, almost theatrical form. For years, Hiding Places stood as his peak of the past ten years for us—a masterpiece of suffocating intimacy. But GOLLIWOG might top it. There’s a rare clarity of vision here. This isn’t just another great billy woods album. It’s one of his absolute best. An incredible work.

Release date: May 9, 2025.

Clipse - Let God Sort Em Out

Clipse, the Virginia Beach duo of brothers Gene “Malice” Thornton and Terrence “Pusha T” Thornton, redefined Hip Hop with their 2002 debut Lord Willin’ and 2006’s Hell Hath No Fury, blending sharp lyricism with The Neptunes’ futuristic beats. After a 16-year hiatus, marked by Malice’s faith-driven break and Pusha T’s solo rise, they return with Let God Sort Em Out, released in July 2025 on Roc Nation, produced entirely by Pharrell Williams.

The album opens with “The Birds Don’t Sing,” a heavy meditation on the loss of their parents. Pharrell’s mournful piano and a gospel choir set a somber tone, though the track’s pop-leaning chorus feels slightly out of place. Clipse quickly shift to their signature menace on “Chains & Whips,” where a squeaky, chaotic beat backs Kendrick Lamar’s fiery verse and the brothers’ precise wordplay. Their chemistry—Pusha’s relentless edge and Malice’s reflective calm—drives the album, balancing bravado with introspection.

Pharrell’s production is bold and varied. “E.B.I.T.D.A.” rides a jittery drum loop, its quirky hook turning a business term into something infectious. “F.I.C.O.” pairs booming bass with a soulful vocal sample, amplified by Stove God Cooks’ gritty hook. “Inglorious Bastards” twists horns into an atonal snarl, matching the duo’s sharp disses. Not every track lands—“So Be It” suffers from muddy mixing, with vocals and Indian vocal samples clashing awkwardly—but missteps are few and minor.

Lyrically, Clipse remain unmatched, weaving drug-trade metaphors and boasts with humor and depth. “P.O.V.,” featuring Tyler, The Creator, blends ominous production with luxury-laced taunts, while “All Things Considered” offers raw reflections on past struggles. Guests like Nas, Kendrick, and Tyler, the Creator add flavor without overshadowing. The album’s title reflects its ethos: let the music settle the score. At 13 tracks, it’s lean and purposeful, respecting their legacy while carving new ground.

Let God Sort Em Out is peak Clipse: confident, introspective, and razor-sharp. Pharrell’s experimental beats and the brothers’ dynamic interplay make it a standout, proving their craft still sets the standard in Hip Hop.

Release date: July 11, 2025.

Freddie Gibbs & The Alchemist – Alfredo 2

Freddie Gibbs and The Alchemist reunite for Alfredo 2, a 14-track, 48-minute sequel to their 2020 Grammy-nominated Alfredo. Swapping nocturnal haze for sunlit clarity, this album blends soulful production with sharp lyricism, delivering a vibrant, cohesive Hip Hop experience.

Alfredo 2 trades Alfredo’s pasta for ramen, mirroring its bright shift. The Alchemist’s jazzy, retro-fusion beats draw from 60s and 70s soul. “1995” opens with crunchy guitar licks, evoking a sunlit cruise. “Ensalada,” with Anderson .Paak’s soulful hook, glides over slick guitars, while “Gas Station Sushi” pairs cinematic synths with thumping drums. “Gold Feet” features spiraling pianos, and “A Thousand Mountains” closes with hypnotic flutes, maintaining a polished edge.

The album balances brash confidence with introspection. “Lavish Habits” drips with humor, Gibbs jabbing at DJ Akademiks over horn-flecked beats. “Jean Claude” reflects on relationships with warm, jazzy keys, while “I Still Love H.E.R.” honors Hip Hop with tender, soulful vibes. “Gas Station Sushi” delivers somber storytelling, grounding Gibbs’ swagger in emotional depth. The mood is relaxed yet assertive, capturing a seasoned hustler’s stability.

At 48 minutes, Alfredo 2 is tightly sequenced, with skits adding cinematic flair. “Lemon Pepper Steppers” accelerates with Gibbs’ double-time flow, while “Ensalada” and “Gold Feet,” featuring JID’s intricate bars, shine. Larry June’s flat verse on “Feeling” disappoints, but Anderson .Paak and JID elevate the album’s diversity. Every track contributes to a narrative of hustle, love, and reflection, avoiding filler. The album’s vivid storytelling and soulful beats prove the duo’s chemistry remains electric, delivering a project as satisfying as ramen on a sunny day.

Release date: July 25, 2025.

Saba & No I.D. - From The Private Collection Of Saba And No I.D.

From The Private Collection Of Saba And No I.D. is an album built on groove, focus, and mutual respect. The production is steeped in soul, jazz, and dusty funk, with drums that knock and samples that swirl but never overcrowd. No I.D. stretches out across the tracks, flipping chords into loops that breathe, chop, and evolve without losing momentum. At its best, the music hits with the swing of classic Hip Hop and the precision of seasoned jazz players locked into the pocket.

This album was a long time coming. What started as a mixtape slowly expanded into a full project, built over years of creative back-and-forth. Saba and No I.D. are from different generations, but their shared roots in Chicago rap culture give the record a strong foundation. No I.D. helped shape the city’s sound in the ’90s, while Saba has grown into one of its most distinctive voices over the past decade. That connection isn’t just historical—it’s musical. The whole record feels like a conversation between eras.

Saba moves through these beats with ease. His voice sits low in the mix, confident and conversational, leaning into rhythms instead of chasing them. He’s relaxed but sharp, slipping between laid-back storytelling and dense rhyme work. On “Every Painting Has A Price,” he raps like he’s flipping through memories, and No I.D. matches the energy with layered samples that feel hand-stitched. “head.rap” is playful and personal, with Saba turning a verse about hairstyles into something much deeper. The writing throughout the album is tactile and observant—small details, unexpected phrases, and clever pivots come naturally.

Guest appearances are carefully placed. Raphael Saadiq and Kelly Rowland smooth out the bounce on “Crash” without diluting its snap. Ibeyi adds a watery tension to “Reciprocity,” singing around Saba’s steady voice rather than over it. Frsh Waters, Smino, and others don’t pull focus—they fold into the texture. The record works like a group conversation, open and easy.

No I.D.’s production ties it together. He leans into subtle details: brushed snares that loop a half-beat early, vocal samples clipped just enough to feel crooked, synths that hum instead of shine. The drums never fall out of step, but there’s space for the rhythm to breathe. On “Stomping,” a jagged guitar loop cuts through the warmth, adding friction. “30secchop” and “How To Impress God” both carry a heavier air—slower tempos, darker tones—but Saba never gets lost in the weight.

The album moves without rushing. It stretches across moods—casual, reflective, funny, heavy—but never shifts gears too fast. No I.D. brings patience and balance; Saba brings sharp timing and comfort in his own voice. From The Private Collection doesn’t aim to overwhelm. It invites you in, takes its time, and stays grounded in the craft.

Release date: March 18, 2025.

Armand Hammer - Mercy

Mercy, the new collaboration between Armand Hammer (billy woods and Elucid) and The Alchemist, is a focused, restrained record that trades chaos for precision. Following Haram (2021), their second collaborative joint project finds The Alchemist tightening his palette—warm basslines, muted drums, and fractured loops that leave air for the duo’s dense lyricism. The result is sharp and deliberate, a record built on tension rather than explosion.

Across its lean runtime, Mercy sounds patient, almost suspended. The opener “Laraaji” sets the tone with faint guitar, slow drums, and two emcees moving like chess players. woods writes in clipped, vivid fragments; Elucid threads abstract thought through vivid street language. The production never overwhelms—it hovers, creating small rooms for reflection and unease.

Themes of violence, faith, and survival repeat across the record. On “Nil by Mouth,” the drums drag while the rappers circle moral decay and desensitization. “Scandinavia” tightens the walls further—drums like distant detonations, verses gasping for space. The tension breaks briefly on “Calypso Gene,” where Cleo Reed’s gospel-tinted vocals echo over dusty organ and subdued funk.

The guest list—Earl Sweatshirt, Pink Siifu, and others—adds texture without diluting the core identity. “California Games” glides with sun-bleached flutes and fading horns, while “Crisis Phone” slips into haunted stillness. The closer, “Super Nintendo,” loops a nostalgic synth figure that softens nothing; the lyrics remain heavy with history and fatigue.

Compared to We Buy Diabetic Test Strips’ restless energy, Mercy feels grounded, less chaotic but equally demanding. The Alchemist’s production is clean and deliberate, sometimes sparse to the point of unease. That restraint gives woods and Elucid’s writing sharper definition—their verses cut quietly but deeply.

Mercy isn’t designed for immediate reward. It asks for close listening, pulling the listener into small sonic chambers where language and silence trade weight. The record’s strength lies in its control: every sound feels placed with care, every word heavy with purpose. In 2025, few rap groups maintain this level of clarity and craft. Mercy is not flashy, but it’s precise, disciplined, and deeply human.

Release date: November 7, 2025.

McKinley Dixon - Magic, Alive!

McKinley Dixon’s fifth album, Magic, Alive! is a vibrant, 35-minute blend of jazz, Hip Hop, and soul. Centered on kids grappling with a friend’s death, the Chicago rapper’s 11-track project pulses with lush instrumentation and emotional depth. Following Beloved! Paradise! Jazz!?, it’s a bold, cohesive work that balances grief and joy.

“Watch My Hands” opens with Eli Owens’ shimmering harp and soft percussion, Dixon’s warm flow painting a nostalgic neighborhood scene. “Sugar Water,” featuring Quelle Chris and Anjimile, is a standout, its triumphant horns and gospel harmonies soaring over a smooth bassline. At just over two minutes, it’s a radiant burst that begs for more. “Crooked Stick,” with Ghais Guevara and Alfred., leans into raw intensity with jagged guitars and blaring horns, Dixon’s precise delivery anchoring the chaos. “Recitatif,” featuring Teller Bank$, shifts from a snare-driven rhythm to distorted bass.

“We’re Outside, Rejoice!” bursts with life, its peppy organ and hard-hitting drums fueling a joyous chant. “Run, Run, Run Part II” is a cinematic anthem, with piano, horns, and strings behind Dixon’s fierce flow. “All the Loved Ones (What Would We Do???)” weaves maternal love and loss into soulful keys, while “F.F.O.L.” channels gun violence through a frantic, guitar-laced beat. The final trio—“Listen Gentle,” “Magic, Alive!,” and “Could’ve Been Different”—forms a stunning climax. “Listen Gentle” blends trumpet, flute, and thundering drums, while the title track’s rowdy saxophone and gang vocals celebrate resilience. “Could’ve Been Different,” with Blu and Shamir, closes with warm strings and soulful harmonies, a bittersweet farewell.

Dixon’s rapping is sharp, shifting from laid-back to explosive, his storytelling vivid and communal. The production—live drums, horns, flutes—creates a rich, dynamic sound. Features like Quelle Chris and Shamir shine, though Teller Bank$’s vocals occasionally falter. The album’s structure is tight, its narrative tying tracks together despite occasional experimental detours. Magic, Alive! is a compelling, vibrant addition to Dixon’s catalog.

Release date: June 6, 2025.

Navy Blue - The Sword & The Soaring

Navy Blue’s The Sword & The Soaring is his most balanced and deliberate work to date. The Los Angeles-born, New York-based artist, also known as Sage Elsesser, navigates sixteen tracks with patience and precision, transforming years of introspection into grounded reflection. His earlier projects—Àdá Irin, Song of Sage: Post Panic!, and Memoirs in Armour—built the foundation for this sound: warm, dusty production, meditative pacing, and language that treats healing as daily labor.

The record opens with “The Bloodletter,” where soft percussion and faint bass create a steady rhythm for Navy’s unhurried delivery. Each song grows naturally from the last. “Orchards,” produced by Child Actor, carries delicate piano lines and quiet vocal textures that underline his sense of gratitude and calm. “Sunlight of The Spirit” continues the focus on discipline and spiritual clarity, his cadence steady, the words measured. The restraint in his phrasing shows an artist who no longer chases transcendence but practices it.

Midway through, tracks like “God’s Kingdom” and “If Only…” open space for reflection on family, accountability, and reconciliation. The production remains minimal—often no more than piano, subtle drums, and air. The vulnerability is clear but never dramatized; he treats grief as process, not spectacle.

“Soul Investments” and “Sharing Life” expand that sense of continuity, bringing warmth to the record’s final stretch. “24 Gospel,” featuring Earl Sweatshirt, turns into a dialogue about endurance and purpose, the two voices weaving through an Animoss-produced soul loop without competition. The closing track, “The Phoenix,” ties the album’s title together with quiet acceptance rather than mythic grandeur.

Across the album, Navy Blue and his collaborators—Child Actor, Chris Keys, Graymatter, Sebb Bash, and others—maintain a cohesive tone: sparse, soulful, and human. The Sword & The Soaring adds another stellar record to his catalog and confirms him as one of the defining voices in contemporary avant garde Hip Hop.

Release date: November 11, 2025.

Mobb Deep - Infinite

Infinite, the first full-length Mobb Deep album since 2014 and the first since Prodigy’s death, finds Havoc rebuilding the duo’s sound with restraint and focus. At 51 minutes, it’s a project that honors their legacy without trying to recreate it. Using unreleased Prodigy verses and new production from Havoc and The Alchemist, Infinite sounds raw yet deliberate—rooted in Queensbridge realism, stripped of excess.

From their rise in the early 1990s through classics like The Infamous and Hell on Earth, Mobb Deep defined New York’s cold, minimal aesthetic. Infinite stays faithful to that foundation while acknowledging time’s weight. Havoc’s beats are spare but dynamic—snapping drums, dim piano loops, and slow-moving basslines. The Alchemist’s contributions—on “Gunfire,” “Taj Mahal,” “Score Points,” and “My Era”—expand the palette without breaking tone, blending analog grit with subtle warmth.

The opener, “Against the World,” sets the tone: tense piano chords, hard drums, and Prodigy’s commanding presence. “Gunfire” follows with Alchemist’s dusty horns and tight percussion, while “Easy Bruh” leans into street defiance through repetition and swing. “Look at Me,” featuring Clipse, connects eras seamlessly—Pusha T and Malice matching Mobb Deep’s composure over a hypnotic groove.

“Down for You,” featuring Nas and Jorja Smith, widens the record’s range with smoother tones and reflective lyricism, while “Taj Mahal” and “Mr. Magik” return to sharp detail and shadowed rhythm. “Score Points” stands out—Alchemist’s haunting loop underlines some of Prodigy’s strongest writing, balancing menace and meditation.

Late in the record, “Pour the Henny,” featuring Nas, and “Clear Black Nights,” with Raekwon and Ghostface Killah, carry a quiet authority. Their verses weave reflection and pride, framed by Havoc’s patient production. The final stretch—“Discontinued,” “Love the Way (Down for You Pt. 2)” featuring H.E.R., and closer “We the Real Thing”—maintains energy while closing the narrative with affirmation rather than sentiment.

Havoc’s engineering keeps everything tight and tactile. The drums hit clean, the bass low, Prodigy’s voice dry and immediate. There’s no nostalgia play here—only clarity and precision. Infinite doesn’t try to modernize Mobb Deep; it preserves what mattered: tension, rhythm, and truth told plainly.

It’s not a comeback—it’s a continuation. A grounded, unflinching testament to the sound and spirit Mobb Deep built, still standing, still resonant.

Release date: October 10, 2025.

John Michel & Anthony James - Egotrip

Egotrip, the debut studio album from rapper John Michel and producer Anthony James, is a sharp, soul-soaked entry into modern Hip Hop that thrives on tension—between ego and faith, hunger and humility, chaos and control. Across twelve tracks, the pair builds a world that feels handcrafted. Anthony James’s production is thick with texture: chopped soul samples, live-sounding drums, and layered horns that move with the looseness of a jam session but the clarity of a studio record. The beats swing hard but never overwhelm; each snare hit and vocal chop lands with precision.

John Michel raps with urgency and conviction. His voice is deep, slightly raspy, carrying the weight of someone thinking out loud under pressure. His delivery balances grit and clarity, grounded in experience but still restless. Lyrically, he wrestles with self-importance, faith, and moral conflict—especially on “Egotrip,” where he questions the pull between ambition and belief. “Preacher!” and “Confrontation” stretch that tension through booming drums and looping soul refrains, while “World’s End” strips the sound back to a trembling mix of guitar, organ, and drums, turning self-reflection into something close to prayer.

Anthony James’s production gives the album its pulse. His sample work nods to early-2000s chipmunk soul, but his layering feels modern—clean, full, and deliberate. The small imperfections in the vinyl crackle and the swing of the bassline add warmth that digital polish often loses. On “Nobody,” the addition of Kennadi Rose and Yung Senju brings a burst of melody that lightens the album’s heavier moments without losing its sincerity.

The record’s pacing feels deliberate. Interludes like “The Keys” and “Admit My Guilt” give it shape, letting the narrative breathe. By the time “Sunday Morning, Genesis.” closes the record, the mood shifts toward calm, as if the storm of self-questioning has passed.

Egotrip is not a loud record, but it is full. Every element—voice, beat, silence—carries intent. It’s an album about pride and surrender, delivered with the polish of veterans and the hunger of newcomers. Thoughtful, rhythmic, and spiritually charged, it’s one of the most fully realized Hip Hop projects of the year.

Release date: May 23, 2025.

PremRock - Did You Enjoy Your Time Here...?

PremRock’s Did You Enjoy Your Time Here…? is a dense, carefully constructed album that moves through moods and textures with a storyteller’s precision. The New York rapper, known for his work with ShrapKnel and his long-standing presence in underground Hip Hop, delivers verses packed with sharp imagery and layered references. His writing leans into introspection without losing a sense of humor, balancing wit and weight in a way that makes each track feel like a conversation unraveling in real time.

Production across the album shifts between hazy loops, crisp drum patterns, and eerie synth textures, creating a backdrop that mirrors PremRock’s measured delivery. Contributions from producers like Blockhead, ELUCID, YUNGMORPHEUS, and Small Professor add variety without disrupting the album’s cohesion. Tracks like “Steal Wool” with Pink Siifu and “Aim’s True” with AJ Suede and Curly Castro bring in distinct voices that add depth to the album’s already rich palette.

The writing is as tight as ever, with lines that land like offhand observations but reveal themselves to be deeply considered. “A Good Man is Hard to Find” feels like a slow-burn meditation on morality, while “Receipts” with billy woods plays out like a verbal chess match. “Plunder!” carries a more chaotic energy, its frenetic pacing matching its themes of excess and collapse. Even at its most abstract, the album never drifts into obscurity—there’s always an anchor, a phrase or an image, that keeps the listener locked in.

While Did You Enjoy Your Time Here…? follows in the footsteps of Load Bearing Crow’s Feet, it feels less like a direct sequel and more like a response. Where the previous album was weighty and contemplative, this one moves with a sharper edge, a little more playful but no less thoughtful. PremRock’s voice remains steady throughout, never rushing, never stretching for effect. His presence is lived-in, the work of an artist who has spent years refining his approach, shaping his delivery until every word lands exactly as intended.

By the time the closing title track rolls around, the question posed by the album lingers. The answer is subjective, but one thing is certain—PremRock is an artist who knows exactly what he’s doing, and he’s doing it exceptionally well.

Release date: March 21, 2025.

The Expert - Vivid Visions

The Expert has long been a name associated with psychedelic textures and cinematic Hip Hop production, and with Vivid Visions he delivers one of the best producer albums you will hear this year. The Irish beatmaker curates an ambitious set: 18 tracks featuring an impressive roster of 21 rappers, weaving generations of underground talent into a loose psychedelic trip. Veterans like Blu, Buck 65, and Jehst appear alongside newer names such as AJ Suede, Milc, and Lungs, each navigating the hallucinatory beats with their own perspective and cadence.

The production is the glue, pulling from sources as eclectic as late-60s psychedelic rock, surreal cinema, and golden-age loops. One track may drift with woozy synths and ghostly vocals, while another lurches forward with heavy bass and sharp drums, keeping the record unpredictable without losing its cohesion. The sequencing is tight, with many cuts blending into each other, creating the sense of an ongoing mix rather than a collection of unrelated tracks.

What makes Vivid Visions so engaging is how the sound design and voices mesh without feeling repetitive. The beats are lush, strange, and often playful, filled with tiny details that reward close listening—snippets of dialogue, psychedelic guitar chops, warped keys that bubble up and vanish. The rappers, in turn, lean into the mood, whether delivering abstract wordplay, sharp observations, or offbeat humor. Highlights come from everywhere: Defcee anchoring several cuts with sharp poetics, ShrapKnel bending words over warped funk, and NAHreally helping steer the project’s direction through his multiple appearances.

Vivid Visions avoids the bloat that plagues many producer projects, instead sounding like a carefully designed collage with every voice in its place. The album is a celebration of underground Hip Hop’s range and imagination, but more importantly, it’s a reminder of The Expert’s ability to create immersive, forward-thinking records that balance craft with unpredictability. Psychedelic, gritty, and endlessly replayable, this is one of 2025’s most impressive Hip Hop releases.

Release date: September 26, 2025.

Aesop Rock - Black Hole Superette

Aesop Rock, born Ian Bavitz, has long held a reputation as one of underground Hip Hop’s most intricate and singular voices. Since the early 2000s, he’s built a catalog known for dense lyricism, surreal storytelling, and off-kilter production, from Labor Days to The Impossible Kid and beyond. He’s collaborated with artists like Homeboy Sandman and billy woods, and his last record, Integrated Tech Solutions, satirized modern tech paranoia. Now, with Black Hole Superette, Aesop turns inward, offering one of his most understated and strangely inviting works.

Self-produced from top to bottom, the album feels like it was recorded inside a vending machine during a power outage. The beats are synthetic but handmade—full of warm crackle, oddball samples, and clunky drum loops. It’s less confrontational than his past work but no less detailed. Aesop fills every track with tangents: forgotten artists, unusual pets, obscure snacks, malfunctioning memories.

“Secret Knock” opens with sputtering drums and a lo-fi shimmer, setting a tone that’s part dream logic, part malfunctioning tech. “1010WINS,” featuring Armand Hammer, offers one of the album’s sharper moments—claustrophobic, paranoid, and lyrically ferocious. “Movie Night” and “So Be It” lean into quiet reflection, with soft loops and hooks that feel like internal monologues.

A standout is “John Something,” a meandering recollection of a houseguest from the ’90s whose name Aesop can’t quite recall. It’s funny, sad, and oddly resonant—about memory, identity, and the slow erosion of detail. Other tracks like “Snail Zero” (about an asexual aquarium snail) and “Ice Sold Here” (a celebration of coldness) show his gift for absurd specifics without slipping into novelty.

The closer, “Unbelievable Shenanigans” featuring Hanni El Khatib, ends on a warm, nostalgic note—half-lullaby, half-sitcom credit sequence. Throughout, Aesop sounds more at ease than ever, sharpening his voice without raising the volume.

Black Hole Superette doesn’t strive for grand statements. It’s an inventory of curiosities, built with care and strange affection. It plays like a weird mixtape of late-night thoughts and thrift store finds—a quiet triumph from a veteran still exploring the edges of his imagination.

Release date: May 30, 2025.

Preservation & Gabe 'Nandez - Sortilège

Sortilège by Preservation and Gabe ‘Nandez is an immersive 14-track Hip Hop experience, pulsing with gritty, cinematic energy—blending eerie, slowed-down boom bap with a vivid, dreamlike intensity. Preservation’s production is a dense collage of thumping drums and eclectic samples, from the haunting, wind-swept keys of “Harmattan” to the jazzy, muted horns in “Ball & Chain.” The beats breathe with space, letting each instrument—grimy basslines, whispering snares—carve out its own territory, evoking a nocturnal cityscape alive with tension.

Gabe ‘Nandez’s baritone cuts through like a blade, his flow precise and relentless. On “Shadowstep,” his measured cadence dances over Preservation’s skittering drums, delivering sharp, introspective lines about survival and identity. Tracks like “Mondo Cane,” featuring Armand Hammer and Benjamin Booker, brim with chaotic energy, its distorted guitars and pounding rhythm framing ‘Nandez’s vivid storytelling. His lyrics, steeped in cultural references and personal history, carry a weighty, philosophical edge, particularly in “War,” where billy woods’ gravelly verse adds a layer of brooding menace.

The album’s structure is deliberate, shifting from short, punchy tracks like “Spire” to sprawling, narrative-driven pieces like “Nom De Guerre,” featuring Ze Nkoma Mpaga Ni Ngoko’s hypnotic vocal flourishes. The Francophone influences—Preservation’s French heritage and ‘Nandez’s Malian roots—infuse the record with a distinct texture, heard in the subtle vocal samples and rhythmic choices. While the dense production occasionally overshadows ‘Nandez’s voice, as in “Kurtz,” the synergy between the two artists is magnetic. Sortilège is another Backwoodz Studioz winner— a gripping listen, its heavy beats and incisive rhymes painting a world both esoteric and immediate, like a lucid dream projected onto a concrete wall.

Release date: August 15, 2025.

The High & Mighty - Sound Of Market

The High & Mighty’s Sound of Market is a gritty, head-nodding return that sharpens their classic formula without chasing trends. It’s their strongest work since 1999’s Home Field Advantage, delivering punchline-heavy rhymes over rugged, loop-driven beats with vinyl crackle and precise scratches. DJ Mighty Mi’s production anchors the album with crisp boom bap drums, filtered basslines, and thick, purposeful loops. The beats feel crafted, not nostalgic, with horn chops and piano riffs blending seamlessly for Mr. Eon’s sharp delivery.

Eon hits hard from the start. “2 Man Crew” sets the tone with focused, aggressive bars, his voice carrying a lived-in edge. On “Zounds,” he raps with defiance, shaking off rust with precision. Guest features elevate the record without overpowering it. “Pinky Tuskadero” pairs Eon with Kool Keith’s eccentric flow over a soulful beat, while “6ers & Squires” with Madd Skillz crackles with energy and tight verse-trading. “Super Sound” with Breeze Brewin lands as a gritty midpoint, both MCs painting vivid pictures over a stark loop.

Standouts include “The Rose Bowl,” where Your Old Droog’s layered bars ride an Alchemist soul sample, and “Dubbs Up,” where King T adds G-funk bounce without breaking the album’s vibe. “Prism,” featuring Large Professor and Tash, dips slightly due to a muted mix, but the MCs’ charisma carries it. A scratch-heavy interlude, “Mighty’s Big 5 (Live from the Palestra),” resets the mood, while “Most In Outs” is a dope Smut Peddlers reunion that delivers raw, piano-driven aggression.

“I. Goldberg” with Sadat X and MC Serch keeps it rugged, and “Funk ‘O’ Mart” pays atmospheric tribute to a record store. “Spaceport” with Chill Rob G and Copywrite is a relentless showcase of punchlines. The closing tracks, “Highest Degree” with O.C. and “2 High Whiteys,” maintain the momentum, the latter reflecting on past beefs over a bluesy loop. Sound of Market is unapologetic Hip Hop—grimy, intentional, and built on bars, beats, and experience, proving The High & Mighty can still dominate in their lane.

Release date: June 6, 2025.

Ghostface Killah - Supreme Clientele 2

Ghostface Killah’s Supreme Clientele 2 arrives as a gritty nod to his 2000 masterpiece, carrying the weight of a storied career. Known for vivid storytelling and chaotic lyricism, Ghostface has a catalog—Ironman (1996), Fishscale (2006), Twelve Reasons to Die (2013)—that outshines all of his Wu-Tang peers. But recent efforts, like 2024’s lackluster Set the Tone (Guns & Roses), threatened to dim his spark. This sequel aims to reignite it, and while it’s uneven, it delivers enough fire to prove Ghostface still matters.

The album crams 22 tracks into 48 minutes, most songs short and punchy, giving a mixtape-like rush. This brevity keeps the energy high but often clips momentum—some cuts end just as they heat up. Annoying skits like “Pause” and “Sale of the Century” disrupt the flow, feeling like pointless filler. Yet when Ghostface locks in, the results are electric. “Ironman” opens with clanging steel drums and soul loops, his scattershot slang sharp as ever. “Sample 420” with M.O.P. burns with cypher intensity, all funky haze and raw bars. “Curtis May,” featuring Styles P and Conway the Machine, balances icy precision and gritty urgency, Ghostface holding his own between heavyweights.

Mid-album, a trio of tracks—“Break Beats,” “Beat Box,” and “Rap Kingpin”—channels ‘80s block-party vibes with vinyl crackle and drum breaks. “Rap Kingpin” blends Eric B. & Rakim’s “My Melody” with Ghostface’s own “Mighty Healthy,” a nod to Hip Hop’s roots while asserting his place in its lineage. Storytelling shines on “4th Disciple,” a vivid tragedy of despair, and “The Trial,” a theatrical courtroom drama with Raekwon, GZA, and Method Man, unfolding like a rap play. “Love Me Anymore” pairs Ghostface with Nas, their chemistry taut—Ghostface sharp, Nas weary—over soulful samples.

Pieced from vault recordings and fresh verses, the album feels more like a collage than a unified work. Some tracks fade fast, undercooked, while others snap into focus. It lacks the cohesive arc of Supreme Clientele, but its best moments—“Ironman,” “Sample 420,” “Rap Kingpin,” “The Trial”—carry Ghostface’s signature mix of surreal slang, raw emotion, and relentless energy. It’s not a classic, but it doesn’t need to be. Supreme Clientele 2 proves Ghostface’s pen and voice still burn bright.

Release date: August 22, 2025.

Apollo Brown & Ty Farris - Run Toward The Monster

Run Toward the Monster brings together Detroit producer Apollo Brown and veteran MC Ty Farris for a full-length record rooted in cold truth, hard-earned wisdom, and sharp technical focus. We’ve always been fans of Apollo Brown’s stylish boom-bap production, and we’ve appreciated much of Farris’s catalog—especially the No Cosign Just Cocaine series—so this combination promised a strong result. The album delivers that and more. This is our favorite Ty Farris project to date, the sound of an artist stepping into a higher level under the guidance of one of Hip Hop’s most consistent producers.

From the opening moments of “Run” and into “Follow My Soul,” Brown’s production brings dusty soul loops, thick drums, and a steady, cold-weather mood. Farris uses that space with intent, moving through themes of discipline, pressure, and survival with a clipped, controlled delivery. “No Celebrations” continues the focus on work and sacrifice, while “Details” pushes back against street mythology with direct shots and grounded self-assurance.

Mickey Diamond joins Farris on “Authenticity,” building a firm midpoint anchored by Brown’s grainy, slow-burn loop. “Ctrl Alt Delete” shifts into a slightly psychedelic tone, its murky atmosphere giving Farris room to reflect on awareness and vigilance. On “Beautiful Struggle,” he takes stock of the long road behind him without drifting into sentimentality. The steady tone continues on “Sacred,” where he describes the rush and responsibility of touching the mic.

The final stretch—“Cold Is the Gun,” “Street Patriots,” “Traffic,” and “Flawless Victory”—moves like a series of snapshots from Detroit streets, each one delivered with a level head and a precise pen. The closer, “Young Rebels,” lands as a clear-eyed look at the next generation facing the same storms.

The album is tight, cold, and built with purpose. Brown’s production keeps every track anchored, and Farris uses that foundation to deliver some of the most focused writing of his career. Run Toward the Monster is a grounded, forceful record from two Detroit artists who know exactly what they want to make and execute it with discipline.

Release date: November 14, 2025.

Big L – Harlem’s Finest: Return Of The King

Twenty-six years after his death, Harlem MC Lamont “Big L” Coleman returns through Harlem’s Finest: Return of the King, released by Nas’ Mass Appeal label as part of its Legend Has It… series—2025’s most ambitious effort to preserve the legacy of Hip Hop’s Golden Age.

Big L was one of Harlem’s sharpest lyricists, a founding member of Children of the Corn and Diggin’ in the Crates Crew, and the force behind Lifestylez ov da Poor & Dangerous (1995). His murder at 24 ended a career on the edge of greatness. Mass Appeal’s project gives new form to his scattered freestyles and unfinished demos, remastered and reassembled with precision. It’s not a “new” album—fans have heard most of these verses for years—but it finally gives this material a proper home.

“Harlem Universal,” produced by G Koop, opens with dusty drums and soulful loops as Big L and Herb McGruff trade confident Harlem pride. “U Ain’t Gotta Chance” joins L’s 1997 freestyle verse with a new Nas feature, merging eras through punchlines and reflection. Method Man brings street humor to “Fred Samuel Playground,” while “All Alone (Quiet Storm Mix)” reveals L’s rare vulnerability, talking loneliness over smooth R&B tones. “Forever” pairs him with Mac Miller and Pale Jay in an unlikely but respectful cross-generational moment.

The crown jewel is the legendary “7 Minute Freestyle” with Jay-Z from the Stretch & Bobbito Show—cleaned up but still ferocious. His bars remain surgical: funny, violent, and rhythmically flawless. Later cuts like “Grant’s Tomb ’97 (Jazzmobile)” with Joey Bada$$ and “Live @ Rock N Will ’92” trace his growth from hungry teenager to master craftsman.

Mass Appeal and L’s estate treat his catalog with respect and care, letting his voice live again in full fidelity (even if the mix is a bit off here and there). The result is a tight, reverent send-off for one of Hip Hop’s biggest natural talents—a bittersweet reminder of how far he could have gone.

Release date: October 31, 2025.

Brother Ali - Satisfied Soul

Brother Ali’s Satisfied Soul is a deeply personal album that delivers sharp commentary alongside introspective reflections with musically rich production that evokes a vintage, vinyl-era feel. The beats crackle like worn vinyl, grounding Ali’s verses with a raw, organic energy. With Atmosphere‘s Ant back behind the boards, the production leans on dusty drums, warm basslines, and soulful samples that mirror the emotional depth of Ali’s lyrics, adding warmth and texture to the album’s introspective themes.

The album opens with the title track, a rock-infused declaration of self-assurance, where distorted guitars and driving percussion build a foundation for Ali’s confident verses, setting a bold, rebellious tone that echoes throughout the album. Ali’s voice cuts through the distorted guitars with conviction, making it clear he’s moving with purpose. On “Deep Cuts,” piano chords set a contemplative mood as Ali speaks on resilience and faith. His delivery is direct, blending the weight of his experiences with a conversational ease that draws listeners in.

“Ocean of Rage” stands out with its jazz-inflected backdrop, where smooth horns and syncopated rhythms underscore vivid imagery of internal turmoil and the restless search for clarity. The shift between the laid-back groove and Ali’s unflinching bars creates a dynamic tension. Meanwhile, “Better But Us” uses a soulful hook to explore the cracks in a strained relationship, with Ali toggling between vulnerability and self-awareness.

Throughout the album, Ali’s lyrics balance spiritual insight and grounded realism. “Head Heart Hands” emphasizes the importance of aligning intention with action, while “Immortalized” channels the perspective of a street preacher offering hard-won wisdom.

The album’s closer, “Sing Myself Whole,” finds Ali stepping into melodic territory. The stripped-down arrangement allows his voice to carry the weight of solitude and the resolve to remain authentic in a chaotic world.

Satisfied Soul is a fully realized album with heart and clarity, leaving a lasting impression with its thoughtful craftsmanship. For us, it is Brother Ali’s strongest effort since 2017’s All the Beauty in This Whole Life. Brother Ali continues to evolve, delivering intelligent, well-crafted music without relying on gimmicks or trends. The synergy between his message and Ant’s production results in a well-rounded project that sounds timeless—a worthy addition to Ali’s excellent catalog.

Release date: February 14, 2025.

Ghais Guevara - Goyard Ibn Said

Goyard Ibn Said is a striking album from Philadelphia rapper and activist Ghais Guevara, marking a new chapter in his career under Fat Possum. The project revolves around a fictional anti-hero, Goyard, navigating the tension between mainstream Hip Hop success and the harsh realities of Black life and political consciousness. Divided into two acts, the album first celebrates the highs of fame and fortune before diving into the darker side of achieving success.

The production is bold and unpredictable, blending boom-bap, jazz, and electronic elements into a gritty and expansive sound. Distorted synths, heavy bass, and layered beats create an atmosphere that shifts between aggression and reflection. Guevara’s flow cuts through the mix with precision, delivering lyrics packed with political commentary, cultural critique, and personal introspection. Tracks like “Leprosy” and “3400” showcase his sharp wordplay and vivid storytelling, painting pictures of struggle and survival with an urgent and unrelenting energy.

Throughout the album, Guevara balances humor and anger while addressing capitalism, white supremacy, and the exploitation of Black art. His self-awareness and sharp wit bring depth to complex topics, making them engaging without losing their weight. As the album moves into Act 2, the tone shifts toward introspection, with songs like “4L” and “The Apple That Scarcely Fell” exploring the personal cost of success and the emotional toll it carries.

Each track offers a distinct sonic backdrop, whether it’s the eerie, orchestral flourishes on “Branded” or the stripped-down, soul-sampling approach of “You Can Skip This Part.” The album thrives on contrast—swagger and celebration sit alongside sobering reflections, highlighting the duality of ambition and consequence. Even in its most reflective moments, Goyard Ibn Said maintains an underlying urgency, pushing forward while grappling with identity and purpose.

By the time the album reaches its closing moments, Guevara leaves listeners with plenty to think about. The themes explored feel timely and deeply personal, yet the album never loses its energy or sharp focus. Goyard Ibn Said is a dense, thought-provoking body of work that rewards close listening and reveals new layers with each spin.

Release date: January 24, 2025.

Yugen Blakrok - The Illusion Of Being

South African rapper Yugen Blakrok returns with The Illusion of Being, a deep and defiant third album that blends political fire, spiritual depth, and unorthodox production without losing its Hip Hop foundation. It’s a dense, layered record—dark, intellectual, and fiercely grounded in rhythm. At 13 tracks, the album unfolds slowly, inviting repeated listening and deeper understanding with each pass.

Produced primarily by longtime collaborator Kanif the Jhatmaster, the beats move between eerie loops, tripped-out flutes, gritty samples, and bursts of guitar distortion. The sound is experimental but never loses the drum-heavy backbone. Yugen’s voice cuts through the mix—precise, poised, and poetic. She doesn’t waste bars. Her delivery stays steady even as the themes shift from cosmic allegory to revolutionary critique.

“Mesmerize” opens with surgical cuts by Loudmic and a slow, hypnotic groove. From there, tracks like “Osiris Awakens” and “Earthlinguist” dig into mysticism and identity with lush flute work and layered percussion. “Fighter Mantra” is short and aggressive—tight bars, no hook, all heat. “The Shining” brings dusty tension with cuts by DJ KCL and production from Lee Scott, while “Tessellator” features Cambatta in a cerebral trade-off full of coded language and cryptic wisdom.

Features throughout the album—Sa-Roc on “The Grand Geode,” Hannah Allen on “Regrettably,” and more—add texture without pulling focus. Every guest fits the tone, contributing to the album’s meditative but unflinching spirit.

Yugen’s lyricism remains the anchor: challenging, spiritual, and steeped in ancestral memory. Her flow adapts without losing clarity, moving through abstract themes with discipline and fire. Even in its most experimental moments, the album stays rooted in Hip Hop’s essence—loop-driven, lyric-forward, and rhythmically unshakable.

The Illusion of Being stands shoulder to shoulder with her excellent earlier albums, Return of the Astro-Goth (2013) and Anima Mysterium (2019). All three are immersive, uncompromising bodies of work that reward focused listeners.

If you’ve missed Yugen Blakrok until now, it’s time to pay attention. This album doesn’t follow trends—it builds its own world. And once you’re in it, there’s no mistaking the power of her voice or the vision behind it.

Release date: May 21, 2025.

Evidence - Unlearning Vol. 2

Unlearning Vol. 2, Evidence’s fifth solo album and the follow-up to 2021’s Unlearning Vol. 1, is a 15-track, 37-minute plunge into introspective Hip Hop. Rooted in his Dilated Peoples legacy alongside Rakaa and DJ Babu, the Venice, California emcee and producer delivers a sound that’s gritty yet soulful, evoking a sun-bleached coastal drive at dusk. Sebb Bash’s funky, bass-driven beat on “Plans Change” kicks off the record with sharp energy, Evidence’s laid-back flow cutting through with vivid reflections on breaking old habits.

The production, crafted by The Alchemist, C-Lance, Conductor Williams, and Evidence himself, weaves soulful samples with crisp, deliberate drums. “Seeing Double” carries a haunting, minimal beat, its sparse keys amplifying Evidence’s steady musings on trust and survival. “Future Memories,” featuring Larry June, glides over The Alchemist’s jazzy horns, its mellow rhythm framing sharp bars about perseverance. This is a tight listen, with concise tracks like “Nothing’s Perfect,” where Evidence likens his life to a curated playlist over a chipmunk-soul beat, maintaining a brisk pace. “Greatest Motivation,” featuring Theravada, pulses with crooned hooks and stark percussion, delivering raw lines on ambition and struggle.

Guest appearances from Blu, Domo Genesis, and The Alchemist add texture, but Evidence’s precise lyricism anchors the project. On “Laughing Last,” his verses grapple with family and loss, paired with a moody, piano-laced beat that carries heavy emotional weight. The closing “Dutch Angle” chops a weary vocal sample, leaving a defiant aftertaste. While the relentless introspection occasionally feels dense, the cohesive production and Evidence’s focused delivery make Unlearning Vol. 2 a compelling listen, vivid with the struggle of reinvention and the pull of personal history.

Release date: August 15, 2025.

Aesop Rock – I Heard It’s A Mess There Too

Aesop Rock’s I Heard It’s a Mess There Too arrived without warning—streamed for free on YouTube, downloadable from his site, and pressed to vinyl later. It’s his second album of 2025, and it sounds like a reset. Produced entirely by Aesop himself, the record pares back the dense layers of Black Hole Superette in favor of a cleaner, stripped-down sound. The drums are tight and unhurried, the basslines steady, and each small texture—hum, chime, hiss—lands with intention.

Across twelve tracks, he turns his restless eye to a world that feels permanently unstable. The title came from checking in with friends overseas and realizing every place is unraveling in its own way. Aesop doesn’t moralize; he observes. His writing remains intricate, but his delivery has loosened into something closer to conversation—measured, wry, and quietly tired.

“Crystals and Herbs” opens with crooked percussion and a low, pulsing bass, his voice threading through the mix like static from an old radio. “The Cut” carries an eerie calm, while “Full House Pinball” moves with springy drums and small bursts of piano, a reminder that lightness still exists. “Spin to Win” rides a funk loop that swings without swagger, and “Oh My Stars” drifts in slow circles, full of deadpan humor and fleeting wonder.

Late in the record, “Pay the Man” and “Poly Cotton Blend” bring sharper edges—classic boom-bap filtered through Aesop’s offbeat timing. “Call Home” closes things down to a whisper, circling the album’s core idea: connection in chaos.

The production’s restraint is its power. By clearing space, he gives his voice room to settle. The result is clear and grounded, a late-career work that finds comfort in small motions. I Heard It’s a Mess There Too doesn’t chase grandeur—it lives in the quiet rhythm of staying human when everything else is noise.

Release date: October 25, 2025.

clipping. - Dead Channel Sky

clipping.’s Dead Channel Sky crashes in like a dial-up modem screech—jarring, nostalgic, and impossible to ignore. The Los Angeles trio—Daveed Diggs, William Hutson, and Jonathan Snipes—returns after five years with a cyberpunk-inspired album brimming with industrial noise and glitchy tension. Unlike the horrorcore of Visions of Bodies Being Burned, this record pulses with digital paranoia—glitchy synths, relentless beats, and a world humming with technological menace. It’s chaotic, overwhelming, and thrilling.

From the start, the album is aggressive. The modem squeal of “Intro” bleeds into “Dominator,” a pounding track built on hardcore rave elements, with Diggs’ rapid-fire delivery slicing through the chaos. “Change the Channel” slams with breakbeats and stuttering synths, while “Run It” builds a relentless chase with deep bass and skittering percussion. The pressure momentarily lifts on “Keep Pushing,” where piano and strings introduce a brief calm before the beat snaps back.

Structurally, the album sprawls over 20 tracks, moving like a mixtape with abrupt pivots. Interludes like “Simple Degradation (Plucks 1-13)” crackle with disjointed noise, reinforcing the cyberpunk aesthetic. Some under-two-minute cuts spark with ideas but fade before fully developing. The constant shifts keep things dynamic, though sometimes leave moments underexplored.

Despite the sprawl, standouts emerge. “Mirrorshades pt. 2” pulses with hypnotic glitch-house loops, featuring a sharp verse from Cartel Madras. “Dodger” races forward with drum-and-bass rhythms, while closer “Ask What Happened” layers breakbeats and dreamy synths under Diggs’ raw, historical verses.

Guest features add texture. Aesop Rock’s off-kilter flow quirks up “Welcome Home Warrior,” while Nels Cline’s warped guitar distorts “Malleus” into eerie dissonance. Tia Nomore’s hypnotic hook on “Scams” lingers over a knocking beat. Each collaboration shifts the sonic landscape, keeping the album unpredictable.

Hutson and Snipes push deeper into electronic influences. While Splendor & Misery floated through sci-fi space and Visions roared with horror, Dead Channel Sky crackles with techno-infused chaos, like ’90s rave floors or rogue video game soundtracks. “Mood Organ” oscillates between abrasive kicks and melodic swells, while “Polaroids” layers vocal samples into a hazy hum. It’s harsh but meticulously crafted.

The album ties everything together with themes of digital decay, surveillance, and tech-induced paranoia. Some moments stretch thin, but when Dead Channel Sky connects, it’s electric. Industrial beats, glitchy synths, and Diggs’ rapid flow create a cyberpunk fever dream that’s impossible to turn away from.

Release date: March 14, 2025.

Pink Siifu - Black’!Antique

Pink Siifu’s BLACK’!ANTIQUE is an ambitious, sprawling album that pulls listeners into a world where hazy loops, blown-out beats, and distorted vocals crash into each other with purpose. This long album feels like a culmination of everything the artist has done before, weaving together elements of experimental Hip Hop, Southern rap, and noise-driven soundscapes. Each track carries a raw, tactile quality, with layers of sound that feel assembled from the depths of memory and experience.

The production ranges from gritty, industrial textures to laid-back, smoke-filled grooves. Tracks like “ALIVE & DIRECT’!” hit hard with chaotic, buzzing energy, while moments like “TRANSLATION’!” slow things down into murky, jazz-infused introspection. Siifu’s delivery shifts fluidly between urgent, aggressive bursts and subdued, reflective passages, giving the album a restless, shape-shifting feel.

Lyrically, the album dives into survival, heritage, and self-reflection themes, often blurring the lines between personal experience and collective memory. Siifu’s words feel instinctive, sometimes fragmented, carried by the weight of the production rather than sitting neatly on top of it. Collaborations throughout the album add further texture, with guest features blending seamlessly into the dense, atmospheric mix.

BLACK’!ANTIQUE is a challenging listen, but it’s also rewarding in its depth and complexity. Tracks bleed into one another, creating an immersive experience that demands attention. Siifu doesn’t adhere to traditional structures, instead allowing the music to unfold in unexpected ways. Whether through thick, overdriven beats or stripped-down, intimate moments, the album maintains a consistent sense of urgency and intention.

This is an album that doesn’t explain itself—it exists as a testament to Siifu’s evolution and his refusal to be boxed in by expectation. It’s dense, unpredictable, and deeply rooted in the artist’s vision, offering something new with every listen.

Release date: January 27, 2025.

Mike - Showbiz!

MIKE’s Showbiz! is a hazy, free-flowing meditation on movement and memory, built from warm loops and scattered thoughts that linger like smoke. His delivery is unhurried, his voice thick with experience, letting each bar settle into the grainy, off-kilter production. Recorded between tours, the album captures the push and pull between transience and stability, with MIKE finding comfort in his own rhythm.

The production leans heavily on warped samples, nostalgic and slightly distorted, giving the music a dreamlike quality. MIKE handles much of it himself under his dj blackpower moniker, though collaborators like Laron and Harrison add texture. Lounge music records, pitched-up soul, and reverberant saxophones drift through the mix, creating an atmosphere that feels both intimate and surreal. Tracks like “What U Bouta Do? (A Star Was Born)” shake things up with jagged rhythms, keeping the album from feeling too static. These beats rarely settle into full-fledged grooves—songs come and go in quick bursts, ideas flashing by before dissolving into the next.

Lyrically, MIKE balances introspection with sharp confidence. He’s never been one for traditional storytelling, preferring to sketch moments, emotions, and reflections in a stream-of-consciousness style. “Then we could be free..” finds him meditating on patience and loss, while “Lucky” makes his ambitions plain. His writing is direct but layered, moving between grief, ambition, and gratitude without over-explaining. Themes of resilience and self-determination run throughout, but MIKE never forces a resolution. He’s more interested in the process of understanding than in offering conclusions.

This fragmented approach can make Showbiz! feel elusive on first listen, but it rewards patience. The brevity of many tracks enhances the album’s restless energy, though certain ideas sometimes feel cut short. Still, MIKE thrives in this space—his music doesn’t demand to be picked apart line by line but felt in its entirety.

The album’s structure mirrors its themes: a series of fleeting moments, some joyful, some heavy, all coexisting. There’s a sense of movement and impermanence as if MIKE is capturing thoughts before they slip away. Rather than a grand statement, Showbiz! feels like a collection of snapshots, a document of where he is right now. The result is an album that thrives on movement—always shifting, always searching, always in motion.

Release date: January 31, 2025.

Anti-Lilly & Phoniks - All Good Things

All Good Things is a calm, clear-headed record shaped by Anti-Lilly’s period of isolation and recovery. His delivery stays close to spoken rhythm, as if he’s sorting through pressure, sobriety, and self-repair in real time. The writing keeps its weight in ordinary details and steady reflection, avoiding grand gestures in favor of direct, grounded insight.

Phoniks builds an atmosphere of warm jazz loops, soft Rhodes chords, and crisp drums with a relaxed, open feel. The pacing gives Anti-Lilly space to think without losing direction, and the tone stays consistent from track to track. Contributions from ScienZe, Devante, and Awon fall naturally into place, expanding the emotional range without breaking the album’s quiet focus.

The project arrives six years after That’s The World, following the duo’s earlier collabos Stories From the Brass Section and It’s Nice Outside. Their rapport remains easy and intuitive: Anti-Lilly brings thoughtful, unvarnished writing rooted in lived experience, while Phoniks supplies a signature blend of jazz and soul that has become central to the Don’t Sleep Records identity. We pretty much love everything the label releases, and this album fits right into that tradition.

Across fourteen compact tracks, All Good Things stays centered on clarity and emotional honesty. Songs like “Too Late,” “Swim in Fire,” and “Window” trace burnout, doubt, and cautious renewal with direct language and steady control. The record never slips into sentimentality; its impact comes from its calm tone, its patience, and its attention to the small shifts that define recovery.

It’s reflective, warm, and grounded, without any need for dramatic framing or oversized statements. If chilled-out, mature, thoughtful, jazz-soaked Hip Hop is your bag, All Good Things is a must.

Release date: November 28, 2025.

Knowledge The Pirate & Roc Marciano - The Round Table

The Round Table is Knowledge the Pirate’s most focused and refined album to date, a cold and calculated project built entirely on Roc Marciano’s production. Across 14 tracks, the duo sticks to what they know—no filler, no spectacle, just airtight beats and street-minded verses delivered with patience and precision.

A Harlem native and longtime Marciano collaborator, Knowledge the Pirate emerged in the 2010s after a brief early stint with Interscope. Since Flintlock (2018), he’s carved a lane through albums rooted in East Coast grit, shaped by his Five Percent Nation beliefs and street experience. He raps with calm authority, moving deliberately through every verse, trusting the listener to keep up.

Marciano’s production leans hard into drumless loops, chopped soul, and pitch-shifted vocal samples. “Eating Etiquette” and “Addicted to Danger” ride without drums, forcing attention to cadence and tone. Tracks like “Golden Rules” and “The Outfit” use minimal arrangements to amplify Knowledge’s clipped, conversational delivery. It’s a sound that never hurries. There’s space between every bar, letting the tension sit.

“Takes a 10” brings in a funkier energy, and “Magic & Kareem” lands on a rich, pitched-up soul loop. “Food for Thought” taps deeper into chipmunk soul territory, giving the back half of the record some movement without changing direction. Humor surfaces in “Ride wit a P” and “1 on Me,” but the tone stays dry and measured. The final stretch—“Servitude” and “Receipts”—eases the album into a calm exit, trading street pressure for self-possession.

There’s no grand concept here. No guests. No hooks engineered for attention. Every decision is lean, deliberate, and in sync. The beats never overpower the verses, and the verses never chase the beats. It’s a quiet power move, the kind of record that doesn’t announce itself, but lingers long after the last track. For us, this is the best Knowledge the Pirate project yet, also thanks to Roc Marciano’s excellent work behind the boards.

Release date: May 6, 2025.

Fatboi Sharif & Driveby - Let Me Out

Let Me Out by Fatboi Sharif and Driveby is an album soaked in grime, paranoia, and warped humor. Sharif’s voice is a blunt instrument—droning, surreal, and oddly hypnotic. He cuts through Driveby’s murky, noise-soaked production with cryptic and nightmarish imagery: funeral snacks, poison rooms, haunted fashion accessories. There’s no attempt to smooth out the jagged edges; the record is built to feel off-kilter.

Driveby’s beats buzz, creak, and stumble forward like broken machines. Tracks like “Elvira’s Wedding Ring” and “Genocidal Jansport” bend familiar sample-based Hip Hop into something crooked and unstable. Vinyl crackle is layered with distorted vocal loops and detuned melodies, while percussion comes in unexpected bursts—sometimes sharp and upfront, other times buried behind a wall of reverb. The mix toys with space and volume in ways that twist your ears around, sometimes drowning Sharif’s voice in fog, sometimes spotlighting him with eerie clarity.

The pacing never aims for comfort. Songs bleed into each other with few breathers. The unease is deliberate, and the album thrives on that tension. Features from Lungs, Curly Castro, and MC Beans don’t offer relief; they amplify the chaos with verses that match Sharif’s disjointed energy.

There’s a dark humor running underneath the dread. Sharif knows how to play with tone, delivering lines that sound absurd, threatening, or both. Nothing here tries to clean itself up for the listener. That’s part of what makes it stick.

Let Me Out is dense, disorienting, and sharply detailed. It’s the kind of album that leaves you squinting at its layers, trying to find the thread—but it’s better when you stop looking and let the weirdness wash over you. It’s not easy listening, and it doesn’t want to be. It wants to drag you into the room and keep the lights low.

Release date: April 24, 2025.

Open Mike Eagle - Neighborhood Gods Unlimited

Open Mike Eagle’s Neighborhood Gods Unlimited is a 14-track dive into introspective Hip Hop, weaving lo-fi grit with soulful warmth. The album, clocking in at 38 minutes, pulses with a reflective yet vibrant energy, like a late-night walk through a city buzzing with memory and absurdity. K-Nite 13’s production on “woke up knowing everything” kicks things off with airy synths and vinyl crackle, setting a dreamy tone that feels like sifting through old records in a dimly lit attic. OME’s delivery is calm and conversational, his witty bars painting vivid street scenes and personal confessions with a sharp, grounded edge.

Child Actor’s beats, featured on six tracks, bring a surreal, dusty texture, especially in “relentless hands and feet,” where a metallic whir loops under OME’s tight flow, evoking a sense of restless motion. “my co-worker clark kent’s secret black box” crackles with noir-tinged keys, its energetic storytelling pulling you into OME’s quirky, geek-inflected world. Kenny Segal’s “contraband” leans into a melancholic jazz vibe, with trumpet lines and clean beats that amplify OME’s musings on identity fragmentation, like pieces of himself scattered across a digital void.

The album’s structure shifts dynamically, from the neo-soul glow of “rejoinder” to the R&B-tinged “unlimited skull voices,” where OME’s soft singing carries a haunting chorus about the voices crowding his mind. While the production remains cohesive, the back half can drag with slower, sleepier tracks that don’t always match the front’s intensity. Still, OME’s lyricism—wry, honest, and layered with pop-culture nods—keeps the project engaging.

Neighborhood Gods Unlimited is a compelling blend of cerebral and soulful, with OME’s voice anchoring its eclectic sound in a world that feels both familiar and disorientingly strange. Not for everyone, but fans of chilled-out, abstract, avant-garde Hip Hop—like us at HHGA—won’t want to miss this one.

Release date: July 11, 2025.

R.A.P. Ferreira & Kenny Segal - The Night Green Side Of It

The Night Green Side of It is the third collaboration between R.A.P. Ferreira and producer Kenny Segal, and it plays like a dream stretched across 40 quiet minutes of late-night philosophy. Ferreira’s voice floats in the pocket, deliberate and grounded, while Segal’s beats bend around him—loose, dusty, and alive with small details: brushed snares, warped keys, and flickers of upright bass that sound recorded from the back of a smoky venue. The title fits—the record lives in the dim hours, where thought and rhythm move at their own pace.

Ferreira raps like a poet balancing weight and levity. His bars drift between reflection and coded observation, lines that circle around peace, purpose, and creative self-determination. On “blood quantum,” with ELDON, he stretches his language until it starts to blur into sound, while “credentials” rides a hypnotic loop that feels almost ceremonial. “naming the feeling,” featuring Wolverine Gohan X, pairs playful delivery with introspective undertones, the kind of track that feels improvised yet precise.

Segal’s production is deceptively loose, looping jazz fragments and muffled percussion into structures that wobble without collapsing. The beats move like improvisations rather than constructions, but the intent is clear—each one is tuned to Ferreira’s phrasing, leaving space for pauses, sighs, and short bursts of emphasis. Tracks fade in and out as if overheard through thin apartment walls, creating continuity through mood rather than structure.

By the time “real jazz,” a seven-minute closer featuring Ferreira’s former alias milo, unspools its languid rhythm, the album has turned inward completely—artist speaking to past self, poet folding time. It’s a record of quiet confidence, built from fragments of sound and language that reward patient listening. The Night Green Side of It doesn’t chase energy or validation; it moves at the pace of its own logic, grounded in craft, community, and the freedom of those who make music on their own terms.

Release date: October 24, 2025.

Goya Gumbani - Warlord Of The Weejuns

Goya Gumbani’s Warlord of the Weejuns moves with ease between jazz, Hip Hop, and soul, bringing a sense of natural fluidity. The Brooklyn-born, London-based rapper leans into rich instrumentation, letting live drums, bass, and brass breathe alongside his steady, unhurried delivery. His voice sits in the mix like another instrument, neither overpowering nor getting lost, balancing presence with restraint.

The album title references a description of Miles Davis, an artist known for reinvention, and Gumbani channels that spirit by approaching rap with a bandleader’s ear. Songs unfold like jam sessions rather than rigid structures, shifting between warm grooves and more meditative stretches. On “Beautiful BLK,” horns swell behind affirmations of self-worth, while “Firefly” carries the weight of a breakup over a laid-back R&B shuffle, guided by Fatima’s vocals. Guest appearances never feel like add-ons; lojii, Seafood Sam, and Yaya Bey weave in naturally, adding texture without disrupting the album’s cohesion.

Skits and interludes create movement between tracks, making the record feel lived-in rather than stitched together. Warlord of the Weejuns doesn’t force anything—it moves at its own pace, letting mood and melody lead the way.

Release date: March 21, 2025.

Nuse Tyrant & Trust One - If All Else Fails, Trust Nuse

Nuse Tyrant and Trust One return with If All Else Fails, Trust Nuse, a record that continues their collaborative streak with a focused, nocturnal intensity. While the wider Hip Hop world largely slept on Nuse Tyrant’s 2024 release Juxtaposed Echoes—an album we considered among the year’s top ten—this new project confirms his staying power. It may not hit the same towering peak, but it remains an excellent listen, sharpened by Trust One’s left-field production choices and Nuse Tyrant’s layered lyricism.

Trust One digs deep into the crates for textures that lean drumless, haunted, and cinematic. His beats carry the grit of brittle samples and shadowy loops, often pulling from sources that feel warped and forgotten. At times the music drifts into eerie atmospherics; at others, it locks into slow-burning repetition, creating the sense of a late-night broadcast from an abandoned tower. It’s production that asks the MC to carry the rhythm, and Nuse Tyrant steps confidently into that role.

Nuse Tyrant’s delivery is deliberate, syllable-packed, and measured. He builds entire worlds in coded rhyme schemes, balancing urban detail with philosophical inquiry. On “Children of the Corn,” paranoia spills across the track like static in the wires, while “Fatality” spins a vivid heist narrative into meditation on consequence. Guests add sharp textures—Self Jupiter on “Swamp Thing,” Nenjah Nycist on “Space Architeck,” and Apakalypse on “Mythological Creatures”—but the vision remains cohesive, anchored by Nuse’s voice and Trust One’s bleak foundations.

The record thrives on mood. Songs like “Old Timers” and “Taxman” sound carved out of cautionary folklore, echoing with lessons from past generations. Others, like “Tried and True,” double down on loyalty in a world that tests it at every turn. Across the album, there is little compromise: the production is rugged, the writing dense, and the atmosphere unrelenting.

If All Else Fails, Trust Nuse may sit in the shadow of Juxtaposed Echoes, but it carries the same uncompromising spirit. Together, Nuse Tyrant and Trust One have delivered another sharp, immersive statement—an album that keeps the underground edge alive with purpose and precision.

Release date: September 19, 2025

Napoleon Da Legend & Giallo Point - F.L.A.W.

Napoleon Da Legend and Giallo Point team up for their fifth collaborative project F.L.A.W. (Following Lies Always Wounds), an album that feels like a tense, late-night conversation about survival, authenticity, and deception. Giallo Point’s production is cold and deliberate, with brooding drums, haunting piano loops, and thick basslines that give the album a nocturnal, street-level feel. The beats are minimalist but vivid, setting a stark tone that lets Napoleon’s dazzling wordplay take center stage. Each track feels like a chapter in a gritty urban narrative, where trust is scarce, and the stakes are high.

Napoleon confidently moves through the tracks and balances introspection with hard-earned wisdom. “Chasing Shadows” kicks things off with a glum atmosphere as he speaks about the thin line between survival and self-destruction. On “Life or Death,” the urgency sharpens as he describes the relentless grind of staying ahead in a ruthless world. “That Ain’t It” breaks down the daily hustle with matter-of-fact honesty, while “Unforgiving” strips away illusions about fairness in life and the rap game.

The production across the album maintains a stripped-down yet effective aesthetic. Giallo Point crafts beats that feel like foggy street corners lit by flickering lamps — moody, immersive, and unyielding. The drum patterns hit with, and the subtle melodic elements give the tracks an understated menace that fits Napoleon’s narrative style.

Guest appearances from Jay Royale, Nejma Nefertiti, and Eloh Kush add texture without breaking the album’s cohesive mood. Jay Royale’s sharp delivery on “Life or Death” reinforces the album’s themes of vigilance and survival, while Nejma Nefertiti brings a fierce, grounded perspective on “Pressume the Unpredictable” that complements Napoleon’s reflective tone.

F.L.A.W. is a tight, consistent project rooted in stark beats and sharp rhymes, reminding listeners of the price of following illusions. Napoleon Da Legend’s best since the underappreciated Maison De Medici (2022).

Release date: February 14, 2025.

Public Enemy - Black Sky Over the Projects: Apartment 2025

Public Enemy returns with Black Sky Over The Projects: Apartment 2025, a self-released album that cuts through with clarity, control, and urgency. Chuck D and Flavor Flav sound fully locked in, backed by production that sounds gritty, heavy, and often chaotic without losing focus. The album doesn’t chase trends or nostalgia—it pushes forward with sharp structure and a grounded message.

“Siick” opens with distorted guitars and tightly packed bars aimed at a world steeped in dysfunction. “Confusion (Here Come the Drums)” follows with Chuck and Flav trading verses over a pounding rhythm section and turntable stabs. The energy is raw but tight. “What Eye Said” hits with a dense, loop-driven beat while Chuck throws down a challenge for lyrical precision.

Flav takes over on “Cmon Get Down,” built around funk swing and off-kilter momentum. “Evil Way” and “Sexegenarian” dig into aging, survival, and clarity, with Chuck self-producing one of the heavier rap-rock tracks on the album. “Messy Hens” gives Flav space to throw darts at distractions, while “Fools Fools Fools” sharpens the focus on digital fraud and empty clout, carried by Tré Cool’s live drumming.

“Public Enemy Comin Throoooo” reasserts the group’s place with sharp interplay, while “Ageism” calls out the cycle of cultural erasure with a thick groove and steady delivery. “The Hits Just Keep on Comin’” and “March Madness” close the record with blunt takes on media manipulation and systemic collapse.

The production—handled by C-Doc, DJ MROK, and others—is analog, rugged, and saturated. Chuck’s voice remains grounded and direct. Flav balances the chaos with energy that never feels out of place.

This isn’t Nation of Millions or Fear of a Black Planet. Those albums are untouchable, timeless, and impossible to replicate. But Apartment 2025 holds its ground with power and discipline. It’s another clear example of Public Enemy’s longevity—and a reminder why they are the greatest Hip Hop group of all time.

Release date: June 27, 2025.

Tenzoe (Son Of Saturn) - Eremition

Tenzoe’s Eremition is a dense, cerebral dive into solitude and reflection, driven by dark, atmospheric boom-bap beats. The album opens with “Gōsuto Death Mask,” setting a moody, cinematic tone with layered percussion and somber samples. Tracks like “Bezerker Gankyil” and “House of Flying Daggers” blend precise lyricism with minimalist instrumentation, emphasizing the weight of Tenzoe’s introspective words. “Chop Wood Carry Water” is a particular highlight, with its crisp cuts & scratches and dope sampling.

The production is built on muted strings, dusty drums, and occasional distorted synths, creating a contemplative space for themes of spirituality, consciousness, and social critique. Interludes such as “Tenzo Kyōkun” offer brief moments of pause, heightening the contrast between reflection and urgency. Eremition is structured to flow like a mental expedition, alternating between abstract philosophical musings and pointed societal observations. Collaborations with Atma, 7Rinth, and Cambatta introduce texture without distracting from the album’s meditative mood.

While the album’s intensity may challenge casual listeners, its focus on precision, wordplay, and layered beats rewards repeated attention. Tenzoe’s delivery is deliberate, commanding focus on each line, while the production provides subtle but effective shifts in tone. The project maintains a cohesive, immersive mood that emphasizes intellectual rigor over flash, making it a compelling listen for fans of thoughtful underground Hip Hop.

Release date: October 22, 2025.

Atmosphere - Jestures

Minneapolis duo Atmosphere—Slug on vocals and Ant on production—return with Jestures, their 14th studio album, released through their long-running label Rhymesayers Entertainment. At 26 tracks, each aligned with a letter of the alphabet, the album is ambitious in scope but grounded in its execution.

The alphabet concept could easily tip into gimmickry, but Atmosphere makes it feel natural. Guest appearances follow the same structure—Evidence on “Effortless,” Kurious on “Kilowatts,” and a full crew of Mike the Martyr, Musab, and Muja Messiah on “Mash.” Despite the length, many tracks are short, one or two verses that cut to the point, giving the project a steady pace rather than dragging under its own weight.

Slug writes with the perspective of a middle-aged rapper who has built a career on self-examination without leaning on nostalgia. Themes of responsibility, shifting identity, and daily tension run throughout. On “Asshole,” he addresses the risk of repetition with blunt humor, while “Baby” slips into vulnerability through the haze of desire. “Locusts” wrestles with resilience in hard seasons, and “Trying” salutes persistence in the face of exhaustion. Even a brief interlude like “Sean” finds room for intimacy, connecting his own name to his father’s choice, tying personal history to broader reflection.

Ant’s production matches this variety with a wide palette. “Effortless” rides a luxurious boom bap groove, “Grateful” leans into funk, and “Neptune” builds cinematic weight. He balances stripped-down beats with textured layers, using electro glitches, drones, and playful twang. These shifts keep the record dynamic while leaving space for Slug’s writing.

The features fit well into the design. Evidence brings laid-back precision to “Effortless,” Kurious takes “Kilowatts” into abstract territory, and the trio of Musab, Muja Messiah, and Mike the Martyr bring grit and camaraderie to “Mash.” Later, Yoni Wolf of WHY? adds an off-kilter emotional edge to “Yearning,” before ZooDeVille closes the record on “Zorro” with confident presence.

For all its size, Jestures is tightly structured. The alphabetical sequencing gives it a built-in frame, but it’s Slug and Ant’s chemistry that holds it together. Their long history lets them take risks without over-explaining, shifting between playful and serious, reflective and blunt. The album doesn’t overreach; it stretches across ideas without losing coherence.

Jestures is Atmosphere at full scope: concept-driven without being constrained, personal without self-indulgence, and grounded in a craft that continues to evolve three decades into their run.

Release date: September 19, 2025.

Arrested Development - Adult Contemporary Hip Hop

Adult Contemporary Hip Hop has the iconic Atlanta-based outfit Arrested Development moving with purpose—measured, grounded, and fully in their element. Speech and Configa build the album around crisp boom-bap drums, warm basslines, and jazz-tinged samples, keeping everything tight and rhythmic without ever sounding rigid.

“Let’s Get On With It” opens with piano loops and sharp horns, laying the groundwork for Speech’s calm, clear delivery. He sounds focused, addressing purpose and progress without preaching. Tracks like “All I See Is Melanin” ride funkier grooves, centering identity and pride in plainspoken terms. The production never overwhelms—every element sits where it belongs.

“Live Forever,” featuring the late Twan Mack, is one of the more reflective cuts. Orchestral strings rise under steady drums, adding weight without slipping into sentimentality. “My Job Ain’t Done” continues that tone, with layered horns and pointed verses about mission and longevity.

The middle stretch brings tonal shifts. “Easy” and “Flowers” lean into jazz textures, loosening the rhythm and allowing more melodic movement. “Forward Ever” and “Pearls” keep the energy steady with funk-rooted beats and vocals that walk the line between spoken word and soul.

“Pulsate” returns to heartbeat-level boom-bap, while “Baby Yes” flips a chipmunk soul sample for a warm love song. “Original” adds woodwinds without over-complicating the structure. “Mil Town Soldier” and “Pack It Out” dig into grittier rhythms, with Speech and Bee Taylor trading bars over raw drums and chopped samples.

Latter tracks like “Goal Dysmorphia,” “Family,” and “Stay Awake” touch on transformation, memory, and self-definition without drifting into abstraction. The closing stretch—“Lifing,” “Danger,” and “Stardumb”—tightens the focus again. Speech turns sharp, lyrical, and defiant, especially on “Danger,” a warning shot for any weak pens in the room.

Throughout the album, there’s clarity in the production, and a quiet confidence in the writing. Adult Contemporary Hip Hop doesn’t rush or chase trends. It moves at its own speed—calm, heavy with purpose, and rooted in experience. Arrested Development sounds like themselves, sharper than ever.

Release date: July 4, 2025.

ShrapKnel & Mike Ladd - Saisir Le Feu

Saisir Le Feu—the second project in ShrapKnel’s 2025 trilogy—pairs the duo with underground legend Mike Ladd, who handles all production across the record. The beats are sharp, unpredictable, and colorful—ranging from fractured rhythms to grooves that are almost uncharacteristically dancefloor-ready. Curly Castro and PremRock move through them with precision, adjusting their delivery to match sudden tempo shifts and strange pockets. Features from Jesse the Tree, Phiik, doseone, Mestizo, and Jyroscope add extra layers without disrupting the duo’s focus.

At just a hair over 30 minutes, the album barely clears our cut-off for eligibility—unlike Lincoln Continental Breakfast with Raphy (the first release of the trilogy), which we considered an EP—but that brevity makes the energy tight and impactful. While the length leaves us wishing for one more stretch of tracks, the record still lands with authority. Saisir Le Feu is the brightest, most rhythmically agile we’ve heard ShrapKnel, and Ladd’s production gives it an edge that sticks long after the final track cuts out. All three records that make up the trilogy are excellent—this one is our favorite.

Release date: August 5, 2025.

Hus Kingpin - Portishus 2

With Portishus 2 Hus Kingpin returns to the fogged-out world he built on the first Portishus, and this follow-up is just as strong. The Long Island veteran leans into a slow, shadowy mood shaped by his long-running fascination with iconic UK trip-hop band Portishead. Their influence is clear in the dusty drums, eerie samples, and looping melodies that echo the tension and melancholy of Dummy and Portishead. Instead of imitating the band, Hus filters that mood through his own voice, turning trip-hop’s cold haze into a street-level noir.

Producers like Doza the Drum Dealer, Def Language, Manny Megz, and Dani build murky, stretched-out beats that move with a hypnotic pulse. The atmosphere is thick and unhurried, giving Hus’ clipped delivery room to drift between paranoia, luxury, and quiet menace. Tracks nod directly to Portishead’s catalog—titles, textures, and pacing all point back to that lineage—but the core is still heavy East Coast Hip Hop.

Conway the Machine, MF Grimm, SmooVth, P.U.R.E., and others slide in, their verses add grit while keeping the album locked inside its smoky, late-night tone. We really liked the first Portishus, and this second chapter holds the same weight. It is atmospheric Hip Hop with a distinctive twist, guided by Hus Kingpin’s deep connection to Portishead’s haunting aesthetic.

Release date: November 18, 2025.

Apollo Brown & Bronze Nazareth - Funeral For A Dream

Detroit producer Apollo Brown and longtime collaborator Bronze Nazareth reunite for Funeral For a Dream, a slow-burning album full of rich loops, minimal drums, and reflective verses. The two have known each other since their teenage years, and the project carries the weight of that history—an unspoken understanding between two veterans working in sync.

Apollo’s production sticks to what he does best: chopped soul and gospel samples, dusty loops, and steady boom bap patterns. Tracks like “Enough Lord” and “Blue Albacore” lean into a smoky, late-night mood, while others, like “Lavender” and “Smorgasbord,” bring a heavier pulse and sharper edge. “Right There” and “The Quiet Years” drop the drums entirely, letting Bronze’s voice float over bare loops, giving space for the writing to land.

Bronze’s delivery is laid-back and deliberate, and his tone doesn’t shift much across the album. That might turn off some listeners, especially on longer tracks, but his writing rewards close attention. Lines are layered with personal reflection, subtle flexes, and lessons learned. His flow locks neatly into Apollo’s pacing—never rushing, never overextending.

“Meeting in the Clouds” is a standout, a moving tribute to Bronze’s late brother Kevlaar 7. “Lemon Glue,” featuring Eddie Kaine, adds some extra energy without breaking the mood. As a whole, Funeral For a Dream unfolds patiently. It isn’t flashy or loud. It’s quiet confidence, built on decades of craft. The production is sharp throughout, and while not every track hits the same, the consistency and depth make this a worthwhile listen for fans of stripped-down, lyrical Hip Hop.

Release date: July 25, 2025.

Dave - The Boy Who Played The Harp

The Boy Who Played the Harp is Dave’s most introspective and compositionally mature work to date. Building on the introspection of Psychodrama (2019) and the reflective depth of We’re All Alone in This Together (2021), the South London rapper—one of the most respected and influential figures in UK Hip-Hop—turns his focus inward across ten tightly written tracks, confronting faith, ego, guilt, and the strange loneliness of success. The production—handled largely by Dave and James Blake—is sparse but rich in texture: soft piano chords, patient drums, layered choirs, and the occasional live string arrangement. It’s an album that values space as much as rhythm, where silence carries its own weight.

The opener, “History,” sets the reflective tone, with James Blake’s celestial vocals hovering over Dave’s meditations on destiny and self-doubt. “175 Months” extends that honesty into confession, where he admits to neglecting his faith and family under the glare of fame. “No Weapons,” featuring Jim Legxacy, shifts the tempo without losing focus, its gospel hook nodding to scripture while grounding itself in South London realities.

“Chapter 16,” a back-and-forth with Kano, is the album’s most direct dialogue—two generations of MCs trading wisdom over a gentle, live-sounding instrumental. “Raindance,” featuring Tems, provides a touch of warmth through her fluid, soulful hook, offering a brief reprieve from the album’s heavier themes.

The emotional peak arrives with “Fairchild,” a devastating story of sexual violence told from dual perspectives. Nicole Blakk’s verses detail a woman’s assault with unflinching precision, while Dave uses his verse to question complicity and male silence. It’s one of the most affecting moments in contemporary Hip Hop, rendered without sensationalism.

The title track closes the record with Dave reflecting on his generation’s moral paralysis, weighing what courage means when truth has a cost. Across The Boy Who Played the Harp, Dave raps like a man wrestling with his place in history—aware of his talent, uneasy with its burden. His writing remains sharp, the production restrained, and the message urgent: music as confession, reflection, and resistance.

Release date: October 24, 2025. 

Queen Herawin - Awaken The Sleeping Giant

Queen Herawin’s Awaken The Sleeping Giant lands like a spark igniting a quiet room, a 32-minute burst from a New York MC with deep roots. Known as one-third of The Juggaknots—alongside her brothers Breeze Brewin and Buddy Slim—she brings that crew’s legacy of sharp lyricism to this solo outing. “Focus” opens with Bear-One’s booming bass and crisp snares, Herawin’s voice slicing through, the mood tense yet determined, the beat locking tight. The Juggaknots link shines on “Gluttony,” featuring Breeze Brewin—his flow weaves with hers over Neff Beatz’s gospel-tinged thump, the mood raw and hungry. “Shame” pairs Open Mike Eagle with King Rem’s organ hums and synth stabs, brooding and relentless. “Manifest” closes with Apathy and Mickey Factz, Supastition’s guitar flip swaying loose, the vibe triumphant. It’s a great project—Herawin’s lyricism shines, the production bangs—but its brevity stings. At 32 minutes, it leaves you craving more.

Release date: February 28, 2025. 

Fines Double - Espejismo

Portland producer Fines Double crafted an engaging and even hypnotic listen with Espejismo, an album that dives into left-field Hip Hop with precision and vision. Following his 2021 debut, Flotar, this project expands on his knack for atmospheric, genre-bending beats, building tension and depth in every track. Across 14 tracks, Fines Double constructs an enigmatic and deliberate world, with production that shifts between sparse, meditative tones and layered, ominous textures.

The guest features elevate the album, each artist bringing a unique energy to Fines Double’s dense instrumentals. “Misanthropic Optics,” with AJ Suede, opens the project with surreal, introspective imagery, while “Abandoned Shopping Malls,” featuring Old Grape God, feels ghostly and unmoored. On “Opposite of Hell,” Sleep Sinatra, Defcee, and Semiratruth deliver razor-sharp performances over brooding production.

Fines Double’s ability to shape mood and texture shines throughout. Tracks like “Levant,” featuring billy woods, are deliberate and weighty, pulling the listener into hypnotic rhythms. Meanwhile, “Sundown Science” with Curly Castro is concise but gripping, creating tension through compact storytelling and tight production.

Espejismo thrives on its balance of experimental beats and incisive lyricism. Fines Double’s command of sound and structure gives the album a cohesive and immersive quality. For listeners drawn to unconventional Hip Hop that pulls you in, this record offers a richly layered and captivating experience.

Release date: January 28, 2025.

Hit-Boy & The Alchemist - Goldfish

Goldfish brings together two of Hip Hop’s most respected producers—Hit-Boy and The Alchemist—for a project that feels grounded, confident, and fully aware of its place in the culture. Both artists are producers first and rappers second, but here they hold their own on the mic with surprising precision. The concept—each rapping over the other’s beats, following Jaylib’s Champion Sound example—creates a subtle tension between Hit-Boy’s polished, West Coast gloss and Alchemist’s stripped-down, dusty textures. We’ve never been the biggest fans of Hit-Boy’s slicker sound, but his production locks in naturally with Alc’s more minimal, soulful grit.

The beats are sharp, unhurried, and deeply musical, filled with warm loops, clipped drums, and the kind of detail that rewards close listening. “Ricky” stands out with vivid storytelling and emotional weight, a reminder that both artists have something real to say beyond the technical craft. Guest verses from Conway The Machine, Havoc, Boldy James, Jay Worthy, and Big Hit slide in naturally, adding different shades without breaking the record’s tone. Lyrically, the record leans on legacy, growth, and self-awareness—never forced, always lived-in.

Goldfish doesn’t aim to rewrite Hip Hop rules; it’s two veterans enjoying their craft with skill and focus. The music lands somewhere between reflection and flexing, a clean, thoughtful exchange between producers who’ve earned the right to move at their own pace.

Release date: October 24, 2025.

Vinnie Paz - God Sent Vengeance

Vinnie Paz, the Philadelphia underground veteran and frontman of Jedi Mind Tricks, returns with God Sent Vengeance, closing out the trilogy he kicked off with Tortured in the Name of God’s Unconditional Love (2022). Across 18 tracks, he sticks to what he does best: heavy boom bap beats, sharp rhymes, and a worldview shaped by grit, faith, and fire. While the sound here pulls back from the trap leanings of some of his recent work, the shift helps bring a tighter focus.

Producers like Hobgoblin, Evidence, Stu Bangas, and August Fanon bring dark, textured backdrops—grimy drums, chopped soul loops, eerie melodies. Paz moves through them with precision, from the aggressive bark of “Shepherd’s Rod” and the no-nonsense wordplay on “2 Knights Forced,” to the eerie street threats on “Chico’s Bail Bonds.” His guests bring weight too—Cappadonna, Ill Bill, and Sick Jacken blend naturally with the tone, while posse cuts like “Battle Scars (Pharaoh Overlords)” keep the AOTP energy alive.

We still prefer his earliest solo records like Season of the Assassin (2010), where the hunger and clarity hit harder, but for us, God Sent Vengeance is stronger than his last couple of releases. That said, Vinnie Paz is nothing if not consistent, and this record reminds listeners why that matters. It’s cold, calculated, and delivered with conviction.

Release date: April 25, 2025.

Che Noir & 7xvethegenius - Desired Crowns

Desired Crowns is a sharp, concentrated record powered by two of Buffalo’s strongest writers. Che Noir and 7xvethegenius dominate this short project with focus and authority, shaping a project built on detail, pressure, and personal conviction. The album is packed with strong production from Conductor Williams, V Don, Khrysis, Lord Sear, Chup, C For, Kevin Spears, and Che Noir herself, giving the record a consistent boom-bap core. The only drawback is the length; at 33 minutes, the album ends quickly, and its brief runtime leaves you wanting more. What we do get is tight, skillful Hip Hop from two top-tier female MCs working at a high level.

The intro “Trapped in the Silicone” sets up a cold, minimal atmosphere, and “Topanga” steps in with warm soul loops from Lord Sear. Che and 7xve trade verses with clean intent, moving bar to bar with confidence. “Not Me,” produced by Chup, hits harder, driven by sharp drums and a direct approach to ambition and accountability. Conductor Williams brings a heavy, crooning loop to “Sum of Two Evils,” and the two MCs slide into the pocket with a steady rhythm. Their writing stays grounded in real-life strategy, survival, and financial pressure.

“Amina” turns inward with a smoother tone, while “Flight,” produced by V Don, opens into a reflective space. Reason’s verse fits naturally between their reflections on guidance and discipline. “Conquer,” produced by Che Noir, is one of the album’s strongest tracks, built on a grainy soul sample and a clear statement of self-direction. Khrysis adds grit to “Town Ballroom,” a track anchored in ambition and seriousness under the surface of success.

“Breaker” and the alternate version of “BlackGirl” close the record with focus and emotional clarity. The writing stays tight, and the production remains consistent through the final stretch.

Desired Crowns moves quickly, maybe too quickly, but every track lands. Che Noir and 7xvethegenius operate with precision, turning a short runtime into a potent display of craft and presence.

Release date: November 14, 2025.

Vega7 the Ronin & Machacha - The Ghost Orchid

Underground boom-bap is crowded, with MCs and producers fighting for space. The Ghost Orchid cuts through the noise. Danish producer Machacha dials back his usual moody haze, trading it for a leaner, grittier sound—kicks and snares hit hard, sharpening every track. Vega7 The Ronin meets the energy with a razor-sharp growl, stacking clever twists and weighty ideas that stick. The sound crackles like dusty vinyl spinning in a basement, every bar locked tight in the groove. Machacha’s rugged production gives Vega7 room to shift gears—darting through rapid-fire rhymes before settling into a slow burn, always worth a rewind. This is grimy, raw, and impossible to ignore.

Release date: March 21, 2025. 

Raekwon - The Emperor's New Clothes

Raekwon’s The Emperor’s New Clothes is a 17-track, 43-minute return that crackles with the Wu-Tang legend’s cinematic storytelling. After an eight-year solo hiatus, The Chef delivers vivid street narratives over crisp, modernized boom-bap beats, proving his lyrical edge remains sharp at 55.

The album’s sound, driven by producers like Nottz, Swizz Beatz, and J.U.S.T.I.C.E. League, blends dusty soul chops with clean drums. “Pomegranate,” featuring Inspectah Deck and Carlton Fisk, hums with sinister strings and tight snares, evoking a late-night hustle. “The Guy That Plans It” layers a Marvin Gaye sample with crisp kicks, painting a tense crime caper. Soulful cuts like “Debra Night Wine,” with Marsha Ambrosius’ silky vocals, add warmth, though Swizz Beatz’s beat on “600 School” feels dated, leaning on overfamiliar New York tropes. The production, while polished, occasionally lacks the gritty punch of Raekwon’s 90s classics.

The LP is confident and also reflective, balancing luxury rap with street wisdom. Raekwon’s husky baritone cuts through on “The Omertà,” where Nas’ verse weaves power and faith over a brooding beat. “Wild Corsicans,” with Griselda’s Conway, Benny, and Westside Gunn, pulses with raw East Coast energy, each rapper spitting vivid tales of survival. Ghostface Killah’s three appearances, especially on the plush “Mac & Lobster,” showcase timeless chemistry, while Method Man’s fiery verse on “600 School” steals the spotlight. Raekwon’s solo tracks, like “Bear Hill,” detail Black life with intricate slang, though they lack the bite of feature-heavy cuts.

Structured with skits like “Veterans Only Billionaire Rehab,” the album flows like a mob flick, though interludes occasionally disrupt momentum. Despite a few safe beats, Raekwon’s technical precision and evocative imagery keep the project engaging. The Emperor’s New Clothes is a strong, nostalgic dose of New York Hip Hop, tailored for longtime fans.

Release date: July 18, 2025.

Body Bag Ben & Daniel Son - Brown Body Bags

Body Bag Ben’s dark, pressure-filled production and Daniel Son’s cold, deliberate delivery combine in a heavy, smoke-thick record that lingers. The beats on Brown Body Bags hit with weight: dusty drums, warped soul fragments, and a low, eerie pulse that gives the whole project a late-night tension. Body Bag Ben has been one of our favorite producers in underground Hip Hop for a good while, and he brings his rugged consistency here.

Daniel Son commands these tracks with icy focus, packing each verse with sharp detail and tight phrasing. His tone suits the production without succumbing to monotony, keeping the project steady and direct. Guests like RJ Payne, Jay Royale, Eto, and Kobe Honeycutt slide into the album’s dim, heavy mood, adding value to a well-rounded project.

This collab had to be good, and it is. Atmospheric beats hit hard, and the rhymes lock into them with precision—top-tier underground Hip Hop in a crowded lane.

Release date: November 28, 2025.

MindsOne - Stages

Stages is a sharp, polished boom-bap record that keeps its focus on craftsmanship. MindsOne delivers intricate lyricism over a diverse lineup of producers, blending thoughtful storytelling with head-nodding beats. KON Sci and Tronic trade bars with precision, moving between introspection and sharp observations about life, ambition, and purpose.

The production lineup is stacked. Marco Polo, Da Beatminerz, Kev Brown, and others contribute beats that range from smooth and soulful to rugged and raw. Tracks like “Blind Fury” and “Off the Handle” hit with hard drums and murky basslines, while “Grateful Heart” and “Liberation / Obligation” bring warmth with jazzy samples and laid-back grooves. Scratches from DJ Iron, DJ Noumenon, and DJ Slim Deluxe give the album an authentic, turntable-driven energy that ties it all together.

KON Sci and Tronic bring clarity to complex themes without overcomplicating their delivery, making the album engaging from start to finish. Stages is grounded in Hip Hop’s classic traditions while still feeling fresh, proving that sharp lyricism and top-tier production will always have a place.

Release date: February 7, 2025.

Analog Mutants - Brothers Of Invention

Brothers Of Invention is a long-awaited release from Analog Mutants, uniting legendary MC Phill Most Chill with producers DJ Snafu and Grazzhoppa. Phill’s intricate, high-speed rhyme patterns ride over sample-heavy beats drawn from 1950s–’60s soul, jazz, and funk. Snafu’s precise layering and Grazzhoppa’s sharp cuts give each track depth and motion. The album is upbeat, full of energy, and rooted in Golden Era Hip Hop.

Over 22 tracks, Phill’s technically tight, rapid-fire delivery commands attention while the production stays warm and detailed. His past work—especially Jorun PMC, one of our favorite albums of 2020—already proved how naturally he connects with vintage textures, and that chemistry continues here. This record isn’t built for casual listeners; it’s made for those who value rhythm, wordplay, and the art of sampling. After more than a decade in the making, Brothers Of Invention carries the weight of dedication and deep respect for tradition. Analog Mutants show that classic, sample-driven Hip Hop still has pulse and precision. Every verse, scratch, and loop feels crafted by people who know the culture inside out—artists working from instinct, patience, and skill rather than trend or nostalgia.

Release date: October 3, 2025.

Boldy James & Nicholas Craven - Late To My Own Funeral

Boldy James and Nicholas Craven’s Late To My Own Funeral, their third collaboration, is a lean 31-minute plunge into Detroit’s gritty underbelly. The album’s mood is heavy, with Nicholas Craven’s production crafting a somber, soulful backdrop. His beats—dusty, drumless loops, jazzy piano, and chipmunk-soul samples—set a reflective tone. “Spider Webbing Windshields” opens with a gospel sample, its sped-up vocals and eerie keys evoking a funeral procession, while Boldy’s monotone delivery unravels street tales with chilling calm.

Craven’s minimalist approach shines. “Cordon Bleu,” featuring David Wesson, weaves jazzy horns into a tense narrative of survival, while “Genie in a Bottle” layers a haunting soul loop over Boldy’s meditations on time slipping away. “Marrero” experiments with rap-rock grit, its distorted guitars adding a raw edge. Tracks like “Trapezoid” and “AT&T,” with C Dell and Nick Bruno, lean on crisp soul samples, keeping the vibe cohesive yet varied. The production avoids flash, letting Boldy’s stark lyricism—packed with subtle wordplay about loyalty, loss, and the hustle—take center stage.

The album’s structure is tight, with 10 tracks flowing seamlessly, though its brevity leaves you wanting more. “The Whole Shabang” stands out, its soulful beat and hungry verses capturing Boldy’s relentless drive. Late To My Own Funeral is introspective yet grounded, one of the better chapters in Boldy’s prolific 2025 run, proving his pen and Craven’s beats remain a potent match.

Release date: July 11, 2025.

Kofi Stone - All The Flowers Have Bloomed

Kofi Stone’s All The Flowers Have Bloomed delivers UK jazz rap that is both intimate and meticulously constructed. The album opens with “Seeds,” grounding listeners in his Birmingham upbringing and the early struggles that shaped his perspective. Stone moves through themes of family, faith, and self-reflection with a sincerity that feels lived-in rather than performative. On “Venice” (feat. Maverick Sabre), he explores love and vulnerability with delicate phrasing, while “Thorns” (feat. Jacob Banks) confronts depression, guilt, and self-harm with an emotional weight that lingers. Tracks like “Cactus” hit with kinetic intensity, his delivery sharp and urgent, making every line feel essential.

Production plays a central role in the album’s impact. Stone blends jazz-inflected chords, soulful samples, and live instrumentation into tracks that are lush yet understated, providing space for his lyrics to breathe. The beats shift from mellow and introspective to tense and driving, reflecting the emotional arc of the record. Vocal features—Maverick Sabre, Jacob Banks, Ady Suleiman, and Tyler Daley—enhance the songs without overshadowing Stone’s narrative voice, contributing texture and depth.

After experimenting with new sounds and vocal chops, Stone’s storytelling feels more confident and versatile than ever. All The Flowers Have Bloomed is immersive, thoughtful, and consistently rewarding.

Release date: November 7, 2025. 

Little Simz - Lotus

Little Simz’s sixth album, Lotus, is a raw, introspective journey shaped by personal betrayal and resilience. Following her legal dispute with former producer Inflo over unpaid debts, Simz collaborates with producer Miles Clinton to craft a sound that’s jagged and eclectic, blending Hip Hop with soul, jazz, and rock. Across 13 tracks, the album navigates anger, vulnerability, and quiet confidence, revealing an artist in the process of rebuilding herself.

“Thief” opens with heavy bass and distorted guitars, its cinematic tension driving Simz’s sharp, confrontational delivery. The track’s raw energy sets a defiant tone. “Flood,” featuring Obongjayar and Moonchild Sanelly, aims for a primal vibe with thunderous drums, but Simz’s detached flow doesn’t fully connect, making it forgettable. In contrast, “Free” shines with acoustic guitar and swelling strings, its crisp verses and catchy vocal loop balancing vulnerability and strength.

“Young” channels playful energy with a post-punk bassline and quirky British accent, but its forced tone disrupts the album’s flow. “Enough” tries for a danceable groove, but processed vocals in its final minute feel jarring. The album’s strength lies in its quieter moments. “Hollow” uses delicate strings and harps for a haunting spoken-word piece, while “Lonely” pairs sparse piano with Simz’s raw reflections on isolation, delivering emotional depth.

The title track, “Lotus,” featuring Michael Kiwanuka and Yussef Dayes, is a six-minute centerpiece. Its slow-burning Rhodes piano, distant strings, and frenetic drums create a hypnotic build, with Simz’s fierce verses and Kiwanuka’s soulful croon evoking rebirth. “Blood,” with Wretch 32 and Cashh, offers heartfelt reflections over somber pianos. “Blue,” featuring Sampha, closes the album with a tasteful acoustic guitar background, its weary yet resolute tone amplified by Sampha’s ethereal vocals.

Lotus feels uneven, with tracks like “Young” disrupting its emotional arc. Yet Simz’s lyrical precision and Clinton’s experimental production keep it compelling. Less polished than Sometimes I Might Be Introvert, it’s a human, risk-taking record that captures Simz’s resilience. Lotus may not be an instant classic, but it’s another strong entry in the catalog of one of contemporary Hip Hop’s most exciting artists.

Release date: June 6, 2025.

Killah Priest & Purpose - Abraxas 2

Abraxas 2 brings Killah Priest back together with Purpose of Tragic Allies for another tightly constructed project. Across its 37 minutes, the album balances Priest’s trademark esoteric lyricism with production that is smoother and more approachable than some of his denser work. Purpose lays down dusty drums, soulful chops, and atmospheric loops that give the record an easy, hypnotic pull. Priest’s cadence remains commanding, his verses packed with spiritual references and layered wordplay that reward close listening. While longtime fans may miss the heavier abstraction of his most intricate albums, this project has a clarity that broadens its reach without sacrificing craft. Planet Asia’s feature adds texture, but the record thrives most when Priest locks into his meditative flow against Purpose’s steady boom-bap. For those drawn to sharp lyricism paired with accessible beats, Abraxas 2 is another strong entry in Killah Priest’s catalog.

Release date: September 21, 2025.

uMaNg & B.B.Z Darney - Monu-mEnTaL

uMaNg & B.B.Z Darney’s Monu-mEnTaL, released on Ill Adrenaline Records, is a 10-track return to golden-age Hip Hop. B.B.Z Darney’s production crafts a vivid mood with lush strings and moody, soulful loops. “Return 2 The Classics,” featuring Shabaam Sahdeeq, pulses with eerie keys and DJ Philogic’s crisp scratches, anchoring the album’s nostalgic grit. uMaNg’s sharp, introspective bars cut through, weaving tales of resilience. Tracks like “Heart of the Storm,” with D Strong and Wildelux, blend booming drums with melancholic violins, evoking a stormy, reflective vibe.

The album is tightly structured, clocking in at 41 minutes, but maintains intensity throughout. “Summer Wars” shifts to upbeat, horn-driven energy, while “Ashes to Palaces” layers vocal samples for a cinematic close. The mood is heavy, grappling with mental struggles and triumph, rooted in 90s boom-bap. Occasional guest verses add texture, though uMaNg’s focused delivery carries the weight. Monu-mEnTaL is a cohesive, evocative nod to Hip Hop’s roots, blending Darney’s textured beats with uMaNg’s vivid lyricism, creating a gripping listen that honors the past while confronting personal battles.

Release date: July 11, 2025.

Joey Valence & Brae - HYPERYOUTH

Joey Valence & Brae’s HYPERYOUTH hits like a sugar rush—loud, colorful, and impossible to ignore. The duo lean into their playful, high-speed brand of Beastie Boys-inspired Hip Hop while slipping in flashes of reflection that keep the record from being one-dimensional. From the jump, tracks like “BUST DOWN” and “GIVE IT TO ME” bring wild, bratty energy, all punchy drums and rapid-fire bars that sound tailor-made for crowded basements and sweaty clubs.

The features amplify the chaos in clever ways: JPEGMAFIA snarls across the standout “WASSUP,” TiaCorine locks into a sharp pocket on “BUST DOWN,” and Rebecca Black transforms “SEE U DANCE” into a glossy, neon-lit anthem. Even with the poppier detours, the record doesn’t lose momentum—if anything, the variety makes the whole project more unpredictable.

What gives HYPERYOUTH real staying power is the willingness to look past nonstop partying. “LIVE RIGHT” balances playful bravado with an almost vulnerable admission of fearing adulthood. The hook—“As long as I got my friends / Don’t want this shit to end”—lands as the emotional core of the album, reminding you that under the chaos, the duo are writing about growing up without letting go of fun. “PARTY’S OVER” continues that thread with a more reflective tone, like the moment after the lights come on and everyone has to figure out what’s next.

We’re not usually the biggest fans of dance-driven Hip Hop, but here the blend works. The pop textures don’t water down the duo’s identity—they heighten it. HYPERYOUTH is stacked with energy front to back, the kind of record that’s rowdy, sincere, and self-aware all at once. Joey Valence & Brae don’t slow down, and they don’t have to—the chaos is the point.

Release date: August 15, 2025.

Blu & August Fanon - Forty

Forty is loose, celebratory, and deeply nostalgic. Blu floats across August Fanon’s jazz-heavy, sample-rich beats with the comfort of someone who’s spent decades rapping at a high level. The production is warm and dusty—layers of chopped soul, vinyl crackle, and murky basslines that leave room for verses to breathe.

The album plays like a cipher in motion. Every track brings in guests—R.A.P. Ferreira, Kota the Friend, Asher Roth, Homeboy Sandman, and many more. Some verses hit harder than others, but the energy stays consistent. There’s a lot of love in the room. Blu sounds reflective without sounding tired, wise without preaching. “Still Here” and “Don’t Play With Me” lean into that older rapper calm, finding joy in presence over performance.

It’s not the cleanest mix, and the constant rotation of features can blur things together. But that’s part of the appeal—it moves like an open mic for grown heads. Forty isn’t trying to be sharp or polished. It’s Blu rapping about life at 40, backed by some of the most soulful production he’s had in years. If you’ve followed him the last twenty years or so, this feels like catching up with an old friend.

Release date: April 18, 2025.

Apathy - Mom & Dad

Apathy’s Mom & Dad is a focused, low-frills record steeped in nostalgia, skepticism, and homegrown production. The Connecticut MC handles most of the beats himself, laying down tight loops with weathered samples, slow-burn drums, and deep basslines. The sound is measured and deliberate—never hurried, never flashy. His delivery is calm, slightly weathered, and built on clarity. Themes orbit childhood in the 1980s, economic struggle, media confusion, and political rot, threaded through nods to Reagan-era decay and East Coast localism.

The title track drops the drums completely, letting Apathy speak plainly over ambient samples, framing Ronald and Nancy Reagan as symbolic parents—distant, powerful, and indifferent. Tracks like “Shore Life” and “Summer at the Shore” carry salt air and long memory, and “Lee Harv” slides into darker territory with tight verses and a JFK reference that stays grounded instead of theatrical. Little Vic, Ryu, Suave-Ski, and Slaine contribute verses that stay in the pocket—no grandstanding, just clean writing.

The album works because it doesn’t reach too far. Apathy sticks to stripped production and concrete lyrics with little posturing. It’s personal but not sentimental, reflective without leaning on heavy-handed concept work. The beats stay tough and warm, and the mood holds throughout.

Release date: June 13, 2025.

Best Hip Hop EPs Of 2025

• Papoose – Bars on Wheels: A Journey to Save Hip Hop
• Ransom & Conductor Williams – The Uncomfortable Truth
• Boldy James & Nicholas Craven – Criminally Attached
• 28AV & araabMUZIK – The Avatar Darko Story
• NapsNDreds & Wordsworth – Quick Routes
• Mavi – The Pilot
• Your Old Droog – Anything is Possible
• RJ Payne & PA. Dre – Winning Aint Enough
• Stik Figa & Str8jakkett – Westside Alumni
• Flee Lord & Jansport J – Halfway There
• Grey Mouse Beats & A-F-R-O – FROMage
• Truth & Da Beatminerz – Nostalgia ThEraPy 2
• The White Shadow of Norway – The Entity
• AJ Suede, Lord Olo & Televangel – Relinquished
• Afu-Ra – The Monk and the Wolf Italian
• Distant Pham & Brutal Caesar – The Disdain
• Obijuan & Camoflauge Monk – Until the Sky Break
• DJ Premier & Ransom – The Reinvention
• Monie Love – Love Notes
• Big Kahuna OG & Foisey – She Know U Lame
• Mojo Barnes – Son of the Morning
• Reek Osama & BhramaBull – Street Purgatory 2
• Bruiser Wolf & Harry Fraud – Made by Dope
• OT the Real – The Wars I’ve Won
• Interstellar – Clockwork
• BamBeatz & dB Cutlass – Street Wilderness…Vol.1
• Fatboi Sharif & Roper Williams – Goth Girl on the Enterprise
• Sadistik & NOWHERE2RUN – The Vacants
• Maze Overlay & Al Smith – Al Dente
• Rasheed Chappell & Mickey Blue – 2nd Story
• Sadat X – Can’t Stop the God
• DJ Muggs & Heartbreak JC – Red Lights & Drive Thrus
• Hus Kingpin – River of January 2: Rio De Janeiro EP
• Crimeapple – The Babylonian Tyrants
• Bisk & YUNGMORPHEUS – EternalBlue
• Novatore & C-Lance – Embrace the Darkness Part 3
• J Scienide & Giallo Point – Flashes in the Dark
• Double A.B. – Underworld Overdose
• Nowaah the Flood & EL Maryacho – Credit Suisse
• Bambu & Fatgums – They’re Burning the Boats
• Curren$y – 10/15
• Marco Polo & Rakim – What’$ Wrong
• A-F-R-O – Afrodeezeak 3
• Paavo & DJ MROK – Green Moon Rising
• Jay Electronica – A Written Testimony: Leaflet
• Jay Electronica – A Written Testimony: Power at the Rate of My Dreams
• Jay Electronica – A Written Testimony: Mars. The Inhabited Planet
• AJ Suede – Grateful Dread
• Dexter Fizz – Head Caught Fire
• Northstar – Polaris
• Ayoo Bigz & Itrak – Psychotic Features
• Jay Savage – Only Scars Can Make You King: Fall Collection
• BIGBIRD Kuti & Vector – BIGBIRD & Tha Viper
• Pugs Atomz & Jeremiah Jae – The Hawk
• Wais P, The Musalini & Statik Selektah – Choose or Lose
• Pounds448 – For Dealers, By Dealers
• Curren$y – 9/15
• DJ Premier & Roc Marciano – The Coldest Profession
• Che Noir & The Other Guys – No Validation
• Rakim & Big Ghost Ltd – The Re-Up
• Earl Sweatshirt – Live Laugh Love
• DJ Muggs & Cynic – Ojos EP
• Soviets (Jeff Spec & Chaix) – Tropico
• Lupe Fiasco – Samurai DX
• Blame One & CHiLL-iLL – Long Awaited: The EP
• Willie Mays Blaze & Dom 2XL – I Dont See ‘Em Outside
• Nyeusi Loe & Hagakure – Gift of Grease
• Coast Contra – The Fifth
• Napoleon Da Legend – Dessalines
• Klwn Cat & Mourning Run – Smilodon
• World Be Free & Machacha – Pablo Clemente
• Mad Skillz – Words for Days Vol. 1
• Chedda Bang – Walk on Water
• André DeSaint & Machacha – The Black Teddy Santis
• Halfcut & Cole the God – The Relentless Two
•  E Murda & sleeping with shoes on – 2nd Degree Murda
• Aztech from Hybrid Thoughts – A.O.T. (Arc of Tech)
• Tyler, the Creator – Don’t Tap the Glass
• Boldy James & Rome Streetz – Manhunt
• Ras Kass – FAFO
• DJ Moya & Daniel Son – Shuffle with the Left
• Legit – 360 365
• Top Hooter – Handing Out Samples
• Keisha Plum – Trouble
• The Hidden Character & BoneWeso – The Hidden Splash
• ShrapKnel & Raphy – Lincoln Continental Breakfast
• Big Trip & Mallori Knox – Cry Baby
• Sir Michael Rocks  – Rocks, Paper, Scissors: Choices
• Propaganda & DJ Sean P – Your Arms Are Too Short to Box Wit God
• RJ Payne & PA. Dre – It Feels Good 2 Win
• J Scienide & Bes Kept – Living in Large Buildings
• The Bad Seed & Shade Cobain – Flip Wilson
• Tha God Fahim & Richard Milli – Omega Beams
• Mr. Skip & Tha God Fahim – The Dumplorian
• Streets Soprano & Heckler – Birth of a Dynasty
• Black Silver – Carved from a Different Stone
• Dough Networkz & DirtyDiggs – Above Cloud Vision
• The Doppelgangaz – Still Left
• A-F-R-O – Crimson Fury
• Slick Rick – Victory
• Che Noir – The Color Chocolate 2
• Fel Sweetenberg – Reign of the Giants – Part 1
• Wildchild (Lootpack) – Season of Kingsmen
• Nowaah the Flood & Giallo Point – The Anomaly EP
• B.A Badd & Sypooda – Painted in Hunger
• The Hidden Character & BoneWeso – The Hidden Splash
• Milc & spinitch – Run for the Arts
• AJ Suede – Throne Away
• Chino XL – The Ascen7ion
• Sule & Tye Cooper – Su & Tye
• Red Inf & Element Bolo – Queens Bound
• Tha God Fahim & Drega33 – Lethal Weapon 3
• Money Mogly & Machacha – Wolfy Boy Womac
• Al.Divino – XKRZN
• Al.Divino – NBRKNZR
• Flee Lord & Eto – RocAmerikkka 3
• RJ Payne & Sevin Soprano – The Withering Hour
• Jus-P & Swab – Where There’s a Will, There’s a Way
• Reek Osama & Wino Willy – Things Will Never Be the Same
• LaRussell & Ethika Music – Good Ethika
• Novatore, A.M. Early Morning & Johnny Slash – Kingdom of Criminality Part II
• Substance810 & Haas Almahdi – One Inch Punch
• Nowaah the Flood & The Custodian of Records – Mergers and Acquisitions
• Bluehillbill & Al.Divino – Avematix
• Boldy James & Your Boy Posca – Magnolia Leflore
• ScienZe & NappyHIGH – Praises
• K.A.A.N. & Jonah Renna – Yesterday
• Grand Puba – The Origin
• Agallah Don Bishop – The Hart of New York
• Tha God Fahim & Nicholas Craven – Ultimate Dump Gawd
• Blunted Sloth – Good Water Makes Good Tea
• JPEGMAFIA & Flume – We Live in a Society
• Benny the Butcher – Excelsior
• UFO Fev & Vanderslice – Pyramid Schemes
• Nejma Nefertiti – Jayne Wayne The Juggernaut
• Asun Eastwood & MK Ortiz – Ask God for Help
• Jimmie D & Nicholas Craven – Good Music Hypnotizes
• Lupe Fiasco – GHOTIING
• Jay Royale – Jacked for the City
• Mickey Diamond – Diamond Cutter
• Ankhlejohn – Grace Given
• Eddie Kaine – Play for Keeps
• Aupheus – High Artifice
•  Al’Tarba & Senbeï – Horror 404
• Lync Lone – The Timeshifter’s Lexicon
• Willie Mays Blaze & Nexus Z – Divine Intervention
• Westside Gunn – Heels Have Eyes
• Lords of the Underground & Snowgoons – So Legendary
• Ill Clinton – Grimeball Crimelord
• Hobgoblin & Doza the Drum Dealer – Five O’Clock Tea with Bricktop
• Lex Boogie from the Bronx & Senz Beats – Dharma
• Rick Hyde – In Plain Sight
• XP the Marxman, BroGawd & So=Cal – Black and Brown Business
• Flu – Woolies
• J-Live – Back to the Essence EP
• Jinnahcide – Mass Murda Music
• Reuben Vincent & 9th Wonder – Hit Me When You Get Here: The Prelude
• Flames Dot Malik & Elcamino – Up the Block
• Kut One & Tragedy Khadafi – Legacy EP
• Boldy James & Antt Beatz – Hommage
• Willie the Kid & Real Bad Man – Midnight
• Rahiem Supreme & Budamunk – The Furious Splash
• Termanology & Bronze Nazareth – Things I Seen
• Nowaah the Flood – Floody UNLTD
• Reek Osama & Manzu Beatz – Vagabundo
• Tha God Fahim & Drega33 – Lethal Weapon
• A.M. Early Morning – 7 AM Seven4Seven
• Chill Rob G – Shots Fired
• Nu Rap Saints – Righteous Anger
• Che Noir & Superior – Seeds in Babylon
• White Shadow & Son of Saturn – Seppuku
• Rim & Vanderslice – Corner Disciple
• Previous Industries – Evergreen Plaza
• Tone Chop & Frost Gamble – I Just Wanna Rap
• Jalen Frazier & Circa 97 – All Love Until It’s Not
• Young Buck – Renovation
• Andreaus Haley & Custom Made – It’s Nasty Outside
• The Bad Seed, LR Blitzkrieg & Nottz – The 6ixers
• Coast Contra & Marco Polo – In Case You Forgot
• Jay Royale – Jacked for the City
• Mr. Cheeks (Lost Boyz) – Still in da Game
• Top Hooter & MichaelAngelo – Hooter Hyena
• Stik Figa & DJ Sean P – A Small Fortune
• Daniel Son & Ghost Notes – The Estes Method
• John Jigg$ & ButterKnife Haircuts – Teflonious Monk
• Ankhlejohn & Cookin Soul – The Michelin Man
• Sinopsis – Kooley High – Still Infinite
• Lord Fury & Sibbs Roc – Supreme Era
• Milc & Televangel – Things to Do in Portland When You’re Dead
• A-F-R-O & Chrome Waves – My Mind is My Biggest Gun
• Al Rock – Run the Line
• The Doppelgangaz – Dumpster Dive Vol. 2
• FuHandz – Done Different
• OT the Real & Nickel Plated – The Devil You Know
• Homeboy Sandman & Illingsworth – Dancing Tree
• Ty Farris & Divine Crime – Timing of a Tarantula
• Busta Rhymes – Dragon Season… Equinox
• Nacho Picasso, Milc & Televangel – Montage Music
• Wavy Da Ghawd – The Muse’s Embrace
• Vincent the Owl & Felons – 201 Degrees
• Teller Bank$ & Wino Willy – Black Man!
• Milano Constantine & DJ Ready Cee – Fly Dialogue
• Elcamino & 38 Spesh – Martyr’s Prayer III
• John Jigg$ & ButterKnife Haircuts – Teflonious Monk
• Akil the MC (Jurassic 5) – Dress Rehearsal
• IAMGAWD & Master ILL – City xf GAWD
• AJ Suede – The Duke of Downtempo
• The Musalini & DJ Skizz – The Pierre Hotel
• V Don – Sent For
• Ankhlejohn – Give Grace (Side B)
• Chubs & Rob Viktum – 40 Cal Capone
• Turt1e – Shell Shocked
• Napoleon Da Legend & JR Swiftz – Great Minds
• Busta Rhymes – Dragon Season… The Awakening
• R.A.P. Ferreira – Outstanding Understanding
• Jae Skeese – 40 Hours
• Logic – Aquarius III
• Diamond D – The Diam Piece 3: Duo
• Ferris Blusa & Observe Since 98 – And That’s When I Saw Gawd
• Jae Skeese – 40 Hours
• Supreme Cerebral & Swab – Son Of Hannibal
• NAHreally – Secret Pancake
• Novatore & Brenx – Agoraphobia
• Ransom – Cabrini Green Project
• Paradox & DJ Sean P – Now. Here. This
• Wavy Da Ghawd – The Muse’s Embrace
• Ty Farris & Divine Crime – Timing of a Tarantula

The Best Hip Hop Albums Of 2024

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