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.

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.

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.

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.

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.

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.

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.

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.

Phill Most Chill - I'm (Volume One & Volume Two )

I’m (Volume One & Volume Two) by Phill Most Chill and DJ MROK is a double-headed dive into classic boom bap with a sharp ear for detail and rhythm. Volume One hits first with heavy drums, gritty loops, and tight, punchy flows that never waste a bar. Phill Most Chill stays in the pocket across every track, delivering verses with a steady mix of swagger, clarity, and pacing that brings the beats to life without ever sounding forced or overly nostalgic.

MROK’s production leans hard into chopped-up breaks, dusty basslines, and subtle scratches. It’s the kind of sound that feels built from hours digging in crates, but it never gets stuck in retro habits. There’s a snap to the drums and a warmth in the mixes that gives the album its forward momentum.

Volume Two isn’t a simple remix album. It pulls the same lyrics into new frames, reworking the beats with alternate textures, rhythms, and moods. Where Volume One might drive with boom-bap force, Volume Two bends the edges—sometimes more aggressively, sometimes slower, with different samples that reframe the tone without losing the grit. It’s more than a rehash—it reimagines.

Across both volumes, Phill Most Chill stays locked in. The rhymes are dense with internal schemes, tight phrasing, and smart wordplay, but they don’t sacrifice bounce. There’s humor, battle bars, and deep-cut references, all delivered with the kind of timing that’s hard to fake.

I’m (Volume One & Volume Two) doesn’t try to reinvent anything. It doubles down on rhythm, vinyl, and rhyme in a way that feels alive. For listeners into stripped-down 80s-centric Hip Hop with no filler, this is built to loop. This is Phill Most Chill’s second strong release of the year, Deal With It (with Djar One) also slaps.

Release date: April 29, 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. 

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.

Phill Most Chill & Djar One - Deal with It

Deal with It is another strong release from Phill Most Chill, packed with high-energy rhymes and crisp production from Djar One. The throwback beats are hard-hitting, built on funky loops and sharp cuts that bring back the feel of late-80s Hip Hop without sounding outdated. Phill Most Chill’s collaborative album with Jorun Bombay, Jorun PMC, was one of our favorite albums of 2020, and this one has the same kind of fun and energetic vibe. Tracks like “I Get Phunky,” “Ill Rhyming,” and “Back 2 Rhymes” bring non-stop momentum, while “Let Yourself Go” stretches things out with a deeper groove. The chemistry between MC and producer is tight throughout, making this a must-hear for anyone who loves classic Hip Hop.

Release date: February 7, 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.

Boldy James & Chuck Strangers - Token Of Appreciation

After two lackluster January releases—Murder During Drug Traffic with RichGains and the solo Permanent Ink—Boldy James bounces back with Token of Appreciation, a collab with Pro Era’s Chuck Strangers. This 11-track, 32-minute album marks a return to form for the Detroit MC, driven by Strangers’ lo-fi production. “B.O.B. (Big Ol’ Business)” opens with a calm piano hum and soft snares, Boldy’s deep voice rolling steady, the mood relaxed yet confident. “Whale Fishing” strips drums for a chipmunk soul loop, the beat swaying gentle, his rhymes gritty, the vibe introspective and smooth.

Strangers’ sound—jazzy flares and soul chops—shines on “Thank God,” where a warm sample layers over a slow thump, the mood grateful and mellow. “Lop Sided” hums with synth-organs, the beat zippy, his flow sharp, the track pulsing with street energy. The structure keeps it tight—short tracks, no filler—Alchemist’s mixing adding a crisp edge. “Fail Proof” grooves rich, Boldy’s voice steady over a funky bassline, the mood defiant.

Overall, the beats knock smooth, and Boldy’s delivery cuts deep with vivid street tales. It’s a strong rebound, proving Boldy’s still got fire.

Release date: February 27, 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. 

Nerves Baddington - Driving Off Cliffs

Driving Off Cliffs is another strong entry from Birmingham, AL duo Nerves Baddington. Inkline’s lyricism moves between direct storytelling and cryptic wordplay, while Kilgore Doubt lays down murky, off-kilter production that leans into hypnotic repetition and eerie textures. The beats blend dusty drum loops with unconventional sampling, creating a sound that feels weighty but never stagnant. Tracks shift between slow-burning meditations and urgent, percussive rhythms, pulling listeners into the project’s heavy atmosphere. Hooks keep things anchored without softening the impact, letting the verses take center stage.

While not as expansive as their excellent 2022 duology micro/macro, the album sticks to a tightly wound aesthetic that highlights the duo’s knack for mood-driven, cerebral Hip Hop. The chemistry between Inkline and Kilgore remains strong, with each track feeling purposeful in its arrangement. The production choices, from dissonant melodies to layered vocal chops, reinforce the themes of pressure and perseverance. Nerves Baddington continues to refine their signature sound, pushing their craft without losing the grit that defines their work. Driving Off Cliffs isn’t interested in easy moments—it’s immersive, unflinching, and fully committed to its vision.

Release date: February 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.

UFO Fev & Body Bag Ben - Thousand Yard Stare

Thousand Yard Stare is one of UFO Fev’s strongest projects, sharpened by Body Bag Ben’s raw, menacing production. The New York emcee locks into the beats with a steady, confident presence, delivering street wisdom and reflections with precision. His voice carries weight, balancing grittiness with moments of introspection.

Body Bag Ben builds a dark, textured backdrop with booming drums and eerie samples. Tracks like “Savignon Blanc” and “Shop Open” hit with urgency, while “4 Letter Words” stretches into a slower, more reflective space. The features add dimension—Royal Flush on “G-Code” and Lukah on “2 BIG 2 FAIL” bring different shades of toughness, while Vel Nine offers a smoother contrast on “4 My Young Boys.”

There’s no wasted space on this record. UFO Fev sounds locked in from start to finish, and Body Bag Ben’s beats push him to another level. In a crowded field of underground Hip Hop, this project stands out because of its chemistry. Fev’s storytelling and delivery meet Ben’s heavy, atmospheric production in an effortless but never predictable way.

Release date: March 21, 2025.

Lord Sko - Piff

Lord Sko’s Piff is a sharp, smoke-laced ride through New York’s underground, balancing classic influences with a fresh, modern edge. His pen is sharp, his delivery smooth, and the production rolls between jazz-soaked loops, cloudy trap, and lo-fi boom-bap. The Statik Selektah-produced “2nd Thought” lays down a warm, hypnotic groove while Sko carves out bars with an effortless confidence. “Bong Rips,” featuring MAVI and backed by Harry Fraud, leans into hazy, slow-burning introspection, while “Camel Eyes” finds Sko trading verses with Conway the Machine over a psychedelic beat.

Grand Puba joins in on “Girbaud Talk,” which swings with jazzy finesse, and “Understand” with Curren$y turns self-assurance into an art form, blending luxury talk with a streetwise cool. “Randy Moss” closes the album with a reflective edge, Sko likening himself to the Hall of Famer while staying locked in his own lane. Throughout, the production shifts but never loses its identity, pulling from stoner-era blog rap, traditional New York grit, and woozy, off-kilter textures.

With his first release under Fat Beats, Sko keeps things tight and purposeful, honoring the past while embracing the present. His flow is agile, his beat selection is rich, and his world-building across Piff is as immersive as it is laid-back.

Release date: March 28, 2025. 

Chuck D - Chuck D Presents Enemy Radio: Radio Armageddon

Radio Armageddon plays like a broadcast from the middle of a storm. Chuck D delivers each line with clarity and force, backed by production that grinds, loops, and cuts without warning. It’s a heavy listen—packed with sharp drums, scratched vinyl textures, and layers of distortion that feel scorched by time and pressure.

The structure flips between full tracks and chopped-up interludes, like someone spinning the dial through pirate stations. “What Rock Is” pounds forward with thick drums and crackling fuzz. “Black Don’t Tread” rides a rhythm that feels like it’s dragging history behind it. “Is God She?” bends the tone—layering a funk groove with warped effects and echoing vocals. The production keeps shifting, never settling into a comfortable rhythm.

Chuck’s voice is steady, grounded, and deliberate. He speaks plainly about violence, surveillance, inequality, and survival. On “Here We Are Gear,” he opens fire on systemic racism with lines that cut to the bone. “Make racists afraid again” drops without buildup or filter. “New Gens” extends a hand across eras, with Daddy-O joining to underline Hip Hop’s long timeline.

The album is full of voices—DJ Too Tuff, Miranda Writes, Schoolly D, Donald D. They jump in and out like radio signals crossing over each other. Some verses hit sharp, others feel buried in the noise, but all of them add to the chaos. The mix is raw, sometimes overwhelming, always intentional.

Chuck D isn’t chasing anything on Radio Armageddon. He’s transmitting. The lines land hard, the beats stay rough, and the message keeps moving.

Release date: May 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.

Boldy James & Real Bad Man - Conversational Pieces

Conversational Pieces is a focused, sharp-edged return for Boldy James, locking into Real Bad Man’s most textured and creative production of their ongoing collaborations. There’s a grit to the beats that doesn’t rely on nostalgia—plenty of vinyl hiss and soul loops, sure, but they’re bent in weird, compelling ways. Tracks like “Cutthroats” and “Aspen” lean on lurching, off-center rhythms that force Boldy to rap in tighter, more precise bursts, which he does with full control. His voice, always slightly flattened and unbothered, moves steadily through each verse with quiet tension.

“Fear of God” with Conway is especially heavy, built around a grainy loop that crackles under the weight of their verses. El-P’s appearance on “It Factor” is a left-field choice, and the production matches him—dense and jagged—but Boldy adapts without sounding out of place. The closer, “Conversational Pieces,” is the most melodic and layered track here, anchored by a jazzy loop that lets Boldy stretch out.

It’s not without dips—Come Back Around,” featuring dreamcastmoe, floats with a smoky, melodic hook that doesn’t work for us—but this is easily among Boldy’s strongest 2025 projects, with more risk, more detail, and more grip than most of his recent output.

Release date: May 2, 2025.

Larry June, 2 Chainz & The Alchemist - Life Is Beautiful

Life Is Beautiful brings together San Francisco’s laid-back cool and Atlanta’s trap energy, an unexpected mix held together by The Alchemist’s masterful production. His jazzy, textured beats layer warm keys, hazy samples, and crisp drums, setting the mood from the first note. Every instrumental choice feels deliberate, from the lush, Axelrod-inspired strings on “Munyon Canyon” to the hypnotic loops of “Epiphany.” The production is the foundation, pulling the best out of both rappers.

Larry June delivers his signature hustler wisdom with calm, conversational ease, but he can sometimes be a one-note rapper. The Alchemist pushes him to elevate, giving his verses space to stretch while keeping the energy dynamic. 2 Chainz provides contrast, injecting playful energy and punchlines that land. Their chemistry shines on tracks like “Bad Choices” and “Jean Prouve,” where smooth confidence meets animated bravado.

Following 2023‘s The Great Escape, his strongest project to date, Larry June continues to thrive under Alchemist’s direction. The album stays focused at 11 tracks, wasting no space. Life Is Beautiful works because of its cohesion—Alchemist’s production is the glue, bringing everything together into a polished, immersive listen.

Release date: February 7, 2025. 

Rome Streetz & Conductor Williams - Trainspotting

Trainspotting pairs one of the best emcees of his generation with a producer who knows how to build a minimal but textured backdrop. Rome Streetz raps with total control—quick-footed, cutting, and confident. His voice cuts through every dusty loop with the same focus he’s brought for years, but now it sounds sharper, more dialed-in. Tracks like “Ricky Bobby” and “Rule 4080” lean into vivid detail and tight cadences without slipping into overstatement. Method Man brings a strong feature, but Rome never loses command of the track.

Conductor Williams builds the whole thing with stripped drums and slow-churning samples that leave room for Rome to operate. But over time, that repetition pulls things down a bit. The producer tag—“CONDUCTOR, WE HAVE A PROBLEM”—starts to grate by the midpoint, and a few of the beats land closer to filler than foundation.

Also, at 33 minutes, the project cuts off right when it should be deepening. The brevity keeps it tight, but there’s space for more growth, more shifts in mood, and more risk. Still, Trainspotting is a strong project from a rapper who doesn’t miss. Rome’s talent is undeniable, and while the production plays it a little safe, the bars never coast.

Release date: May 30, 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.

Dear Derrick & Kool Keith - Galaxy Thot

Dear Derrick and Kool Keith’s Galaxy Thot is a rough, spacey ride through unpolished beats and off-the-wall rhymes. The album opens with “Back from Space,” which interpolates a rough interpretation of Eric B. & Rakim’s “My Melody” beat, giving the track a familiar but distorted foundation that sets the album’s unpredictable tone. The beats throughout the project are rugged and lo-fi, with Marc Live crafting a sound that feels raw and unfiltered, perfectly matching Kool Keith’s abstract delivery and Dear Derrick’s narratives.

Dear Derrick, a Brooklyn-based creative known for his work as a visual artist, rapper, and cultural curator, brings sharp, grounded lyrics that reflect his self-taught hustle and experiences in New York’s art and music scenes. Kool Keith, a legendary figure in underground Hip Hop, is known for his surreal, stream-of-consciousness style and decades-long influence on experimental rap. Together, they create an album that is both disorienting and entertaining.

Tracks like “MC Ultra” and “Keez and Geez” combine bizarre imagery with stripped-down, head-nodding production. At the same time, guest appearances from Marc Live, Dane Uno, and others add extra layers of oddball charisma. Galaxy Thot is a niche release, but for fans of Kool Keith’s unpredictable style and Derrick’s street-level storytelling, it’s a short, engaging listen (billed as an EP, but over 30 minutes so eligible for inclusion here) that rewards those who appreciate Hip Hop’s weirder corners.

Release date: February 14, 2025. 

DirtyDiggs - Gold Chain Music

Gold Chain Music offers a heavy dose of underground Hip Hop built on DirtyDiggs’ (LA duo JR and Noy One) signature production —soulful loops, crisp drums, and a hazy, cinematic feel. The beats pull from rich samples, layering jazzy horns, dusty piano chops, and deep basslines into a sound that feels both polished and unfiltered. Planet Asia leads the charge with his precise delivery, while guests like K.Burns, Supreme Cerebral, and TriState bring sharp lyricism, syncing smoothly with DirtyDiggs’ throwback swing. The energy shifts between laid-back, smoked-out vibes and harder, streetwise anthems, giving the project a dynamic rhythm. The chemistry between the production and the verses keeps the momentum steady. It’s a solid, dope listen.

Release date: February 26, 2025.

Josiah The Gift & Machacha - The Happening

Josiah The Gift and Machacha’s The Happening delivers a gritty, no-frills Hip Hop experience, grounded in sharp lyricism and dark, moody production. Machacha layers crackling drums with eerie samples, crafting an atmosphere that feels like a midnight walk through dimly lit streets. Josiah’s verses cut through the haze with precision, his voice carrying a mix of hunger and hard-earned wisdom. Tracks like “The Warning” and “Blood Oath” hit with relentless energy, while guest spots from Willie the Kid, Eddie Kaine, M.A.V., Jamil Honesty, and Vega7 the Ronin add distinct textures. At a concise 34 minutes, The Happening is short but punchy, giving underground Hip Hop heads exactly what they came for.

Release date: February 14, 2025.

Eddie Kaine & Machacha - Crown Me Kaine

Crown Me Kaine is sharp, focused, and built for replay. Brooklyn‘s Eddie Kaine moves with confidence over Machacha’s moody, boom-bap production, delivering verses with a steady, deliberate flow. The beats are raw but never overpower the lyrics, letting Kaine’s delivery cut through cleanly.

The album keeps things tight at 35 minutes, sticking to its strengths without filler. Every track feels purposeful, with grimy loops and crisp drums setting the backdrop. Kaine’s voice carries weight, balancing street wisdom with self-assurance. Machacha’s production keeps the energy consistent, making this a strong addition to Kaine’s rapidly growing catalog and a standout underground release.

Release date: February 3, 2025.

KRS-One - Temple Of Hip Hop Global Awareness

KRS-One’s legacy in Hip Hop is undeniable—one of the GOATs, no debate. The Bronx legend helped shape the genre’s conscious edge, his voice a booming force since the ‘80s. But lately, his releases—like Temple of Hip Hop Global Awareness—have been slipping out quietly, this one tied to a European tour with zero buzz. That’s on him: no promo, no push, just like he bragged back in ‘97—skills over hype.

This project carries that DIY feel—cheap, homemade cover art, stripped-down beats, all snares and echoes built for the stage, not the headphones. At just 35 minutes, it’s lean, almost skeletal, leaving you craving meatier grooves. Still, KRS delivers. His bars crackle—gruff, wise, sharp as ever, cutting through with 40 years of fire. The mood swings between preacher and warrior, his verses stacking tight over bare loops—a teacher still spitting lessons. Live, he’s untouchable, rocking crowds solo for hours with no crutches, just raw energy. That power shines through here, even if the album itself feels slight.

We’re still waiting for a heavyweight producer—Apollo Brown, DJ Premier—someone to give him the beats his weight deserves, and a label behind it to give the album some real promo power. Until then, this holds us over, proof that KRS-One’s lyrical grip hasn’t slipped.

Release date: March 21, 2025. 

Fly Anakin - (The) Forever Dream

Fly Anakin’s The Forever Dream is loose and richly textured, drifting between soul-sampling smoothness and jagged abstraction without losing its footing. Executive produced by Quelle Chris, the album moves like a late-night drive through Richmond—steady, intimate, unpredictable. There’s clarity in how it’s built, but the edges stay blurred, by design.

Tracks like “Good Clothes” and “Teen Summit” pull from warm, off-kilter loops, often stripping drums back or removing them entirely. Anakin’s voice fills the space, nimble and conversational, shifting flows without warning. On “CheckOnMe,” he links with lojii over a dusty chipmunk soul loop from August Fanon. It’s sparse, but it lingers. “Not Too Shabby” brings $ilkMoney, Quelle, and Nickelus F together in a swirl of horns and haze, each verse digging into personal wins and long-haul fatigue.

The tone flips often—“Lord Forgives, I Hold Grudges” sounds like a warning muttered through clenched teeth, while “Forever Dream” pulls all rhythm out and leaves Anakin alone with a drifting melody. Even the interludes feel deliberate. Quelle’s fingerprints are all over the sequencing: layered, fluid, sometimes slightly off-balance in a way that draws you closer.

Guests like Pink Siifu, Big Kahuna OG, BbyMutha, and The Alchemist shape the energy without hijacking it. The record ends on “Say Thank You,” a heavy-lidded gospel moment, reflective without dragging.

This isn’t Anakin’s cleanest or catchiest release, but it might be his most sonically daring. He’s rapping like he’s in the middle of a conversation you weren’t supposed to overhear—quietly intense, sometimes funny, always focused. The sound tilts toward the soulful and strange, but it’s grounded by Anakin’s presence. He never tries to sell you anything. He’s just letting you listen in.

Release date: April 25, 2025.

Mike & Tony Seltzer - Pinball II

Pinball II finds MIKE and Tony Seltzer leaning harder into the energy that made their first Pinball tape click—this time with sharper hooks, louder drums, and more momentum across a tightly packed 33 minutes. Where Showbiz! felt deeper and more textured, Pinball II moves faster, built for quick hits and punchy rhythms. It’s a slick, bright album that trades MIKE’s usual haze for clarity and bounce.

The beats snap. Seltzer brings a mix of cloudy synths, high-pitched vocal chops, and trap drum kits that swing between playful and intense. Opener “Sin City” starts with warped keys and sirens before exploding into a booming drum break. “Prezzy” and “Amiri” jump between ideas in seconds, cutting hard left mid-verse or letting a loop glitch just long enough to trip you up. The transitions come fast, sometimes jarring, but they work.

MIKE sounds locked in. His delivery rides the production without dragging, clipped and direct, tossing out lines in bursts and leaving space for the beats to breathe. “Money & Power” hits the sweet spot—MIKE sounds hungry, the beat sparkles, and everything moves together. “Shaq & Kobe” and “Jumanji” bring in features from Niontay and Earl Sweatshirt, and both land clean without throwing off the pacing. The shorter track lengths help keep things tight, though some cuts (“Angsty,” “Hell Date”) wrap up before they really settle in.

The downside is that Pinball II doesn’t hit the emotional weight of MIKE’s other recent work. Compared to Showbiz!, this project feels lighter, less grounded in reflection and more focused on rhythm and energy. But that tradeoff mostly works—this is a fun, loud, quick-hit tape with no real duds.

Even if we prefer Showbiz! for its depth, Pinball II is another win for MIKE—streamlined, stylish, and full of replay value.

Release date: May 7, 2025.

Miles Cooke - ceci n'est pas un portrait

Miles Cooke’s ceci n’est pas un portrait thrives on tension—between faith and despair, grit and grace, structure and improvisation. The album, a cerebral labyrinth of dark humor and vivid introspection, carries the weight of existential fatigue, delivered through Cooke’s raspy, lived-in voice. Each line feels less like a recitation and more like an urgent confession, made in the margins of a world spinning out of control.

Cooke’s beats, along with contributions from Foule Monk, Roper Williams, and Jeff Markey, evoke smoky backrooms and shadowed cityscapes. Sparse jazz pianos collide with menacing basslines, crafting a sound as uneasy as the truths Cooke lays bare. Guest verses from Defcee, SKECH185, and RAMA expand the narrative’s layers, blending camaraderie with critique.

This is an album that doesn’t seek comfort. Instead, it confronts the absurdity of modern life with sharp metaphors and a wry gaze, offering listeners a brutally poetic mirror.

At 32 minutes, the album is on the short side, but its brevity doesn’t detract from its impact. Recommended for fans of edgy underground Hip Hop, ceci n’est pas un portrait delivers a raw, uncompromising experience that lingers long after the final track.

Release date: January 10, 2025.

Wu-Tang & Mathematics - Black Samson, the Bastard Swordsman

Black Samson, the Bastard Swordsman is a dense, often exhilarating return from Wu-Tang and longtime collaborator Mathematics, with all nine living members trading verses over a rugged set of beats rooted in vintage Kung Fu grit and blaxploitation flair. From the boom-bap snap of “Mandingo” to the dramatic soul textures of “Claudine,” the album moves with precision, balancing chaotic cipher energy and polished structure.

Mathematics drives the project with a sharp ear and full control. His production is textured and tightly constructed—grimy drums, dust-coated loops, and well-placed vocal samples give each track a cinematic charge. “Roar of the Lion” lurches forward with a heavy, stomping rhythm, letting Kool G Rap’s gravel delivery cut through U-God and RZA’s snarls. “Executioners from Shaolin” is lean and aggressive, with a stripped-down beat that leaves space for the verses to swing like blades in a dark hallway.

There are moments where the structure wobbles. “Dolemite” and “Shaolin vs. Lama” suffer from low vocal mixes that bury strong verses in muddy layers. And while the features—RJ Payne, 38 Spesh, Willie the Kid, KXNG Crooked—bring skill and energy, not every collaboration lands with the same weight. Still, the sense of collective presence makes the record feel like a full-circle moment. The Clan doesn’t chase trends here—they double down on what they built, making space for the next generation without letting go of their own identity.

“Charleston Blue, Legend of a Fighter” is a fitting closer: reflective and personal, with Cappadonna’s letter to his mother and Crooked’s verse on fatherhood carrying the kind of emotional clarity that cuts through the album’s heavy stylization. At its best, the record moves like a late-night martial arts flick scored by cracked vinyl loops and street sermons.

Black Samson, the Bastard Swordsman digs deeper into a sound and mythos the Clan helped shape, with Mathematics refining it into something focused, theatrical, and fiercely alive. Not flawless, but absolutely worth hearing loud.

Release date: April 25, 2025.

Big Cheeko - Coulrophobia

Courophobia by Atlanta artist Big Cheeko is a bold and dynamic blend of Hip Hop, soul, and jazz influences, with every track offering something distinct. The production is rich and diverse, weaving together smooth beats, jazzy elements, and sharp percussion that perfectly frame Cheeko’s unique vocal delivery. Cheeko’s lyricism is thought-provoking, capturing themes of self-awareness and societal reflection, all while maintaining a sharp sense of humor. Collaborations with artists like Jay Nice and Rocxnoir add texture to the album, enhancing its variety without overshadowing Cheeko’s voice. Throughout, the record’s experimental nature keeps things fresh, though its steady flow ensures a cohesive listening experience. Coulrophobia is a well-rounded effort that blends deep vibes with creative risks, proving Cheeko’s potential as an artist to watch.

Release date: January 17, 2025.

Backxwash - Only Dust Remains

Backxwash’s Only Dust Remains is an album that doesn’t whisper or hint at its themes—it roars. The Montreal-based rapper and producer moves past the suffocating darkness of her previous trilogy into something more expansive, but no less intense. Across these ten tracks, she channels anger, grief, and reflection into a sound that fuses industrial rap, metal, electronic, and gospel elements with a newfound sense of movement and space.

Opener “Black Lazarus” starts with eerie choral harmonies before a crashing beat drops in, as Backxwash delivers verses that wrestle with mortality, guilt, and survival. The religious imagery that has long been a staple of her work returns here, but it feels more like an interrogation than a plea. “Wake Up” follows with a relentless build, its seven-minute runtime growing heavier as synths and distorted drums layer over each other. Backxwash’s voice rises in fury, the repetition of “wake the f*** up!” turning into both a personal and political rallying cry. The song shifts halfway through, briefly dipping into a warped gospel section before snapping back into the chaos, a moment of breath before the plunge.

“9th Heaven” introduces a different kind of urgency, its drum’n’bass beat pulsing beneath rapid-fire verses about addiction, labor, and searching for meaning. The song’s climax—an exultant cry of “I feel so motherf***ing free!”—arrives like a breaking wave, a rare moment of release amid the tension. “Dissociation” slows things down with an eerie post-rock instrumental, its melody weaving around reflections on depression and detachment. Chloe Hotline’s ghostly vocals float in the background, their softness contrasting with the weight of Backxwash’s words.

On “History of Violence,” Backxwash turns her focus outward, confronting the ongoing genocide in Gaza with unflinching directness. The intensity doesn’t let up with “Stairway to Heaven,” where a jazz-inflected intro gives way to a soaring guitar solo, as Backxwash raps about accepting the void rather than fearing it.

The album closes with the title track, its haunting Nina Simone sample framing a final meditation on identity, displacement, and defiance. “What I hope to do all the time is to be so completely myself,” Simone’s voice declares, an ethos that Backxwash embodies throughout the record. Only Dust Remains doesn’t just process pain—it reshapes it into something powerful, something impossible to ignore.

Release date: March 28, 2025.

ZelooperZ & Real Bad Man - Dear Psilocybin

Dear Psilocybin is hypnotic, murky, and unsettling in the best way. ZelooperZ drifts between clarity and delirium, his voice stretching and slurring over Real Bad Man’s eerie, off-kilter loops. The beats feel warped, with flutes, dusty samples, and haunting melodies swirling in and out of focus. Tracks like “Sweet Celine” and “World Blew” feel weightless, floating in a hazy dream, while “Explains It Scientifically” twists doo-wop elements into something ghostly and unsteady.

ZelooperZ is unpredictable, shifting flows and vocal tones mid-bar. At times, he sounds detached, his delivery fading into the production like a voice lost in thought. The lyrics carry an underlying tension, touching on substance use, paranoia, and self-destruction without losing the album’s detached, almost psychedelic mood. The production keeps everything in orbit, giving even the strangest moments a loose sense of structure.

Real Bad Man and ZelooperZ build a surreal, insular world where melodies dissolve into noise, and verses slip between lucidity and delirium. It’s an album that feels lived-in, like a night of distorted memories pieced together the morning after.

Release date: February 7, 2025. 

Boldy James & V Don - Alphabet Highway

Alphabet Highway is Boldy James’ second-best release of the year so far—clearer and more locked-in than his mid-at-best January drops, even if it doesn’t reach the heights of earlier Boldy classics like Bo Jackson or Manger on McNichols. V Don’s production lays a solid foundation, full of grimy textures, dusty loops, and a few surprising switches, like the jazz-tinged “Smacking Foreigns” or the off-kilter knock of “Entrapment.” It’s dark, minimal, and focused—built for Boldy’s low-slung voice and coded bars.

There’s no filler here, but not every track sticks. Some cuts blur together, especially in the middle stretch. Still, when it hits—like “Split the Bill,” “Quaker Oats,” and the eerie closer “Bobert Horry”—it reminds you how sharp Boldy can be when he’s matched with the right producer. His delivery stays steady throughout, and while he rarely breaks form, the writing has more bite here than on Hommage or Permanent Ink.

V Don keeps the beats tight and shadowy without going flat, and that helps carry Boldy through a few stretches where the energy dips. There’s nothing flashy here, but there’s control—and that matters. The no-feature structure works in his favor, too, keeping the focus locked in.

This isn’t a career peak, but it’s a strong addition to Boldy’s catalog and a reminder of how consistent he can be when the production meets him halfway. Alphabet Highway won’t rewrite his story, but it doesn’t need to—it keeps him firmly in motion.

Release date: April 4, 2025.

Recognize Ali & Stu Bangas - Guerilla Dynasty 3

Recognize Ali, the tireless underground MC, links up again with producer Stu Bangas for Guerilla Dynasty 3, the latest chapter in their rugged series. If you know these two, you can already hear it: beats that hit like a fistful of gravel—boom-bap laced with grime—and bars that snarl with the same dirty edge. This album doesn’t chase new territory or linger long in your head after the last track fades. It doesn’t need to. There’s a crowd that craves this strain of Hip Hop—hard, unpolished, straight from the gutter—and we’re right there with them, nodding along to the familiar grit.

Release date: March 14, 2025.

Grand Official - Supreme

Supreme hits hard with golden-age boom-bap, packed with razor-sharp cuts and heavyweight features. Grand Official—MC Dose, DJ Hallucin8, and producer Grip—lock into deep, knocking drums and gritty loops, keeping their sound raw and urgent. The title track kicks off with Lil Fame and Teflon, setting the tone with rough-edged energy, while “Kings” leans into Da Beatminerz’s signature murky bounce.

The lineup gets deeper with KRS-One on “Respect,” his booming presence adding weight, and Ras Kass, Cappadonna, and M.O.P. bringing firepower to the mix. Reagan Era Records members drop in throughout, reinforcing the album’s underground roots. Beats snap, verses land with intention. This is a LONG album, and not every track hits, but the overall quality of this LP is undeniable. This is Hip Hop built for the heads—uncompromising, sharp, and drenched in that 90s grit.

Release date: February 2, 2025. 

Smif-N-Wessun - Infinity

Smif-N-Wessun’s Infinity, released via Duck Down Music, pairs Tek and Steele with The Soul Council’s tight production across 14 tracks. Khrysis’ “Infinity” kicks off with a mellow bass hum and crisp snares, Tek’s voice gliding, “We here forever,” the mood reflective yet steady.  Standout cut “Medina” with Pharoahe Monch bangs hard, Sndtrak’s vocal sample looping over thumping kicks, the vibe gritty and intense. 9th Wonder’s “Enjoy Ya Life” layers soulful pianos, Steele rapping, “Make the best of the time we got,” the track smooth and warm. “On My Soul” with Buckshot hums with a funky bassline, the mood loyal and laid-back, stretching over four minutes.

The structure flows consistent—each beat polished, from “Chuuch’s” gospel flip to Nottz’s “Bad Guy” with its stark guitar sting. We like this album for its smooth listen, the production crisp and unwavering. But it’s a bit too glossy for a Smif-N-Wessun joint—the R&B hooks, like Ralph Tresvant’s croon on “Shine,” dilute the grit we crave from these Brooklyn vets. The Soul Council’s sound is tight, no doubt, yet its slick polish clashes with the rugged edge we expected.

Release date: February 21, 2025. 

Isaac Castor & Foul Mouth - The Rabbit Hole 3: Smoking Caterpillar

Isaac Castor and Foul Mouth return with The Rabbit Hole 3: Smoking Caterpillar, the latest chapter in their ongoing series. The album dives deep into boom-bap roots while weaving in jazz and rock influences, creating a dense and textured backdrop for Castor’s sharp lyricism. From the opening track “Here They Come,” the energy is direct and unwavering, setting the tone with tight drums and confident delivery. Tracks like “I Ain’t Fresh?” tap into gritty basement-style beats, while “Blind” takes a smoother approach with jazz-infused melodies.

Throughout the project, Castor balances battle-ready bars with introspection. “Why Should I Die?” layers horns and punchy percussion under lyrics that explore his sense of self-worth, while “Sidetracked” critiques the compromises others make in pursuit of fame. Guest appearances from Kain Cole, J-Classic, and Mvck Nyce add variety, complementing Castor’s style without overshadowing his presence.

Production by Foul Mouth remains grounded in the signature Middle Finger Music sound—rich sampling, crisp drums, and a knack for balancing nostalgia with freshness. “Time for Jazz” and “Spin Itch” highlight this versatility, blending soulful loops with raw energy. As the album winds down with “Thoughts Runnin’” and “Live Wire,” Castor circles back to themes of persistence and artistic growth, reinforcing the cyclical nature of his journey.

Castor’s confidence and hunger are evident, making each track a statement of purpose. The Rabbit Hole 3: Smoking Caterpillar feels like a culmination of years of hard work, shaped by experience and a relentless drive to keep moving forward.

Release date: January 23, 2025.

Curren$y & Harry Fraud - Never Catch Us

Never Catch Us brings Curren$y and Harry Fraud back together for another smooth, luxurious ride through the high life. The production leans into warm, layered instrumentation—lush strings, crisp drums, and hazy keys set the mood for Spitta’s effortless glide. His laid-back delivery and sharp details paint scenes of private jets, classic cars, and late-night plotting.

“Money Magnet” is the standout, with its eerie, looping sample and thudding drums providing the perfect backdrop for Curren$y’s unshakable cool. Conway the Machine and Rome Streetz step in with menacing energy, and Rome’s closing verse is especially sharp. The features throughout add texture—Wiz Khalifa slides in comfortably on “Airport Industries,” while Babyface Ray, Styles P, and 03 Greedo bring weight to the trap-flavored “True Lies.”

Fraud’s best production moments blend jazz and soul influences with his signature polished touch, as heard on “Encrypted Messages” and “No Wrinkles.” Some tracks in the second half don’t land as strongly, leaning into flatter production, but the highs outweigh the dips. Curren$y and Fraud have locked into a formula that works, and while this project doesn’t reinvent their sound, it stays fresh with small shifts in energy and approach. It’s an easy listen, built for long drives and slow afternoons, reinforcing their chemistry without forcing anything new.

Release date: March 14, 2025. 

Xzibit - Kingmaker

Kingmaker opens with confidence and control. Xzibit moves through each track with a steady hand and a voice that cuts through thick, layered beats. The production leans heavy—rich with low-end grit, sharp snares, and a mix of live instrumentation and sample flips that keep things grounded. Tracks like “Play This at My Funeral” and “Been a Long Time 2” hit with clarity, built around hard drums and precise bars, while “The Moment” bursts with energy, Busta Rhymes and JasonMartin jumping into the mix without losing pace.

The album moves across different moods without breaking its focus. “Earth is Over” grinds forward with tense horns and cold realism. “Leave Me Alone” drops into a slower, organ-heavy groove, where X and Dr. Dre keep things stripped down and personal. On “Crash,” Royce da 5’9” brings a sharp edge, and “American Idol” stretches into a darker, more reflective space.

Xzibit sounds fully locked in. The lyrics are blunt, detailed, and direct. He doesn’t waste bars or fall into nostalgia. The guests (including Ice Cube, King Tee, B-Real, T, Redman, and Busta Rhymes) come ready, the beats knock, and the sequencing keeps things tight. Kingmaker doesn’t drift. It stays focused, heavy, and unshaken from start to finish. Comeback albums by Hip Hop vetrans are more often miss than hit, but this one slaps.

Release date: May 16, 2025.

sleepingdogs - DOGSTOEVSKY

Sleepingdogs’ DOGSTOEVSKY, from the Three Dollar Pistol label, is a sharp leap for andrew and Jesse The Tree, refining their indie Hip Hop craft. The duo’s production blends gritty drum breaks with off-kilter synths and jazzy loops, creating a vivid, unpredictable sound.

Tracks like “ballin’ at least,” featuring Homeboy Sandman, lean into playful weed-soaked vibes, Sandman’s nimble bars adding a crisp edge. Brian Ennals’ guest spot injects raw grit, grounding the album’s more abstract moments. Jesse The Tree’s rhymes wrestle with heavy themes—poverty, mental strain—while andrew’s verses flash humor and defiance, their interplay tight and dynamic. The beats shift from lo-fi haze to sharp snares, keeping the energy high.

Not as surprising as their earlier I’m Fakin’ My Own Death Just to Get Some Rest, DOGSTOEVSKY still thrives on bold ideas, carving a niche for left-field listeners. It’s engaging, with enough wit and weight to linger, a strong addition to their catalog that demands repeated spins for its layered depth.

Release date: April 4, 2025.

Da Inphamus Amadeuz & The Punchline Academy - The Punchline Playbook: Lesson 1

The Punchline Playbook: Lesson 1 introduces The Punchline Academy, a collective formed by Bronx producer, videographer, and SiriusXM host Da Inphamus Amadeuz. Built around sharp lyricism and boom-bap beats, the album brings together underground and established artists to keep punchline-heavy Hip Hop alive.

It kicks off with a freestyle from Onyx and Ricky Bats, setting a raw and aggressive tone. Styles P and Blazin trade streetwise bars over a gritty beat on “Delay the Drama,” while “It’s Like a Jungle” gathers Blazin, Kiko Medina, Rah tha Ruler, Shortee Sha, Spittin Image, and Tahmell to fire off punchlines back-to-back. “Another Day” takes a smoother approach, layering jazzy boom-bap under introspective verses from Amber Simone and Tahmell. G. Dep’s appearance on “Can’t Do Nothing Right” proves his pen is still sharp, and “ICU” gives Rah tha Ruler a solo moment to shine. Canibus and Tahmell bring commanding presence to “Air Traffic Control,” delivering deadly lines.

Da Inphamus Amadeuz keeps the production tight, rooted in boom-bap but tailored for each artist’s style. The energy stays high, packed with sharp wordplay and raw delivery. Billed as a first lesson, so hopefully, plenty more will come.

Release date: February 7, 2025.

Bigg Sluggathor - The Wizard Behind The Curtain

Bigg Sluggathor’s The Wizard Behind The Curtain pulls from deep underground currents, shaping a dark and hypnotic producer’s album. The beats hit heavy but stay loose, moving between eerie loops, raw percussion, and textures that feel warped at the edges. Nothing here is clean-cut—every snare, every bass hit lands with grit, dragging the listener deeper into a haze of low-end thump and detuned melodies.

AJ Suede kicks things off on “Sorcerer Supreme,” riding a creeping synth line with a measured, almost incantatory delivery. Ugly Frank’s “Imported Hashish” switches gears with a stumbling, off-kilter rhythm, while Noah23’s “Two Headed Goat” feels jittery, like a broadcast from a fractured reality. Fatboi Sharif brings the unsettling energy up another notch on “Pastor’s Speech,” his voice shifting between sermon and delirium over a beat that rattles like bones in a tin can.

This is raw, underground Hip Hop with a heavy dose of the surreal—unpolished, immersive, and full of strange magic.

Release date: March 31, 2025.

Kool Keith & Grant Shapiro - Karpenters

Karpenters is short, weird, and fully Kool Keith. The production from Grant Shapiro leans on crisp boom bap drums, eerie loops, and strange flourishes that match Keith’s off-kilter delivery. As always, his bars swing between sharp jabs, cryptic references, and surreal detours, delivered with that familiar deadpan tone. Even at its most abstract, the flow stays locked in—unpredictable, but never sloppy.

Tracks like “Super Hits” hit hard, with dense percussion and a grungy bassline, while guest appearances from Marc Live and Tash bring in extra muscle without overcrowding Keith’s space. The mixing by J-Styles and mastering by Steve Baughman keep everything clean but gritty enough to match the mood.

Karpenters, Keith’s third release of the year, isn’t a full-scale comeback or a heavy concept record—it’s Keith having fun in his own lane, backed by a producer who clearly gets the vision. At around 30 minutes, Karpenters moves (too) fast, but it leaves a mark.

Release date: April 18, 2025.

Doseone & Steel Tipped Dove - All Portrait, No Chorus

All Portrait, No Chorus from Doseone and Steel Tipped Dove is a sparse and challenging listen that pushes the edges of Hip Hop’s usual structures. The production by Dove is ethereal and abstract, filled with dreamy loops, disjointed rhythms, and haunting textures that create an almost otherworldly atmosphere. Doseone’s unorthodox delivery, part spoken word and part rap, weaves through the beats with a surreal flow that can be difficult to latch onto at first. His lyrical content—dense with metaphors and esoteric references—demands attention and repeated listens to fully absorb.

The album features guest appearances from notable figures like billy woods and Quelle Chris, who bring a sense of weight and depth to the project, though they are used sparingly. The overall tone of the album is introspective and cerebral, with a focus on mood and abstract storytelling rather than catchy hooks or conventional song structures.

All Portrait, No Chorus is not an easy listen but it rewards those who are willing to immerse themselves in its strange, labyrinthine sound world. Fans of experimental, left-field Hip Hop who appreciate a more challenging, unconventional approach, will find plenty to enjoy here.

Release date: January 10, 2025. 

Bruiser Wolf - Potluck

Bruiser Wolf leans into his full bag on Potluck, pulling wild punchlines, surreal street commentary, and sing-song cadences into a grab-bag of production styles that shift from dusty loops to foggy trap to slow-cooked jazz. His delivery remains the main draw—half rapped, half chanted, chopped into zigzag phrases that swing between stand-up comic timing and crooked gospel preacher rhythm. On “Air Fryer,” Harry Fraud laces a loopy beat where Wolf flips kitchen metaphors into dope talk, holding the line like a riddle wrapped in aluminum foil. “Say No More” bounces with a bright Knxwledge groove, and Wolf rides it with wide-eyed confidence, calling out the hate and cracking jokes in the same breath.

There are stumbles. The length drags in the second half, where a few beats thin out and the jokes start looping in on themselves. Tracks like “Whippin” and “Beat the Charge” still land clean, thanks to deeper pockets in the production and more focused hooks. “Fancy” is the sleeper—synth-funk gloss and tight flows with Fat Ray trading bars like they’re passing blunts in a Cadillac. Potluck isn’t airtight, but it’s packed with character, weird rhythms, and one of the most distinct voices in Hip Hop doing it his way—off-key, on purpose.

Release date: May 30, 2025.

ILL Tone Beats - The Outcome

The Outcome is a heavy dose of grimy, street-level Hip Hop with ILL Tone Beats laying down a cold, hard foundation. The production leans on eerie loops, slow-burning drums, and that unmistakable underground grit. Black Soprano Family takes center stage, with Elcamino, Benny the Butcher, and Conway the Machine delivering their usual weighty bars.

Tracks like “The Outcome” and “Raw Cain” hit hardest, laced with menacing energy and rugged storytelling. “Super Immaculate” and “36 Ounces and a Mercedes” shift toward a more soulful side, weaving in rich samples and cinematic textures. Some hooks feel undercooked, but the verses and beats carry the weight.

For those who live off raw, unfiltered Hip Hop, this album does exactly what it should.

Release date: March 7, 2025.

Slik Jack & Vincent Pryce - Everyone's Gotta Pryce

Everyone’s Gotta Pryce by Slik Jack and Vincent Pryce presents a dark and gritty narrative that pulls listeners into a world of crime and suspense. The production by Vincent Pryce is steeped in haunting, atmospheric beats with a touch of 1980s horror film vibes, creating a fitting backdrop for Slik Jack’s sharp East Coast flow. The album’s sample choices add a raw, cinematic feel that heightens the intensity of each track. Guest features like Bub Styles, Daniel Son, and Pro Dillinger bring additional weight to the project, enhancing its underground appeal. It’s a tight, immersive listen with plenty of style and grit.

Release date: January 22, 2025.

LEX Nyre - The Best Language

LEX Nyre’s The Best Language taps into smooth, jazz-infused Hip Hop with crisp drum patterns and warm, flowing basslines. The beats move with a laid-back confidence, pulling from golden-era textures while keeping a fresh, polished sound. Tracks like “They Slackin’” and “Sound Like My City” carry a steady swing, with emcees weaving tight verses over soulful loops. “Kill It With Love” introduces subtle scratches and airy vocal samples, adding depth without clutter. The production keeps things dynamic, balancing mellow keys with sharper drum work. This is easygoing but intentional Hip Hop, built for focused listening and late-night head nods.

Release date: March 28, 2025.

Figerson & Machacha - The Fifth Horseman

The Fifth Horseman is dark and methodical. Machacha lays down the kind of beats that don’t move fast, but hang heavy—grimy loops, crisp snares, and low-end hums that feel carved from cold stone. It’s atmospheric, but not cloudy. Every sound is placed with intention. Figerson doesn’t rush anything. His delivery is measured, almost spoken at times, and there’s a dry edge to his voice that fits the mood. The writing leans into dense phrasing and bleak images without going abstract.

At 31 minutes, The Fifth Horseman is brief. There’s not much space for detours, but that works for the tight focus of the project. Machacha’s production is still the main draw—dusty, tense, and stripped down. Figerson slides into that framework with precision. It’s a sharp, no-frills listen for anyone tuned into the deeper corners of modern boom-bap.

Release date: April 8, 2025.

Henny L.O. & Ewonee - The Coldest Season Ever

Henny L.O. from Mutant Academy delivers a tight, tasty gem with The Coldest Season Ever. Ewonee’s beats glide—smooth, jazzy currents with crisp drums that roll easy and warm, setting a laid-back groove. Henny’s voice, mellow but firm, weaves through, while Fly Anakin, Kaay Taurus, Lord Jah-Monte Ogbon, and Big Kahuna OG drop in, each adding a distinct kick. The sound hums with smoky vibes, the mood chill but alive, built on verses that stack snug over Ewonee’s loops. It won’t stick in your head forever—nothing here screams for repeat spins—but it’s a solid, enjoyable ride, perfect for a quiet night with the volume up.

Release date: March 21, 2025.

Best Hip Hop EPs Of 2025

• 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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