1. De La Soul - Cabin In The Sky (2025)

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

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

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

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

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

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

2. Little Simz – Sometimes I Might Be Introvert (2021)

British-Nigerian emcee Little Simz had one of our favorite albums released in 2019 with the punchy GREY AREA – her third LP and international breakthrough project. In 2021 she followed it up with her fourth full-length studio album: Sometimes I Might Be Introvert.

Sometimes I Might Be Introvert is an astounding album, absolutely Little Simz’s magnum opus. It’s an album to listen to over and over again, an album that will easily survive today’s short hype circles, an album people will have on rotation for years and years to come. With a runtime of 65 minutes Sometimes I Might Be Introvert is not a second too long – Little Simz effortlessly manages to captivate from start to finish with her superior flow and personable lyricism, dealing with topics such as race, womanhood, self-esteem, and family.

The album’s 19 tracks are sequenced perfectly – picking “Introvert” as the album opener was cleverly done, as it sets the whole thematic and philosophical scene of what Little Simz set out to do with this record. Production on Sometimes I Might Be Introvert is virtually flawless – straddling numerous genres from hard-hitting Hip Hop to R&B-and neo-soul, to Afro-beat and even synth-funk, going from orchestral and bombastic to smooth and laid-back seamlessly. So many different influences crammed into one record resulting in an entirely cohesive package: this is an album unlike any other.

“Introvert”, “Woman”, “Little Q, Pt 2”, “Two Worlds Apart”, “Speed”, “Standing Ovation”, “I See You”, “Rollin Stone”, “Point and Kill”, “How Did You Get Here”, “Miss Understood”, and especially the symphonic “I Love You I Hate You” – nothing but stand-outs on Sometimes I Might Be Introvert. Even the interludes work and add value to the album, which is unusual.

Sometimes I Might Be Introvert echoes Lauryn Hill’s masterpiece The Miseducation Of Lauryn Hill (1998) in ambition, scope, musicality, and timelessness – there can be no higher praise. This is a phenomenal album, the kind of album you will want to replay the moment you finish it. Sometimes I Might Be Introvert is one of the better Hip Hop albums released in the last five years, a future classic without a doubt.

3. Run The Jewels - RTJ4 (2020)

In 2012 El-P produced Killer Mike’s album, R.A.P. Music – one of our favorite albums of 2012 – which was soon followed by Killer Mike’s appearance on the track “Tougher Colder Killer” from El-P’s Cancer 4 Cure. When R.A.P. Music and Cancer 4 Cure were released within weeks of each other, the two decided to tour together. The success of the tour eventually led to the decision to form Run The Jewels.

Run The Jewels (2013), Run The Jewels 2 (2014), and Run The Jewels 3 (2016) all are among the best Hip Hop albums of the 2010s, three important albums for Hip Hop as a genre. Because of its predecessors, Run The Jewels 4 was one of the most-anticipated albums of the year – and it delivered on all fronts.

As El-P promised: RTJ4 is a punch in the face – and in a good way. This is an album the world needs right now. RTJ4 is a near-perfect presentation of fresh, exciting, banging beats and politically potent lyrics. Given their track record with the first three RTJ albums it was hard to imagine Killer Mike and El-P disappointing – but even equalling the level of quality of especially RTJ2 and RTJ3 was ever going to be a tall order. RTJ4 is on par with its predecessors though.

Killer Mike and El-P sound as powerful and as hungry as ever before, and with this album, they prove that Hip Hop can still be entertaining as well as meaningful. There can be no higher praise than comparing an album to Public Enemy’s monumental 1988 classic It Takes A Nation Of Millions To Hold Us Back, but in this case, the comparison is totally justified. El-P’s top-notch production is like a perfect evolution of the famed Bomb Squad sound and the politically charged lyrical content is intelligent, hard-hitting and thought-provoking in the best Public Enemy tradition.

RTJ4 is a confirmation – at this point, we can start calling Run The Jewels one of the best duos in Hip Hop history. Four phenomenal albums in a row, it’s undeniable. Throw in Killer Mike and El-P’s respective solo work and they’re all-timers.

Timely and timeless – RTJ4 goes HARD.

4. billy woods - GOLLIWOG (2025)

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.

5. Danger Mouse & Black Thought - Cheat Codes (2022)

So this is what happens when one of the most skilled producers in the music biz joins forces with one of the most talented emcees of all time. The long-awaited Cheat Codes is a Hip Hop masterclass, delivering on its promise to the fullest. Danger Mouse’s soulful boom-bap production is elegant and hard-hitting at the same time, and Black Thought effortlessly proves for the hundredth time he is one of the best to ever do it – his flow, his delivery, his vernacular: even in his fourth decade in the game as a recording artist there are few (if any) rappers who come close to the level of skill he has been consistently displaying.

At 38 minutes, Cheat Codes is a concise affair, and the momentum doesn’t falter for a single second. The album manages to maintain attention throughout its whole runtime with ease, not only because of the quality of the music and the vocals but also because pretty much every song has something unique to offer. Black Thought kills it throughout the whole tracklist and the stacked feature list is top-notch: Raekwon, Joey Bada$$, Run The Jewels, A$AP Rocky, and Conway The Machine (among others) all add value with their contributions, and MF DOOM steals the show with a bittersweet but outstanding posthumous verse on “Belize”. There’s not a moment wasted on skits or other such nonsense, and all 12 tracks are equally strong with nothing but top-tier production and lyricism. 2022’s AOTY.

6. Armand Hammer - We Buy Diabetic Test Strips (2023)

Armand Hammer, the New York duo composed of ELUCID and billy woods, has released the best Hip Hop album of the year with their latest, We Buy Diabetic Test Strips – released under Backwoodz Studioz, the label almost singlehandedly responsible for rescuing the Hip Hop year 2023 from mediocrity. This album is a vibe, giving you a taste of the duo’s lyrical genius, taste for experimental beats, and a sound that’s pure Armand Hammer.

The producers on this joint are a wild mix—JPEGMAFIA, Child Actor, Pudge, Preservation, DJ Haram, August Fanon, El-P, Steel Tipped Dove, Messiah Musik, Kenny Segal, Willie Green, Black Noi$e, Jeff Markey, Elucid, and Sebb Bash contribute beats. It could’ve been a mess, but no, these beats come together in a mix that’s both cohesive and out there, showcasing Armand Hammer’s knack for riding different vibes. The album’s got an impressive array of guests too, including Moor Mother and Pink Siifu.

We Buy Diabetic Test Strips is one of Armand Hammer’s best, and that’s saying a lot with Paraffin (2018) and Haram (2021) in the conversation. No skips on the tracklist here. Check the opening track, “Landlines”, setting the mood with its eerie atmosphere. ELUCID and woods drop cryptic and introspective rhymes, diving into memory, nostalgia, and the ticking clock. Then hit up “Switchboard”,  a more upbeat joint with a bouncy beat and catchy hook. The lyrics stay deep, though, as the duo breaks down tech’s role in our lives.

Standout tracks include “Trauma Mic” (featuring Pink Siifu and produced by DJ Haram), a sonic assault with a banging beat and distorted guitars. ELUCID and woods spit raw and visceral bars, facing their personal demons and the world’s injustices, and “The Gods Must Be Crazy” (produced by El-P), a chaotic and unpredictable ride, with El-P’s signature production providing the perfect backdrop for the duo’s mind-bending lyrics.

Armand Hammer keeps it real throughout the album with their trademark bars, unorthodox flows, and thought-provoking lyrics. They cover everything from age and history to politics, hitting you with refreshing and challenging perspectives. The beats match the gritty tales of modern living, swinging between harsh industrial beats and dreamy interludes. Armand Hammer’s been doing their thing for a decade, and We Buy Diabetic Test Strips only solidifies their spot in the underground Hip Hop scene. It’s a bold and commanding LP that captures Armand Hammer’s journey while pushing boundaries. With a rich tapestry of lyrics and a diverse sound palette, Armand Hammer keeps owning the game in the underground Hip Hop world.

7. Clipse - Let God Sort Em Out (2025)

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

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

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

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

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

8. E L U C I D - REVELATOR (2024)

ELUCID’s REVELATOR is a bold statement from the New York emcee, elevating his already impressive discography into uncharted territory. Known for his work with the duo Armand Hammer alongside billy woods, this album sees ELUCID stepping confidently into his own artistic vision. After a strong solo debut with Save Yourself (2016) and the introspective follow-up I Told Bessie (2022) this latest effort places him on a new level of artistry, on par with the best of Armand Hammer and even billy woods’ most lauded solo work.

From the outset, REVELATOR hooks you with its raw and industrial sound, setting a tone of unpredictability. “The World is Dog” opens the album with glitchy textures, heavy with layers of sound that shift like tectonic plates. The production, driven by ELUCID himself with contributions from avant-garde talents like Jon Nellen, August Fanon, Child Actor, DJ Haram, and The Lasso, builds an atmosphere that’s disorienting but compelling. His voice, deep and commanding, cuts through the distorted electronics and eerie beats, providing a stark anchor in an otherwise chaotic soundscape.

Tracks like “CCTV,” featuring Creature, and “Slum of a Disregard” push the sonic boundaries further, marrying live instrumentation with electronic dissonance. The persistent drumbeats and deep basslines give these tracks a vitality that keeps the listener engaged, with ELUCID’s abstract lyricism drawing you into the depths of his observations about a world teetering on collapse. The themes of resistance, systemic decay, and societal breakdown are ever-present but never feel heavy-handed. Instead, they simmer under the surface, emerging in moments of sharp clarity, as in the potent “RFID” and the grim “Bad Pollen.”

REVELATOR‘s seamless integration of diverse sonic elements is top-notch. Avant-jazz, industrial noise, ambient drones, and glitch-heavy beats blend with live instrumentation, creating a dynamic that feels meticulously crafted but spontaneous at the same time. Tracks like “Instant Transfer” with billy woods and “Ikebana” highlight this, where the production shifts between sparse and suffocating, matching the lyrical intensity. There’s a tension in the music that mirrors the world ELUCID is speaking to, a reality marked by exploitation, conflict, and survival.

Lyrically, ELUCID  is at his sharpest, wielding his deep, commanding voice like an instrument in itself, balancing the abstract and the personal. Thematically, he dives into issues of systemic oppression, political violence, and survival, offering fragmented reflections on identity, power, and the fragile state of the world. On “Bad Pollen,” for example, his bars paint a vivid picture of persistence and determination amid adversity, while billy woods’ verse adds layers of cynical resignation. Lines like “I squeeze my children’s hand and walk hard against the wind” capture ELUCID ’s ability to distill complex emotions into brief yet powerful imagery, creating moments of clarity within the album’s dense structure.

His wordplay, often dense and layered, never feels overwrought. Instead, there’s an economy to his writing that makes his statements hit harder. On “Ikebana,” he delivers lines like, “I make gorgeous babies but I’m done makin’ N-words,” evoking themes of legacy, identity, and the complexities of fatherhood in just a few words. Throughout REVELATOR, his lyrics oscillate between introspective reflections and sharp social critique, always with a sense of urgency.

The final stretch of the album offers some of its most powerful moments. “14.4” with Skech185 merges frantic drums and distorted basslines with meditations on race and power. “Xolo” and “Zigzagzig” close the album with haunting, industrial soundscapes that feel almost apocalyptic, leaving the listener in a space of reflection. DJ Haram’s production on “Zigzagzig” pushes ELUCID’s voice to the forefront, where he grapples with themes of resistance and international struggle, particularly his solidarity with Palestine.

REVELATOR is a fearless exploration of sound and meaning, where every track brings something unexpected, yet essential, to the table. The production is lush and experimental, often veering in new directions while maintaining cohesion. ELUCID’s ability to draw from a wide range of influences—from free jazz to noise to industrial Hip Hop—without losing his identity makes this album so impactful. It’s a record that feels both timely and timeless, reflecting the dissonance of the modern world while hinting at something greater beneath the surface.

In short, REVELATOR is not just a standout in ELUCID’s solo and group catalog—it’s a major statement in the history of underground Hip Hop.

9. Aesop Rock – Spirit World Field Guide (2020)

Owing to the lyrical and sonic intricacies in his music, Aesop Rock has always been a hate-him or love-him kind of artist. Like him or not, there’s no denying he has a couple of classic projects on his name – especially his third album and Definite Jux debut Labor Days (2001) is a monumental album, followed by the equally excellent Bazooka Tooth (2003) and None Shall Pass (2007).

After the folding of Def Jux, Aesop Rock signed with Rhymesayers Entertainment. Spirit World Field Guide is Aesop Rock’s eighth full-length solo album and his third one released on Rhymesayers, following the great Skelethon (2012) and The Impossible Kid (2016), one of the best albums released that year.

Spirit World Field Guide arguably is even less easily accessible than some of the other Aesop Rock albums because of its concept: the album acts as a “guide” to a fictional world, following a narrator through an alternate world.

“Be not afraid! Whether you’re simply sightseeing, enjoying temporary flights of fancy, or considering a more permanent relocation, the all-new Spirit World Field Guide offers twenty-one insightful chapters of firsthand know-how into the terrain, wildlife, and social customs of our parallel universe. The narrator’s vast expertise of multiple global entry points and various modes of inter-dimensional transport informs a rich tapestry of tips, tricks, and tools to unfailingly aid in your ultimate survival. If you are among the countless individuals who find themselves feeling both dead and alive at the same time, the information contained within may serve as an invaluable asset to your journey. Godspeed and good luck.”

Those are the words of the album’s narrator — an attempt to prepare listeners, both old and new, for a safe entry into the Spirit World.”

Enough has been said about the extensiveness of Aesop Rock’s vocabulary, but having an extensive vocabulary means nothing if you can’t write. Aesop Rock is an incredible writer though – the quality levels of Aesop Rock’s lyrics, bar structures, rhyme patterns, and flows are essentially a given at this point. His production skills can not be in doubt either. Both on lyrical and musical levels Spirit World Field Guide is top-tier work, even by Aesop Rock standards. The beats here are unbelievably dynamic and immersive – giving a kind of unsettling vibe and setting the perfect mood as the record progresses. The lyrics are there to dissect and study, but this album can be enjoyed just as easily without diving in that deep – the beats and flows alone are enough to lose yourself in Spirit World Field Guide, the lyrical depth just adds an extra dimension.

Spirit World Field Guide is Aesop Rock STILL at the peak of his game, an incredible feat after 25 years in the game. This album proves it is still possible to create a one-hour album, without features, that manages to captivate from start to finish AND that has lots of replay value. For the short attention span crowd it may all be too much, but those who can deal with lengthy immersive listening experiences will LOVE Spirit World Field Guide.

10. Freddie Gibbs & The Alchemist – Alfredo 2 (2025)

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

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

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

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

11. JPEGMAFIA & Danny Brown - SCARING THE HOES (2023)

JPEGMAFIA and Danny Brown, two of the most forward-thinking artists in Hip Hop, have consistently delivered groundbreaking albums that have captivated listeners. Danny Brown’s X X X (2011), Old (2013), and Atrocity Exhibition (2016) are regarded as exceptional works of art, while JPEGMAFIA’s Veteran (2018), All My Heroes Are Cornballs (2019), and LP! (2021) have pushed the boundaries of the genre. With the release of their collaboration album, it comes as no surprise that the project is an exciting endeavor that showcases the dynamic range and creative audacity of both artists.

The combination of Peggy’s abrasive soundscapes and Danny Brown’s erratic flows and lyrical intensity generates frantic energy throughout SCARING THE HOES. While the production occasionally overwhelms their vocals, the rawness of the mixing actually contributes to the feeling of daring experimentation that forms the foundation of the album. The rough mixing appears deliberate, a stylistic choice rather than being perceived as a flaw.

Due to the intense lyrical performances and the distorted noise in some of the instrumentals, deciphering the lyrics can require effort. However, each track is packed with clever wordplay that ranges from funny to thought-provoking to disturbing. Although some moments may be unintelligible, they remain entertaining. As Peggy asks on the opening track, “What kind of rapping is this?!” The answer to that question may take time to fully grasp, but in the future, SCARING THE HOES will surely be acknowledged as a landmark album.

The wild and weird SCARING THE HOES is as a triumph of originality and creativity. It showcases the impressive collaboration between two of Hip Hop’s most intriguing left-field artists and has the potential to become a future classic in the genre.

12. Mach-Hommy - #RICHAXXHAITIAN (2024)

With H.B.O. (2016) and Pray For Haiti (2021), #RICHAXXHAITIAN is one of Mach-Hommy’s best records, a strong addition to his discography. This 17-track project is a deep dive into his signature abstract lyricism and grimy production, hinting at a possible artistic shift.

The production on #RICHAXXHAITIAN is terrific. The beats are impressive front to back, from soulful Quelle Chris and Georgia Anne Muldrow tunes to haunting soundscapes by Conductor Williams and August Fanon. These instrumental backdrops, often with jazz, reggae, and other musical influences, perfectly complement Mach-Hommy’s vocals.

Mach-Hommy himself is on fire too. His signature slow flow rides these abstract beats, and his bars are consistently sharp and thought-provoking. He switches between English, French, and Haitian Creole, adding another layer of complexity. Features like Black Thought, Roc Marciano, and Drea D’Nur elevate the tracks they are on.

The abstract nature might be challenging for some listeners, but it’s partly what makes #RICHAXXHAITIAN so rewarding. It’s an immersive experience that demands repeat listens to appreciate its intricacies fully. Tracks like “COPY COLD” and “HOLY ____” evidence the album’s potential for both catchy hooks and elite lyricism. The project’s core theme is Haitian identity and social issues. Mach-Hommy doesn’t shy away from addressing the country’s struggles, weaving his commentary into his abstract narratives. The album’s second half is particularly strong, offering some of Mach-Hommy’s most innovative and cohesive song structures.

#RICHAXXHAITIAN is a triumph for Mach-Hommy. It’s a cohesive and consistently engaging listen, demonstrating his growth as a lyricist and willingness to experiment. The production is top-notch, the features are well-chosen (with the possible expectation of a dubious line from Your Old Droog on “EMPTY SPACES”), and the exploration of Haitian themes adds depth. It’s certainly one of his most rewarding records, offering a glimpse into the mind of a truly unique artist.

13. billy woods & Kenny Segal - Maps (2023)

“Maps is the new album from NYC rapper billy woods and LA producer Kenny Segal, their first full collaboration since 2019’s Hiding Places. Four years after that landmark record, the duo has reunited with a vengeance. Maps is a story of the road, or roads, taken and untaken; of living the dream and dreaming of another life. It is an album about trying to find your way home, after making your home wherever you lay your head.

“Kenny and I made more songs together before Hiding Places than we did after,” woods says. “I think we only collaborated once over the last four years and although we didn’t talk about it, I think we wanted to let that energy build again. Neither of us wanted to make Hiding Places 2. We needed to go on other journeys, artistic and otherwise, to come back and do something fresh.”

Produced in full by Kenny Segal, Maps features Danny Brown, ELUCID (Armand Hammer), Shabaka Hutchins, Sam Herring (Future Islands), Quelle Chris, Aesop Rock, Benjamin Booker, and ShrapKnel. Segal moves effortlessly through styles but everything is underpinned with deep basslines and mean drums laid down like railroad tracks. Weaving between poignant memoirs, deadpan humor, and incandescent bursts of surrealism, Maps cements both artists’ place amongst the best of their time.”

billy woods’ Armand Hammer partner, ELUCID, posed an interesting question upon the release of Maps: “Why is every billy woods album his best one?” This question is pertinent because it speaks to the consistency and quality of woods’ music – since the reboot of his career with the release of his monumental History Will Absolve Me album in 2012, woods has continued to impress with a string of exceptional solo and Armand Hammer releases.

On Maps, billy woods takes listeners on a road trip that depicts the ups and downs of touring, from the people and places to the food and the smells to the weariness of constant travel and performing. Meanwhile, Kenny Segal uses his often chaotic and dark atmosphere of boom-bap and jazz fusion to provide an immaculate supportive vision, creating a framework that allows woods’ complex wordplay to shine to the max. Expectations were high after Hiding Places, and expectations were met, and then some – the duo achieved a remarkable feat by producing something that is precisely what you might have anticipated and entirely novel simultaneously. With Maps, billy woods continues to redefine the possibilities of experimental underground Hip Hop – Maps is just another triumph for one of Hip Hop’s most innovative artists.

14. Common & Pete Rock - The Auditorium Vol. 1 (2024)

Common and Pete Rock’s The Auditorium Vol. 1 is a Hip Hop masterpiece that brings together two of the genre’s most influential figures.

Common, a pivotal voice in conscious Hip Hop since his 1994 breakthrough album Ressurection, has built a career on introspective lyrics and a smooth flow, earning multiple Grammy Awards. Over the years, he’s released critically acclaimed albums like Like Water for Chocolate (2000) and Be (2005), while expanding his reach into acting, writing, and activism. His introspective lyrics and smooth flow have earned him multiple Grammy Awards and a reputation as one of Hip Hop’s most thoughtful voices.

Pete Rock, on the other hand, is one of the true architects of the genre’s sound. Emerging from Mount Vernon, New York in the late ’80s, Rock quickly became known for his innovative production style, blending jazz and soul samples with hard-hitting beats. His work, both solo and as part of Pete Rock & CL Smooth, has influenced generations of producers and helped define the sound of ’90s East Coast Hip Hop.

With over 60 years of combined experience at the genre’s forefront, The Auditorium Vol. 1 delivers exactly what fans have been craving – a return to the soul-infused, lyrically rich sound of Hip Hop’s golden age. From the opening track “Dreamin’,” Common sets the tone with vivid storytelling and name-drops of Black icons, while Pete Rock’s production skillfully blends soul samples with hard-hitting beats. The album’s sound presents a perfect fusion of jazz, funk, and classic boom-bap, creating a rich sonic landscape for Common’s introspective and conscious rhymes.

Standout tracks like “Fortunate”, “Wise Up”, and “Stellar” showcase the duo’s chemistry. Rock’s expertly crafted beats provide the ideal backdrop for Common’s sharp lyricism, which touches on themes of gratitude, philosophy, and personal growth. The production on “Wise Up,” which cleverly incorporates elements from MC Shan’s “The Bridge,” is particularly impressive.

While the album pays homage to the ’90s sound that both artists helped define, it never feels dated. Instead, it demonstrates how timeless great Hip Hop can be. Guest appearances, including Jennifer Hudson on “A God (There Is)” and De La Soul’s Posdnuos on “When the Sun Shines Again,” add depth to the project without overshadowing the core duo.

Common’s performance throughout is stellar, proving that he’s lost none of his lyrical prowess over his three-decade career. His flow is as smooth and confident as ever, whether he’s delving into personal reflections or addressing broader social issues. Pete Rock’s production is the glue that holds the album together. His signature style – soulful samples, crisp drums, and expert scratching – is on full display. Each beat is crafted with obvious love and precision, creating a cohesive sound that flows naturally from track to track.

If there’s any criticism to be made, it’s that some tracks could benefit from tighter editing. A few songs run longer than necessary, which might test the patience of some listeners. However, this is a minor quibble in an otherwise exceptional album.

The Auditorium Vol. 1 is a triumphant return to form for both Common and Pete Rock. It’s a love letter to Hip Hop’s roots that still manages to sound fresh and relevant. For fans of thoughtful lyricism and soulful production, this album is an essential listen. It not only honors the legacy of both artists but also proves they still have plenty to offer in today’s Hip Hop landscape.

15. Nas & DJ Premier - Light-Years (2025)

Light-Years arrives carrying two decades of whispers, half-promises, and legend. Nas and DJ Premier never sold it as destiny, which makes its arrival feel earned rather than nostalgic. The long-rumored collaboration—the final chapter in the Legend Has It series—lands not as a museum exhibit, but as the work of two veterans who still treat Hip Hop as a living craft.

Premier’s production defines the record’s character: stripped-down, raw, and proudly imperfect. No grand recreations or modern pop gloss—just blunt drums, unpolished sample flips, and basslines that anchor rather than decorate. The minimalist approach creates a basement-studio warmth, the kind of space where MC and producer converse in rhythm and silence alike. If Nas’s recent six-album run with Hit-Boy thrived on color and gloss, Light-Years thrives on grain and patience.

The album opens steadily with “My Life Is Real,” where sparse piano loops and clean drums frame Nas’s reflections on mortality, success, and survival. “GiT Ready” follows, a funk-driven yet gritty track, while “N.Y. State of Mind Pt. 3” reframes legacy not as replication but as continuation—a cold Billy Joel fragment looping through a city where progress and decay coexist. Momentum builds through “Madman,” “Pause Tapes,” and “Writers,” tracks that braid biography, archival homage, and cultural mapping. From graffiti names to forgotten neighborhoods, Nas writes as curator and participant.

Tender moments surface, too: “Sons (Young Kings)” meditates on fatherhood with quiet strength, while “It’s Time” and “Nasty Esco Nasir” explore ambition, mortality, and identity over pulsing minimalism. The lone feature, “My Story Your Story” with AZ, plays like an adult reunion—two men swapping lessons earned in full. Later highlights include “Bouquet (To the Ladies)” and “Junkie,” the latter framing Hip Hop as a lifelong addiction rather than a career. “3rd Childhood” closes on defiant continuity: aging without surrender, evolution without erasure.

Across its lean 48 minutes, Light-Years honors history without embalming it. Premier’s restraint lets Nas breathe; Nas’s writing keeps the past alive through observation, not imitation. The result is one of the most deliberate Hip Hop statements of the era—a study in endurance, focus, and devotion.

16. Marlowe – Marlowe 2 (2020)

Seattle-based producer L’Orange and North Carolina rapper Solemn Brigham reunite as Marlowe for a second album, straightforwardly titled Marlowe 2. The first Marlowe album was one of the best (and most underappreciated) albums of 2018, Marlowe 2 is just as good, maybe even better.

L’Orange’s trademark psychedelic, dusty, lo-fi, boom-bap instrumentals laced with obscure samples are as strong as ever, and Solemn Brigham has something distinctive that sets him apart from other emcees – an erratic one-of-a-kind type flow that perfectly matches the strange atmosphere set by L’Orange’s production. There was nothing wrong with Brigham’s performance on Marlowe 1, but he managed to step up his lyrical game for this one, once again coming with tight bars and complex rhyme patterns to go with his unique flow and delivery.

Even more than the first album, Marlowe 2 isn’t easy or straightforward. It may take a few spins to truly appreciate, but those willing and able to give this album the attention it deserves will find that Marlowe 2 is one of the best Hip Hop albums of 2020.

17. Armand Hammer & The Alchemist – Haram (2021)

For Haram Armand Hammer hooked up with producer extraordinaire The Alchemist. This is what the blurb says about the album:  “Haram is a mercurial collaboration between incendiary rap duo Armand Hammer, and living legend The Alchemist. For the first time ELUCID and billy woods have crafted an album with a single producer and the result is extraordinary. With their unmatched penchant for stirring imagery and incisive storytelling, the two rappers dive into an ocean of Alchemist’s creation: warmly inviting on the surface, black and bone-crushingly cold at depth. Haram is a collection of the profane and the pure; a reminder that that which is forbidden is also sacrosanct.

The artists are joined by their friends and fellow travelers on this journey. KAYANA’s golden voice ups the wattage on “Black Sunlight,” while Fielded’s sultry alto gets chopped and screwed on “Aubergine”. Earl Sweatshirt makes a sun-soaked appearance, while Curly Castro and Amani mix like ice and salt on Brooklyn sidewalks, and Quelle Chris, as always, finds a pocket all his own. Still, there is a natural rapport that belies the New York-to-Los Angeles-and-back nature of the project, allowing Haram to be more than the sum of its parts, however impressive those parts may be. This isn’t just the genre’s most insistent contemporary voices paired with arguably its best producer. This is when you buy a beautiful house only to discover, hidden behind a heavy bookcase, a stairway twisting up and away into the darkness.”

Now, the question is: is Haram on par with billy woods’ and Armand Hammer’s earlier releases? The answer is: yes, Haram 100% met expectations – it may even one-up the stellar Paraffin as Armand Hammer’s best work yet. On Haram, the Islamic term meaning “forbidden”, billy woods and ELUCID explore all kinds of taboos – in their own cryptic ways. As always, it takes some effort on the part of the listener to penetrate the dense poetics penned by billy woods and ELUCID – there’s is so much to unpack and to think about here, it gives Haram endless replay value.

The Alchemist’s work on the boards arguably makes Haram a little more accessible than the four previous Armand Hammer albums are, but his atmospheric instrumentals are left-field enough to suit billy woods and ELUCID avant-garde rhyming. This is The Alchemist’s finest music in a while, even better than his much-lauded work on Freddie Gibb’s Alfredo released the year previous – in fact, we will go as far as to say The Alchemist crafted a masterpiece here.

Stand-outs include  “Falling Out The Sky”, with some incredible lyrical imagery also from guest rapper Earl Sweatshirt, “Wishing Bad”, “Chicharonnes”, with a bone-chilling instrumental over which billy woods and Quelle Chris tackle police violence and BLM, likening the whole culture to pigs on a spit roast, and “Stonefruit”, with a jaw-dropping last verse from billy woods to close the album out on a high note. Besides these 4 stand-outs, there are no weak tracks on Haram – everything on the album is well-thought-out and perfectly executed – even the gruesome album cover which serves to enhance the mood of the music, in an in-your-face kind of way, with no hint of artificial coolness. Haram was a confirmation of Armand Hammer’s status as one of the most intriguing and most consistent duos in contemporary Hip Hop.

18. Navy Blue - The Sword & The Soaring (2025)

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

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

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

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

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

19. JPEGMAFIA - I LAY DOWN MY LIFE FOR YOU (2024)

JPEGMAFIA has consistently been a disruptive force in Hip Hop. With a career marked by fearless experimentation, he’s built a reputation as one of the genre’s most innovative figures. From the explosive energy of Veteran (2018) to the complex and confrontational All My Heroes Are Cornballs (2019), Peggy has never shied away from exploring new sonic territories. His 2021 album LP! was a bold display of his eclectic influences, while his 2023 collaboration with Danny Brown on SCARING THE HOES brought together two of Hip Hop’s most eccentric minds for a project that was as chaotic as it was captivating.

With I LAY DOWN MY LIFE FOR YOU, JPEGMAFIA takes another audacious step forward. This project arrives with the same intensity that fans have come to expect, but it also reveals new dimensions of Peggy’s artistry. The album kicks off with “i scream this in the mirror before i interact with anyone,” an attention-grabbing opener with its candid declaration about being a more provocative version of NBA bad boy Dillon Brooks. This track sets the tone for an album that’s both inwardly reflective and outwardly confrontational.

Peggy’s production on this album is a sonic kaleidoscope. He blends glitchy electronics, heavy metal riffs, and an array of samples that range from the HBO series Succession to Brazilian funk, creating a sound that’s uniquely his own. Tracks like “it’s dark and hell is hot” and “vulgar display of power” nod to influential artists like DMX and Pantera, but Peggy infuses these references with his own distinctive style. “Exmilitary,” named after the Death Grips album, combines groovy acoustics with intense riffs, displaying Peggy’s ability to merge seemingly disparate influences into a cohesive whole.

While the first half of the album bristles with aggressive energy, the latter half reveals a softer, more reflective side. The shift is evident in tracks like “loop it or leave it,” which features a glittering, string-heavy instrumental, and “Don’t Put Anything On The Bible,” where folk artist Buzzy Lee contributes a delicate, humming backdrop. This balance of harsh and gentle elements demonstrates Peggy’s versatility and willingness to explore new emotional depths.

Lyrically, JPEGMAFIA is as sharp and unapologetic as ever. He doesn’t shy away from taking shots at figures like Drake, critiquing the music industry, and addressing heavy topics like the military-industrial complex and American politics. On “New Black History,” featuring Vince Staples, he tackles topics like cultural commodification and shallow industry practices. The album also features moments of personal reflection, such as on “either on or off the drugs,” where he candidly addresses issues like drug problems and depression. The guest appearances on the album are carefully chosen and impactful. Denzel Curry’s contribution on “JPEGULTRA!” is a standout, blending his fiery delivery with Peggy’s chaotic energy to create a powerful and intricate joint.

I LAY DOWN MY LIFE FOR YOU is JPEGMAFIA at his most versatile. It’s an album that challenges and surprises, blending genres and emotions, from punk energy to introspective balladry. For fans of experimental music and those looking for an artist unafraid to break the mold, this record is a thrilling, unpredictable ride. Once again, JPEGMAFIA proves why he is one of the most dynamic and innovative voices in contemporary music.

20. Aesop Rock - Integrated Tech Solutions (2023)

Integrated Tech Solutions is Aesop Rock’s tenth album, where he skillfully utilizes corporate jargon to dissect a parasitic worldview. The album’s ingenious, abstract, and esoteric weirdness breaks conventional norms, showcasing Aesop’s mastery of the craft. Departing from his previous loner-centric themes, Integrated Tech Solutions explores new aesthetic realms, focusing on technology and everyday life experiences.

The storytelling tracks infused with humor and non-sequiturs contribute to an album that feels like a genuine extension of Aesop’s interests. Integrated Tech Solutions presents Aesop Rock at his funniest, weaving absurd anecdotes and remarkable production into a cohesive whole. The album’s robotic and industrial instrumentals, while accessible, add a fresh dimension to Aesop’s impeccable flow, with him navigating away from the excessive wordplay that characterized some of his earlier work. The album’s synthesis of Aesop’s beats and live instrumentation pays homage to his Def Jux and Labor Days (2001) roots without mere imitation.

Throughout the album, Aesop showcases his storytelling prowess, reaching new heights with tracks like the standout “Aggressive Steven.” While some beats resemble his previous work, the wacky production and open lyricism, as seen in “Vititus,” elevate the listening experience. Notable tracks such as “Living Curfew,” “Kyanite Toothpick,” and “Black Snow” stand out with exceptional features from the likes of billy woods, Hanni El Khatib, Lealani, Rob Sonic, and Nikki Jean.

The synthesis of Aesop’s near-perfect flow with some of his best beats results in a sonic masterwork. Aesop Rock adds another feather to his cap with this exceptional release.

21. Blockhead - The Aux (2023)

Blockhead’s The Aux serves as a giant exclamation point on an already momentous year for Backwoodz Studioz. It also marks Blockhead’s first rap album since his successful collaboration with Aesop Rock on Garbology in 2021. With The Aux the veteran producer showcases his talent for matchmaking, bringing together some of his favorite artists from different eras and scenes within the tracklist and creating an indie Hip Hop All-Star game of an album. The result is a collection of tracks that display highlight reel dunks, alley-oops, and deep threes, all happening so rapidly it’s hard to keep count.

The opening track, “AAU Tournaments” featuring billy woods and Navy Blue, sets the tone with its jazz rap production, allowing Blockhead’s distinctive sound to shine alongside the unique style of each emcee. “The Cella Dwellers Knew” with Quelle Chris offers a groovy, whistle-infused beat and dope bars. Aesop Rock stands out on “Mississippi” with his straightforward approach, as the production blends drums, brass, and occasional vocal and flute samples. “Mastering How To Land” featuring The Koreatown Oddity and Open Mike Eagle introduces a grimy guitar and organ sample, showcasing Blockhead’s impressive production versatility. “Lighthouse” featuring Ugly Frank brings a traditional boom-bap vibe with an ethereal piano melody, off-key whistle samples, and solid grounding drums.

“Hater P*rn” introduces Casual and Breezly Brewin with a minimalistic organ sound that evolves into a jazzy alternative rap song. Both rappers deliver strong verses, enhancing the track’s appeal. “Give Thanks” sees ELUCID taking center stage over one of the album’s simplest yet complex beats with the transition to billy woods’s low-key verse adding depth to the track. “Papi Seeds” featuring Bruiser Wolf introduces a unique vocal delivery over a complex production, blending synth and vocal samples masterfully. “God Is Busy” featuring AKAI SOLO continues the sonic journey with a unique drum pattern and a heavenly piano sample, complementing AKAI’s relentless bars.

“Ponzu Sauce” featuring Breezly Brewin and Aesop Rock exudes a grimy aesthetic reminiscent of early Griselda records, with Breezly Brewin’s vocal style and Aesop Rock’s intricate lyrics adding depth to the track. “Sad Vampire” featuring Brian Ennals impresses with its captivating instrumental and hard-hitting lyrics, while “Gargamel” featuring DefCee and ShrapKnel stands out as one of the more abstract songs with ominous beats and relentless lyrics creating an intense listening experience.

“Pink Lemonade” features RXK Nephew who surprises with this collaboration, showcasing RXK Nephew’s ability to flow effortlessly over a spacey piano beat. The mix of Detroit Scam Rap elements and a different instrumental style works surprisingly well. “1970’s Post Apocalyptic Skin Flick” featuring Creaturenomics and Fatboi Sharif brings a distorted delivery from Fatboi Sharif, perfectly complementing the abstract and distorted instrumental, with Creaturenomics adding an entertaining element to the track. The album concludes with “Now That’s What I Call a Posse Cut Vol. 56” featuring Bruiser Wolf, Danny Brown, billy woods, and Despot. Sampling an Alchemist song, the track features a laid-back and tropical-sounding instrumental with each rapper delivering satisfying verses.

Blockhead’s The Aux is a standout producer album that captivates with its collaborative efforts and diverse range of guest artists. The album’s versatility and the tight performances of the guest emcees contribute to a superb listening experience, making it the best producer’s album of 2023 and arguably Blockhead’s best work yet.

22. Ka - The Thief Next To Jesus (2024)

Ka’s The Thief Next to Jesus is a profound exploration of faith, morality, and survival, displaying the Brooklyn emcee’s unmatched ability to turn life’s complexities into poetic verses. This ninth solo effort sees Ka doubling down on his minimalist but potent style, drawing listeners into his introspective world where every word carries weight and every beat serves a purpose. The album continues the journey he’s taken listeners on throughout his career, offering new insights while remaining rooted in the stark realism that has defined his work.

The album begins with “Bread, Wine, Body, Blood,” where Ka cautions against becoming the weapon used to harm oneself and others, setting a somber tone that resonates throughout the project. This track is emblematic of the album’s contemplative nature, blending Ka’s reflective lyricism with sparse, organ-driven production. “Beautiful” shifts to a more soulful vibe, a meditation on the wish for a long and peaceful life, even amidst the struggles that life inevitably brings. The instrumental simplicity of the album is highlighted in tracks like “Tested Testimony,” where a haunting, drum-free loop accompanies Ka’s reflection on the choices that have defined his path.

Ka’s career has been marked by a series of thematically rich and musically restrained projects that stand apart in the Hip Hop landscape. His 2008 debut Iron Works introduced the world to his unique approach—raw, reflective, and deeply philosophical. This was followed by Grief Pedigree in 2012, which solidified Ka as a powerful voice in underground Hip Hop, known for his dense lyricism and self-produced beats. Honor Killed the Samurai (2016), arguably his absolute best project, was a turning point, earning widespread acclaim for its intricate narratives that drew parallels between the struggles of street life and the discipline of ancient warriors.

With albums like Descendants of Cain (2020) and A Martyr’s Reward (2021), Ka continued to explore themes of legacy, sacrifice, and survival, further cementing his place as a master storyteller. These albums, much like The Thief Next to Jesus, are not just collections of songs but cohesive bodies of work that require deep listening for full appreciation.

In The Thief Next to Jesus, Ka builds on this foundation, incorporating samples from gospel and blues to create a stark, atmospheric soundscape that enhances the album’s thematic depth. “Collection Plate” reflects on economic hardship with a soulful backdrop, while “Broken Rose Window” returns to the bluesy elements, offering a raw depiction of life’s struggles. “God Undefeated” brings in gospel influences, reinforcing the album’s exploration of spirituality and perseverance.

The closing tracks, “Hymn & I” and “True Holy Water,” provide a fitting conclusion to the album, with Ka delving into the complexities of faith and the enduring human spirit. These songs encapsulate the album’s essence, tying together its themes of struggle, reflection, and hope. The Thief Next to Jesus is one of Ka’s most thematically cohesive projects, blending gospel and blues influences with his reflective lyricism. It’s an album that demands multiple listens to fully appreciate its depth, and it’s a powerful addition to Ka’s already stellar discography.

Only months after the release of The Thief Next to Jesus, Ka tragically passed away on October 12, 2024. His unexpected death meant a tremendous loss for Hip Hop, robbing the culture of one of its most introspective and profound voices. His final album is a lasting testament to his poetic brilliance and commitment to making music that challenges, reflects, and resonates on a deeply human level. Ka’s legacy, already significant, has been made even more poignant by his untimely departure, leaving behind a body of work that will continue to influence and inspire.

23. billy woods - Aethiopes (2022)

Aethiopes is fully produced by Preservation, who delivered a suite of tracks on Terror Management and the two collaborated again on Preservation’s 2020’s LP Eastern Medicine, Western Illness. Preservation’s dense and eerie production on Aethiopes is phenomenal, and billy woods’ pen game feels like it’s hit another peak. As always, it will take multiple listen to digest and be able to fathom his deep semi-abstract bars – but by now it’s undeniable: woods is one of Hip Hop’s greatest poets, along with Brownville’s Ka, to name one of the few who can play in billy woods’ league. Elucid, Boldy James, Quelle Chris, Denmark Vessey, Breeze Brewin, and El-P (among others) make appearances to add some extra flavor, but Aethiopes very much is billy woods’ own show. He’s as good here as he ever was, and his forward-thinking content is amplified extra by Preservation’s unique and flawless instrumentals. To top it off, sequencing and transitioning on Aethiopes is perfectly done too. Thirteen tracks, and not a weak one among them.

24. Apollo Brown & Che’ Noir – As God Intended (2020)

Apollo Brown’s signature style of soulful, boom-bap production became a staple in the 2010s. The number of top-quality projects he has put his stamp on in that decade is amazing. His best work of the 2010s includes (but is not limited to) Gas Mask (with DJ Soko & Journalist 103 as The Left) and Brown Study (with Boog Brown) in 2010, Trophies (with O.C.) in 2012, Ugly Heroes (with Red Pill & Verbal Kent as Ugly Heroes) in 2013, Blasphemy (with Ras Kass) in 2014, Grandeur in 2015, The Easy Truth (with Skyzoo) in 2016, Mona Lisa (with Joell Ortiz) in 2018, and of course what is arguably his best work of the 2010s: Sincerely, Detroit in 2019.

As God Intended is Apollo Brown’s first major project of the 2020s, for which he teamed up with Che’ Noir. 26-year old Buffalo emcee Che’ Noir has been making a name for herself in recent years, having worked alongside the likes of Benny The Butcher, 38 Spesh, Kool G Rap, and Fred The Godson – she has emerged as one of the most extraordinary and exciting New York talents heard in a while. Following a couple of dope EP’s and collaborations, As God Intended is her full-length debut album.

Apollo Brown really never misses, but what raises some of his albums to the next level is when there is palpable chemistry between himself and the artist he collaborates with. Trophies with O.C. is the best example, another winning combo was Brown Study with Boog Brown.

And now we have As God Intended.

The synergy between Apollo Brown’s majestic boom-bap instrumentals and Che’ Noir’s engaging flow and lyrics make As God Intended a total winner – on par even with Trophies. Che’ Noir is incredible. Her voice, her diction, her flow, her personality – she really is an emcee’s emcee, who has the skill to seemingly effortlessly carry an album, and who has something to say too. Che’ Noir’s views on topical societal issues and her personal stories are unfiltered and no-holds-barred – her pen game is as powerful as her delivery.

As God Intended comes equipped with14 tracks, with no interludes or other filler. As God Intended features collaborations with Black Thought, Skyzoo, Planet Asia, Ty Farris, and Blakk Soul – definite proof of Che’ Noir’s power is that their presence is hardly noticeable (even if especially Black Thought shines with a killer verse on “Hustle Don’t Give). There are no weak tracks on this album, but a couple of standouts nevertheless – including “Daddy’s Girl” (a poignant account about growing up without a stable father figure), “’94” (a trip down memory lane about Che’ Noir’s Hip Hop influences), the Skyzoo-assisted “Follow The Money” (check what Apollo Brown does with Scarface’s “My Block” on the hook), and “Money Orientated” (which brilliantly incorporates part of AZ’s classic verse on Nas’ “Life’s A B****”).

As God Intended is another jewel in Apollo Brown’s crown and the official arrival of Che’ Noir to the Hip Hop Majors. In this day and age of forgettable bubble-gum rap, As God Intended is the clear exception – no doubt this is an album people will keep in rotation for years to come.

25. Ka - A Martyr's Reward (2021)

A Martyr’s Reward is Brownsville, NYC emcee/producer Ka’s 8th studio album (the 6th as Ka), following on the heels of 2020’s Descendants Of Cain. Descendants Of Cain is a top-5 album of 2020, and his other masterpieces The Night’s Gambit (2013) and Honor Killed The Samurai (2016) are among the best Hip Hop albums released in the 2010s.

Ka’s pen game is among the most refined in the game, he always comes with beautifully crafted poetic lyrics, aesthetic metaphors, brooding imagery, and incredible rhyme schemes. A Martyr’s Reward is no different: this is another amazing Ka project, built on his signature minimalistic instrumentals that serve to give room to his hushed hoarse flow and his intricate wordplay. The narrative this time is centered around his own life, making this one his most personal album to date. Just like on his previous efforts, on A Martyr’s Reward there’s a strong focus on ambiance and sound, and it may take many listens to really pick up on all Ka’s lyrical subtleties and hidden meanings – as always there’s a lot to unpack in his content. Ka’s music is an acquired taste, those with an ear for atmospheric instrumentals and true lyricism will own this one though.

26. Boldy James & The Alchemist - Bo Jackson (2021)

Following their underrated debut collaboration My 1st Chemistry Set (2013), Detroit emcee Boldy James and top-tier producer The Alchemist teamed up again in 2020 for the long-awaited The Price Of Tea In China, one of the best Hip Hop albums of the year. On the heels of TPOTIC, Boldy James and The Alchemist surprise with Bo Jackson, their third collaborative full-length project. Like My 1st Chemistry Set and The Price Of Tea In China, Bo Jackson delivers on all fronts. In fact, Bo Jackson is the best of the three.

The Alchemist already crafted an excellent set of beats for Armand Hammer’s Haram earlier this year, and he brought his A-game for Bo Jackson too. Boldy James entertains with his cold flow and his street narratives, and the featured artists all are perfect fits: Benny The Butcher, Roc Marciano, Earl Sweatshirt, Stove God Cooks, Curren$y, and Freddie Gibbs show up to add extra flavor to Alchemist’s atmospheric instrumentals. “Double Hockey Sticks” with its haunting boom-bap instrumental signifies an excellent start of the album, and the rest of the tracklist is just as good. “Brickmille To Montana”, “E.P.M.D.”, “Photographic Memories”, “First 48 Freestyle”, “Illegal Search & Seizure”, “Fake Flowers”, and “3rd Person” all are highlights, but the strength of Bo Jackson is its consistency – there really aren’t any weak tracks on this LP.

Boldy James is one of our MVPs of 2020, with two albums (The Price Of Tea In China and the magnificent Manger on McNichols) in our 2020 top 25 and The Alchemist is another 2020 MVP because of his work on TPOTIC and Freddie Gibbs’ Alfredo. With Bo Jackson, both Boldy James and The Alchemist continue their winning streaks.

27. Marlowe - Marlowe 3 (2022)

The first Marlowe album was one of the best (and most underappreciated) albums of 2018, Marlowe 2 was a top 3 album in 2020, and Marlowe 3 continues L’Orange and Solemn Brigham’s streak of excellence. L’Orange’s trademark psychedelic and dusty boom-bap instrumentals laced with obscure samples are as strong as ever, and Solemn Brigham has something distinctive that sets him apart from other emcees – an erratic one-of-a-kind type flow that perfectly matches the unique atmosphere set by L’Orange’s production. There’s Run The Jewels, and there’s Marlowe – these two acts are responsible for the best series of albums released in the past five to ten years.

28. Roc Marciano & The Alchemist - The Elephant Man's Bones (2022)

The Elephant Man’s Bones is the long-awaited collaborative album from Roc Marciano & The Alchemist, fully produced by The Alchemist, featuring Action Bronson, Boldy James, Ice-T, & Knowledge The Pirate.

Roc Marciano is one of the indisputable Hip Hop MVPs of the past decade. After being part of Busta Rhymes’ Flipmode Squad and a quarter of underground crew The U.N. around the turn of the millennium, he later reinvented himself to become the main player responsible for revitalizing the mafioso subgenre (pioneered in the 1990s by icons like Kool G Rap, Raekwon, and Nas). He also is the originator of atmospheric, gritty lo-fi beats as a backdrop for his rhymes – setting the trend for lots of newcomers who would go and build on this sound (think Griselda and all their affiliates and copy-cats).

Marcberg (2010), Reloaded (2012), Marci Beaucou (2013), Rosebudd’s Revenge (2017), RR2: The Bitter Dose (2018), Behold A Dark Horse (2018), Kaos (with DJ Muggs, 2018), Marcielogo (2019), and Mt Marci (2020) are all excellent projects, and at least the first two are subgenre classics. The Elephant Man’s Bones is Roc Marci’s ninth solo album and one of his best.

It’s the majestic work of The Alchemist on the boards that elevates this project to another level. There’s a perfect balance of drumless and hard drum instrumentals on The Elephant Man’s Bones, and it cements The Alchemist’s status as one of the foremost producers in the game ever. From his work with Mobb Deep just before the turn of the millennium to the albums he produced for Freddie Gibbs, Boldy James, and Armand Hammer in recent years – his legacy is indestructible at this point. The Elephant Man’s Bones is another gem in his crown – the silky smooth instrumentals on this album are spectacular, addicting even. The guest vocalists kill it too, best contributions here are from Knowledge The Pirate and Boldy James. The iconic Ice-T shows up too, he doesn’t have an actual verse but his short storytelling bits on “The Horns Of Abraxas” still add flavor and attitude to the album.

The Elephant Man’s Bones is an amazing record. Alchemist’s flawless production and Roc Marci’s illustrious wordplay combine into a hypnotizing cinematic experience, in the form of a 14-track album that will soon be considered a modern classic.

29. Skyzoo - Keep Me Company (2024)

Skyzoo’s Keep Me Company is an introspective, jazz-infused Hip Hop masterclass. Rooted in the traditions of storytelling and lyricism that have defined his career, the album sees Skyzoo reflecting on personal growth, relationships, and legacy with an ease that comes from years of perfecting his craft. It’s a project that feels intimate yet universal, a hallmark of Skyzoo’s music.

Though Skyzoo has built an impressive career collaborating with legends like 9th Wonder (Cloud 9), Appolo Brown (The Easy Truth), Pete Rock (Retropolitan), and as part of Barrel Brothers with Torae, Keep Me Company represents a quieter, more reflective chapter. This isn’t about reinvention but refinement, showing an artist at peace with himself and his artistry.

The album opens with “Community Service,” where jazzy horns swirl over a steady beat as Skyzoo examines themes of unity and purpose. His conversational delivery pulls the listener in, and JRose’s spoken word outro adds depth and warmth. From there, the project unfolds with tracks like “Finder’s Keepers” and “Home Away From Home,” which lean into lush, jazz-inspired production while exploring themes of ambition, connection, and memory. The instrumentation breathes, complementing Skyzoo’s intricate rhymes without overshadowing them.

“Drug Free School Zone” brings a rawer edge, with Skyzoo reflecting on responsibility, legacy, and survival. The production is stripped back, emphasizing his words and showcasing the precision of his storytelling. Similarly, “Prayers for the Customers” and “Courtesy Call” balance everyday observations with larger, philosophical questions. The latter features Chuck D, whose commanding presence underscores the weight of Skyzoo’s reflections on life’s stakes and the consequences of choices.

Lighter moments, like “Record Store Day,” bring charm and relatability as Skyzoo spins a narrative around vinyl culture and fleeting connections. The cozy, jazzy backdrop enhances the track’s nostalgic feel, making it a standout. As the album progresses, tracks like “Sleeping Beauty” and “Wins of the Father” delve deeper into Skyzoo’s personal life, offering raw, emotional reflections on family, love, and gratitude.

The closing track, “Jazz in the Projects,” is a sprawling eight-minute finale that encapsulates the album’s themes of survival, growth, and triumph. Over lush production, Skyzoo weaves vivid imagery and introspection, leaving listeners with a sense of closure and quiet confidence.

What makes Keep Me Company resonate is its honesty. Skyzoo isn’t chasing trends or overloading his music with flashy production. Instead, he’s creating a cohesive, timeless project that invites listeners to sit with it and uncover its layers. The jazz-infused boom-bap production gives the album a warm, lived-in feel, perfectly complementing Skyzoo’s thoughtful lyricism.

Keep Me Company is Skyzoo at his most reflective and intentional, delivering an album that feels deeply personal yet widely relatable. It’s a project that rewards patience, growing richer with each listen, and reaffirms Skyzoo’s place as one of Hip Hop’s most consistent and thoughtful voices.

30. Armand Hammer - Mercy (2025)

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

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

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

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

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

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

31. Apollo Brown & Planet Asia - Sardines (2023)

Underground Hip Hop stalwarts Apollo Brown and Planet Asia, reuniting after their critically acclaimed Anchovies album in 2017, elevated their collaborative efforts with Sardines. Sardines is as a masterclass in minimalist Hip Hop, marked by meticulous production and dope lyrical verses.

Apollo Brown’s soulful basslines provide the ideal canvas for Planet Asia’s razor-sharp lyricism. While by now we know what to expect from both artists and Sardines draws inspiration from classic Hip Hop elements, it successfully avoids the pitfall of stagnation or cliché. Instead, Brown and Asia breathe fresh life into the genre, putting their distinct approaches on full display. This album exemplifies the art of crafting a full-length LP, a form regrettably fading into obscurity as many artists these days opt for releasing a series of quick, 25-minute projects merely to maintain constant visibility on streaming platforms. Sardines stands as a fully realized and well-rounded project, clocking in at just over 45 minutes with a fluidity that immerses the listener in an experience that captivates from start to finish.

Sardines boasts numerous standout tracks, including notable highlights like “Get the Dough,” “Wide Awake,” and “Peas and Onions”. Planet Asia’s rhymes are infused with humor, taunts, and vivid narratives, complemented by Apollo Brown’s soulful beats. The album also welcomes guest appearances from underground heavyweights like Sick Jacken, TriState, Marv Won, and Ty Farris, who all add their own vibe to the album.

If Planet Asia and Apollo Brown aimed to surpass their prior work with Sardines, it’s safe to say they’ve achieved that goal. The production builds upon the minimalistic soul sounds of its predecessor, infusing hints of jazzier undertones this time around. The lyricism, from Planet Asia and the four featured artists, is fire from start to finish. Sardines is a must-listen for anyone seeking authentic and mature Hip Hop at its finest.

32. Larry June & The Alchemist - The Great Escape (2023)

The Great Escape is the first collaboration album between top-tier producer The Alchemist and San Francisco rapper Larry June. Larry June has been a dope act in the underground for a good while with a bunch of strong releases on his name, but this collab with The Alchemist is his best work to date, some next-level sh. Uncle Al’s elite touch is unmistakable, his authentic-sounding drums, vibrant basslines, and appealing soul sampling accumulating in beautifully smooth instrumentals that are tailor-made for Larry June’s lazy flow and down-to-earth rapping style. 45 minutes of music, 15 full tracks, expert sequencing, no time wasted on useless interludes or skits, and great cover art that matches the vibe of the content – this is a blueprint of how to make an LP. The inclusion of A-list features such as Action Bronson, Big Sean, Ty Dolla $ign, Slum Village, Boldy James, Evidence, Wiz Khalifa, Jay Worthy, Joey Bada$$, and Curren$y further enhances the project, making it one of the standout releases in March 2023, a month that was filled with high-quality albums.

33. Saba & No I.D. - From The Private Collection Of Saba And No I.D. (2025)

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.

34. Danny Brown - Quaranta (2023)

Danny Brown, known for pushing the boundaries of experimental Hip Hop, has garnered a diverse fanbase with his unfiltered and unorthodox expression of emotions. With each new album release, anticipation runs high among fans eager to hear his unique style. Quaranta was particularly anticipated, especially with Danny proclaiming it as a sequel to his breakthrough album X X X (2011). However, listeners will quickly realize that Quaranta is different from what they expected. Contrary to the anticipation of a high-energy and unhinged album, Quaranta showcases Danny’s most lowkey endeavor yet, demonstrating his maturity, introspection, and wisdom as he fearlessly confronts his demons and navigates the conflict between his two personas.

The album’s production, while toning down the lyrical and thematic intensity, maintains Danny’s mind-bending style. Although the beats may not reach the off-the-wall nature of his previous works like X X X, Old (2013), and Atrocity Exhibition (2016), they remain diverse, unhinged, lush, and, most importantly, unpredictable. The tracklist offers a broad spectrum of instrumentals and moods, ranging from the raw guitar solo on “Quaranta,” to the overwhelming sinister synths on “Dark Sword Angel,” and the soothing keys of “Celibate.” This versatility keeps listeners on their toes throughout the album.

Quaranta caters to every fan of Danny’s music, striking a balance between tracks like “Dark Sword Angel,” “Jenn’s Terrific Vacation,” and “Tantor” for those who loved his more chaotic days, and introspective tracks like “Down Wit It,” “Hanami,” and “Quaranta” for those who appreciate his lowkey conscious side. The album feels like a culmination of Danny’s past, a reflection that stays true to himself.

Danny’s performances on Quaranta are impeccable, evidencing a battle between his druggy ego and his more grounded self. While he maintains his iconic yelp on some songs, his normal voice dominates, possibly symbolizing a new era for him. The passion and dynamism in his performances, from the insane rapping on “Dark Sword Angel” to the vulnerability on “Down Wit It,” highlight his artistic range.

Thematically, Quaranta is Danny’s most introspective album, delving into past addictions, mental health struggles, challenging adolescence and adulthood, traumas, and even love. While the second half of the album may not match the intensity of the first, with some forgettable moments, the overall experience remains strong. Danny’s maturity shines through as he enters middle age, offering engaging lyrics and head-nodding beats, further solidifying his position as one of modern rap’s finest.

Those expecting a return to the intensity of his Atrocity Exhibition magnum opus may be disappointed. However, they should be able to appreciate the transparent chill, and emotional nature of the album, acknowledging Danny’s ability to adapt and rap over diverse beats. In essence, Quaranta is a great project from one of the most uncompromising, creatively brilliant, and unique rappers of his generation. It represents Danny’s humanity at its core, marking a significant point in his discography.

35. Nas - King's Disease III (2022)

King’s Disease III is the fifteenth studio album by Hip Hop icon Nas. It serves as the third part of his King’s Disease series of albums, once again produced by Hit-Boy. We’re not the biggest fans of the polished sounds Hit-Boy usually crafts, his sound is sometimes too pop-oriented as far as we are concerned. The uneven KD1 was let down a bit because of this pop orientation, with misplaced features from the likes of Don Toliver, Lil Durk, and Big Sean. KD2 was better rounded but also suffered from some weak and unnecessary features. King’s Disease III has no features at all, and the album is better for it – this is easily the best album of the trilogy, and Nas’s best full-length since Life Is Good (2012). We get just Nas and his virtually unparalleled pen game here, and Hit-Boy’s instrumentals are better than on the previous two KD albums too (there’s only one little misstep with “Hood2Hood”). While the album retains the polished sound palette of its predecessors, there’s more boom-bap grit to it at the same time – Nas gels really well with the beats here. What Nas proves with his Hit-Boy collaborations is that he firmly has his finger on the current pulse of the culture, that he is still hungry and relevant, and that he is able to appeal to old as well as to new audiences. In his fourth decade in the game, Nas still is a force to be reckoned with.

36. McKinley Dixon - For My Mama And Anyone Who Look Like Her (2021)

From Richmond, Virginia-based rapper McKinley Dixon‘s Bandcamp page: [For My Mama And Anyone Who Look Like Her, McKinley Dixon’s debut album on Spacebomb, is the culmination of a journey where heartbreak and introspection challenged him to adopt new ways of communicating physically and mentally, as well as across time and space.

The album challenges Black people to revisit more than one timeline and question everything they’ve been taught about processing grief in order to rebuild their present and future selves. There’s no definitive end to the darkness and trauma of the past, but this album is a stepping stone in Dixon’s pursuit of moving forward, and being a voice for Black people still learning how to advocate for themselves.

“The best way to sum up this album is: I was sad, I was mad, and now I’m alive,” Dixon explains. “These things I talk about on the record have had harmful and brilliant effects on my timeline, and have forced me to be cognizant of the fact that living is complex. Rap has allowed me the language to communicate and be someone who can communicate with people from all over. Knowing how far I’ve come, I think people will find trust in the message I’m sending.”]

For My Mama And Anyone Who Look Like Her is the final installment in a trilogy, building on the foundations set by the self-released Who Taught You To Hate Yourself? (2016) and The Importance of Self Belief (2018) – a series of albums that allowed Dixon to process his own and others’ lives as a part of the greater Black experience. For My Mama And Anyone Who Look Like Her is an emotional tour de force – composed of poetic storytelling and poignant insights.

From the impassioned album opener “Chain Sooo Heavy” with its frenetic free-jazz instrumentation to the beautiful pensiveness of the last song “Twist My Hair”: For My Mama and Anyone Who Look Like Her is a stunning album, with great lyrical depth and superb musical virtuosity. Lots of Kendrickisms on this genre-bender, echoes of prime Lupe Fiasco too – but McKinley Dixon doesn’t need to be compared to any other artists, really. With For My Mama And Anyone Who Look Like Her he released a career-defining project – an album that deserves to be talked about in the same breath with monumental albums such as Kenrick Lamar’s To Pimp A Butterfly (2015) and Rapsody’s Laila’s Wisdom (2017).

37. Mobb Deep - Infinite (2025)

As the fourth installment in Nas and Mass Appeal’s Legend Has It series, Mobb Deep’s Infinite arrives as a haunting, dignified finale—the duo’s first full-length since 2014 and the first without Prodigy, who passed in 2017. Havoc and The Alchemist craft this 51-minute, 15-track tribute from unreleased Prodigy verses and fresh production, sidestepping posthumous pitfalls to deliver a cohesive, Queensbridge-rooted elegy that honors their legacy without exploitation.

From The Infamous (1995) onward, Mobb Deep shaped East Coast hardcore with chilling loops and unflinching realism—“Shook Ones Pt. II,” “Survival of the Fittest,” Hell on Earth. Infinite channels that DNA: Havoc’s sparse, menacing beats—eerie piano, snapping drums, deep bass—meet Alchemist’s four cuts like “Gunfire,” blending analog grit with subtle polish. Opener “Against the World” sets defiance over tense keys, Prodigy’s timeless voice locking with Havoc’s responses. “Mr. Magik” conjures ruthless poetry, while “Score Points” layers haunting loops under Prodigy’s sharp menace.

Guests stay in orbit. Nas appears thrice, most gut-wrenchingly on “Pour the Henny,” trading mortality reflections over somber production. Raekwon and Ghostface Killah anchor “Clear Black Nights” with veteran poise, Clipse’s “Look at Me” adds icy synergy, and Big Noyd brings QB grit to “The M. The O. The B. The B.” Softer edges emerge in “Down for You” variants with Jorja Smith and H.E.R.

Minor flaws surface: rote hooks and cleaner mixes occasionally blunt the rawest punch, with brevity undercutting spots like “Score Points.” Yet the emotional core prevails—Prodigy’s prescient bars feel alive, Havoc’s restraint reverent. In the series’ arc, Infinite transcends melancholy, standing as a powerful continuation: gritty, precise, and infinitely resonant for Mobb Deep loyalists.

38. Apollo Brown & Philmore Greene - Cost Of Living (2022)

“What are the consequences of living in this f***ed up world? Within the first few seconds of their collaborative album Cost Of Living, rapper Philmore Greene and producer Apollo Brown articulate this question with unequivocal clarity. It’s an inquiry that looms at the core of their elegiac and existential soundtrack to modern inner-city life. How can one escape the systemic traps that have ensnared generations since time immemorial? What does it mean to make the right choices? And if you emerge from the chaos to live a beautiful life, how do you overcome the survivor’s guilt and lingering trauma?

Cost Of Living is an album full of authenticity that can’t be faked. These are songs that betray the scar tissue. Contemplative fire. Verité films of the west side of Chicago. It’s this noirish part of town that nourished Greene and gave him nightmares. The place where he saw his first dead body in his early teens, where he lost his brother to street violence only a few years later, and where he turned to the pad, pen, and microphone as a refuge and way to share his hard-fought wisdom.

Behind the boards, Apollo Brown creates a cinematic backdrop of tense, moody strings and hand-of-god drums. Philmore Greene is an ideal match for Brown’s sumptuous canvasses. On the Evidence-assisted lead single “Paradise,” Green unspools his gift for classic rap storytelling, comparing Chicago to Pakistan, noting the sex workers, church bells, and constant paranoia. He cites the hypocrisy of a world where you can get 40 years for drug trafficking and be out in three for murder. The centerpiece might be “This is Me,” where Greene details his own personal struggles and psychological turmoil.

The cost of living may be high, but Greene and Brown allow you to understand that it is not insurmountable. There are too many losses and not enough gains, but as long as there remains a belief in something deeper and the possibility of something better, hope remains alive. This is soul music in the deepest sense, not as an aesthetic but as a physical place, where heart, philosophy, and the spirit reside. This is something for the ages, a work of tragic timelessness. After all, these issues have been here before us, and they’ll be here long after us.”

Philmore Greene has plenty of great music on his name already (his Chicago: A Third World City (2018) is on our best of 2018 list) but it is Cost Of Living that should bring Philmore Greene into the consciousness of wider Hip Hop audiences. His flow is flawless, and his mature street poetry is poignant and relatable – this is some REAL sh. The album will also rightfully cement Apollo Brown’s status as one of the top-tier producers in the game. The impeccably produced Cost Of Living is on par with recent masterpieces like Sincerely, Detroit (2019) and As God Intended (2020, with Che Noir), two of his career-best projects. No doubt about it: Cost Of Living is one of 2022’s best Hip Hop albums.

39. Ka - Descendants Of Cain (2020)

Descendants Of Cain is Brownsville, NYC emcee/producer Ka’s seventh studio album, following 2018’s Orpheus vs. The Sirens, which he made with producer Animoss. Descendants Of Cain is his first album under the name Ka since 2016’s Honor Killed The Samurai. He has been responsible for a couple of the best Hip Hop albums released in the 2010s, especially his last two albums as Ka are low-key classics that have gained him a host of loyal fans.

Following the solid Grief Pedigree (2012), Ka’s The Night’s Gambit (2013) proved to be a creative step ahead for Ka, evidencing his abilities as a gifted rapper, with beautifully crafted poetic lyrics and clever metaphors – and with the album’s narrative centered around chess. Musically more stripped down and minimalistic than Chief Pedigree was, The Night’s Gambit was an atmospheric delight that may not have been for everybody, but that was rightfully recognized and appreciated by Hip Hop connoisseurs. The Night’s Gambit‘s follow-up Honor Killed The Samurai (2016) was another chilling barrage of aesthetic metaphors, brooding imagery, and incredible rhyme schemes. Like its predecessor, the conceptual Honor Killed The Samurai was another beautiful project consisting of minimalistic, understated instrumentals that served to give room to Ka’s narrative and intricate wordplay.

In 2020 Ka returns with Descendants Of Cain, going for a biblical theme this time around, as is evidenced by the album’s title and cover art, and by most of the song titles. Just like on his previous efforts, on Descendants Of Cain there’s a strong focus on ambiance and sound, and it may take many listens to really pick up on all Ka’s lyrical subtleties and hidden meanings – there’s a lot to unpack here. Descendants Of Cain is a delightful hypnotic Hip Hop meditation, with Ka excelling in his own brand of poetical lyricism – his hushed and hoarse tone gelling perfectly with the atmospheric instrumentals (produced by Preservation, Animoss, Roc Marciano, and Ka himself).

Ka is one of those artists who clearly REALLY knows what he’s doing, with a perfectly-tuned awareness of how his music works from every angle. Descendants Of Cain is put together and sequenced just RIGHT, and the cover art is gorgeous too. Ka’s style is of the take-it-or-leave-it kind, an acquired taste to be sure – but for those with an appreciation of not-run-off-the-mill kind of Hip Hop, Descendants Of Cain is a treasure.

40. Sa-Roc - The Sharecropper's Daughter (2020)

The Sharecropper’s Daughter is Sa-Roc’s long-awaited debut album for Rhymesayers since signing with the label in 2015. Washington DC-born and Atlanta-based Sa-Roc has been of the most interesting artists out in the past decade, with a bunch of great but underappreciated projects on her name before signing with Rhymesayers (especially Nebuchadnezzar (2014) is an awesome album). The Sharecropper’s Daughter was led by the singles “Deliverance”, the self-love anthem “Forever”, and “Goddess Gang” – enough to raise anticipation levels to the max. Does the album live up to expectations? The answer is an unreserved yes. No doubt this is Sa-Roc’s highest-profile project yet and the album that should be her real breakthrough to wider audiences.

From Sa-Roc’s Bandcamp page: “Speaking on the meaning of the album’s title and inspiration, Sa-Roc shares, “The Sharecropper’s Daughter speaks to my father’s actual beginnings on a Virginia tobacco farm where his family sharecropped. The title is meant to signify that both my father’s and my upbringing, though so different, are linked by a shared history that informs the way I move through the world. Although his formative years were spent in the Jim Crow era of the south, where he suffered through poverty and racial oppression, and mine were shaped in the heart of DC, amidst the war on drugs and the effects of its fallout, the album finds points of connection in two very different yet tragically familiar stories of Blackness in America. It’s a sonic reflection of the things we inherit. About the emotional weight that we unknowingly bestow upon the next generation; the genetic transfer of both trauma and triumph that we, both donors and beneficiaries, are tasked with reshaping into a future of our own.”

The Sharecropper’s Daughter album is entirely produced by a veteran renaissance man from the Atlanta Hip Hop scene, Sol Messiah, with the exception of “Deliverance” produced by Evidence and co-produced by Al B Smoov. And, while Sa-Roc’s crafty wordplay, razor-sharp delivery, and exceptional writing are the prominent highlight, this undeniable quality is only further enhanced by stellar guest performances from a small, but formidable, all-star cast of guests, including Saul Williams, Styles P, Ledisi, Chronixx, and Black Thought.”

The Sharecropper’s Daughter is an excellent album, one of the best of the year. Refined production, with soulful and musical boom-bap beats, serves as the perfect backdrop for Sa-Roc’s powerful vocals – she once again proves she’s an elite emcee and a great singer as well. Her lyrics are intelligent and thought-provoking – The Sharecropper’s Daughter is just one of the 2020 albums that mark the return of consciousness to the forefront of Hip Hop – fitting right in with the latest projects from Arrested Development, Public Enemy, Paris, Run The Jewels, and others.

15 tracks and 50 minutes of music on The Sharecropper’s Daughter and not a moment is wasted. No weak tracks on this album, but a special mention goes out to the timely “The Black Renaissance” which is a SOTY contender – Sa-Roc and Black Thought both kill it, and their back and forth on the last verse is great. The Sharecropper’s Daughter is grown-people Hip Hop of the highest order – it doesn’t get much better than this.

41. Skyzoo - All The Brilliant Things (2021)

Skyzoo never misses. All The Brilliant Things is another great LP from the Brooklyn emcee. The Salvation (2009), Live From The Tape Deck (with Illmind, 2011), A Dream Deferred (2012), Music For My Friends (2015), The Easy Truth (with Apollo Brown, 2016), In Celebration Of Us (2018), and Retropolitian (with Pete Rock, 2019) all are quality Hip Hop albums – All The Brilliant Things is as good as any of them, maybe even better.

Elegant boom-bap production with a jazzy touch, plus elite lyricism from one of the best emcees in the game: All The Brilliant Things is about as good as it gets. Guest appearances from Aaria, Ill Al Skratch, BJ The Chicago Kid, Raheem Devaughn, Stlndrms, Karriem Riggins, MonicaBlaire, Hypnotic Brass Ensemble, Xiolynn, and Blakk Soul help round out what is one of the best Hip Hop albums of 2021.

42. Redman - Muddy Waters Too (2024)

Redman’s Muddy Waters Too is a triumphant return for the Brick City legend, dropping nearly three decades after his classic 1996 album Muddy Waters. For many, that original LP remains his magnum opus—a gritty, funk-fueled showcase of charisma, humor, and bars. To see Redman come so close to matching it after almost 30 years is nothing short of remarkable. At 32 tracks and 80 minutes, this project is massive, yet it never drags—a rarity in today’s EP-dominated landscape. Redman bucks the trend of brevity and delivers quality and quantity, giving us a proper full-length experience.

From the jump, Funk Doc Spock sounds energized, confident, and in top form. His humor, wordplay, and wit are as sharp as ever, while his flow feels timeless. Whether it’s the hard-hitting opener “Da Fuck Goin’ On?”, the soulful Jersey anthem “Don’t You Miss,” or the stoner-friendly “Kush” with Snoop Dogg, Redman navigates a range of moods without missing a beat. Tracks like “Lite It Up,” an epic posse cut featuring Queen Latifah, Naughty by Nature, Rah Digga, and more, underline his dedication to the culture.

Despite a lineup of producers—Erick Sermon, Rockwilder, Khrysis, Rick Rock, and Redman himself, among others—the album feels surprisingly cohesive. The beats balance classic boom bap with modern touches, creating a gritty yet polished soundscape. Highlights like “Dynomite” with Sheek Louch and “Pop da Trunk” show Red’s versatility, shifting between funky, hardcore, and even trap-inspired beats with ease.

Redman’s infamous love of skits is present but doesn’t interrupt the flow too much, making the album more enjoyable as a whole. This year saw plenty of veterans drop strong projects, but Muddy Waters Too is the standout. Redman proves he can still hang with the best, delivering a long-awaited sequel that’s fun, consistent, and deeply rooted in Hip Hop. For those craving an album with personality, humor, and bars galore, this is a must-listen. Props to Reggie Noble for showing us all how it’s done.

43. Kool Keith & Real Bad Man - Serpent (2023)

Kool Keith has been an enigma ever since he appeared on the Hip Hop scene as part of the Ultramagnetic MCs crew more than 35 years ago, debuting in 1988 with the innovative classic Critical Beatdown. Always out of the mainstream spotlight, his signature style is a stream-of-consciousness lyrical flow with complex vocals usually peppered with bizarre, disjointed, even delusional or disassociated themes, concepts, and references – skills that earn him a perennial nod from the underground Hip Hop community. Quality control has never been his main concern, but among his almost endless stream of albums, EPs, bootlegs, mixtapes, and collaborations there are enough classics to consider Kool Keith a bonafide Hip Hop icon, one who gives meaning to the word longevity.

Serpent is one of the better Kool Keith albums in recent years – arguably his best since the underappreciated Feature Magnetic (2016). Kool Keith has always needed a producer he could vibe with to bring out the best in him, and as the likes of Ced Gee, Dan The Automator, and Kutmaster Kurt did for him in the past, Real Bad Man hits the right notes with his production on Serpent. Real Bad Man’s profile has been rising since his recent work for the likes of Pink Siifu and especially Boldy James, and the sinister beats he crafted for Kool Keith here once more prove he is a producer to watch. So – the instrumentals are dope throughout and Kool Keith sounds inspired and is having fun – plus there are features from Atmosphere’s Slug, Ice-T (with appearances on two tracks, but not with an actual verse), ZelooperZ, Cool Calm Pete, and Edan to add some extra spice to an album that comfortably fits in the top quarter of Kool Keith’s vast catalog.

44. JID - The Forever Story (2022)

Atlanta native JID is the most interesting artist to come out of J. Cole’s Dreamville camp. The Never Story (2017) was an impressive debut album, and DiCaprio 2 (2018) was a solid follow-up. The Forever Story came highly anticipated after a four-year wait and with his third solo full-length JID does not disappoint – in fact, The Forever Story is his best album yet.

Conceptually, The Forever Story is a sequel to The Never Story. The title is a direct reference to the 2017 album’s title, and the artwork alludes to the 2017 album’s artwork. With his flow and musical choices, JID has all the characteristics to appeal to fans of mainstream rap but unlike most mainstream rappers he doesn’t sound generic and he actually has bars worth listening to – so fans of more traditional Hip Hop should be able to get into The Forever Story too despite its pop-appeal. JID succeeds where lots of his contemporaries fail: on the hour-long The Forever Story he manages to perfectly balance banging trap-flavored cuts, smooth neo-soul-tinged songs, and punchy boom-bap tracks into a dynamic but coherent whole (despite a host of different producers being involved). JID’s flows are on point, his pen game is strong, the hooks on this album are enjoyable, and the features (EARTHGANG, 21 Savage, Ari Lennox, Yasiin Bey (Mos Def), Lil Wayne, among others) all come through. The Forever Story is an excellent album, one that met – or even exceeded – the high expectations preceding it.

45. Blu & Exile - Miles (2020)

2020 marks eight years since Blu & Exile’s last full-length album Give Me My Flowers While I Can Still Smell Them, and 13 years since their classic collaborative debut Below The Heavens, one of the best albums released in 2007. Now the duo is back with double album Miles: From An Interlude Called Life (Miles for short), Blu & Exile third full-length collaboration. The title references jazz-legend Miles Davis, who gets multiple mentions/shout-outs throughout the album, as do lots of other jazz and other music legends. It’s clear Blu and Exile know and appreciate their musical history – this album is their tribute to that history and its legends, and a study of Blu’s origins, his influences, and his personal life experiences.

When Blu is in top form, there are not a lot of artists out there better than him. Unfortunately, with a series of decent-at-best projects he hasn’t been in top form for large parts of his career. Most of his projects have been underwhelming, excepting of course Below The Heavens, and albums like Johnson&Jonson (2008, with Mainframe as Johnson&Jonson) which was pretty great, as were Give Me My Flowers While I Can Still Smell Them (2012) and last year‘s Oh No-produced A Long Red Hot Los Angeles Summer Night. 

Where Blu has never been able to approach the level of awesomeness he reached with his monumental debut Below the Heavens, BTH arguably is Exile’s best production work too – even if he is responsible for a couple of more (near)classics, Boy Meets World (2009) with Fashawn and the underappreciated E&J (2014) with Johaz as Dag Savage most notable among them.

So, what bout Miles? Miles may not be quite as good as Below The Heavens is, but it’s definitely better than Give Me My Flowers While I Can Still Smell Them. At 95 minutes the album is very long, but unlike most artists who try their luck on lengthy projects such as this one, Blu & Exile succeed in keeping things mostly fresh from start to finish – there’s little filler (some songs go on for a bit too long, maybe) to be found on Miles, which is kind of unique for a double album. Standout tracks include “When The Gods Meet”, “True & Livin’”, “Miles Davis”. “To The Fall, But Not Forgotten”, “Spread Sunshine”, and “The End”.

Aloe Blacc, Fashawn, Miguel, Dag Savage, Cashus King, Ishe, Jacinto Rhines, Choosey, Jimetta Rose, Aceyalone, Iman Omari, C.S. Armstrong, Gappy Ranks, Jacinto Rhines, The Last Artful, Dodgr, and Adad make appearances to provide some welcome vocal variation – but Blu easily carries this album with his intelligent and conscious lyricism, helped by Exile’s elegant instrumentals.

Despite its length and laidback vibes Miles is a powerful album and another testament to Blu & Exile’s undeniable chemistry.

46. Lewis Parker - Frequency Of Perception (2021)

Lewis Parker is a London-born veteran producer/emcee – a self-proclaimed Hip Hop craftsman, and ‘the deadliest man with an SP’. Those familiar with Lewis Parker’s work will know this to be true – all his music oozes pure dedication to Hip Hop. Frequency Of Perception is one of his best projects yet, a fully realized album with over an hour of excellent music – with beats AND rhymes from Lewis Parker himself (and with contributions from artists Eloh Kush, John Robinson, Planet Asia, Lil Dap, Eastkoast, Enny Integrity, Killa Sha, Zu, Ric Branson, and T.R.A.C.).

Frequency Of Perception is a presentation of stylistic 90s-centric Hip Hop, with tasteful boom-bap beats and relatable rhymes. Musical and classy – Frequency Of Perception is grown-up Hip Hop of the highest order, one of the finest albums released in 2021.

47. Ka - Languish Arts / Woeful Studies (2022)

The mostly self-produced Languish Arts and Woeful Studies are Ka’s ninth and tenth albums – we will consider the two a total package like a double album. The last track on Languish Arts ends with an instrumental with a flute very similar to the one on the first song on Woeful Studies, connecting the two albums seamlessly. Individually both projects are just under 30 minutes which would make them EPs in our book, but put together this double header offers close to an hour of top-quality music.

Fans of Killah Priest’s recent output should know by now not to sleep on Ka, also fans of Roc Marciano’s sound will find much to enjoy. Ka is the superior writer though, his pen game is deep and his poetic flourishes are second to none. Ka’s lyricism is unparalleled – as always it will require time and attention to really listen in-depth and dissect all of the layers in his bars here. Ka’s music can be enjoyed on a more superficial level too, the mostly drumless instrumentals and his spoken word flow are hypnotic and soothing – this is music to keep returning to, whatever you are looking to get out of it. With Languish Arts and Woeful Studies, Ka adds two more gems to an already monumental catalog.

48. JPEGMAFIA - LP! (2021)

Because of JPEGMAFIA’s futuristic, singular and experimental vision of what Hip Hop is, his music is an acquired taste. We liked Black Ben Carson (2016) and loved the brutal Veteran (2018), but we didn’t care for All My Heroes Are Cornballs (2019) – which was edgy strictly for edginess sake as far as we are concerned. For us, AMHAC was little more than a bunch of badly mastered sounds seemingly thrown together randomly, a messy wall of noise with so-so rapping and worse singing.

LP! is way better, more like Veteran: still experimental and edgy, but a rap album at its core – and an intriguing one too. Peggy’s personality and attitude, and his willingness to push the envelope come off as always, and on LP! he has reached a new stage of maturity. The synth- and bass-heavy production on LP! is masterful and Peggy shines with his vocal performances this time around.

Two different versions were released: the Online Version and the Offline Version. The online version is the one on streaming services and can be seen as the record label’s ‘theatrical release’ (with all samples cleared), while the offline version is like Peggy’s own ‘director’s cut’, the album as he intended it to be but wasn’t allowed to release commercially because of a bunch of uncleared samples. Both versions are great, but the Offline Version is the superior project. The Online Version feels more like a compilation (with a couple of tracks carried over from Peggy’s last two EP’s), the Offline Version has the original tracks and no recycled ones – the Offline Version should have been the commercial release. Anyway: of the two, the Offline Version is the one that has the feel of a future classic.

The offline version of LP! is by far the best JPEGMAFIA project to date. It’s much more fleshed out than Black Ben Carson, Veteran, and AMHAC are, more accessible and less abrasive too – while managing to retain the aspects that made these works so edgy and fun. After a suitable period of marinating, LP! (The Offline Version) will undoubtedly be considered one of the best experimental Hip Hop albums ever made.

49. billy woods - Church (2022)

50. Mach-Hommy - Pray For Haiti (2021)

Enigmatic NYC-Haitian rapper Mach-Hommy reconnected with Griselda head-honcho Westside Gunn for this album, marking their first collaboration after Mach-Hommy broke with the Griselda camp in the mid-2010s due to creative differences. Westside Gunn executive produced Mach-Hommy’s Pray For Haiti, and he appears on four songs. WSG the businessman is a brilliant visionary, and his fingerprints are all over this album – he has a GREAT ear for beats and a flair for aesthetics. WSG the rapper is an acquired taste though, you either love his kiddy voice and his adlibs, or you hate them. We have little tolerance for WSG’s screechy pitch and constant “brrrrrrrt doot doot doot boom boom boom” antics, but because his vocal presence here is limited to just four of the fourteen songs, his contributions are scarce enough not to ruin the album, fortunately.

In addition to the WSG features, frequent Mach-Hommy collaborator Tha God Fahim appears on one track, as does Griselda artist Keshia Plum – but Pray For Haiti is very much Mach-Hommy’s show, his varied flows are better than ever and his verses carry power. While Mach-Hommy’s bars are dope, it’s the daring production that takes Pray For Haiti to that other level. The murky jazz-flavored beats crafted by the likes of Denny Laflare, Camoflauge Monk, Cee Gee, Sadhugold, Messiah Musik, DJ Green Lantern, and Conductor Williams are f***king amazing. The first single “The Stellar Ray Theory” is an obvious highlight, but tracks such as “The 26th Letter”, “Folie A Deux”, “Marie”, “Magnum Band” (with a Capital Steeze reference that will make you frown), “Blockchain”, and “Ten Boxes – Sin Eater” are just as awesome.

Pray For Haiti certainly is one of the best releases on Griselda ever. Years from now, we will still be talking about the two best Griselda albums – Westside Gunn’s FLYGOD (2016) and Benny The Butcher’s Tana Talk 3 (2018) – and Pray For Haiti is in that league.

51. Tyler, The Creator - Chromakopia (2024)

Tyler, the Creator’s Chromakopia dives deep into the shadows of his psyche, blending chaos with personal reflection and maturity. Known for his visual and musical storytelling flair, Tyler crafts each song on Chromakopia like a piece of shattered glass, showing us complex new angles of his ever-evolving mind. Pulling from a rich mix of electronic, jazz, soul, R&B, and Hip Hop, he pushes into familiar and unsettling territory, echoing the warm stylings of Flower Boy (2017)  but with a darker, moodier lens.

The album feels like a feverish confessional, masked but raw. Tyler’s lyrics are brimming with introspection, tackling adulthood, aging, and fame, capturing a journey marked by highs, lows, and fear for what’s to come. He’s not rapping about global escapades or flaunting fame here; instead, he’s reflecting on his legacy, relationships, and even ideas about fatherhood. Tracks like “Take Your Mask Off” peel back the bravado, encouraging characters (and maybe himself) to strip away their facades. Songs like “Noid” carry a textured, reflective weight, where his lyrics expose anxieties and the pressures fame brings, while “Darling, I” and “Like Him” explore familial connections with a softer yet hauntingly sincere tone.

Musically, Tyler balances forceful Hip Hop moments with lush, R&B-infused soundscapes. The production swings between vibrant and minimal, occasionally missing the immersive depth fans may have come to expect after IGOR (2019). Even so, the subtle production on Chromakopia doesn’t detract; it channels attention back to his lyrics and themes, where Tyler’s evolution as a mature artist shines. Collaborations add fresh layers, from Doechii’s electric verses to Schoolboy Q’s gritty edge, each offering Tyler the space to explore.

With tracks like “Rah Tah Tah,” Tyler dials into pure energy, while songs like “Hey Jane” paint softer, more reflective scenes, evoking a sense of impermanence. Tyler’s mother narrates the album, rooting the record in personal history and a reminder of his journey so far. The album’s mix of themes—from love and fame to internal struggle—evokes a blend of melancholy and resilience. It’s as if Tyler is opening the door on the later chapters of his life, one where he steps out of character while grappling with the permanence of legacy.

Chromakopia is a layered experience, challenging but deeply authentic, embracing Tyler’s growth and offering glimpses of a raw, often chaotic human story. If anything, Chromakopia marks a point where Tyler’s work feels freer than ever—familiar but unconventionally real.

52. McKinley Dixon - Magic, Alive! (2025)

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

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

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

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

53. Rome Streetz - KISS THE RING (2022)

KISS THE RING is cold, direct street rap built on sharp imagery and relentless detail. The record carries the attitude of someone stepping into a bigger arena without changing his mechanics. Rome Streetz enters Griselda’s circle and delivers a long, layered set of verses shaped by risk, hunger, and a lifetime of coded experience from Queens to Brooklyn.

Rome raps with nonstop intention. Every track is packed tight with inner rhymes, quick pivots, and clipped threats that land with the rhythm of someone trained on corner conversations and late-night plotting. He uses short bursts of philosophy, dark humor, and violent warning shots to keep the pace high. “Big Steppa” and “Heart on Froze” open the record with a jolt, each line hitting like a raised eyebrow or a knife twist. On “Long Story Short,” he narrows the lens to a grim narrative told with blunt economy, turning small observations into criminal procedure. “Reversible” and “Tyson Beckford” highlight his ability to shape a hook without sacrificing density.

The producers create a tight corridor of dusty samples, clattering loops, and crooked melodies. Conductor Williams leans into tense, almost jagged fragments that constantly restart, forcing Rome into a tightrope stride. Daringer, Camoflauge Monk, and DJ Muggs add bruised soul and warped jazz. The Alchemist shows up with murky keys and a slow burn. Each beat gives Rome space to attack without offering comfort. Benny the Butcher and Stove God Cooks show up to trade sharp lines with him on “Blow 4 Blow.” Boldy James brings a leathery calm to “Serving.” Armani Caesar strikes a dangerous energy on “Armed & Dangerous.”

The only thing that misses the mood is the lazy, cheap cover artwork, which undersells the weight and the quality inside. Everything else hits hard. KISS THE RING is a grim, skill-driven statement from an elite technician working inside a dark, cinematic lane he understands at a cellular level.

54. Beneficence & Jazz Spastiks - Summer Night Sessions (2023)

Beneficence, a prominent figure in Brick City Hip Hop, has teamed up with the UK-based producer duo Jazz Spastiks for their collaborative album, Summer Night Sessions.

Summer Night Sessions invites listeners into a vibrant blend of jazzy street vibes, complemented by smoothly written, soothing, and thought-provoking lyrics. The collaboration between Beneficence and Jazz Spastiks creates an atmosphere that pays tribute to the classic era of Hip Hop. Noteworthy guest appearances from artists like Saukrates, Awon, Doodlebug (of Digable Planets), Skyzoo, Rakaa Iriscience, J-Live, El Da Sensei, Kid Abstrakt, Shabaam Sahdeeq, and Anthony David enrich the album’s overall experience.

The album resonates with a crystal-clear 1990s Hip Hop essence, characterized by meticulous attention to detail and Beneficence’s lyrical finesse. Summer Night Sessions feels like a zenith of throwback Hip Hop, serving as a sonic time capsule that transports listeners through nostalgic journeys with jazzy boom-bap beats and sharp cuts & scratches. While it may not offer anything you haven’t heard before, the album is a dope addition to any Hip Hop playlist.

55. Elzhi – Seven Times Down Eight Times Up (2020)

With over 20 years in the game, Detroit’s ‘syllable sensei’ Elzhi can rightfully be called a veteran at this point. He joined Slum Village shortly after J Dilla’s departure, and the projects he has done with Slum Village starting with 2002’s Trinity: Past, Present And Future are all solid enough. But it is his solo catalog that is truly exceptional.

His solo debut The Preface is a top 5 album of 2008 Hip Hop. In 2011 he cemented his reputation as a top-class emcee with the Elmatic mixtape, his brilliant re-working of Nas’ Illmatic. In 2016 he continued he run of excellent releases with Lead Poison, the most personal album he has released to date. Two years later he teamed up with Khrysis to form Jericho Jackson, under that name they released a critically acclaimed self-titled banger, one of the best albums released in 2018. In 2020 Elzhi returns with his third full-length studio album: Seven Times Down Eight Times Up.

Seven Times Down Eight Times Up continues Elzhi’s streak of excellence. Up-and-coming producer and Griselda affiliate JR Swiftz kills it on the production side of things, sonically this is one of the most cohesive albums of 2020 – cohesive without sounding repetitive. Detroit comedian and “Real Hip Hop Advocate” Foolish provides commentary throughout the album, providing sort of a common thread. But it’s Elzhi’s lyricism that elevates this album above most others released this year.

Elzhi is one of the best lyricists of the past two decades, and this album is yet another confirmation. Elzhi is sharp as always, his flows are smooth, and his rhyme schemes are on another level. Seven Times Down Eight Times Up is filled with meaningful concepts and vivid imagery – Elzhi is one of those emcees whose bars demand full attention and reward repeated listens. Seven Times Down Eight Times Up gets better with each and every spin and offers 45 minutes of grown-man rap of the highest quality – this is one of the best Hip Hop albums released this year.

56. Masta Ace & Marco Polo - Richmond Hill (2024)

Masta Ace is a stalwart figure in the rap industry, with a career across generations. Hailing from Brownsville, Brooklyn, New York, he rose to prominence in the late 1980s as part of Marley Marl’s Juice Crew, where he showcased his rap talent alongside legends like Big Daddy Kane, Biz Markie, and Kool G. Rap, debuting on Marley Marl’s classic posse cut “The Symphony” in 1988. His 1990 debut album, Take a Look Around, began an underappreciated but exceptional discography. After his debut LP, Ace explored the impact of gangster rap with SlaughtaHouse in 1993 and blended East Coast sensibilities with West and South Coast car culture on the groundbreaking Sittin’ On Chrome in 1995.

The concept-driven brilliance of Disposable Arts (2001) and its successor A Long Hot Summer (2004) cemented his status as an artist who proved he was able to evolve with the times, as did collaborative projects with eMC and Ed O.G., and albums like MA_DOOM: Son of Yvonne (2012), and The Falling Season (2016).

In 2018, Masta Ace teamed up with Toronto producer Marco Polo for A Breukelen Story, and their collaboration continues in 2024 with a sequel, this one based on Polo’s upbringing in Richmond Hill, Ontario. Titled Richmond Hill, the album presents a mature and well-rounded collection of tracks featuring strong lyricism paired with stylish boom-bap beats. Artists like Inspectah Deck, Stricklin, Blu, Che Noir, Wordsworth, and Coast Contra make guest appearances, adding depth to the narratives and addressing contemporary issues with clarity. This album showcases Masta Ace’s decades of rapping experience and his ability to cut through Polo’s soulful samples and crisp drums with effortless skill, proving his lyrical finesse is timeless.

57. Rome Streetz & Big Ghost Ltd - Wasn't Built In A Day (2023)

Wasn’t Built In A Day is a collaboration between Rome Streetz and producer Big Ghost Ltd, a 12-track offering with guest appearances by Griselda emcee Conway The Machine, Wu-Tang Clan legend Method Man, Plex Diamonds, Lukey Cage, Swab, and Chyna Streetz. The elusive Big Ghost Ltd’s work in recent years is nothing short of impressive, and with this album, he adds another jewel to his crown. Wasn’t Built In A Day is one the best Big Ghost-produced albums to date – Van Ghost (2018) with ANKHLEJOHN remains our absolute favorite, but this project comes close enough. All the ingredients to elevate an album to that next level are here: the basement boom-bap beats are top-notch, Rome Streetz is one of the best emcees of his generation, and the guests deliver the goods too (that Method Man verse is FIRE). There is lots of music constantly dropping in the grimy street rap subgenre, but this was the benchmark against which similar albums were held in 2023.

58. Oddisee - To What End (2023)

Talented producer/emcee Oddisee has long established his name based on the strength of his previous works. Collaborations such as In The Ruff (with YU and Uptown XO, as Diamond District, 2009), Tangible Dream (2013), and The Good Fight (2015) stand out as our favorite Oddisee projects in an impressive catalog of albums, EPs, and mixtapes. To What End is an exceptional album too, showcasing Oddisee’s rare combination of skill both on the microphone and behind the boards, a quality that sets him apart from many other Hip Hop artists. On To What End, Oddisee’s genre-crossing musicality and his ability to craft captivating melodic hooks are fully displayed, complemented by his introspective and thought-provoking lyrics. The album is a compelling and artistically grand offering, representing the finest essence of Hip Hop soul.

59. El Michels Affair & Black Thought - Glorious Game (2023)

Parthian Shots is AJ Suede and Televangel’s second collaborative album, following last year’s Metatron’s Cube. Metatron’s Cube ended up in the top 40 of our best of 2022 list, and Parthian Shots is just as good as its predecessor. Televangel can always be relied upon to deliver a robust set of immaculately produced moody instrumentals – on this album a little less edgy than on Metatron’s Cube, but once again a perfect fit for AJ Suede’s smooth stream-of-consciousness flows. Parthian Shots has appearances from Onry Ozzborn, Rich Jones, Old Grape God, Milc, Nacho Picasso, Mr. Muthaf*ckin Exquire (“PBS Kids” is one of the album’s highlights), and Bruiser Wolf to help round out what is an abstract Hip Hop tour-de-force and another AJ Suede must-listen.

60. Evidence - Unlearning Vol. 2 (2025)

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

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

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

61. Awon & Phoniks - Golden Era 2 (2024)

Awon & Phoniks are back at it with Golden Era 2, a dope follow-up to their 2013 debut Return To the Golden Era. The Don’t Sleep Records founders have been putting in work, which shows in this fresh release that stays true to their underground Hip Hop roots.

Phoniks comes through with some killer production, laying down jazzy boom-bap beats that hit hard and give Awon plenty of room to flex his lyrical muscles. The whole album has that classic Hip Hop feel – but don’t get it twisted, these guys aren’t stuck in the past, they’ve cooked up a vision for where underground Hip Hop can go next.

The guest list on Golden Era 2 is straight fire: Anti-Lilly, Tiff the Gift, Dephlow, Hex One, V Knuckles, Demetrius Rhymes, PEL, Napoleon Da Legend, and John Robinson all step up to the mic. Each feature brings something unique to the table without throwing off the album’s vibe. Awon’s flow is on point throughout, gliding over Phoniks’ signature beats like it’s second nature. This album is another win for the Don’t Sleep catalog, proving once again that Awon & Phoniks are carrying the torch for real, soulful Hip Hop.

If you’re down with the duo or always on the hunt for authentic Hip Hop, Golden Era 2 will hit the spot. It’s clear Awon & Phoniks are all about keeping Hip Hop alive and kicking, and they’re delivering the goods we’ve come to expect from these two. Trust us, this one’s worth your time.

62. Nuse Tyrant - Juxtaposed Echoes (2024)

San Diego-based lyrical virtuosu Nuse Tyrant’s Juxtaposed Echoes is a gritty, introspective journey through urban landscapes and inner turmoil. Produced by Trust One and Clypto, the album blends contrasting sounds and perspectives, with Nuse Tyrant’s compelling narrative at its core.

Tracks like “Don’t Blink” and “24kt” explore themes of struggle, temptation, and the pursuit of wealth, while “Miss You Bad” offers a poignant reflection on memory and loss. The album pays homage to Hip Hop legends with “Ghost of Dilla” and delves into cinematic storytelling with “The Story of the Crane Fighter” and “Love Jones.”

Nuse Tyrant’s lyrical prowess shines throughout, particularly on tracks like “Camouflaged Faces” and “Corner Pocket,” where he demonstrates his ability to paint vivid pictures with words. The album tackles complex themes of duality, social commentary, and personal growth, culminating in the powerful call to action of “UnheardCrys.”

With its blend of raw emotion, thought-provoking lyrics, idiosyncratic flows, and exciting left-field production, this album establishes Nuse Tyrant as a formidable voice in contemporary Hip Hop, offering listeners a rich, multifaceted experience unlike anything else you’ll hear this year.

63. Arrested Development - For The FKN Love (2021)

Legendary Grammy award-winning Atlanta Hip Hop collective close out their career in great style with their presumed last album, titled For The FKN Love – a 17 track tour-de-force that features Masta Ace, Big Daddy Kane, Freddie Foxxx, Monie Love, The Sugarhill Gang, and many more.

Arrested Development debuted in 1992 with the now-classic 3 Years, 5 Months, and 2 Days in the Life Of… (4x times platinum!) – a masterpiece of conscious Hip Hop, and because of its positive thinking and positive imaging a breath of fresh air in the era dominated by gangsta rap: an album celebrating life instead of death. Ever since that monumental debut (except for a 4-year break between 1996 and 2000), Arrested Development has continued to create quality music in ever-changing line-ups (frontman Speech is the only AD-member who has always been in the group since its inception in 1988).

Arrested Development had a top 25 album last year with Don’t Fight Your Demons and For The FKN Love is just as good. Like on Don’t Fight Your Demons, it’s the masterful 90s-centric boom-bap production of British producer Configa (with some assistance from Cris Acosta, Clint Taylor, and Speech himself ) that provides the perfect melodic base for Speech’s lyrical imagery – which is as uplifting and thought-provoking as ever.  At almost 70 minutes, For The FKN Love is a long listen but the album never really flags. For The FKN Love is an entirely coherent presentation, with an air of positivity much needed in the troubled times we are living in.

If this is indeed Arrested Development’s last record, it ends a memorable three-decade recording career on a high note. For The FKN Love is a killer AD album.

64. Stress Eater - Everybody Eats! (2024)

On Everybody Eats!, Kool Keith, 7L, and Esoteric—collectively known as Stress Eater—deliver a wildly unpredictable album full of sharp lyricism, eccentric humor, and gritty beats. Combining Kool Keith’s otherworldly imagination with 7L’s production expertise and Esoteric’s razor-sharp rhymes, the trio crafts a listening experience that’s as chaotic as it is captivating.

Kool Keith, the Bronx legend known for his experimental approach, and the Boston duo of 7L & Esoteric, veterans of the underground and creators of the Czarface universe, bring their quirks to this project without restraint. The result is an album that thrives on its raw creativity and refusal to conform.

“Rocket Science” opens the album with heavy basslines and a deliberate pace, allowing Keith and Esoteric to dismantle weaker emcees with sly humor and brash confidence. Tracks like “Here’s Some Homicide” (with an appearance from Ice T) and “Willrow Hood” lean on funky, boom-bap foundations while blending surreal wordplay with head-nodding grooves.

The references fly fast and loose, from wrestling shoutouts on “Top Men of Rap” to arcade nostalgia in the Mega Ran-assisted “Aladdin’s Castle.” These tracks showcase Stress Eater’s knack for blending clever pop culture nods with sharp bars, striking a balance between irreverence and skill.

7L’s production is a masterclass in texture, ranging from the dusty grit of “Genuine Lifestyle” to the funk-infused weirdness of “Mecha & the Sole Brother.” Interludes like “Off the Bones” and “People Want Sugar” inject the album with absurdity, enhancing its playful unpredictability.

Despite its chaotic energy, Everybody Eats! feels cohesive. The interplay between Keith’s eccentricity and Esoteric’s intensity is dynamic, and 7L’s beats tie the madness together. Tracks like “Space Cowboy” and the reflective closer “Giving Back to the Universe” provide moments of balance, grounding the album’s wild ride in Hip Hop’s classic sounds.

Everybody Eats! is messy, playful, and refreshingly unfiltered. Stress Eater embraces their shared weirdness, delivering an album that feels like a creative playground for three underground legends. For listeners willing to dive into its offbeat world, it’s a pure Hip Hop feast worth savoring.

65. Stik Figa & The Expert - Ritual (2023)

“Producer The Expert fuses elements from jazz and 60s-era psychedelic music on Ritual, which sets the backdrop for emcee Stik Figa at his most honest and personal. People who have heard psychedelic Hip Hop opus The Overview Effect by The Expert together with emcee Jermiside, already know they’re in for a trip. A glimpse at the tracklist also sets the tone for what to expect with guest spots by Blu, Solemn Brigham (of Marlowe), Defcee, Sleep Sinatra, and Tanya Morgan. But the true beauty of this record lies in the contrast: the way jazz influences collide with psychedelic production pushes both the Dublin, Ireland-based producer and the Topeka, Kansas native into new Hip Hop territory.

Stik Figa has a great ear for beats—he’s got a back catalog of thirteen years deep to show it. His releases include early work with Oddisee, the collaborative album The City Under The City with L’Orange, last year’s Valley of Dry Bones with Conductor Williams, and releases on Mello Music Group with production work by Apollo Brown, Black Milk, and Exile, among others.

Now, with The Expert, he finds himself in a sonic pastiche of psychedelic effects, banging drums, clear touches of jazz, and deep basslines. The Expert freely bends what he digs up from his crates: layers upon layers of Mellotron chords, vibraphone melodies, guitar stabs, and swirling strings tumble over each other. All for hard-hitting beats that defy the golden-era boom-bap rulebook. Case in point: when was the last time you heard a solo piano piece between tracks with reversed drum samples and 808 kick drums? Irish pianist Daniel Luke delivers just that on “Rob Peter, Pay Pallbearer.”

Stik Figa moves with ease from dead honest observations to showing lyrical dexterity and skill, to expressing inner struggles. Ritual is without a doubt his most personal body of work to date. It’s just as he raps on “Uknowhut?” featuring Blu: “Self-fulfillment remains the greatest metric of wealth.” Besides Stik Figa openly sharing his inner musings on the album towards that goal, the same goes for The Expert: he shares his own deepening and further self-cultivation—a head-nodding, mind-blowing continuation of his psychedelic-tinged beat-making antics.”

The Overview Effect was one of the best Hip Hop albums of 2022, Ritual is among 2023’s best. At 35 minutes the album is on the short side, but that’s a minor complaint. Ritual is a tasteful and stylish piece of Hip Hop, an album you can’t afford to miss out on.

66. Mike - Showbiz! (2025)

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.

67. Jorun Bombay & Phill Most Chill - Jorun PMC (2020)

There have been a lot of great albums released in the wave of Golden Age revivalist boom-bap we’ve been experiencing in the recent decade, but NONE as good as Jorun PMC.

The whole album is packed with nods to classic songs and styles from acts like Run DMC, EPMD, Eric B & Rakim, UTFO, LL Cool J, Roxanne Shante, Mantronix, Cold Crush Brothers, Melle Mel, and many more of the 1980s legends – from the title of the album to the cover art, to the beats, to the samples, to the turntablism, to the lyrics – this project is the best kind of trip down memory lane any old-school Hip Hop fan could wish for. Jorun Bombay’s 80s-centric beats and scratches are crisp and fresh, and Phill Most Chill’s raps are dope as f. His flow, his delivery, his cadences, his lyrics – what he did here is simply brilliant.

This is not Phill Most Chill’s first excellent throwback project, but it is his very best to date. The self-proclaimed torchbearer of traditional Hip Hop really outdid himself on this one, and his match-up with Jorun Bombay proves to be golden – Jorun PMC is a Hip Hop traditionalist dream. It will most likely go way over the head of this generation’s trap-crowd, but those who grew up with 80s Hip Hop and younger Hip Hop listeners who know their classics will LOVE this one.

68. CZARFACE - Czartificial Intelligence (2023)

Comprising New York emcee Inspectah Deck from Wu-Tang Clan and Boston emcee/producer duo 7L & Esoteric of the Army of the Pharaohs, CZARFACE consistently delivers creative and engaging efforts. Czartificial Intelligence doesn’t reinvent the wheel, but it maintains the enjoyable vibe of previous Czarface albums. True to form, it’s a virtuoso collection featuring catchy tunes, superb sampling, scratching, and brilliant rhyming. The album shifts gears by focusing on more relatable content, moving away from ambitious storytelling and concept-heavy tracks. Instead of grandiose superhero perspectives, it offers a glimpse into the world of aging emcees who appreciate comics and embrace their mortal and humble sides.

7L’s beats on Czartificial Intelligence continue to channel the golden age of boom-bap, with quirky eccentricities and satisfying scratches. Inspectah Deck and Esoteric seamlessly flow over the production, delivering sticky hooks, nerdy references, sports similes, and other pop culture nods. Standout tracks like “All That For A Drop of Blood” and “You Know My Style” showcase their cold bars, while “Mama’s Basement” (a nod to the ATCQ classic “I Left My Wallet In El Segundo”) delves into humorous lyricism, revealing the group’s deep connection to the subject matter. Features from the likes of Godfather Don and Kool Keith (among others) add additional layers to the album.

While Every Hero Needs A Villain (2015) remains their standout album, Czartificial Intelligence signifies another dope entry to their impressive discography—a testament to their fun samples and great flows from start to finish.

69. Little Simz - NO THANK YOU (2022)

NO THANK YOU is the fifth full-length album from London-based artist Little Simz. She has built a strong body of work over the past decade with four mixtapes and nine EPs alongside her studio albums. Her first two albums, A Curious Tale of Trials + Persons (2015) and Stillness in Wonderland (2016), are pretty great – still, it is especially her recent run, with GREY Area (2019), Sometimes I Might Be Introvert (our 2021 AOTY) and now NO THANK YOU, that is truly outstanding.

Where GREY Area was short and punchy and Sometimes I Might Be Introvert sprawling and grandiose, NO THANK YOU has Little Simz finding some kind of middle ground between the sounds of its predecessors. Without the orchestral grandiosity of Sometimes I Might Be Introvert, NO THANK YOU is a calm and mellow affair, with Inflo’s subtle production going in a neo-soul direction in places. The orchestral sounds of Introvert are still present but more subdued and in the background here, providing a relaxing atmosphere and great backdrops for Little Simz’s meaningful bars and charismatic flows.

Sometimes I Might Be Introvert is a generational masterpiece (the best album of the decade so far), so it was always going to be impossible to equal it, but NO THANK YOU is an exceptional album in its own right. The album does lose some steam towards the end (“Sideways” and “Who Even Cares” are the album’s weakest tracks for us), but the rest of the album’s content is strong. “Angel” is a subtle album opener, and the second track “Gorilla” is one of the absolute highlights (using the bassline of J5’s “Concrete Schoolyard to great effect). NO THANK YOU stays on course from there, leading up to the album’s centerpiece: the seven-and-a-half epic “Broken” – one of the best songs you’ll hear this year. So, although NO THANK YOU isn’t the instant classic that Sometimes I Might Be Introvert was, it makes for a more than worthy successor. NO THANK YOU is a confirmation: Little Simz is one of the leading Hip Hop artists of her generation.

70. Fatboi Sharif & Steel Tipped Dove - Decay (2023)

Backwoodz Studioz has been at the forefront of experimental, left-field Hip Hop since the 2010s, with the elusive billy woods as the figurehead. This collaboration between Fatboi Sharif and Steel Tipped Dove is another Backwoodz hit, the third released in 2023, after billy woods and Kenny Segal’s Maps and SKECH185 and Jeff Markey’s He Left Nothing For The Swim Back.

Over the past few years, the New Jersey rapper Fatboi Sharif has made a name for himself with a vivid, disorienting, utterly unique sound. On his new album Decay, he joins forces with Steel Tipped Dove, a veteran New York producer known for his work with Armanda Hammer and R.A.P. Ferreira, among others. The haunting soundscapes Steel Tipped Dove produced for Decay are among the best he ever did, providing the perfect backdrops for Fatboi Sharif’s unsettling vocal performances.

Fatboi Sharif’s abstract mutterings will take some deciphering, but the feeling of disquiet that permeates the album is awesome. His mordant lyrics are delivered in a stretched-out, theatrical mutter that favors eerie, experimental, minor-key productions. Sharif is playful and charismatic, but he’s also driven to make music that makes you feel weird.

The left-field Decay offers a delicious slice of psychedelic horrorcore, surreal but thoroughly captivating. There are no guest-rappers on the album; the whole record is nothing but Fatboi Sharif rapping in jagged, unpredictable cadences over Steel Tipped Dove’s flickering, evocative tracks. This is one of many excellent projects Steel Tipped Dove’s name is attached to this year, and it elevates Fatboi Sharif to the next level.

71. Solemn Brigham - South Sinner Street (2021)

Solemn Brigham is an up-and-coming rapper from North Carolina, whose work with fellow North Carolinian L’Orange as the duo Marlowe has been critically acclaimed all around. Both Marlowe (2018) and Marlowe 2 (2020) are excellent presentations of edgy Hip Hop, with captivating experimental soundscapes crafted by L ‘Orange that served to bring out the best of Solemn Brigham.

Solemn Brigham is one of the most vocally acrobatic emcees working today, a technical virtuoso who’s able to contort himself into a dizzying array of different flows and inflections. Across the 14 songs on his debut solo album South Sinner Street, Solemn Brigham examines the decay of American society by virtually any metric – economic or medical, or ones more abstract and spiritual – through the prism of his hometown Albemarle, North Carolina. This feeling of decay permeates daily life in innumerable ways, giving the present a gnawing, ambient dread – and this dread is reflected by the music and lyrical content on South Sinner Street. 

Musically South Sinner Street lacks some of the punch and the consistency that made two Marlowe albums so strong, but overall the production from Supa K, L’Orange, The Lasso, Krum, Scud One, Kuartz, and Frank Drake is solid enough. The album is all about Solemn Brigham songwriting and lyrical virtuosity anyway – the two Marlowe albums served to establish his name as a one-of-a-kind vocalist, and South Sinner Street is a confirmation: Solemn Brigham is one of the most exciting new voices in Hip Hop.

72. Skyzoo & The Other Guys - The Mind Of A Saint (2023)

Skyzoo’s eleventh studio album The Mind Of A Saint – produced entirely by The Other Guys – delves into the innermost thoughts of one Franklin Saint, the lead character in the hit FX show, Snowfall, which follows the early stages of the crack cocaine epidemic in Los Angeles in the early 1980s.

Intimate knowledge of the Snowfall show, or of the situation in 1980s Los Angeles, is not necessary to enjoy The Mind Of A Saint – the elegant jazz- and soul-flavored boom-bap production make for an enjoyable listening experience regardless of familiarity with the source material that served as inspiration for the album. That said, Skyzoo’s writing masterfully captures Franklin Saint’s experiences and thoughts about the world he lives in – Skyzoo makes the concept work. His pen game and his flows are as strong as ever, and the layered narrative captivates from start to finish. The Mind Of A Saint is another Skyzoo winner.

73. Midnight Sons - Money Has No Owners (2024)

Zilla Rocca and producer Chong Wizard are Midnight Sons, and with Money Has No Owners they deliver a mature and thoughtful follow-up to their strong self-titled 2020 debut. Money Has No Owners features regular Zilla Rocca collaborators like PremRock and Curly Castro, alongside voices like Blu, AJ Suede, Midaz The Beast, and Defcee. Warm production from Chong Wizard lays the soulful foundation for Zilla Rocca’s introspective lyricism. Tracks like “Tough Guys Fill A Cemetery” and “Marathon Man” deliver classic boom-bap vibes, while “Ignore The Red Flags” and “Terrible Twos” bring delicious jazz flavors. The title track sets the tone, reminding us that success requires constant hustle. “Money Has No Owners” is a reminder to stay focused and build momentum, a sentiment that resonates with anyone who’s ever chased a dream.

Money Has No Owners deserves a wider audience than it will probably get, but trust us, it’s worth seeking out. This is one of the best Hip Hop albums released in 2024.

74. Benny The Butcher - Tana Talk 4 (2022)

Benny The Butcher’s official debut album Tana Talk 3 is one of the best Hip Hop albums released in 2018 and one of the best three albums to ever come out of the Griselda camp, arguably even the absolute best. Tana Talk 3 was followed in 2020 by Burden Of Proof – an OK album, but not nearly as good as its predecessor. By naming his third album Tana Talk 4, Benny The Butcher set the bar high – it implies a return to the gritty sounds of Tana Talk 3, and a departure from the more polished, mainstream-friendly beats on Burden Of Proof. Whether or not Tana Talk 4 will eventually be considered to be on par with Tana Talk 3 remains to be seen, but it is a great album – way better than Burden Of Proof in any case.

Burden Of Proof was produced by Hit-Boy, and his sound is too clean and polished for Benny The Butcher as far as we are concerned. Thankfully, Tana Talk 4 is mostly produced by Daringer and The Alchemist – which means a glorious return to the murk and grit of Tana Talk 3. Benny also sounds great on here – his lyricism, delivery, and flow are on point as always. Regular collaborators like Conway The Machine, Westside Gunn, 38 Spesh, Stove God Cooks, and Boldy James show up, as does the kind of unexpected J Cole – who kills it on “Johnny P’s Caddy” with the best feature on the album. There are twelve tracks on Tana Talk 4, and all of them are strong – nothing but hard bars and killer beats here. Tana Talk 3 remains our favorite Benny project, but Tana Talk 4 is a very close second.

75. Elzhi & Oh No - Heavy Vibrato (2023)

In 2023 Elzhi and Oh No came together for Heavy Vibrato, a collaboration that highlights Elzhi’s consistent high-quality output. With over two decades in the game, Elzhi continues to deliver under-appreciated gems in the modern underground scene. Oh No provides a cohesive backdrop marked by laid-back vibraphone patterns, light drums, and deep bass lines throughout the album. The subdued, nocturnal atmosphere is a recurring theme in Oh No’s recent work, creating an intriguing backdrop for Elzhi’s performance.

The album’s seamless transitions between tracks contribute to its cohesive feel, maintaining a subdued, nocturnal vibe throughout. Overall, Heavy Vibrato offers a very laid-back yet ear-catching listening experience, showcasing the enduring talent of Elzhi and the production finesse of Oh No.

As one of Detroit’s greatest emcees, Elzhi rose to prominence with Slum Village and later achieved solo success with the classic The Preface in 2008. Heavy Vibrato stands alongside Elzhi’s other notable works like Lead Poison (2016) and 7 Times Down, 8 Times Up (2020), solidifying his consistent quality output over the past 25 years.

76. Moor Mother & billy woods - BRASS (2020)

“BRASS is a collaborative album from experimental musician and poet Moor Mother and the rapper billy woods (½ of Armand Hammer). After working together on Armand Hammer’s critically acclaimed 2020 LP Shrines, Moor Mother and woods released the song “Furies” for the Adult Swim single series in July. A whirl of interweaving allegories spun over producer Willie Green’s hypnotic flip of a Sons of Kmet sample, “Furies” was the burning arrow that both artists followed, the first crack of thunder in a blackening sky.

BRASS sees both artists joined by an eclectic array of friends, family, and legends- in some cases all three. John Forte, ELUCID, Amirtha Kidambi, Franklin James Fisher (Algiers), Mach Hommy, Imani Robinson, Wolf Weston (Saint Mela), Navy Blue, and Fielded all lend their voices to the project. Production by The Alchemist, Preservation, Moor Mother, Olof Melander, Child Actor, Navy Blue, Messiah Muzik, Steel Tipped Dove, and Willie Green.

BRASS is a moment where two great artists in their own right tap into a new frequency together. Even for those familiar with both it’s an unexpected sound that, once heard, could never have been otherwise. It is both ethereal and utilitarian, timeless and timeworn. A cast-iron pot propped over a fire in the dark. A tropical beach shimmering with broken glass.”

This Bandcamp blurb tells the story of this project. BRASS is one of the most unique and intriguing listens of the year, a great feat in a year with A LOT of excellent ‘left-field’ Hip Hop albums. Moor Mother and billy woods have great chemistry together, and they recruited exactly the right artists for the guest spots on this project.

For people who like their Hip Hop experimental, dense, and challenging, the genre-boundaries pushing BRASS will be a quick favorite. For others, BRASS may be somewhat of a slow-burner, a project though that will reward multiple listenings. BRASS is a great album.

77. R.A. The Rugged Man - All My Heroes Are Dead (2020)

R.A. The Rugged Man is one of our favorite personalities in the Hip Hop game: he is totally authentic and says what he thinks, no matter what other people think about his opinions. But R.A. is not just one of our favorite personalities, he is one of our favorite emcees as well. Few, if any emcees can go bar-for-bar with R.A. The Rugged Man. His technical skill, his incredible flow, his breath control, and his bar-building skills are second to none. Due to all kinds of label woes and a strong-minded personality with an unwillingness to compromise, he only released two albums in the close to three decades he’s been active in the game – but on those two albums, and on numerous guest appearances on other people’s songs (where he usually bodies everybody else involved), R.A. has consistently shown an unbeatable lyrical ability. Anyone who saw him performing live knows he can rock a crowd too – as a real emcee should be able to.

So now here we have his third album, All My Heroes Are Dead. Is it on par with his previous work? Well, yes it is. All My Heroes Are Dead is a LONG album, at 22 tracks and 1 hour and 16 minutes, but there’s a lot more killer more than filler. For those unfamiliar with R.A. The Rugged Man, the album may seem a bit schizophrenic. Some songs are personal or emotional, about family and fatherhood and such, other songs have some conscious and political tendencies, some are about Hip Hop (history) and some songs have that typical R.A. vulgarity (always with plenty of tongue-in-cheek and self-deprecating humor).

What all songs have in common though is R.A. The Rugged Man’s unparalleled wordplay and lyrical skill. All My Heroes Are Dead has a host of guest artists, and unlike a lot of other rappers R.A. The Rugged Man really doesn’t need any features to help carry his albums, but the feature list here is CRAZY.

Ice T. Chuck D. Kool G Rap. DJ jazzy Jeff. Brand Nubian. Ghostface Killah. Inspectah Deck. Masta Killa. Chino XL. M.O.P. Onyx. Immortal Technique. Vinnie Paz. Atmosphere. A-F-R-O. And others besides – this has to be one of the most impressive guest lists ever. Despite all these guests, this is very much a Rugged Man album, though – he is never outshined and nowhere overcrowded.

Legends Never Die was one of our favorite albums of 2013, this is one of 2020’s best. Awesome rhyming, amazing features, and fire production too. Fans of mainstream pop-rap will likely not like this album, older heads and those in tune with Hip Hop history will. This is a perfect album for the HHGA demographic.

“Some say I’m a troll and a grumpy old a-hole / ‘Cause I prefer Kool Moe Dee and Melle Mel over J. Cole“. Ha!

Stand-out tracks: “Gotta Be Dope”, with incredible rhyming by R.A. and his protege A-F-R-O, and with cuts by the legendary DJ Jazzy Jeff, “The Slayers Club”, the best posse cut you will hear this year (featuring Ice T, M.O.P., Onyx, Brand Nubian, Vinnie Paz, Chris Rivers, and Chino XL), “Dragon Fire”, the other posse cut (with Ghostface Killah, Masta Killa, and Kool G Rap) that’s almost as dope, “Golden Oldies” (with Atmosphere and Eamon) with all its nods to classic Hip Hop, “Who Do We Trust” featuring Immortal Technique, with its eery beat and thought-provoking lyrics, and the deep and emotional single “Wondering”.

78. Conway The Machine - You Can't Kill God With Bullets (2025)

Conway the Machine’s You Can’t Kill God with Bullets is a sprawling, hour-long, 18-track album on Drumwork Music Group that leans fully into atmospheric boom-bap, soul-sample loops, and trap-tinged tension. With production from The Alchemist, Conductor Williams, Daringer, Apollo Brown, araabMUZIK, Timbaland, and others, plus guests like Roc Marciano, G Herbo, Tony Yayo, Lady London, KNDRX, and Heather Victoria, the record builds a dense, street-level atmosphere. Conway’s Bell’s palsy rasp gives every line a strained urgency as he revisits trauma, betrayal, and uneasy success, often circling back to the unresolved wound of his 2012 shooting.

After the H. Rap Brown–sampling intro “Gun Powder,” the album pivots into “The Lightning Above the Adriatic Sea,” where Conway blends Coachella stages with Central Booking memories in fragmented, timeline-hopping verses. Tracks like “BMG,” “Diamonds,” and “Hell Let Loose” showcase shifting production palettes—soulful horns, dusty loops, and trap percussion—while maintaining a cold, calculating tone. Timbaland’s “Crazy Avery” adds jittery, irregular drums as Conway vents about ungrateful artists he’s invested in.

Daringer’s “The Painter” strips things back to lo-fi minimalism, heightening Conway’s solitude and distrust. “Nu Devils,” with G Herbo, charges forward on sub-bass and traded threats, while “Otis Driftwood,” “Mahogany Walls,” and “Parisian Nights” mix reflection, muted triumph, and brief luxury. Drumless or near-drumless excursions—“Se7enteen5ive,” “Organized Mess”—let imagery of routine danger and guarded wealth float above airy samples.

Emotional depth peaks late: “I Never Sleep” churns with regret, and “Hold Back Tears” confronts grief over lost family and depression with stark vulnerability. The closer, “Don’t Even Feel Real (Dreams),” softens into soulful boom-bap as Conway tallies favors and surreal success alongside Heather Victoria’s hook.

If there’s a flaw, it’s the album’s length and sonic uniformity—grimy loops and bass-heavy beats can blur, and certain flexes feel repetitive. Yet features inject energy, and the loosely structured, stream-of-consciousness sequencing mirrors Conway’s mental state more than a traditional arc. Listeners who are still able of hour-long sits find plenty of reward here.

Ultimately, You Can’t Kill God with Bullets delivers: trauma as engine, success as weight, and principled independence as anchor. Despite its sprawl, the project affirms his standing in Hip Hop’s grim lineage, powered by vivid detail, unguarded pain, and a voice that refuses to soften.

79. Roc Marciano - Marciology (2024)

For the past fifteen years, Roc Marciano has been an undisputed titan of underground Hip Hop. His journey began with Busta Rhymes’ Flipmode Squad and The U.N., but Marciano’s true calling emerged as a solo artist. He became a driving force in the revival of the mafioso subgenre, originally pioneered by 90s icons like Kool G Rap, Raekwon, and Nas.

Marciano’s signature sound – atmospheric, gritty lo-fi beats – has become the blueprint for a new generation. His style heavily influences artists like the ones from Griselda and all their affiliates. His dark, post-boom-bap sound, often eschewing drums altogether, has heavily influenced and dominated underground Hip Hop in the past decade.

Marciano’s discography boasts standouts like Marcberg (2010) and Reloaded (2012), and the more recent The Elephant Bones (2022). His latest offering, Marciology, continues this tradition of excellence. While maybe not his absolute best, it’s another strong entry in a strong catalog, delivering a laidback but deadly soundscape across its 14 tracks and 45-minute runtime. Features from Larry June, Crimeapple, T.F., and Flee Lord complement Marciano’s signature flow and sharp wit, further solidifying the album’s strength.

Marciology is a masterclass in atmospheric production, a collaboration between Marciano himself, Alchemist, and Animoss. When it comes to crafting this style of Hip Hop there’s only Brownsville’s Ka who might rival Roc Marciano. Marciology is a must-listen for any true Hip Hop head.

80. Logic - Vinyl Days (2022)

Logic is one of those artists who always have opinions firmly divided – there are plenty of Logic fans, but more haters it seems sometimes. His inconsistent output no doubt is a part of the ‘problem’ a lot of people have with the Maryland native. Confessions of a Dangerous Mind (2019) was an especially terrible album, and there are other duds in his catalog that are best forgotten. His supposed retirement album No Pressure (2020) was not at all bad though, and with Vinyl Days – his seventh (and first post-retirement) studio album he delivered a winner – absolutely his best project yet.

Vinyl Days is a monster of an album – just over 70 minutes in length. Too much for the ADD crowd probably, but perfect for listeners who still appreciate the art of creating LPs. The lyrical content on this album may not be deep or profound, and guests like Action Bronson, Curren$y, Royce Da 5’9″, RZA, Blu, AZ, and The Game (among others) outshine Logic on occasion, but it doesn’t matter. This album FLOWS and despite its runtime, the momentum never falters – 30 tracks (including skits that uncharacteristically do not break the flow of the album), but the album doesn’t feel bloated at all. No real weak spots on the tracklist, and plenty of highlights – including tracks such as “Tetris”, “BLACKWHITEBOY”, “Quasi”, “Bleed It”, “Clouds”, “Therapy Music”, “Kickstyle”, “Ten Years”, “Porta One”, and “Vinyl Days” (with DJ Premier).

Vinyl Days lives up to its name – it serves as a warm love letter to the golden age of Hip Hop, with diverse and appealing sample-based boom-bap production from start to finish. Slick, refreshing, and fun – Vinyl Days was one of the biggest positive surprises of the year. Logic dropped a better Hip Hop album than Kendrick Lamar in 2022 – who would have thought?

81. Boldy James & Sterling Toles - Manger On McNichols (2020)

With Manger On McNichols, Detroit emcee Boldy James continued his 2020 winning streak. Only a few months after his collaborative album with top-producer The Alchemist, the excellent The Price Of Tea In China, Boldy James dropped this completely different but equally captivating project.

Manger On McNichols is a release that has been a long time coming, a result of a collaboration with fellow Detroiter and veteran producer Sterling Toles that started over 10 years ago. Much of the lyrics on Manger On McNichols were recorded between 2007 and 2010, with some new lyrics added to a couple of tracks to finish the album for its 2020 release. Sterling Toles provides Boldy James vocals with a selection of experimental jazz instrumentals that make this album much more left-field in sound than James’ albums with The Alchemist. Because of its experimental vibe, Manger On McNichols probably is more of an acquired taste and less likely to appeal to wider audiences than TPOTIC and other Boldy James projects do, but it is an intriguing listening experience that deserves attention.

82. ShrapKnel - Nobody Planning To Leave (2024)

Underground Hip Hop veterans Curly Castro and PremRock, aka ShrapKnel, are back with their third LP, Nobody Planning To Leave. The album, produced entirely by Controller 7, boasts Open Mike Eagle, Onry Ozzborn, Lungs, Breezly Brewin, D-Styles, and ELUCID guest appearances.

The title Nobody Planning To Leave is a double-edged sword. It’s both a declaration of dedication and a nod to the realities of life. Sometimes you fight for what you love, other times fate has a different plan. One thing’s for sure – nobody wants to abandon their passion. More often than not, life’s pressures force us to walk away.

Nobody Planning To Leave is the product of a chance encounter. A few DMs between Castro and Controller 7 in 2021 blossomed into a full-fledged album. Following in the footsteps of their previous albums, ShrapKnel (2020) and Metal Lung (2022), this latest offering delivers hard-hitting, slightly experimental beats paired with intricate wordplay. Nobody Planning To Leave is a fun listen for forward-thinking underground Hip Hop fans, another jewel in the crown of the Backwoodz Studioz label.

83. John Michel & Anthony James - Egotrip (2025)

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

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

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

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

Egotrip is not a loud record, but it is full. Every element—voice, beat, silence—carries intent. It’s an album about pride and surrender, delivered with the polish of veterans and the hunger of newcomers. Thoughtful, rhythmic, and spiritually charged, it’s one of the most fully realized Hip Hop projects of 2025.

84. Neak - Die Wurzel (2023)

“Everything can be traced back to its roots. Sometimes, those roots are ignored, overlooked, unattended to, and uncared for. At the heart of American culture, the roots of African-American became nurtured through the historical beauty and ugliness of American society, and those cataclysmic experiences still resonate within our culture, mindset, and way of life. Die Wurzel explores black life post-1619 to the present day. It is designed to make you pause, think, and reflect on the black experience in America with a level of compassion and sensitivity that has made way for perceived cultural black norms deriving from African-American trials and tribulations. Jammed with black musical roots: gospel, soul, jazz, funk, and rap, Die Wurzel is an intellectual, witty, and soul-driven musical journey that will hold a dear place in the heart of black urban society.”

Chicago-based multi-talent Neak is an artist who has been on our radar for a while now – his Kwesbaar album was one of our favorite releases of 2019, and in recent years he’s been involved in plenty more quality projects besides that one too. Die Wurzel is his most ambitious and arguably his most important record yet, packed with thoughtful lyrics, complemented by lush musical backdrops mostly produced by Neak himself (with additional production by regular collaborator Rashid Hadee). Sequencing, interludes, transitions – everything is done to perfection here, this record is a keeper without a doubt. Fans of mature, intelligent Hip Hop, and those who like music from artists like Common, Odissee, and even Kendrick Lamar, definitely have to check out Die Wurzel.

85. ShrapKnel - Metal Lung (2022)

Backwoodz Studioz‘s ShrapKnel pairs two long-time friends and frequent collaborators Curly Castro and PremRock. Although the two rappers have long been part of Philly’s Wrecking Crew, ShrapKnel is a pared-down affair; sharp knives in tight spaces. While Curly Castro’s and PremRock’s most recent solo albums are pretty strong (Castro’s incendiary Little Robert Hutton is one of our favorite albums of 2021), their work as a duo is on a whole other level. Their eponymous debut full-length album (2020) was an excellent presentation of left-field boom-bap Hip Hop, and their sophomore effort Metal Lung is even better.

The bulk of the production on Metal Lung is provided by Steel Tipped Dove (who has worked with billy woods and R.A.P. Ferreira), additional production comes from Child Actor (ELUCID, Serengeti, Armand Hammer), and Olof Melander (Moor Mother, Project Mooncircle). Just like on ShrapKnel, the production and flows on Metal Lung are slightly off-the-wall, making for an unbalancing but fully engaging listening experience from start to finish. The mainstream rap music media are collectively overhyping the mostly so-so albums of the big industry names who all dropped new music in 2022, but in the shadow of all that mediocrity 2022 is turned out to be a top year for left-field Hip Hop. Metal Lung is the best the subgenre has to offer, better Hip Hop in any case than most of what the high-profile media darlings released this year.

86. CRIMEAPPLE & Apollo Brown - THIS, IS NOT THAT (2024)

This, Is Not That is a masterful collaboration that combines Apollo’s soulful, textured production with Crimeapple’s sharp bilingual lyricism. It’s an album rooted in raw emotion and vivid storytelling, offering a balanced blend of grit and introspection.

Apollo Brown, the Detroit-based producer known for his soul-drenched beats, creates a foundation that feels warm yet weighty, evoking nostalgia without ever sounding outdated. His signature style, built on dusty loops and boom-bap percussion, perfectly complements Crimeapple’s ability to paint pictures with words. Crimeapple, hailing from New Jersey with Colombian roots, brings a distinct voice to the project, seamlessly switching between English and Spanish while delivering razor-sharp reflections on identity, ambition, and survival.

The album opens with the ominous title track before diving into “Mercy,” where searing guitar riffs and booming drums create a sense of urgency as Crimeapple warns against the cost of ambition. “Superstitious” shifts into a more classic boom-bap groove, with Crimeapple weaving tales of his life and travels. On “Wonderful Feelin’,” Willie the Kid joins to explore the mafioso lifestyle over lush strings, while “Know No Better” uses soulful instrumentation to reflect on the pitfalls of stepping out of bounds.

Midway through, tracks like “The Problem” and “Pitiful” delve deeper into vulnerability. “The Problem” floats over a drumless, crooning instrumental, as Crimeapple contemplates his journey from struggle to success. “Pitiful” takes on a darker tone, with Apollo’s haunting production amplifying Crimeapple’s raw introspection.

“Almanacs,” featuring Sonnyjim, brings biting commentary on authenticity, while “Coke with Ice” strips back the drums entirely, letting Crimeapple’s bars hit harder over haunting keys. The final stretch, including “My Own Good” and “New Dreams,” finds Crimeapple reflecting on the pull of the past and the weight of leadership, with Apollo’s production shifting to a more atmospheric, meditative tone.

This, Is Not That is a tightly woven project that thrives on trust and chemistry. Apollo’s timeless beats and Crimeapple’s vivid lyricism come together to create a record that feels both immediate and enduring, leaving an imprint long after the last track fades.

87. Aesop Rock & Blockhead - Garbology (2021)

“After over 20 years of collaboration, which also birthed Aesop’s two most popular songs to date (“Daylight” and “None Shall Pass”), Garbology is the first Aesop Rock album fully produced by Blockhead. Garbology came together over the course of the pandemic, as well as in the midst of Aesop processing the loss of a close friend in January of 2020, resulting in a period of time of feeling uncreative. Looking back, Aesop recalls, “The world got real weird during those months. I knew at some point I had to get back to making something. Make a beat. Draw a picture. Write. Just go. But the idea of making a beat felt like math homework, and drawing is just so hard. Writing is hard too, but at some point I had to pick one.” With writing as the chosen path, Aesop hit up Blockhead to send over some beats. At the beginning there wasn’t a plan for an album, or any particular plan beyond creating some songs. However, it didn’t take long for one song to become a few, then a handful, until finally an album was born.”

Aesop Rock is one of our favorite artists, with a bunch of essential underground classics on his name. Garbology dropped almost exactly one year after Aesop Rock’s latest opus Spirit World Field Guide – one of our favorite Hip Hop albums released in 2020. Garbology is completely different from that more conceptually driven album, but it is just as good. Blockhead’s experimental but accessible beats go well with Aesop Rock’s lyrical genius – it really was high time these two did a full album together. Garbology is not as deep or complex as Spirit World Field Guide is, but it is still plenty challenging AND rewarding. Aesop Rock doesn’t miss. Even if Garbology is not his best project, it is still way better than most other rappers’ best albums – it’s one of our favorites released in 2021, in any case.

88. Avantdale Bowling Club - TREES (2022)

Avantdale Bowling Club is the name under which New Zealand-based artist Tom Scott released a self-titled jazz-rap essential in 2018, one of the best albums released that year. Avantdale Bowling Club presented an effortless fusion of neo-jazz and Hip Hop, a must-have for Hip Hop listeners with an appreciation for music from acts like A Tribe Called Quest, Digable Planets, Guru, Freestyle Fellowship/Aceyalone, The Pharcyde, The Roots, and even Kendrick Lamar. Avantdale Bowling Club is a timeless piece of music, and this follow-up has that same kind of feel. TREES is more subtle and humble than Avantdale Bowling Club’s eponymous masterpiece debut but almost as beautiful. While the first album was more jazz-centered, this one leans more in a Hip Hop direction – stoner jazz rap would be a fitting description – offering one of the best mixes of jazz and Hip Hop since TPAB. Don’t sleep on TREES – this is one of the best albums of 2022.

89. Freddie Gibbs & The Alchemist - Alfredo (2020)

Gary, Indiana phenomenon Freddie Gibbs is like a modern-day Ice-T in a way: maybe not the best rapper ever, but the leader of the pack anyway. Similar to Ice-T, it’s Freddie Gibbs’ charisma and power of personality that sets him apart from most others – that and his ability to develop synergetic collaborations with Hip Hop’s top producers that results in projects that are greater than the sum of their parts.

Freddie Gibbs has had enough solid releases in the past decade, but his stand-outs are the two albums he did with Madlib – Pinata (2014) and Bandana (2019) both are modern classics. If Alfredo will eventually be considered to be on that Pinata and Bandana level remains to be seen, but most ingredients are there. Most, because Alfredo feels more ‘light-weight’ due to its length – where Pinata runs for little over an hour and Bandana for a solid 45 minutes, Alfredo is barely over EP-length at 35 minutes. On such a short project EVERYTHING has to hit, no misses can be afforded.

Fortunately, there are not a lot of misses, if any. Freddie Gibbs is on top of his game here. His recognizable voice, flow, delivery, and cadences sound as good as ever, and his connection with The Alchemist is as strong as it is with Madlib. The Alchemist already had one of the best albums of 2020 on his name with his Boldy James collabo The Price Of Tea In China, Alfredo tops even that one. Luckily Alfredo is not cluttered with guests and features are limited to appearances by Rick Ross, Benny the Butcher, Tyler The Creator, and Conway the Machine – who all come through with great verses. The album is very much Freddie Gibbs’s show though. Normally someone like Benny outshines anybody else with his features, on Alfredo the guests very much are guests – it’s Freddie Gibbs who rules here.

Freddie Gibbs comes with organic and vivid lyricism from beginning to end, supported by The Alchemist’s flawless instrumentals. Alfredo is paced and sequenced perfectly, and is over before you know it – which leads to the only complaint and the only reason it is not ranked even higher here: Alfredo is just too short. Other than that: Alfredo is a continuation of Freddie Gibbs’ winning streak and another rap-noir masterpiece, a project that deserves to mentioned in the same breath as Pinata and Bandana.

Alfredo is short, sharp, and punchy, with top-tier lyricism and songwriting from Freddie Gibbs, and a perfect collection of instrumentals from The Alchemist – 10 tracks, no filler, all killer. Alfredo is a keeper.

90. LL Cool J - The FORCE (Frequencies Of Real Creative Energy) (2024)

LL Cool J’s The FORCE is a strong and unexpected return to form, easily his best album in almost 25 years, since G.O.A.T. (2000). Where much of his output in recent decades leaned toward pop and was often lackluster, this album shows LL with renewed energy and lyrical sharpness. His long-awaited collaboration with Q-Tip brings together LL’s veteran swagger with Tip’s dynamic production. Although at times the beats don’t mesh perfectly with LL’s rhymes, the album delivers a consistently engaging experience, peaking with highlights like the posse cut “The Vow” and the ferocious “Murdergram Deux,” where LL and Eminem engage in an exhilarating bar-for-bar exchange.

The album’s strength lies in its confident, unapologetic approach. LL doesn’t try to chase current trends, but he also avoids being too nostalgic, making The FORCE sound timeless. Tracks like “Runnit Back” are full of the kind of affirmations that speak to all generations, and the inclusion of newer voices on “The Vow” feels refreshing, a rare feat for a project driven by an artist from Hip Hop’s golden era. LL’s signature braggadocio, displayed on tracks like “Post Modern” and “Black Code Suite,” is balanced with introspective moments like “30 Decembers,” where he reflects on aging and the passing of time in the context of the COVID-19 pandemic.

The album is not without its flaws, as some tracks feel underdeveloped or a bit overstuffed. Still, LL’s charisma and lyrical prowess make up for the few stumbles, and his features—particularly Nas and Eminem—only elevate the project further. Q-Tip’s beats bring a rich variety, from boom-bap to funk, with the chemistry between producer and rapper rarely faltering.

It’s important to recognize LL Cool J’s pedigree and the foundational role he played in shaping Hip Hop. As one of Def Jam’s flagship artists, he helped define the genre in its earliest stages. His debut, Radio (1985), produced by Rick Rubin, was a raw, stripped-down record that showcased his brash delivery and larger-than-life persona. He followed this with Bigger and Deffer (1987), home to classics like “I’m Bad” and the iconic “I Need Love,” one of the earliest rap ballads. Mama Said Knock You Out (1990) further solidified LL as a powerhouse, with tracks like the title cut proving he could evolve with the times without losing his edge.

On The FORCE, LL taps into that same hunger that made him a household name. At 56, he’s still proving that he can hang with the best, delivering intricate flows and clever bars that remind listeners why he’s one of the genre’s longest-standing legends. This project proves LL’s staying power, and though it might not reinvent the wheel, it’s a solid offering that reaffirms his place in the pantheon of Hip Hop greats.

91. JustVibez & Negro Justice - Art Of The Craft (2023)

Based out of Nashville, Negro Justice is a skilled emcee who teamed up with producer JustVibez – also from Nashville – to create a collaborative project titled Art Of The Craft. JustVibez produced the entirety of tracks on Art Of The Craft, bringing a cohesive vibe to the album that draws inspiration from artists such as Outkast and UGK, without sounding derivative in any way. His beats are laid-back yet edgy, perfectly complementing Negro Justice’s versatile flow. With his Southern drawl, Negro Justice’s warm voice adds a soulful touch to the album as it takes the listener on a poignant and compelling musical journey, tackling personal and socio-political issues with equal ease. Art Of The Craft is a GREAT Hip Hop album, one that deserves your attention.

92. PremRock - Did You Enjoy Your Time Here...? (2025)

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.

93. Canibus - Kaiju (2021)

Bronx emcee Canibus’ Kaiju is a collaboration with Oxnard, California producer BodyBagBen. It is the third project from Canibus this year after the release of the excellent The Last Ride with Killah Priest, Kurupt & Ras Kass as HRSMN, and the disappointing Microphone Land with Jaximus. Canibus’ problem has always been his bad ear for beats, more than half of his albums are let down by weak beats. The exceptions are when he got guidance from a single producer responsible for quality control – Canibus’ best album still is Rip The Jacker (2003), for which album all the beats were done by JMT-producer Stoupe. Kaiju is one of Canibus’ best albums for the same reason – BodyBagBen’s haunting beats are dope as f and a perfect fit for Canibus’ hardcore bars. Kaiju features some heavy-hitting features too, including the late Hip Hop legends DMX and MF DOOM (along with Kool Keith, Hus Kingpin, Born Sun, and Justin Tyme) and has Canibus spitting aggressive raps at the top of his game as if he never left. Kaiju is a great Canibus album.

94. Sadistik & Kno - Bring Me Back When The World Is Cured (2022)

We’ve never really connected with Sadistik’s ’emo raps’ before, but this album is something else. On Bring Me Back When The World Is Cured Sadistik paints dark and beautiful pictures with his rhymes – his moody words and flows are truly touching here and more than on any of his earlier albums the emotional impact of his content is amplified by the strength of the production. Kno is one of the best producers out there and has been for well over a decade – his work as one-third of CunninLynguists (especially on A Piece Of  Strange (2006), Oneirology (2011), and Rose Azura Njano (2017) is superb, and the instrumentals he crafted for his solo masterpiece Death Is Silent (2010) are next-level too. He is a true master of creating atmospheric soundscapes – music you FEEL – and the hauntingly beautiful beats he crafted to bring the best out of Sadistik on Bring Me Back When The World Is Cured are simply gorgeous. Powerful stuff – not for everybody probably but one of our favorite albums of 2022 anyway.

95. Injury Reserve - By The Time I Get To Phoenix (2021)

Injury Reserve is a trio formed in 2013 in Tempe, Arizona by rappers Stepa J. Groggs (Jordan Groggs), Ritchie With a T (Nathaniel Ritchie), and producer Parker Corey. After two well-received mixtapes (Live from The Dentist Office (2015) and Floss (2016)) and an equally acclaimed EP (Drive It Like It’s Stolen (2017)), the trio released their eponymous full-length debut album in 2019. Injury Reserve turned out to be an excellent culmination of what Injury Reserve has been all about from the beginning: making forward-thinking, genre boundary-pushing Hip Hop music. The music on Injury Reserve hit hard and was kind of pop-friendly at the same time: like a weird blend of the sounds of acts like Run The Jewels, JPEG Mafia, Dälek, and clipping – a superb left-field Hip Hop album that contained a ton of promise for future Injury Reserve projects.

A year after the release of Injury Reserve, tragedy hit with the untimely death of Groggs – who passed away on June 29, 2020, at age 32. It’s almost as if you can hear the remaining members’ physical reaction to Groggs’ death through the music on the second Injury Reserve full-length. By The Time I Get To Phoenix is a touching, heartfelt salute to a bandmate and friend, framed by a lot of the jarring boldness that made Injury Reserve such a gripping listen on their debut. Given Groggs’ integrality to the Injury Reserve sound and what losing him signified, it was not hard to predict that By the Time I Get to Phoenix would be unlike anything the group had released prior, and it is – even if the album was partly conceived while Groggs was still alive and he appears posthumously throughout. Groggs’ bars on “Knees” dealing with his alcoholism and the nature of addiction are particularly poignant.

By The Time I Get To Phoenix is even more experimental than the previous Injury Reserve album was, way darker, brasher, denser, and way more inaccessible too. With its blend of shoegaze-esque synths, post-punk, glitch-hop, industrial noise, and dissonant sounds, it’s impossible to fit this project in a genre box. Post-rap may do, but all in all, this is one of those albums that defy genre conventions with their uniqueness – reminiscent that way to Death Grips’ classic The Money Store (2012), another once-in-a-decade kind of album.

Parker Corey’s soundscapes on By The Time I Get To Phoenix are dystopian and anxiety-inducing, making for an incredibly immersive and affecting canvas of loss and grief. Ritchie delivers emotionally raw, cathartic verses throughout the whole album – especially his poetry on the stand-out “Top Picks For You” is heartbreaking. The perfect synthesis of the emotive beats and bars on By The Time I Get To Phoenix results in a dark and raw album, a harrowing and intensely moving tribute to a friend gone way too soon. R.I.P. Stepa J. Groggs.

96. Nerves Baddington - Micro/Macro (2022)

Nerves Baddington is a trio from Birmingham, Alabama, consisting of Kilgore Doubt, inkline, and Cam the Invisible Man. Their Micro and Macro albums are two fantastic projects we will consider a double-LP because the two are inextricably connected. In this era of music streaming, we see a lot of artists dropping short EP-length projects, presenting them as full-length albums. Nerves Baddington bucked this trend by dropping two ambitious 45-minute projects that combine into one near-flawless album that’s not a second too long. Micro/Macro offers an hour and a half of top-tier experimental but accessible Hip Hop – this is one of those rare projects that might appeal to casual rap fans and to more discerning Hip Hop listeners alike. 

Micro/Macro features production by all three Nerves Baddington members (mostly from Kilgore Doubt), with some assistance from outside collaborator The Phasing Octopus. Nerves Baddington emcee inkline is joined on the microphone by a host of other Birmingham rappers, like MC Kano, Black Plastique, Shaun Judah, Nick Dire, Mane Rok, Fleetwood Deville, Akil Pratt, K1NG ELJAY, and others.

Micro/Macro is a project with power and purpose. The soundscapes are meticulously crafted, the rhymes offer a perfect blend of the thoughtful and the abstract, and the flows of inkline and guests are tight. Micro and Macro are excellent listening experiences separately – and because of subtle sonic and lyrical cross-reference points, they are even stronger combined. Micro/Macro is an ambitious and totally captivating piece of music.

97. Four Elements & Beyond - Clock The Chemistry (2023)

Four Elements & Beyond is a crew from New York, and their Clock The Chemistry is one of the best 90s-centric Hip Hop albums of the year. Warm boom-bap soundscapes crafted by producer Freak Tha Monsta serve as banging backdrops for entertaining bars and dope flows from rappers Miggs Son Daddy and WRD Life. Shy The BeatYoda’s scratched-in samples here and there give the album more of that 90s feel, and at 45 minutes the album has a normal runtime too. This is how throwback Hip Hop should be done.

98. Godfather Don - Thesis (2024)

Godfather Don, the veteran producer and rapper from New York City, is a much-respected figure among Hip Hop purists. His catalog includes low-key classics such as Hazardous (1991), and The Cenobites (1995/1997) with Kool Keith. In 2024, he presents his latest solo album, Thesis.

Thesis is entirely written and produced by Godfather Don himself, featuring 16 tracks that capture the authentic Dontown, NYC feel. The beats, rooted in 90s-inspired boom-bap, create an ideal foundation for Don’s lyrical delivery. And Godfather Don certainly delivers – his bars and flows are as sharp and engaging as ever.

This album adheres to a format we love – a full hour of music, devoid of bullsh*t skits and interludes, and without guest features. This focused approach allows the album to progress smoothly from start to finish. In an era where many artists opt for short releases or collaborations, Don demonstrates the power of a well-executed solo project. With Thesis, this industry veteran reaffirms his position as a respected figure in Hip Hop, proving that his skills on the mic and in the studio continue to evolve and impress.

99. Kendrick Lamar - Mr. Morale & The Big Steppers (2022)

Kendrick Lamar’s fifth studio album was one of the most anticipated releases in years, coming five years after the Pulitzer prize-winning DAMN. For us, that album was generally overhyped and overrated, not on par with Kendrick Lamar’s masterpieces good kid m.A.A.d. city (2012) and To Pimp A Butterfly (2015) anyway. And while it remains to be seen if Mr. Morale & The Big Steppers will eventually be able to stand side to side with GKMC and TPAB, it definitely is a sight better than DAMN, reconfirming Kendrick Lamar’s status as one of the leading and most important Hip Hop artists of his generation.

Kendrick Lamar always offers new sounds, new flows, and new perspectives with every project he releases, and Mr. Morale & The Big Steppers is no exception. Mr. Morale & The Big Steppers is an intimate album full of musical precision, with a sharp focus on Lamar’s personal traumas, doubts, and contradictions. Where GKMC explored Kendrick’s origins in Compton, and TPAB scaled up to the collective and intergenerational trauma of the entire black community, this album succeeds in finding the middle ground. Kendrick gives us a status update, a state of affairs, good and bad, still taking a confrontational look at himself. A large part of the bad influences that shaped his youth are behind him, but that past itself doesn’t just leave you behind. With his relatable and self-reflective content on Mr. Morale & The Big Steppers Kendrick Lamar shows us sensitivity, and how this sensitivity can be converted into anger, fear, uncertainty, and bitterness on the turn of a dime. The mental and emotional volatility that characterizes Mr. Morale & The Big Steppers is one of the album’s biggest strengths – even if some of the themes presented can seem contradictory (reflecting the ‘mirror’ concept of this double album).

There’s a lot to unpack on Mr. Morale & The Big Steppers – this is an album that will have to marinate a good while before making any determination where it ranks even in Lamar’s own catalog is possible. That said, there’s nobody quite like Kendrick Lamar, Mr. Morale & The Big Steppers is just another affirmation of his top-dog status.

100. The Expert - Vivid Visions (2025)

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

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

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

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

101. Arrested Development – Don’t Fight Your Demons (2020)

Arrested Development debuted in 1992 with the now-classic 3 Years, 5 Months, and 2 Days in the Life Of... (4x times platinum!) – a masterpiece of conscious Hip Hop, and because of its positive thinking and positive imagery a breath of fresh air in the era dominated by gangsta rap – celebrating life instead of death.

Ever since that monumental debut (except for a 4-year break between 1996 and 2000), Arrested Development has continued to create quality music in ever-changing line-ups (frontman Speech is the only AD-member who has always in the group since its inception in 1988). Despite Arrested Development’s long history, Don’t Fight Your Demons arguably is the group’s best album since 3 Years, 5 Months, and 2 Days in the Life Of...

Don’t Fight Your Demons really is a GREAT album. Speech’s lyrical imagery is as sharp and thought-provoking as ever, and extremely topical in a year of unreal political and societal turmoil. The album is as musical as you’d expect an Arrested Development record to be – but the work on the boards from British producer Configa gives this album an authentic Hip Hop vibe at the same time. Only the poppy “Journey On” could have been left off, but on a 14-song tracklist one small misstep can be forgiven (there are 16 tracks actually, but two are remixes of the anthemic “Amazing” – which IS an amazing track by the way).

Next to “Amazing”, standouts include “Back Down”, “Moses”, “The Same People”, “Play With Fire”, the soulful single “Becoming”, and the awesome “Sunset In Ghana” – besides the one mentioned there are no weaker tracks on Don’t Fight Your Demons really.

With Public Enemy, Paris, and Arrested Development all dropping new quality albums, September 25 2020 truly proved to be a memorable day for conscious Hip Hop, showing that Hip Hop as an art form still is perfectly suited to bring a meaningful message the people. Both Public Enemy and Paris dropped albums that are among their best since their work in the 1990s, and the same can be said unreservedly about this Arrested Development project.

102. Guilty Simpson & Gensu Dean - EGO (2021)

This Mello Music Group release is one of our favorite releases of 2021. Detroit-based emcee Guilty Simpson has a characteristic flow that’s not for everybody, but those who’ve been following and digging him since his excellent Stones Throw solo debut Ode To The Ghetto (2008), will no doubt quickly count EGO a favorite too.

Texas-based producer Gensu Dean’s stripped-down boom-bap production proves to be a perfect fit for Guilty Simpson’s baritone and for the contributions of guest vocalists Marv Won, Black Milk, Skyzoo, Georgia Anne Muldrow, and Yarbrough. Flawless beats and sharp bars – EGO is a top 20 Hip Hop album released in 2021.

103. Evidence - Unlearning, Vol. 1 (2021)

Evidence is an emcee/producer from Los Angeles, known for being a member of the group Dilated Peoples and from being one-half of Step Brothers with The Alchemist. He has also built a strong solo catalog, with The Weatherman LP (2007), Cats & Dogs (2011), and Weather or Not (2018) – all three albums rank high on our best-of-lists for the years they were released in.

Unlearning, Vol. 1 is Evidence’s fourth solo album, like his last two albums released on the renowned Minneapolis powerhouse Rhymesayers Entertainment. The album features excellent production from Evidence himself and from The Alchemist, Nottz, Sebb Bash, Animoss, Mr. Green, V Don, Khrysis, Daringer, and EARDRUM (QThree). It also features guest vocals from Boldy James, Murkage Dave, Conway the Machine, Navy Blue, and Fly Anakin.

Unlearning, Vol. 1 is just as good as his other solo releases, but different too – basically a reinvention of himself after Weather or Not ended his Weatherman trilogy. Unlearning, Vol. 1 is more subtle musically, with buttery toned-down boom-bap beats to give more room for Ev’s authentic and relatable rhymes. “Better You”, “Pardon Me”, “Moving On Up”, and “Taylor Made Suit” are stand-outs, but there are no weaknesses – overall this is another thoroughly consistent project from Mr. Slow Flow.

104. Nord1kone & DJ MROK - Tower Of Babylon (2022)

Following their underground hit LP Escape The Yard, emcee Nord1kone and DJ MROK re-team to bring more boom bap to the masses. This time they brought along an all-star lineup including Kool G Rap, Chuck D, Gift Of Gab, Masta Ace, Craig G, Chip-Fu, Donald D, Chill Rob G, El Da Sensei, Phill Most Chill, and more to construct a rap odyssey strictly for the heads. Hard beats, razor-sharp lyrics, scratches & cuts. Tower Of Babylon is our kind of Hip Hop.

105. Aesop Rock - Black Hole Superette (2025)

Aesop Rock 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.

106. Armand Hammer - Shrines (2020)

Between RTJ4 and Shrines, the 1st week of June 2020 was a great week for political rap and forward-thinking music. Where RTJ4 is hard-hitting and in-your-face, Shrines is more subtle and layered – but no less intelligent and thought-provoking.

Masterfully produced left-field instrumentals serve as claustrophobic backdrops for a barrage of dense and dizzying lyrics. By now we know what to expect from Armand Hammer. There’s never anything straightforward in the messages ELUCID and billy woods come with, and on Shrines, their lyrics are as fogged in metaphors and hidden meanings as always – it’s going to take a while to dissect these bars.

Shrines has vocal contributions from Quelle Chris, Earl Sweatshirt, Akai Solo, Curly Castro, Pink Siifu, and R.A.P. Ferreira – among others. A stacked features list, but a carefully curated one – none of these artists feel out of place here. They were invited because they are all perfectly in tune with the Armand Hammer aesthetic, and not for marketing purposes as we so often see in more mainstream rap releases (think Wale showing up on a Westside Gunn album, or Ed Sheeran appearing on Eminem’s latest).

Shrines is singularly attuned to the grim political and societal realities of 2020. The cover art of the album (which is a real news photo of the subduing of a 425-pound Siberian-Bengal tiger reared and living in a Harlem apartment) is like a micro snapshot of the crazy world we live in, and the image reflects the album’s content. This is not a casual listen by any means, but an album that demands – and rewards – close attention and engagement. Shrines is another Armand Hammer master class in left-field Hip Hop, and a superlative continuation of their hot streak.

107. Killah Priest - Rocket To Nebula (2020)

Wu-Tang Clan affiliate and Sunz Of Man member Killah Priest is one of the most prolific artists in Hip Hop. Artists like Kool Keith, Tech N9Ne, and K-Rino may have more releases on their names, but it’s not easy to keep up with Killah Priest’s release schedule either, taking into account all his solo projects, group and collaboration efforts, and his endless list of feature appearances.

Heavy Mental (1998), Elizabeth (2009), The Psychic World of Walter Reed (2013), and Planet Of The Gods (2015) are the standouts in Killah Priest’s catalog, and Rocket To Nebula rivals these titles in terms of quality – even if it’s even more of an acquired taste than most of his other releases, a perfect example of a hate it or love it kind of project.

On Rocket To Nebula we get the same kind of stream-of-consciousness type lyricism we know from Killah Priest, filled with his characteristic abstract metaphysical musings and slick subliminals. Musically, this album is totally different from his best works though – there are no bass-heavy beats to be found here, in fact, the whole album is practically drumless. The instrumentals on Rocket To Nebula are very low-key, offering dream-like backdrops to Killah Priest’s lyrics and his conversational-style delivery, which makes listening to this album something akin to a meditative experience.

This may not be an easy album to get into, and it certainly demands real attention – but if you’re willing to take an hour and 15 minutes to tune out everything else going on around you Rocket To Nebula will be sure to satisfy.

108. Preservation & Gabe 'Nandez - Sortilège (2025)

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

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

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

109. Recognize Ali - Back To Mecca II (2023)

After having had a quiet 2022 elite underground emcee Recognize Ali returned in 2023 with Back To Mecca II – a sequel to his 90s-inspired Back To Mecca (2017) with producer Giallo Point. Recognize Ali is taking the listeners back to like 1993 on this album, once again with production from Giallo Point, with additional beats provided by Anu EL, Sibbs Roc, and Hobgoblin. Back To Mecca II offers some of the hardest beats and overall raw gutter production you will hear this year. Recognize Ali is a lyrical emcee who’s got bars for days, and his raspy flow is made for the rough and rugged beats he gets to work with here. Recognize Ali has released plenty of dope projects in recent years, and Back To Mecca II is one of his best.

110. Open Mike Eagle - Component System With The Auto Reverse (2022)

Component System With The Auto Reverse is FIRE – peak Open Mike Eagle in terms of clever bars full of relatability, charm, humor, and emotion. Where his last album Anime, Trauma, and Divorce (2020) was intensely personal, this one has more of an outward focus – looking back on the days when OME first got into Hip Hop. The album’s focus comes back in the sound of the album too, through a ‘mixtapey’ messy feel at times. Appearances by Aesop Rock, Diamond D, Armand Hammer, R.A.P. Ferreira, and Serengeti, plus production from Diamond D, Madlib, and Quelle Chris (among others) add extra value to what is an awesome project, one of Open Mike Eagle’s most enjoyable efforts. Dark Comedy (Mello Music Group, 2014) and Brick Body Kids Still Daydream (Mello Music Group, 2017) remain our favorite OME albums, but Component System With The Auto Reverse comes close.

111. Apollo Brown & Ty Farris - Run Toward The Monster (2025)

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

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

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

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

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

112. Lupe Fiasco - Samurai (2024)

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Lupe Fiasco’s ninth studio album, Samurai, is an intriguing concept project dedicated to the life and career of neo-soul singer Amy Winehouse, imagined from her perspective as a battle rapper. Though the concept may not fully come across, the album is a compelling listen anyway.

The album’s concept, inspired by an actual voicemail from Winehouse, is a creative homage to her legacy. Standout tracks like “Samurai” and “Cake” feature minimalistic, jazzy beats that perfectly complement Lupe’s dense rhyme schemes, making the album an easy and at the same time complex listening experience. The absolute highlight, “No. 1 Headband,” is one of the best Hip Hop songs of the year. The production throughout the album is smooth and jazzy, with clean and polished instrumentals that emphasize Lupe’s intricate lyrics and diverse flows, allowing listeners to focus on the depth and complexity of his storytelling.

Samurai consists of eight tracks and runs just over 30 minutes, which we feel is too brief to really be considered a full album. However, by our standards, it qualifies for making the cut for our best albums list, if just barely. Because of its short length, it demands perfection, and while the album starts strong, not all tracks maintain the same level of quality musically. Lupe’s pengame and lyrical prowess are as impressive as ever, but the beats, particularly in the latter tracks, tend to meander.

For us, Samurai is better than Drill Music in Zion (2022) but doesn’t quite reach the heights of Tetsuo & Youth (2015) or Drogas Wave (2018). It also falls short of the brilliance of his first two albums, Food & Liquor (2006) and The Cool (2007). Nonetheless, Samurai is a strong addition to Lupe’s discography, with his technical skill and lyrical depth on full display.

Samurai may require multiple listens to fully appreciate its lyrical intricacies, but it is a smooth, thematically rich album that will satisfy both long-time fans and new listeners alike.

113. Navy Blue & Budgie - Ways Of Knowing (2023)

Ways Of Knowing is Navy Blue’s major label debut and his best project to date. Budgie’s soulful production is simply gorgeous, a perfect fit for Navy Blue – whose continuing growth as an artist and a human being are evident through his relatable content here. The introspection we know from his previous works remains, but his outlook is somewhat sunnier and more mature. Ways Of Knowing is a beautiful piece of music, with no weak spots at all. A couple of highlights though – most notably the superb “Windows To The Soul” (with an awesome feature from Kelly Moonstone).

114. Awon & Phoniks - Nothing Less (2021)

Phoniks (from Portland, Maine) and Brooklyn-born Virginia-based rapper Awon have given us a series of superb Hip Hop projects in the 2010s, individually and collaboratively – their collaborative debut album Return To The Golden Era (2013) is a masterpiece, Knowledge Of Self (2015) and The Actual Proof (2018) are not far behind. With Nothing Less, Awon and Phoniks continue their streak of excellence.

The album is laced with Phoniks signature jazz-infused, boom-bap production style and Awon’s raw, honest lyricism. Produced on vintage samplers like the gritty Emu SP-1200 and Akai MPC 2000xl the music evokes memories of classic east coast “golden era” Hip Hop. Features include Don’t Sleep Records label mates Dephlow, Anti-Lilly, and Tiff The Gift, as well as Masta Ace, Blu, Ill Conscious, Kid Abstrakt, and more.

For HHGA, it doesn’t get much better than this. At 33 minutes, Nothing Less is not long enough for our tastes but its short duration is the biggest knock against the album. “Everlasting Game” (with Masta Ace and DJ Ill Digitz) is a highlight, along with tracks such as “Sunshine” (with Blu), “The Cool Out” (with Kid Abstrakt), and “Fatherhood” – a song that will especially resonate with parents of (pre)teens.

Don’t sleep on Awon and Phoniks and go cop Nothing Less, and also check their earlier music if you missed out on it up to now for some reason.

115. Roc Marciano - Mt. Marci (2020)

In the neo-mafioso subgenre of Hip Hop, there’s NO ONE who can touch Roc Marciano (with the possible exception of Freddie Gibbs that is, these two really should do a full-length project together). Roc Marciano is one of the indisputable Hip Hop MVPs of the past decade. After being part of Busta Rhymes’ Flipmode Squad and a quarter of underground crew The U.N. around the turn of the millennium, he reinvented himself to become the main player responsible for revitalizing the mafioso subgenre, and the originator of the atmospheric, gritty lo-fi beats he rhymes over – setting the trend for lots of newcomers who would go and build on this style (think Griselda and all their affiliates and copy-cats).

Marcberg (2010), Reloaded (2012), Marci Beaucou (2013), Rosebudd’s Revenge (2017), RR2: The Bitter Dose (2018), Behold A Dark Horse (2018), Kaos (with DJ Muggs, 2018), and Marcielogo (2019) are all excellent projects, and at least the first two or three are subgenre classics.

Mt. Marci is Roc Marciano’s eighth full-length studio album, and it offers another dose of that raw but soulful NYC street Hip Hop – building on the sound and style of last year’s Marcielogo, with a continuation of that album’s aesthetic and production. Mt. Marci is expertly put together, sequenced just right, with well-placed guest appearances from ScHoolboy Q, Action Bronson, Stove God Cook$, Kool Keith, and Trent Truce, and with production from Roc Marciano himself (with some input from Chuck Strangers and Jake One).

Highlights on Mt. Marci include the album opener “Downtown 81”, “Spirit Cookin” (with Action Bronson), “Butterfly Effect”, SOTY-contender “Broadway Billy”, with a terrifying musical backdrop and a dope feature by the legendary Kool Keith, “Trenchcoat Wars” with its sinister beat, and “The Eye Of Whorus” with some show-stealing bars from Stove God Cook$ – but there are no real weak spots, which is pretty impressive considering the album runs for close to an hour.

LOTS of albums similar to Mt. Marci out in 2020, but NONE like Mt. Marci. The atmospheric instrumentals on this one are really something else, unlike anything you’ve heard this year – more experimental and left-field than what is generally on offer in this niche, and incredibly dark and eerie. Add pristine lyricism to the pristine production and what you get is another Roc Marci winner, and one of the top albums of the year.

116. Boldy James & The Alchemist - The Price Of Tea In China (2020)

Following their supremely underrated debut collaboration My 1st Chemistry Set (2013), Detroit emcee Boldy James and top-tier producer The Alchemist team up again for the long-awaited The Price Of Tea In China, their second collaborative full-length project. Like My 1st Chemistry Set, The Price Of Tea In China delivers on all fronts. Their Boldface EP from late 2019 proved to be a great appetizer for this project – we get powerful lyrics from Boldy James and elegantly understated boom-bap beats from The Alchemist, and the synergy between the two is as tangible as ever.

The album holds 12 tracks, all masterfully produced and expertly sequenced, with just the right amount of features. Lots of artists today tend to clutter their projects with guests, on The Price Of Tea In China Boldy James avoided that trap and went the exact right route. Only 4 of the 12 tracks feature guest appearances, and the guests Boldy James recruited – Freddie Gibbs, Benny The Butcher, Vince Staples, and Evidence – all are A-listers who add their own distinct flavor to the album. Boldy James’ pen game remains razor-sharp, and The Alchemist’s excellent soundscapes are perfectly suited for Boldy’s lyrical finesse.

117. Revival Season - Golden Age Of Self Snitching (2024)

Atlanta’s music scene throws another curveball with the arrival of Revival Season, a duo defying categorization with their debut album, The Golden Age of Self-Snitching. Brandon “Bez” Evans and Jonah Swilley blend rap, rock, and more to craft a unique and captivating sound that is both innovative and infectious.

Drawing inspiration from genre-bending innovators like the Beastie Boys and Run the Jewels, Revival Season injects unbridled energy into each of the album’s 14 tracks. From the opening salvo of “Look Out Below,” the duo grabs hold of your senses and throws you into a world where genre boundaries dissolve and creativity reigns supreme.

One of The Golden Age of Self-Snitching greatest strengths lies in its seamless fusion of disparate elements. Bez’s dynamic flow effortlessly glides over Swilley’s eclectic production, a dope blend of bass-heavy synths, live drums, and pulsating computer beats. Tracks like “The Path” and “Chop” showcase Bez’s lyrical prowess, offering insightful social commentary woven into catchy hooks and irresistible grooves.

Swilley’s production serves as the perfect canvas for Bez’s lyrical fire, with Swilley crafting beats around Bez’s vocals, instead of the other way around. In an era where so much Hip Hop is formulaic and derivative, Revival Season delivers a breath of fresh air with this album, standing out for its bold originality. The Golden Age of Self-Snitching brings something new and exciting to the table, destined to leave a lasting impression, unlike the fleeting hype many releases experience in today’s music landscape. The Golden Age of Self-Snitching is a vibrant and fun album you won’t want to miss out on.

118. Ghais Guevara - Goyard Ibn Said (2025)

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.

119. Conway The Machine - God Don't Make Mistakes (2022)

Conway The Machine’s God Don’t Make Mistakes is his best album yet. On his Shady Records debut and second solo studio LP – following From King to a God (2020) and a long string of collaborative projects, mixtapes, and EPs – the Buffalo-based Griselda rapper gets more introspective and personal than ever before, evidenced by standout tracks such as “Guilty”, “Stress”, “So Much More”, and “God Don’t Make Mistakes”. Other strong songs include “Tear Gas” (with a surprisingly good guest verse from Lil Wayne), “Piano Love”, “John Woo Flick”, with Griselda family Westside Gunn and Benny The Butcher, and “Chanel Pearls”, with a rapping Jill Scott. Production from Daringer and The Alchemist stands outs, of course, but all producers involved deliver – managing to keep the overall sound of the album reasonably cohesive, even if the differences in gritty vs polished production styles of the individual producers involved can easily be recognized.

A couple of small issues stand in the way from God Don’t Make Mistakes being an AOTY contender – some of the hooks and features are kind of weak, and we could have done without “Wild Chapters” in its entirety, the only song on the album that should have been left on the cutting room floor. That said: God Don’t Make Mistakes is a great album overall, another one in a long series of dope Griselda family projects that are instrumental in bridging the gap between the underground and the mainstream.

120. Napoleon Da Legend & Clypto – Maison De Medici (2022)

Maison De Medici is a collaboration between prolific Comoros-born Brooklyn-based emcee Napoleon Da Legend and West Coast producer Clypto. It’s hard to keep up with Napoleon Da Legend’s release schedule: he had a couple of strong projects in 2021, and Maison De Medici is his second full-length of 2022, coming hot on the heels of the solid as f Modus Operandi – a collaboration with French Marseille-based production duo Just Music Beats. Where Modus Operandi‘s sound is straight (but melodic) boom-bap with a focus on hard bars, Maison De Medici is a more toned-down affair, with stylish instrumentals crafted by Clypto and clever content from NDL and guests such as Supreme Cerebral and Nejma Nefertiti (among others). NDL’s cadence and flow are great, he is one of those natural emcees who makes riding a beat sound effortless. Maison De Medici is a mature and tasteful Hip Hop album, one of Napoleon Da Legend’s best yet, and a must-listen.

121. SKECH185 & Jeff Markey - He Left Nothing For The Swim Back (2023)

We love forward-thinking artists who dare to color outside the lines, making music different from what most others are coming up with. He Left Nothing For The Swim Back is such an envelope-pushing piece of music exactly to our liking. It is a collaborative album from rapper SKECH185 and producer Jeff Markey, and it is released on the Backwoodz Studioz – the indie label that has been at the forefront of progressive left-field Hip Hop for two decades now, in many ways taking up the mantle left by Def Jux. billy woods and Armand Hammer are Backwoodz Studioz’s flagship acts of course, but mostly everything that comes out of Backwoodz is excellent. He Left Nothing For The Swim Back is no exception. Jeff Markey’s instrumentals are chaotic and intense and slightly unsettling, perfect companions for SKECH185’s wild and haunting vocals. A bunch of strong features provide the icing on the cake, most notably from Backwoodz VIPs PremRock and billy woods. He Left Nothing For The Swim Back is not an album for the mainstream crowd, but it sure is one for listeners who dig other experimental Hip Hop projects that emerged out of the Backwoodz Studioz recently, or from labels like Def Jux and Anticon further in the past.

122. Kendrick Lamar - GNX (2024)

Kendrick Lamar’s new album, GNX, landed like a curveball, surprising fans and critics alike. Known for intricate storytelling and heavy conceptual themes, Kendrick flips the script here with a looser, more visceral project. The energy is pure West Coast—a soundtrack for blaring from car speakers on a hot LA afternoon. While unmistakably Kendrick, with clever wordplay, hard-hitting beats, and moments of brilliance, GNX lacks the ambition of masterpieces like To Pimp a Butterfly or Good Kid, M.A.A.D City.

Let’s address the elephant in the room: Kendrick’s releases often spark an almost ritualistic rush to proclaim “Album of the Year” before the first track even finishes. His track record justifies the hype, but this time, the worship feels overblown. GNX isn’t groundbreaking; it’s a digestible, fun collection of tracks that reflect Kendrick’s current mindset—mature, reflective, and less concerned with perfection. It’s not an album that redefines the genre or pushes a grand cultural agenda, but it doesn’t try to be.

The album opens strong with “wacced out murals,” where Kendrick’s fiery delivery takes aim at the industry and some of his idols over pounding drums and ominous strings. Tracks like “reincarnated” stand out for their introspection, with Kendrick weaving imagined past lives into a soulful meditation on history and identity. Meanwhile, songs like “gloria” and “luther” add depth, and SZA’s smooth vocals add texture in her two standout features. However, not all experiments land—tracks like “gnx” (featuring LA newcomers) and “dodger blue” falter under weak production, a recurring issue throughout the album.

While GNX lacks the cohesion of Kendrick’s earlier projects, its looseness offers charm. It feels less like a masterpiece and more like a mixtape—a snapshot of where Kendrick is now. Though uneven, it’s still proof that even on an off day, Kendrick remains miles ahead of most peers. Not “Album of the Year”, but undeniably a worthy addition to K-Dot’s legacy.

123. Nas - King’s Disease II (2021)

Queensbridge legend Nas is one of the GOATs, responsible for one of the best rap albums of all time, plus plenty more classic Hip Hop besides. His last truly great album was 2012’s Life Is Good, his output since that one has been hit-and-miss. Last year’s King’s Disease was good, but not great. King’s Disease II is not perfect either, but it is definitely better than its predecessor – more substantial and more consistent. The first King’s Disease had a shorter tracklist and tried too hard to awkwardly balance soul sample-based east coast Hip Hop and modern trap, which made it kind of a mixed bag with lows and highs in almost equal measure. Furthermore, King’s Disease could have benefitted from a more careful selection of features, which is also the case with King’s Disease II – but to a lesser extent, fortunately. King’s Disease II really has only one throwaway song – “YKTV” featuring YG and a limp performance from A Boogie Wit Da Hoodie – an artist who has no business being on a Nas album, as far as we are concerned. Most of the other features are OK – even if we’re not crazy about Eminem’s phoned-in verse on the otherwise strong “EPMD2” track.

Other stand-outs include “Rare”, “Death Row East”, “Count Me In”, “Store Run”, “Nas Is Good”, “Moments”, and “Nobody” (with a terrific Lauryn Hill) – Nas’ pen game is top-level and his rapping is as strong as ever, plus Hit-Boy’s production once again proves to be a good fit for Nas’ bars. Hit-Boy’s production on King’s Disease II continues to modernize Nas’ sound, staying in tune with the polished sound palette of its predecessor. Even those who don’t really care for everything Hit-Boy did on this album production-wise will have to admit that the modern blends are done in a tasteful way and Nas gels well with them.

It looks like Nas is finally ready to comfortably fulfill the role of an elder Hip Hop statesman, which is his due after 30 years on top of the game. King’s Disease II might go down as a late-career classic, and even it is not in the same league as Nas classics such as Illmatic (1994), It Was Written (1996), Stillmatic (2001), The Lost Tapes (2002), God’s Son (2002), Distant Relatives (with Damian Marley, 2010), and Life Is Good (2012), it is a damn good Nas project.

124. Killah Priest & Jordan River Banks - The Third Eye In Technicolor (2020)

Killah Priest had a great year in 2020. Rocket To Nebula is a left-field masterpiece, and The Third Eye In Technicolor is not far behind. Like Rocket To Nebula, The Third Eye In Technicolor feels a bit dreamy and spacey – but to a lesser extent. There are more drums here, masterfully crafted by Dutch producer Jordan River Banks – the instrumentals on this album are amazing, perfectly suited for Killah Priest’s style and lyrical content which is as complex and abstract as ever. Killah Priest is an acquired taste, but those with the patience and capacity to surrender to his stream-of-consciousness philosophizing will find a lot to unpack and enjoy here.

125. MIKE - Burning Desire (2023)

MIKE’s Hip Hop roots can be traced back to the dynamic streets of New York City’s underground scene where he became a crucial member of the sLUms collective in 2015. He learned from his peers while developing his own style, combining his reflective lyrics with the vibrant energy of the city. MIKE’s laid-back delivery and thought-provoking questions dive into topics such as grief, family, and identity, all while riding smooth, soulful beats that carve out his unique sound. Although MIKE has been consistent with his half-asleep flow, he also explores different beats and tempos, producing a diverse and dynamic sound.

The self-produced Burning Desire showcases his growth and maturity as both an artist and an individual, standing out against the flashy and loud personas often found in Hip Hop. This album is an intimate affair, with Mike’s verses whispering from the soul as he tackles universal themes with his signature flair.

Burning Desire is MIKE’s most cohesive album to date, with standout tracks such as “plz don’t cut my wings”, “Burning Desire”, “Let’s Have a Ball”, “Golden Hour”, and “African Sex Freak Fantasy” which highlights MIKE’s experimentation with a more aggressive beat and flow. Overall, if you are searching for a Hip Hop album that is authentic, soulful, and powerful, look no further than Burning Desire. This album deserves your attention and appreciation.

126. Skyzoo - Views Of A Lifetime (2025)

At this point, you don’t question whether Skyzoo will deliver—you ask how good it’ll be this time. The Brooklyn veteran’s Views of a Lifetime arrives billed as an EP, but at 36 minutes, it’s longer and richer than half the “albums” out today. Following 2024’s Keep Me Company, this project feels like both reflection and revelation, a continuation of Skyzoo’s unmatched consistency in narrating real life through artful rhyme.

Over warm, jazz-laced boom-bap from producers like Thelonious Martin, Camouflage Monk, Conductor Williams, and The Other Guys, Skyzoo unpacks the view from maturity. “Tags at the MOMA” sets the scene with hustler wisdom splashed across a gallery wall, while “Pardon Me” carries quiet pride in belonging to a higher creative lineage. On “Sky is Like,” he pays homage to Nas with intricate double meanings and layered cadence, and “Devotion” closes the book on the school of hard knocks with honors.

Elsewhere, “Love Day” wraps soul samples and flute melodies around heartfelt introspection, “The Soloist” explores self-reliance through a relaxed jazz bounce, and “Half Bloom” strips back percussion to leave only raw reflection. Through it all, Skyzoo marries density with clarity, every verse a balance of lived experience and writerly control.

Views of a Lifetime reinforces what heads already know: Skyzoo is one of the most consistent and complete MCs of his generation, still evolving without losing his foundation.

127. ELUCID - I Told Bessie (2022)

“I Told Bessie is the third solo album from New York City rapper/producer Chaz Hall aka ELUCID. The title is a reference to his paternal grandmother, Bessie Hall, a powerful presence in his life until she passed away in 2017. From childhood afternoons running around her apartment in the Red Hook projects to living under the same roof in Crown Heights when he was a young man, Bessie was an axis on which Hall’s family turned.

While best known as one-half of the critically acclaimed duo Armand Hammer, ELUCID has also built an impressive resume of other collaborations and side projects over the past decade. His debut LP Save Yourself dropped in 2016 on Backwoodz Studioz and still holds up as one of the best releases in the label’s catalog. It’s fitting that ELUCID returns to fertile ground for I Told Bessie, a record of such confidence and power that it feels like a culmination.

I Told Bessie features guests Pink Siifu, Quelle Chris, and billy woods. The album’s production is handled by Child Actor, The Alchemist, P.U.D.G.E., Sebb Bash, The Lasso, Kenny Segal, August Fanon, and Messiah Musik. It’s an impressive roster of producers, all of whom add something to the hard-hitting funk of this record’s ever-warping sonics. Add to that the talents of engineer Willie Green, who helped build this from the ground up. Executive produced by billy woods and ELUCID, I Told Bessie is dedicated to its eponymous matriarch.”

2022 was another strong year for both halves of Armand Hammer. ELUCID’s unorthodox delivery and lyricism make for intriguing listening and the eerie, dusty beats help pull you in even deeper. With I Told Bessie ELUCID put together an abstract Hip Hop album that is coherent and consistent, challenging and accessible at the same time. I Told Bessie is a captivating album, ELUCID’s best solo project yet.

128. Freddie Gibbs - You Only Die 1nce (2024)

Freddie Gibbs dropped another banger with You Only Die 1nce, proving he’s still got that fire. While his collabs with Madlib and The Alchemist are modern classics, this solo joint holds its own. Despite rolling with a squad of different beatmakers here, the album flows smooth like butter. Gibbs keeps it tight from start to finish, serving up that raw, uncut flavor we’ve come to expect. His flow is relentless, riding over tranquil beats that hit just right.

This isn’t an earth-shattering, game-changing record, but it’s solid gold from front to back. Gibbs gets personal, diving deep into his past and paying respects to fallen rappers. The production is chill, letting Freddie’s bars take center stage. No features, no gimmicks – just Gibbs doing what he does best. While it might not reach the heights of Piñata (2104) or Bandana (2019) it’s a strong project without a doubt. The beats might not be as memorable as his Madlib collab projects, but they provide the perfect backdrop for Gibbs to flex his lyrical muscles.

You Only Die 1nce is a dope 37-minute ride through Gibbs’ world, exhibiting his unmatched flow and introspective side. It’s a grounded, no-nonsense project that proves Freddie Gibbs is still one of the most consistent voices in Hip Hop today. This album has us hyped for whatever he’s cooking up next, especially if Montana, the long-teased third collaboration with Madlib, is on the horizon.

129. Wiki - Half God (2021)

Wiki is an emcee from NYC and Half God is his fourth full-length LP, entirely produced by Navy Blue. Wiki’s previous releases all were strong projects, but Half God is his best work yet, a fully realized work containing 16 full songs and an hour of music. Navy Blue’s stripped-down but hypnotizing instrumentals have heart and soul and they bring out the best in Wiki, whose pen game is better than ever before – it’s good to see a young artist demonstrating artistic growth and increasing maturity like Wiki does here.

Similar to the album cover, Wiki’s content is a jumble of ideas and thoughts, but his relatable lyrics are thought-provoking and/or entertaining and Half God manages to captivate from start to finish. Features from Earl Sweatshirt (on the fantastic “All I Need “), MIKE, and others add extra flavor. “Not Today”, “Roof”, “Never Fall Off”, “Drug Supplier”, “The Business”, “All I Need”, “Gas Face”, “Promised”, “Still Here”, “New Truths”, “Grape Soda” – lots of stand-outs and no real weaknesses on Half God. Navy Blue’s Dilla-Esque production is heavenly and Wiki’s simultaneously nostalgic and forward-looking bars match the quality of the beats. Half God is a slow-burner and not suitable for skim-listens – this is an album to sit with and to be immersed in, bucking the trend that sees artists releasing EP-length ‘albums’ to cater to the needs of the short attention span crowd and to the song-streaming music consumption reality. Half God is a REAL album and a memorable one at that – one of the best Hip Hop albums released in 2021.

130. Tyler, The Creator - CALL ME IF YOU GET LOST (2021)

Flower Boy (2017) is our favorite Tyler album. His output prior to Flower Boy was hit-and-miss, and IGOR (2019) was overhyped and overrated in our opinion. CALL ME IF YOU GET LOST is on par with Flower Boy, and it is way better than the edgy-for-edginess-sake IGOR is. CALL ME IF YOU GET LOST feels like Tyler put all of his previous albums in a blender, and kept the best aspects to fuse them into this project. He took some of the abrasive Hip Hop sounds from his older albums like Goblin and Wolf and combined them with the neo-soul synth-funk sounds of Flower Boy and IGOR to great effect.

This definitely isn’t the most conceptual or innovative album Tyler has ever released, but that doesn’t matter. The production on this album is immaculate, impressively done by Tyler alone (except for “JUGGERNAUT”, which was co-produced with Pharrell). Sure, overall production on CALL ME IF YOU GET LOST is less ‘grandiose’ and more understated than it was on his last few projects, but the album is better for it. There’s lots of variety, we get a couple of Hip Hop bangers alternated with smooth neo-soul/R&B flavored songs – which could have resulted in a messy presentation, but Tyler makes it work here.

Also, Tyler is rapping again (his so-so singing is something that brought down IGOR), which is a plus of course. Tyler is still maturing in his songwriting, and even if this album lacks a cohesive narrative structure, Tyler’s observations, introspective thoughts, and storytelling (especially on the epic “WILSHIRE”) are some of the best he ever penned – as evidenced by cuts like “CORSO”, “WUSYANAME”, “HOT WIND BLOWS”, “RUNITUP”, “MANIFESTO”, “MASSA”, and the aforementioned “JUGGERNAUT” and “WILSHIRE”, which all are top-tier Tyler tracks. And then there are the features, that more often than not, reinforce the tracks rather than take away from them – even the likes of Lil Uzi Vert, Lil Wayne, Ty Dolla $ign, 42 Dugg, and YoungBoy NBA manage not to irritate but to actually add value.

Not everything’s perfect though. At times the album meanders when R&B vibes take to the forefront, and it could have done without some of the skits. And who remembers DJ Drama, who made a career of ruining mixtapes with his ‘energetic’ ad-libbing? Well, unfortunately, he is doing his annoying screaming/talking routines on this record a couple of times too often too – every single track here with DJ Drama would have been significantly better without him. You can use his antics on an intro or an outro, but that should be it. This is a minor complaint though – overall CALL ME IF YOU GET LOST is a great album, one that can rival Flower Boy for the title of Tyler’s best album.

131. clipping. – Visions Of Bodies Being Burned (2020)

Visions Of Bodies Being Burned is a sequel of sorts to Los Angeles trio clipping.’s horrorcore-inspired 2019 album There Existed an Addiction to Blood. Unlike most horror-movie sequels, the second part of this clipping diptych is even better than (the already formidable) first part. More immersive, more intense, more bloodcurdling. The intro Visions of Bodies Being Burned opens with heavy drums and eerie background noises – perfectly setting the tone for the rest of the album: it’s clear from the jump this is going to be some heavy sh*t. Even more than Hamilton -star Daveed Diggs’ abstract lyrical imagery, it’s the haunting soundscapes created by Jonathan Snipes and William Hutson that turn Visions of Bodies Being Burned into the unsettling experience it is.

Like There Existed an Addiction to Blood, Visions of Bodies Being Burned is far from a casual listen, with its genre-bending and its boundary-pushing blend of ambient, industrial, techno, noise, and Hip Hop – the horror theme adding to the uncanny and hallucinatory vibe that is consistently maintained from start to finish. It’s an album to immerse yourself in – the dark and ominous atmosphere is intense to the point it’s truly chilling. Listen to this album on good headphones, in the dark, and you’ll be in for a disturbing and resonating meditative experience – Visions of Bodies Being Burned will make you feel anxious and uncomfortable but excited and delighted at the same time.

132. Ardamus - Psychedelic City Cowboy $h!t (2022)

Ardamus is a prolific Washington DC-based emcee/producer, and his Psychedelic City Cowboy $h!t is one of 2022’s hidden gems – arguably a career-best for Ardamus even. Psychedelic City Cowboy $h!t is an album about living in a city for so long that you develop a relationship with it, and about the effects of such a relationship. Ardamus shares production duties with Height Keech (the two worked together earlier on their 2020 album Astro Blocks) over the 16 tracks on this album – all songs composed of booming drums, creative sampling, dope throwback flows, and listen-worthy bars. Psychedelic City Cowboy $h!t offers close to 50 minutes of mature and relatable Hip Hop, you will not regret giving this album a listen.

133. Yugen Blakrok - The Illusion Of Being (2025)

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.

134. Infinity Knives & Brian Ennals - King Cobra (2022)

Experimental and political – Baltimore-based duo Brian Ennals and Infinity Knives’ King Cobra is a must-listen for anybody who appreciates forward-thinking and thought-provoking Hip Hop. Like fellow Baltimore experimentalist JPEGMAFIA, these two pull no punches. Brian Ennals has a straightforward old-school flow, his socio-political bars hit hard, and Infinity Knives’ unsettling soundscapes amplify his content – the production on King Cobra is genuinely great. On the album, their sound is described as ‘post-apocalyptic Run-DMC’, and that sounds about right: the instrumentals and flows on King Cobra are abrasive and innovative at times but rooted in traditional 80s Hip Hop at the same time (listen to “Premium Malt Freestyle” for instance – old heads will recognize the Schoolly D and Sir Mix-a-Lot inspiration there). King Cobra is a special album, unlike anything else released in 2022.

135. Blu & Evidence - Los Angeles (2024)

Blu and Evidence’s Los Angeles is a love letter to the City of Angels, crafted by two of its most talented sons. This collaborative effort brings together Blu’s seasoned lyricism and Evidence’s masterful production, resulting in an album that captures the essence of L.A. in all its gritty, sun-soaked glory.

Blu, who first made waves in the underground scene with his and Exile’s 2007 classic Below the Heavens, has had a somewhat inconsistent output since. However, Los Angeles marks a return to form, arguably his strongest work in the 2020s decade. Evidence’s production provides the perfect backdrop for Blu’s introspective bars, ranging from hard-hitting boom bap to jazzy, soulful instrumentals that perfectly complement the lyrical content.

The album kicks off with “54th,” a stripped-down track that sets the tone with shout-outs to the neighborhood. From there, we’re taken on a journey through the city, with tracks like “The Land” and the title cut painting vivid pictures of life in L.A. “3 Wheel Motion,” featuring Kokane, offers a syrupy, laid-back vibe that’s perfect for a smoke session, while “L.A. Tourists” with M.E.D. cleverly switches up from piano-driven boom bap to psychedelic sounds midway through.

Blu’s storytelling shines throughout the project. He touches on everything from the infamous L.A. traffic (“L.A. Traffic” featuring Cashus King & Self Jupiter) to the rare cold days in the typically sunny city (“The Cold”). “Heaven” stands out with its gospel-infused production, as Blu recounts a letter from a departed friend describing the afterlife.

The features on “Los Angeles” are well-chosen and add depth to the project. The Domo Genesis and Navy Blue collaboration on “Lights at Night” is a particular highlight, with the trio painting a vivid picture of the city’s nighttime skyline. Evidence himself steps up to the mic on “Wish You Were Here,” delivering passionate bars alongside Blu.

Evidence’s production deserves special mention. He effortlessly switches between styles, from drumless tracks to hard-hitting boom bap to jazz-infused beats. This versatility provides a rich sound that will keep you engaged throughout the album’s runtime. While Blu’s flow might not be the most technically complex, it fits perfectly with the melodies and production. His delivery is consistently on point, whether he’s delving into grittier street narratives or more introspective material.

Los Angeles is a homerun for both Blu and Evidence. For fans of thoughtful lyricism and top-tier production, this album is a must-listen. With Los Angeles, Blu and Evidence have created an authentic, engaging portrait of their city that will resonate with long-time fans and new listeners alike.

136. The High & Mighty - Sound Of Market (2025)

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

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

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

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

137. Danger Mouse & Jemini - Born Again (2023)

Producer Danger Mouse and Brooklyn emcee Jemini first joined forces in 2003 for the often overlooked but excellent Ghetto Pop Life. After being shelved since 2004, the sophomre album we never knew we missed has finally arrived.

Danger Mouse, who played a pivotal role in 2022’s best Hip Hop album with Cheat Codes, his collaboration with Black Thought, brings his signature production prowess to the table. Born Again bursts to life with “All I,” immediately reminding us of the magic these two can conjure together. Danger Mouse’s psychedelic underground beats set the stage for Jemini’s charismatic storytelling and vulnerability.

Born Again is a sonic journey that blends body-moving rhythms, crate-digger samples, and old-school soul. Danger Mouse’s sophisticated musicianship, with its layers and intricacies, keeps the listener engaged. It’s a rare gem that’s both an instant banger and a piece of art to dissect. Jemini’s lyrical prowess is evident, especially on tracks like “Dear Poppa,” where he navigates complex feelings about his father. But he can also bring the classic Hip Hop swagger, as showcased on the gritty and funky “Knuckle Sandwich II.”

With a compact ten-track lineup, “Born Again” doesn’t overstay its welcome. Tracks like “Locked Up” and “Brooklyn Basquiat” capture Jemini’s blend of pain and playfulness, offering a balanced listening experience. Born Again is a top-notch collaboration that was delayed since 2004 but now finally sees the light of day. Do we have a long-lost classic here? It sure feels like it.

138. Quelle Chris & Chris Keys - Innocent Country 2 (2020)

If there’s one constant in Quelle Chris’ body of work it’s that he never does the same thing twice. Unlike many other artists who make the same album over and over again, this eclectic Detroit rapper never takes the easy way out, instead, he is always looking for new directions. Innocent Country 2 is sort of a sequel to 2015’s Innocent Country. A sequel, but a direct opposite as well – where the initial Innocent Country focused on isolation, pessimism, and the notion of finding peace within pain, this one offers soothing light in a bleak timeline: a hopeful record in a hopeless moment, precisely when it’s needed most.

Innocent Country 2 is a jazzy and warm listening experience with smooth synth loops over dusty drums crafted by Chris Keys, but it’s not breezy – there’s always depth to Quelle Chris’s lyrical musings. And although this album is not as deep or important as last year’s Guns (on which Quelle Chris addressed the impact of gun violence on American society in particular and the uncertainties of living in modern America in general), Innocent Country 2 is an album with substance as well.

Standout tracks include “Living Happy”, “Graphic Bleeds Out”, “Black Twitter”, “Grease From The Elbows” (featuring billy woods and Pink Siifu), “Sacred Safe”, with a show-stealing verse from Homeboy Sandman – but Innocent Country 2‘s strength is its consistency, it’s a perfect album to keep on rotation in the summertime (and in other seasons too, for that matter).

139. Curse Ov Dialect - Dark Days Bright Nights (2021)

“Formed in 1994, Australian surrealist multicultural rap group Curse Ov dialect has been an anomaly in the music scene. Curse Ov Dialect has revolutionized the language of Hip Hop throughout decades of music-making. Across eight album releases and 25 years of performances, they have defined and pioneered a new golden age of rap — playful, poetic, enlightened, and essential.

Curse Ov Dialect is internationally renowned for its intense live performances involving elaborate symbolic costumes, audience participation, and Dadaist stage theatrics. Cultures are bridged, traditions are taught, stereotypes and rules are broken. The heaviest beats are matched with unexpected samples from every era of music and every corner of the globe. Each emcee brings a powerful voice against ignorance.

Dark Days Bright Nights is their stunning new album. Bursting with revolutionary energy, sociopolitical fervor, and a laser focus on the hypocrisies of Australian culture, this watershed double album powers past the medio-core masses to enshrine Curse Ov Dialect at the forefront of intelligent, original, musically astute Hip Hop worldwide.”

Dark Days Bright Nights is a unique album, laden with eclectic instrumentals, idiosyncratic flows, and thought-provoking content. This is not a casual or straightforward listen, but musically adventurous Hip Hop fans up for a challenge will be amply rewarded.

140. AKAI SOLO - Spirit Roaming (2022)

“Spirit Roaming is AKAI SOLO’s first full-length collaboration with Backwoodz Studioz. Spirit Roaming arrived on the heels of his Body Feeling EP, building on its material and existential themes. Here, AKAI’s unique palette is applied to a bigger canvas, without losing the intimacy and the sardonic self-awareness that helps define him as an artist—alongside a delivery and cadence all his own.

Spirit Roaming features an eclectic group of producers, from vets like Preservation, Animoss, Messiah Musik, and August Fanon, to emerging talents Theravada, ibliss, WifiGawd, Roper Williams, and JUNIE. AKAI lends bits and pieces of his own production to the mix, but goes mostly dolo on the mic, with Armand Hammer as the lone feature arriving just in time for the curtain call.

Working amidst a renaissance in NYC indie rap, AKAI is both part of that wave and a man apart. The 27-year-old Brooklyn native has collaborated extensively with many of the scene’s stalwarts (including Pink Siifu, Armand Hammer, and Navy Blue), but, true to his name, has always navigated his own course.”

AKAI SOLO and Backwoodz Studioz are a perfect fit. His music is for a niche audience, as is most of what comes out of Backwoodz Studioz. Still, the move to Backwoodz is likely to raise AKAI SOLO’s profile – also because this easily is his best-rounded and best-produced album. Not an easy listen, but accessible enough to gain him more exposure and take him to a next level.

141. Previous Industries - Service Merchandise (2024)

Service Merchandise is a collaborative album from Previous Industries, that brings together Open Mike Eagle, Video Dave, and STILL RIFT in a nostalgic, but forward-thinking exploration of time and memory. Named after a defunct retail catalog, the album is infused with a sense of longing for the past, captured in both its lyrics and production. Each track title evokes a bygone era of American consumer culture, while the beats, primarily crafted by Child Actor, carry a hazy, lo-fi aesthetic reminiscent of the golden age of Hip Hop.

The trio’s chemistry is great throughout the album. Their verses flow effortlessly, weaving between playful banter and introspective musings. Video Dave’s wistful lines on “Roebuck” and STILL RIFT’s sharp reflections on “Fotomat” highlight their ability to blend humor with deeper themes. Open Mike Eagle, as always, delivers intricate rhymes filled with cultural references that strike a chord with listeners who remember the days of Blockbuster and Kay Bee Toys.

Service Merchandise is more than a trip down memory lane; it’s a meditation on the passage of time and how our memories shape our present. The album’s blend of quirky beats, clever wordplay, and genuine emotion makes it a standout project in all their careers.

142. Nas - Magic 3 (2023)

Nas and Hit-Boy’s sixth collab, Magic 3, marks a solid finale to their journey that kicked off in 2021. It’s a noteworthy entry in their collaborative journey, clocking in at 45 minutes, making it a proper full-length. A fitting wrap to an impressive run.

Now, we’ve voiced some reservations in the past about Hit-Boy’s overly polished beats, but on Magic 3, the production feels more on point especially when compared to the first King’s Disease album for instance. Nas, as usual, brings the lyrical heat and, considering this release celebrates his 50th birthday, he proves he’s still reigning in the Hip Hop realm.

Magic 3 boasts plenty of standout tracks, notably “Sitting With My Thoughts,” characterized by its captivating melody and personal lyrics. Other tracks like “Jodeci Member”, “I Love This Feeling”, “Based On True Events”, “Based on True Events Pt. 2”, “Speechless Pt. 2”, and “Japanese Soul Bar” also showcase Nas’s lyrical power.

Despite our reservations about the production styles Hit-Boy employs, it’s safe to say Nas and Hit-Boy consistently deliver as a duo, and Magic 3 keeps their collaborative magic alive. King’s Disease 3 is the best project they did together, but this album stands as a commendable addition to their joint efforts, reaffirming Nas’s enduring talent. Props to the Hip Hop OG for continuing to hold it down in the 2020s.

143. Aesop Rock – I Heard It’s A Mess There Too (2025)

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

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

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

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

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

144. Killer Mike - MICHAEL (2023)

Killer Mike’s return to solo form with MICHAEL is a bruising, reflective Atlanta rap record built like a full autobiography rather than a playlist grab. Across the album he digs into childhood, faith, family, and grief with an honesty that hits hard without drifting into preachy territory. The cover—nine-year-old Mike with halo and horns—matches the writing: a man reckoning with grace and damage at the same time.

Musically, MICHAEL leans into Southern tradition: gospel choirs, organs, bluesy textures, and thick low-end sit next to boom-bap grit and modern Atlanta swing. Instead of chasing radio, the production gives him room to talk, shout, and testify. Guest spots are stacked, but they mostly feel like extensions of his world rather than distractions; Andre 3000 in particular turns his appearance into an event.

This is not a copy of R.A.P. Music and not an extension of Run The Jewels. It is an older, sharper Killer Mike taking stock, praying out loud, and still rapping with enough command to cut through big arrangements and crowded hooks. MICHAEL plays as a heavy, gospel-soaked life update from one of Hip Hop’s most distinctive voices.

145. One Be Lo - Baby (Being A Black Youth) (2020)

BABY (Being a Black Youth) is One Be Lo’s best project since his magnum opus S.O.N.O.G.R.A.M. (2005). One Be Lo has always been a fan of acronyms, evident here not just in the album’s title but in the tracklist as well: all song titles are composed of the four letters in BABY too.

BABY packs 16 tracks and runs for close to an hour, but it’s not a minute too long. All 16 tracks were produced by Seattle-based producer Eric G (together with One Be Lo himself), and all tracks have scratches by DJ Abilities – this synergistic cooperation ensures an entirely cohesive sound throughout. One Be Lo recruited a bunch of interesting guests to add some extra flavor – the likes of Freeway, Guilty Simpson, Black Milk, Royce Da 5’9″, Jean Grae, and Phonte make appearances, among others. BABY is a beautiful Hip Hop album filled with soulful boom-bap beats and meaningful lyrics. Don’t sleep on One Be Lo and BABY.

146. Anti-Lilly & Phoniks - All Good Things (2025)

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

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

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

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

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

147. Dälek - Precipice (2022)

“Forged in the fires of the East Coast underground music scene in the 90s, experimental Hip Hop pioneers, Union City, NJ-based duo Dälek has spent decades carving out a unique niche fusing hardcore Hip Hop, noise, and a radical approach to sound. Their brutal sonic temperament pushes rap music’s capacity for noise and protest to some exhilarating conclusions. For their latest and eighth album, Precipice, Dälek unleashes a work that is practically bristling with fury and power. Predominantly the work of the core duo, Will Brooks, aka MC Dälek and Mike Manteca (Mike Mare), Precipice features a guest appearance of Adam Jones of Tool.”

From Filthy Tongue Of Gods And Griots (2002) and the masterful Absence (2005) are Dälek’s best albums, iconic records in the industrial Hip Hop subgenre. Precipe is not as memorable as these two classics are, but it is a strong album nonetheless. Boom-bap-driven beats backed up by an unsettling ambient droning create an overall dark and dreary atmosphere, further exacerbated by MC Dälek’s thought-provoking semi-abstract lyrics. Precipe is a slow-burner of an album, a fitting document for the chaotic and uncertain times the album was released in.

148. ScHoolboy Q - Blue Lips (2024)

After a five-year hiatus, Los Angeles rapper ScHoolboy Q’s long-awaited sixth studio album, Blue Lips, proves the wait was worth it. This project throws listeners into a world of captivating duality, blending jazzy and soulful sounds with eerie, menacing beats, and mixing up mature introspection with trash talk to great effect. Blue Lips is a clear step up from the very underwhelming CrasH Talk (2019) and rivals his critically acclaimed earlier works like Habits & Contradictions (2012) and Oxymoron (2014). While Blank Face LP (2016) remains our favorite ScHoolboy Q album, Blue Lips holds its own.

Blue Lips throbs with the signature darkness that has always defined Q’s sound, yet it feels refreshingly inventive. The production is strong throughout, featuring lots of dope beat switches and soulful samples that complement Q’s dynamic and at times fiercely biting delivery. Particularly the first half of the album is powerful, boasting standout tracks like “Pop”, “THank God 4 Me”, “Blueslides”, “Love Birds”, “Cooties”, “oHio”, and “Foux”. Guest appearances from artists like Freddie Gibbs, Ab-Soul, and Rico Nasty add extra flavor to the project.

Q isn’t afraid to be experimental on Blue Lips. He navigates smoothly between visceral trap-flavored bangers and jazzy vibes, sometimes within the same track. While the second half of the album, might not quite match the strength of the first, the overall experience remains finely tuned and engaging. Whether you’re a longtime ScHoolboy Q fan or just discovering his music, Blue Lips is a strong modern rap album that demands to be heard.

149. Knowledge The Pirate & Roc Marciano - The Round Table (2025)

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.

150. Third Root – Passion Of The Poets (2020)

Third Root is a trio that consists of Charles Peters (Easy Lee), Marco Cervantes (Mexican StepGrandfather), and DJ Chicken George (DJCG). Peters is an accomplished poet/author/MC & educator, Cervantes is a producer/MC/Ph.D. who teaches at the University of Texas at San Antonio, and DJCG is a world-renowned DJ, musicologist, designer, and Jazztronica! Peddler. Passion Of The Poets is their fourth full-length album. The album is produced by Grammy-winner Adrian Quesada, nu-cumbia legend El Dusty, and veteran beatsmith Illfudge, and has features from Black Pumas, Kam Franklin, Grupo Fantasma, Bavu Blakes, and Mad1ne.

Passion Of The Poets is a soundtrack to the time we live in now, with clever and thought-provoking lyrics from Easy Lee and MexStep. Both are educators and their backgrounds show in their lyrical content. Without becoming preachy anywhere, they succeed in being educational and entertaining at the same time, perfectly balancing sh*ttalking with insightful socio-political commentaries.

Musically, Passion Of The Poets offers a potent blend of 90s-centric boom-bap, Southern Hip Hop, and Latin sounds. The album’s 12 tracks are perfectly sequenced, and every song hits, no skips are necessary. Even the cover art is done exactly right. Passion Of The Poets will probably fly way below most people’s radars, but those who take note will discover one of 2020’s best projects.