40. Die Lit – Playboi Carti: I’m not the biggest Playboy Carti fan, and I had no intention listening to this project until I saw the album cover. It looks like a photo you would see in a mural on the backstage walls of a historic music venue that’s on the verge of being condemned by city health inspectors. Album cover praise aside, there are enough stand out moments for me to warrant including it on this year’s list. The real star of Die Lit is the production, while Playboi Carti does tie it all together with his vocals, the mood and the foundation of which the album relies on is due to the production. Frequent Playboi Carti producer Pi’erre Bourne has his fingerprints all over the production credits, and I think it’s a much stronger album thanks to those contributions. My favorite example is the ethereal, euphoric sounding “Foreign” it helps capture the unrealistic levels of wealth that Carti’s music career has brought it. While Die Lit does suffer a bit from album bloat, its high points are worth checking out.

Notable Tracks: R.I.P., Shoota, Poke It Out, Foreign

39. Chelsea Jade – Personal Best: I’m a sucker for dream pop. There’s something about the muted beats and the hazy vibe that cause songs from this genre to burrow through my ear canal into my mind where they will dominate my thoughts for the rest of the day. Chelsea Jade’s debut is no exception with her understanding of the genre on Personal Best. The title track “Personal Best” feels like a manifesto of Jade’s goals in artistry, suggesting that a personal best would put a limit on what she’s capable of, but rather “best is better,” all backed by this subtle, thumping base. Personal Best is at its best in the subtlety whether it be in Jade’s soft spoken, soothing voice, or in the light and dreamy production. Along this line, the climaxes here are better off for their lack of bombast unlike what you would expect on a similar project, rather Jade is content with either subverting the expectation (like on “Personal Best” at the track’s conclusion) or by easing you into a light high note (like on the conclusion of “Color Sum”). Chelsea Jade is a great new addition to the dream pop landscape, and I’d say her best has no borders.

Notable Tracks: Personal Best, Color Sum, Speed Boat

38. Rich Brian – Amen: For all his talent, I’ve worried that Rich Brian (formerly Rich Chigga of Dat $tick fame) would have a tough time breaking away from his gimmick status that brought him viral success in 2016. Amen at the very least shows that the Indonesian rapper has the potential to make a substantial career of hip hop without totally abandoning the humor that got him notoriety in the first place. While Brian does have plenty of moments where he fleshes out his typical style (specifically “Amen,” and “Kitty”), the real draw for me is where he ventures off the beaten path. I’d love to see Brian explore this dreamy, tropical sound more on future projects, songs like “Introverted,” “Glow Like Dat,” and “Little Prince” exhibit the tone I’m referencing. These tracks add a new texture to Brian’s style; if he could improve on his singing a little bit then I think it would make him a complete package as a performer.

Notable Tracks: Amen, Glow Like Dat, Kitty

37. iridesence – BROCKHAMPTON: In 2018, BROCKHAMPTON found themselves embroiled in controversy as one of the group’s most prominent members, Ameer Vann, faced sexual abuse accusations. It was a difficult but admirable decision by the group to kick Vann from the group, sticking by their values as one of the most progressive voices in hip hop, but it nevertheless put their future into question (I mean Ameer was the album artwork for all three entries into the Saturation trilogy). iridesence gives us a look at the massive hip hop collective that makes them sound more like a veteran group than the young visionaries they are. This album finds the group reflecting on their meteoric rise in the year before and how much of their life has changed as a result. The individual members of BROCKHAMPTON attempt to cope with the difficulty of the forced aging that comes with becoming successful and being put under the social media microscope, they talk about the hard decisions that come with the business side of art, the depression that they carry, and the longing for simpler times where none of this was as important (as highlighted on “TONYA”). Kevin Abstract once again proves that he’s one of the most interesting voices in hip hop and R&B today on tracks like “WEIGHT”. iridesence might not reach the same heights that the Saturation trilogy did, but it’s yet another solid entry in to an already impressive catalogue of music.

Notable Tracks: NEW ORLEANS, WEIGHT, TONYA

36. Leon Bridges – Good Thing: Good Thing has the benefit of immediately feeling familiar to the listener thanks to Bridges excellent grasp on classic genres like classic R&B, disco, and smooth jazz among others. While I worry that Leon Bridges is one day going to paint himself into a corner as “the throwback impersonator,” (see recent criticisms of Greta Van Fleet for what specifically I mean) but I don’t think that concern has been fully realized yet. There’s a track for just about every occasion on Good Thing making for a universally pleasing project without it becoming shallow. My personal favorites throughout this album is when Bridges cuts loose and lets his charming personality carry a track. “If It Feels Good (Then It Must Be)” is so much fun, the playful guitar plucking, Bridges’ ability to make it feel like he’s talking directly to you (I’m pretty sure I blushed at least one time when I heard this song since it made me feel this way), it makes for a fantastic dance song. “Georgia to Texas” is a song that I’d love to see Bridges flesh out into a full album. I love it when Bridges delves into family history (like on “Lisa Sawyer” from his 2015 album Coming Home), it makes for some of the best content he has to offer. While I was disappointed that “Georgia to Texas” was the only example of this on Good Thing, it was good enough to tie me over for the next time.

Notable Tracks: Bad Bad News, Shy, If It Feels Good (Then It Must Be), Georgia to Texas

35. Clean – Soccer Mommy: Famed woman in indie rock released her debut project Clean this year and caught a ton of buzz for it. It’s a spiteful, cynical, take on relationships, but wrapped in breezy, echoing guitar riffs and elongated bass tones. You’d never know Sophie Allison was singing about hating being an accessory in someone’s life (on “Your Dog”) or wanting to be her boyfriend’s ex because she appears to be better in every imaginable way (on “Last Girl”) thanks to the light tone of the instrumental on this track. Clean is a simple little project that concludes just after 30 minutes of run time, so I don’t have much to say on it other than I can’t wait for more from Allison’s music career!

Notable Tracks: Cool, Your Dog, Blossom (Wasting All My Time), Skin

34. Lush – Snail Mail: Lindsey Jordan’s debut project Lush under the name Snail Mail is a pensive reflection on an anonymous “you” and the complicated emotions that bubble up as a result. The project is an emotional roller coaster that ricochets from sullen and wounded on “Speaking Terms” to vengeful and righteous on the peppy “Heat Wave” as she hopes that “Green Eyes” finds love that consumes them, only to have it rejected. Lush is a spectacular debut from Jordan as she reflects on what I can only interpret to be fresh emotional wounds.

Notable tracks: Speaking Terms, Heat Wave, Full Control

33. What Happens When I Try To Relax – Open Mike Eagle: Open Mike Eagle is at his best on smaller, but more focused projects. I would regard the thought provoking and clever A Special Episode – EP as one of the best releases he’s ever put out, and I’d say we’re getting a similar output on What Happens When I Try To Relax. “Relatable (peak OME)” is classic Open Mike Eagle, you’re treated to a spacy, droning, synth beat as Mike stretches out the last syllable of every line and ponders the artificial “relatability” of being a creator in the digital era. This facade of relatability breaks down in the second verse, Mike releases his anxieties into the world and then ultimately concludes that “At the end of the day it was too irresponsible”. The relatability paradox is one that I often feel as I erase a caption for a dumb meme that I’m posting (or as I re-write these reviews for the fifth time to prove that I know what I’m talking about). “Southside Eagle” is another standout track to me as Mike explores his creative trajectory like his burgeoning podcast career (Adventure Time fans I recommend you check out his show Conversation Parade, it’s lovely), the struggles of being an independent artist, and the problem that Mike has identified as most crucial in his career “[How] to reach black kids in a room full of whites”. Mike presents himself as an imperfect, struggling, artist; through his clever observations and eclectic beat choices, this decision pays off.

Notable tracks: Relatable (peak OME), Single Ghost, Southside Eagle

32. Joey Purp – QUARTERTHING: As the city of Chicago continues to make its case as the best represented city in this generation of hip hop music, Joey Purp often appears to be the forgotten one. Not poetic enough to be Mick Jenkins or Saba, not poppy enough to be Chance the Rapper, I always find him just outside of the conversation. Enter QUARTERTHING, Joey Purp’s first official studio release. Where Joey’s previous efforts often sported production rich with traditional horn arrangements and boom bap percussion, QUARTERTHING is a departure in favor of an electronic vibe. The opening track helps bridge a gap from Joey’s previous project iiiDrops as he proclaims amazement at the progress and growth he’s seen to this point, yelling “I’m still alive!” is a heartfelt, positive start to a project that serves as a retrospective on the young rapper’s grind. I love the viewpoint that’s afforded to the listener between the two tracks “Look At My Wrist” and “2012”. It’s an interesting pairing of songs towards the end of the album that gives you an idea of how exactly Joey’s perspective on friendship, street life, and growing up has changed over the years. QUARTERTHING is excellent as an official debut for Joey Purp, and I love that he gets his moment to relish in the spotlight.

Notable Tracks: Godbody Pt.2, Elastic, 2012, Lebron James

31. Mitski – Be the Cowboy: Be the Cowboy brings to the fore a vulnerable, wounded, and confessional Mitski; a decision that makes for an engaging and relatable album. At times this album plays like slide reel of crimes one’s committed against their own heart in a desperate attempt at feeling whole. Most of the examples are these innocuous interactions that can be devastating by virtue of rejection from a former lover. Throughout the album Mitski depicts the effort she puts in to move on from a former lover, only to “lose” as soon as she sees them in person again (on “Lonesome Love”) or her willingness to be walked all over just for a kiss (on “Washing Machine Heart”). If you’re like me and have found yourself in a comparable situation, you’ll feel secondhand embarrassment or endear yourself to the feelings of longing (depending on the temporal distance of your own experience). The crushing inevitability on the album’s closing track “Two Slow Dancers” is a poignant closing note as Mitski’s voice is accompanied by a minimalist keyboard arrangement as she explores the fleeting nature of relationships and the painful drift that happens as the participants’ age. The final moments play out like the end of a sappy 80s movie as the romantic pairing are embraced and swaying to the song in a poorly lit gymnasium, they both are reluctant to part but know that it will one day happen.

Notable tracks: Geyser, Old Friend, Remember My Name, Two Slow Dancers

30. Hermit and the Recluse – Orpheus vs the Sirens: It’s difficult to pin down what exactly Ka’s discography is, the best description I’ve come up with is “historical hip hop”. With albums like The Night’s Gambit and Honor Killed the Samurai, there’s a pretty solid case to be made that Ka has carved out a niche by connecting notable warriors or myths of ancient civilizations to his own personal narrative. His latest effort, Orpheus vs the Sirens, is a collaborative effort with Los Angeles producer Animoss that takes on the legendary Greek musician Orpheus. Its modern day reimagining of one of Western Civilization’s most favorite sets of myth, all retold through Ka’s monotone, lower register. Ka’s one note vocals are the perfect match for Animoss’ lo-fi, retro, beats, both have big enough personality to make their presence known without upstaging the other. If you were ever the type to obsess over Greek myth in middle school (either by way of the Percy Jackson novels, or mid 2000s Angel Fire websites) then you’ll certainly enjoy this clever retelling of these timeless tales.

Notable Tracks: Atlas, Hades, Oedipus

29. Kids See Ghosts – KIDS SEE GHOSTS: Somehow Kids See Ghosts did not end up being the disaster I anticipated it being when it was announced. “Feel the Love” could not have been a better way to kick things off on this project. Pusha T over a muted, minimalist beat could not have been a better choice, especially in the wake of his incredible June (the release of DAYTONA and his GOAT dis track “The Story of Addidon”). Kanye’s ad-libs on “Feel the Love” might just be one of my favorite moments in music in 2018. The forceful, violent, and punchy nature of his “GAK. GAK GAK GAGAK,” is another instance of Kanye taking a prevalent trend in hip hop music (in this instance, rappers ad-libbing gun sounds on their tracks) and turning up to 11 to showcase exactly what you can do with a trend that so often gets derided by unimaginative oldheads. Kudi likewise feels like he’s gotten back to his roots, his singing has taken a major step forward, the humming/moaning tone in his voice doesn’t detract from the track like some of his more recent efforts. I’m so close to loving “Freeee (Ghost Town Pt. 2)” but man, I can’t stand the echoing “FREEEEEE” in the background after every line. In spite of that critique, I love the positive, self-affirmation vibe that this song establishes, especially in light of both artists’ mental health revelations. “Cudi Montage” feels like classic, College trilogy Kanye West, amazing sampling choices, poignant social commentary, and some solid wordplay to tie the song together. If you’re long time fans of Kudi and Kanye, you will find yourself loving Kids See Ghosts.

Notable Tracks: Feel the Love, Fire, Kudi Montage

28. Ephorize – cupcakKe: (NOTE: This album features sexually explicit content, like moreso than most albums I’ll be reviewing. If that’s not your thing, consider skipping this one, thanks!) No matter what I write about Ephorize, I will have not done it justice. To understand what I mean, you have to listen to this album and hear for yourself. All that being said, cupcakKe’s humor, her technical prowess as a rapper, and her mystique as a sentient, sexual, glitter bomb makes her one of the most intriguing rappers in the genre today. On the surface she’ll draw criticisms akin to being an Amy Schumer/Nicki Minaj hybrid (Insert Spongebob mocking meme with text that reads “ShE OnLy RaPs AbOuT HeR VaGiNa!”), to which if that’s your opinion of cupcakKe’s work, I don’t think you’re taking a good faith attempt to listen to her work. While there is plenty of sexually overt content on this project like “Duck Duck Goose” or the LGBT positive anthem “Crayons,” it’s presentation is uniquely in cupcakKe’s voice. Some of my favorite moments on this album are when cupcakKe takes herself to task, like on “Self Interview” as she answers the song’s core question: “Why the [expletive] do I do the things that I do?”. Ephorize is one of the most fun projects of the year, I would challenge you to give cupcakKe a chance to entertain you with this album.

Notable tracks: Cartoons, Duck Duck Goose, Cinnamon Toast Crunch, Self Interview

27. Mark Kozelek – Mark Kozelek: Most of what I have to say about this record is a repetition of my thoughts on Kozelek’s 2017 effort, the meandering and philosophical Common as Light and Love are Red Valleys of Blood. I continue to be impressed with Kozelek’s ability to make profound observations in his daily mundane activities. It takes a master of stream of consciousness storytelling to draw a thread from a dim sum lunch with a group of old women to a story about a Nazi occupied town, yet Kozelek pulls it off on the opening track “This is my Town”. For me, the essence of this album can be captured in a lyrical interaction between the songs “The Mark Kozelek Museum” and “Weed Whacker.” On the former, Kozelek has a pair of lines “And I’m on Spotify too, they tell me/My biggest song is ‘Chili Lemon Peanuts’”. It seems like yet another one of those throwaway lines that’s meant to just add texture to the overall album, at least until the track “Weed Whacker” when Kozelek retells a conversation with the following lyrics:

“I said, ‘Yeah, who’s that in the background on the radio, rapping?’
He said, ‘They’re called Sun Kil Moon, the album is called
Common as Light and Love Are Red Valleys of Blood
You’ve probably never heard of them
By the way, it’s not the radio, it’s Spotify’
And he said, ‘What’s wrong, you look like you’re going to cry’
He said, ‘What’s wrong, you look like you’re going to cry’”

The interaction between these sets of lyrics is so fascinating to me, it speaks to the complex emotions that Kozelek feels towards his fame, the nature of fame in a time where media is more widely accessible than ever (and more disposable as a byproduct), the conflict of pretending not to care about stuff like Spotify streams but the reaction described in “Weed Whacker” suggesting otherwise. There’s tons of awesome interactions like these on Mark Kozelek making for a rewarding repeat listen.

Notable tracks: This Is My Town, The Mark Kozelek Museum, My Love For You Is Undying, Weed Whacker

26. J. Cole – KOD: My opinion on Cole rubber bands back and forth probably more than with any other current rapper. Early Cole is forgettable, Forest Hills Drive is exceptional, the Black Friday collabs crushed it, and 4 Your Eyez Only had a handful of good tracks amongst a series of duds. All that being said, KOD once again demonstrates Cole’s ability to make insightful hip hop without validating the criticism of being too corny. At its core, KOD is an examination of how our interpersonal relationships get corrupted, specifically through our vices. For all of his desire for perfect, authentic relationships, Cole portrays himself as cynical throughout this album. He assumes the worst motivations of people in his life (on tracks like “Photograph” or “The Cut Off”), stemming largely from acknowledging that he can be motivated by his vices (as demonstrated by his wandering heart in “Kevin’s Heart”) and by past trauma (as told on one of my favorite J. Cole tracks “Once an Addict – Interlude”). Presenting all these songs wherein Cole questions the motives of everybody around him (including himself), it’s the making of a bleak tone that hangs over the entire album.

Notable Tracks: The Cut Off, Kevin’s Heart, Once an Addict – Interlude, FRIENDS

25. Vince Staples – FM!: As a person that has never liked the radio, it’s strange that Vince Staples has made me feel a sense of longing for a lionized vision of Kube 93.3 (a Seattle hip hop radio station if anybody from outside of Washington stumbles upon this write-up) that probably never existed. FM! is a tight, twenty-two minute EP that centers around the idea of your local radio station and its role in developing the cultural identity of the neighborhoods that pick up the broadcast. While tracks like “Outside” and “FUN!” are both excellent standalone tracks, I find that the best parts of this project are the wrinkles and details that help establish the illusion of tuning into a local radio station. Things like Big Boy’s Neighborhood checking in with some wacky radio contests, the cheesy mid-2000s DJ sound effects, the seamless mix from track to track, the snippets for new fake singles (side note: I NEED a full version of “New earlsweatshirt – interlude” stop messing with me Vince!), all of these little details help develop an atmosphere your morning radio mix. A lesser artist could have easily flubbed this idea, or could have said nothing really interesting through this creative choice, but Vince’s storytelling through the insidious “Feels Like Summer” (juxtaposing the happy summer vibe that a radio show aims to put out with the dangers of living in a bad neighborhood during the summer) and the forlorn closing track “Tweakin’” shows the well thought out concept and the execution that followed.

Notable Tracks: Outside, Relay, FUN!

24. Negro Swan – Blood Orange: “My eternal resolution will be to do too much” is the central theme that anchors Negro Swan. The refrain is introduced to the listener at the conclusion of the opening track “Orlando,” and much like the image that the album’s title calls to the listener’s mind, it’s an image that feels appropriate to that central idea. While the skits and spoken word portions of the album are focused on this idea of standing out, much of the album plays more comfortably as background music thanks to the soft, melodic atmosphere that is at play; it’s an interesting tension that’s at play through most of the project. Given the title, and the melancholy tone of many of the songs, I would assert the album speaks to the anxieties that many people of color experience simply by existing as a hyper visible body while also trying to blend in. The first time that it feels like Negro Swan breaks out of its shell is on the track “Charcoal Baby” directly after a short spoken word piece about the family you choose; the track pops with a flirtatious guitar riff, soothing synth chords, and of course Dev Hynes’ enchanting vocal performance. Like all of us, “Charcoal Baby” speaks to the desire that all of us have, to have a place to belong.

Notable Tracks: Hope, Charcoal Baby, Out of Your League

23. Historian – Lucy Dacus: There aren’t many stronger album starters this year than Lucy Dacus’s vocal and songwriting performance on “Night Shift”. The forlorn tone to her vocal performance, the ebbing and flowing of the lone guitar, the ever building repetition of “You’ve got a nine to five, so I’ll take the night shift” up to its finality when Dacus’s voice bursts with passion at every syllable. I’m a sucker for tragic love stories, and “Night Shift” is exemplary in the art. There’s plenty more than this lone single that I’m gushing over, “Addictions” feels like a companion piece to the opening track, suggesting that the untimely end to this relationship is not a clean break as you’d be lead to believe on the opening track. The lines “I’m just calling, cause I’m used to it. You’ll pick up, cause you’re not a quitter. You’ve got addictions too it’s true,” almost comes off as playful teasing to her former lover, as if she knows that he’s not capable of moving on either. Dacus’s songwriting is the selling point of Historian, second only to the skilled guitar plucking and smoky vocals you’ll find on tracks like “Addictions,” “Timefighter,” and “Pillar of Truth.”

Notable Tracks: Night Shift, Additions, Timefighter

22. Harutosyura – Haru Nemuri: Haru Nemuri’s music is evidence enough to me that great music is able to break down language barriers. As somebody who knows no Japanese (outside of a few meme phrases that are likely mistranslated anyways), I can at the very least identify what kinds of emotions are being portrayed across the rollercoaster ride of Haru Nemuri’s harutosyura. The track “narashite” illustrates this point the best, particularly the repetition of the line “Narashite/Ima sugu narashite”. This track’s already high energy tone erupts with Haru screaming these lyrics towards the songs end, her voice is full of frustration and words alone could not depict. Haru’s vocal performance is backed by a dynamic band that matches her energy on every track. I have looked for the names of the backing band for the last several months, only to not find an answer, but good lord they can play! Whoever is responsible for the simmering guitar chords the boils over into a wailing solo at the end of the track “harutosyura” or the plucky notes on “rock n roll wa shinanai with totsuzenshounen” deserves as much credit for the high intensity tone that these tracks maintain. Harutosyura makes every moment count, and front woman Haru Nemuri makes the project well worth several listens.

Notable Tracks: MAKE MORE NOISE OF YOU, narashite, harutosyura, rock n roll wa shinanai with totsuzenshounen

21. Brandi Carlile – By The Way, I Forgive You: In spite of it all, Brandi Carlile is somehow able to find it in her heart to forgive. The Washington native singer-songwriter pens songs that are packed with wisdom and perspective far beyond her years on By The Way, I Forgive You. The “you” is an ever changing subject from song to song, and Carlile does an exceptional job of applying this theme of compassion through anguish on the entire record. The most creative application of this is on the track “The Mother” a song dedicated to her daughter Evangeline. It’s a clever take on the story of parenthood wherein she forgives not only her daughter for transforming her life, but also herself for the self-martyrdom she saw motherhood being (I especially love the line “So they can keep their treasure and their ties to the machine/’Cause I’m the mother of Evangeline”). “Hold Out Your Hand,” is a breakout song on this record, I love the switch up between the rapid, muted verses and the explosive, elongated verse complete with that infectious chant! It would be a major oversight on my part to not at least mention the conflicted concluding track, “Party Of One” as she struggles to forgive the flawed person that she notes she’s still in love with after all these years. By The Way, I Forgive You affords its listeners a series of emotionally complex tracks that are worth unpacking time and time again.

Notable Tracks: Hold Out Your Hand, The Mother, Sugartooth, Party Of One

20. Pusha T – DAYTONA: What a year Pusha T had in 2018. In addition to proving that nobody is untouchable with “The Story of Adidon,” he released an exceptional hip hop record in DAYTONA. Kanye’s production is a match made in heaven with Pusha T’s voice and his flow. Both of their contributions make for a tone of confidence that makes it easy to latch onto several of the tracks here. I wouldn’t be surprised if in a few years time, the beat for “The Games We Play” will become one of those instrumentals that morning DJs will pick for rookie rappers to freestyle over. The Kanye praise on “The Games We Play” isn’t even to downplay Pusha T’s performance on the track, the meat of the lyrics is full of clever word play, innuendo and plenty of braggidacio lyricism that you can come to expect from a rapper with the kind of clout that Pusha has. The line that sticks with me the most in the project is from the first verse of “The Games We Play” “This ain’t a wave or phase, ’cause all that [expletive] fades/This lifestyle’s forever when you made”. I find that this pair of lines captures where Pusha T sees his career right now, he no longer has anything to prove, it’s time to make a legacy. Lucky for him DAYTONA is just another addition to an already impressive resume.

Notable Tracks: If You Know You Know, The Games We Play, Infarred

19. Saba – CARE FOR ME: Saba’s sophomore album, CARE FOR ME, is a heartfelt collection of diary-like confessionals surrounding his anxieties, vices, and several illuminating stories surrounding his relationship with his late cousin Walter. Saba’s staying power on this album lies in his ability to evoke a precise mood from track to track; it gives this project a multifaceted, raw, and genuine quality that I find myself coming back to time and time again. “LIFE” is the perfect example of what I mean; Saba opens the track composed with well written bars delivered over the sounds of a string bass from his backing band. As the song progresses, the instrumental builds, swapping the string bass for a louder, thumping bass line, and likewise, Saba’s delivery becomes more aggressive, his lyrics become more raw, as if he loses composure under the pressure of his survivor’s guilt; it’s a masterful blend of acting, audible queues, and writing to evoke a genuine response from the listener. “PROM/KING” serves as an emotional core to the project as Saba recounts his prom night experience, all to the tune of a nostalgic, haunting piano track. At first it feels relatable, full of awkward but universal experiences (IE: being rejected, feeling ashamed of one’s virginity, the ever looming embarrassment teens feel towards their parents), up until Saba gets jumped by his prom date’s older brother. The prom story is a prelude up to the songs inevitable conclusion, it shares the blossoming of Saba’s relationship with his cousin Walter, up until his untimely demise. CARE FOR ME plays like a home video mixed with a superhero’s origin story, and the leading man of that story is its superstar Saba.

Notable Tracks: BROKEN GIRLS, LIFE, PROM/KING

18. Quit the Curse – Anna Burch: Anna Burch continues the long-standing singer-songwriter tradition of singing about the one universal message: unrequited love at the hands of a former lover. While I joke about this road being well-tread, Anna Burch approaches the theme with a perspective that will likely remind you of her contemporaries (while not completely analogous, I keep thinking of Margaret Glaspy’s Emotions and Math), without losing any bit of authenticity. Throughout the project, Burch airs out the personal details of a relationship where both individuals have differing levels of investment. Lines like “You scare me with your indifference, I like you best, when you’re a mess,” on “2 Cool 2 Care,” or the verse on the song “Asking 4 a Freind,” in which Anna details feeling more vulnerable than her unnamed partner (in spite of the fact that he was the one that cried when they were high), or the lines on “What I Want” where she resolves to getting a new lover because her previous one has moved on and she wants to prove that she won’t “play the victim”. When all’s said and done, Anna Burch paints a picture of the petty and desperate people we are prone to becoming when we still have feelings for those who won’t reciprocate them in kind. The story she tells, while at times is a bit vague, it’s one the listener will have no trouble inserting themselves in, at least those who have ever found themselves on the losing side of a rejection.

Notable Tracks: 2 Cool 2 Care, Asking 4 a Friend, Quit the Curse, Belle Isle

17. (((echo chamber))) – MC Paul Barman: If you want to listen to lyrical, miracle rappers, very few did it as well as MC Paul Barman on (((echo chamber))). Most of the time, rhyming for the sake of showing off your ability to rhyme is so boring to me, but Barman transcends the egotistical, fake deep hobby and turns it into an admirable art form. To really get an idea of what I mean, I’d just recommend that you check out the first verse of the opening track “(((echo chamber)))”. Luckily, this isn’t just a 48 minute slog of heady rhyme schemes, there’s plenty of depth and humor to the tracks that makes for a rewarding album for those who stick with it. One of my favorites here is “Youngman speaks on (((race))),” wherein the narrator of the song gets mad about the fact that white people are only given one type of skin color. Barman goes on to take this silly set up and turn it into a thoughtful criticism of white people that would use the phrase “race baiting” whenever they read an article about Black Lives Matter. The flow on “(((happy holidays)))” is equal parts inventive and frustrating, the beat is a sample of that earworm of a Christmas song “Sleigh Ride”, and every time you anticipate Barman rap with a similar cadence to the song it’s inspired by, he breaks away from the expectation and uses a completely different flow. It plays off like one of those videos where a DJ trolls his audience with a long buildup, only to give them a fake drop. MC Paul Barman’s work on (((echo chamber))) is a unique, dense, inspired approach to hip hop that fans of lyricism will want to dig into.

Notable Tracks: (((echo chamber))), Youngman Speaks on (((Race))), (((commandments))), (((happy holidays)))

16. Judas Priest – FIREPOWER: Judas Priest is back? AND they sound like vintage Painkiller Judas Priest? Good lord this is a triumphant return for a group that many assumed would never return to form after K.K. Downing left the group in 2011. FIREPOWER is familiar without feeling tired; it’s aggressive without feeling sloppy. All in all, it’s a project that serves as an excellent introduction to the band, or as a nice reminder to old fans that they’ve still got it. We waste no time at all as Rob Halford kicks things off on the opening track “Firepower” with a patented wail into the mic that he’s done countless times throughout his fifty years as a musician! Dude’s 67 years old and he sounds like he hasn’t lost a step. Without missing a beat, the next track “Lightning Strike” keeps the momentum going, Scott Travis is relentless on the drums, Richie Faulkner rises to the occasion on the lead guitar, everybody brings their A-Game, making for a major highlight on the album. A Judas Priest album, especially one of this caliber, was one of the biggest surprises of the year for me, and I for one was blown away by the aftermath.

Notable Tracks: Firepower, Lightning Strike, Traitor’s Gate

15. Earl Sweatshirt – Some Rap Songs: Your favorite rapper’s favorite rapper is back after a multi-year hiatus with a surprise album at the end of the year. Some Rap Songs is a project that’s well worth the wait and a reflection of the circumstances with which it was released. Some Raps Songs comes out in the midst of Earl mourning his recently deceased father, as well as his uncle Hugh Masekela, in addition to all the internal baggage that you can expect on a traditional Earl Sweatshirt outing. All these anxieties blend together into a distinctly choppy and “dusty” sounding project (listen specifically to the song “Peanut” to see what I mean by dusty). Earl wanders from concept to concept, not staying on any one particular thread for too long, as if he’s just beginning to unpack and sort through his emotions for the listener. Traditional Earl fans might be frustrated with a project that has a heavier emphasis on the production (or they might be like me and just be happy that there’s new Earl), but this avant garde style felt like the natural next step for the artist that made I Don’t Like Shit, I Don’t Go Outside: An Album by Earl Sweatshirt. As if it were ever possible, we get an even more intimate look into Earl’s tortured mind for better or worse. While there is plenty to love on the front half of the record (“Cold Summers” feels like classic Earl, and that beat switch on “Ontheway!” is pretty magical), the heart and soul of the project are the final three songs, specifically where Earl surrenders the floor to his mother, father, and Uncle Hugh. Between the duet Earl made of his parents on “Playing Possum” and the track “Riot!” that samples his Uncle Hugh, it’s a cathartic tribute to figures that were clearly influential to Earl. And while he thinks he might never be good enough to carry on his legacy (as outlined in “Peanut” with the lines “Family saw you on that stage, left it not amazed”), the best he can do is revere them through his own artistic pursuits. While Some Rap Songs might not have the neat and tidy ending that one would hope for Earl (IE: The lyrics “Flushin’ through the pain, depression, this is not a phase”) I hear the album’s conclusion as a man who at least takes comfort in the shoulders of the giants that he stands on.

Notable tracks: Cold Summers, Ontheway!, Playing Possum, Peanut, “Riot!”

14. Eric Taxxon – The Killer: This album will without a doubt be the weirdest one I recommend on the list this year. Not necessarily because of the content (I actually find it to be pretty accessible as an ambient album on its face, save for “Cowardice” and “Hot Club Swing”). The Killer is the soundtrack/companion album for a YouTube video essay about a webcomic (reread that sentence, there’s no mistake there). Normally I wouldn’t recommend soundtracks, let alone one for a YouTube video essay, but the work that Taxxon put into this project is worth of any and all recognition. I’m amazed at how much content Taxxon is able to pack into an album that is little more than 30 minutes. Every track is layered and packed with more samples than I can reasonably keep track of, you’ll hear everything from video game sound effects, old-timey swing samples, some singing that I can only describe as Tiny Tim’s performance on “Living in the Sunlight,” sirens, synth chords in virtually every sound you can imagine, and of course the eerie whisperings of a madman threatening to harm somebody over videogames. Two highlight tracks for me are “Four Panels and Zero Words” and “Hareton’s Dream.” While they are completely separate, they both share a lot of the same qualities (the warm, exaggerated synth chords, a gradual build up to a major, emotional, payoff) that give them a tone of triumph. Fans of ambient synth music will have a fun time unpacking this one.

Notable Tracks: Four Panels and Zero Words, Hareton’s Dream, Sonic

13. Punken – Maxo Kream: One of the things I struggle with the most with the current wave in hip hop is a lack of authenticity that a lot of the younger wave seem to exhibit. This is in no way the case with an artist like Maxo Kream. His debut studio album Punken depicts the full picture living the life of a modern gangster using the most effective evidence at his disposal, his own personal testimony of growing up in the Houston slums. What I love most about this project is Maxo Kream lets his personal story do the talking, there are moments when he’s sympathetic, and others where you might find him frightening. The most comprehensive view we get of Maxo is on the second track of the album “Grannies”. Amidst the relentless, steady flow, Maxo recounts his flawed family and the terrible living conditions he grew up in, particularly on the hook:

“Wake up in the morning, load my pistol, can’t leave home without it
Come from where you see a lot of bodies, but don’t talk about it
Hard to find the plug, I middlemaned that package on consignment
Hookers, strippers, crackheads, robbers, trappers, all in public housin’
Uncle Bo was stealin’ from my Granny, can’t leave shit around here
Roaches, rats, and ants inside my pantry, can’t leave food around here”

In spite of it all, Maxo ends the track with a line of gratitude “Grinding with my family through the struggle, hold ’em down regardless”. The decision to end “Janky” with an audio clip from a local news report on Maxo’s criminal history serves like a corroborating testimony, it lends an air of legitimacy to all the stories you hear in the project, and not just as standard rap braggadocio. While Punken wraps up with “5200 (Bonus),” I consider the real conclusion to this project to be “Roaches,” the melancholy piano is the perfect backdrop to Maxo’s recounting of how Hurricane Harvey impacted him and his family not but 4 months prior to the album’s release date. It brings to the fore a vulnerable family man who has deep ties to where he comes from, in spite of all the hardship that he displays throughout Punken (especially with the spoken word section that final reveals the true meaning behind the album’s title).

Notable Tracks: Grannies, Capeesh, Janky, Roaches

12. JID – Dicaprio 2: Since his distinct honor as the strongest rapper in this year’s XXL Freshman edition, hip hop fans have been waiting with baited breath for JID’s next move. Several months later JID answered with his 2nd studio album Dicaprio 2, a collection of thirteen (fourteen if you count the 50 second intro) tracks packed to the brim with bars and an eclectic selection of flows that makes for one of the most technically sound hip hop albums of 2018. I think of this project more like a highlight reel of JID’s talents than I do an album with a common thread from start to finish; which I’d say is perfect for an artist whose career is just getting started and needs to turn heads. The album kicks off with a bang with the content dense “Slick Talk”. There’s plenty to unpack on this track, but what stands out to me is the extended metaphor of JID’s relationship with rap and where he seems himself now, specifically in the “post-honeymoon phase” of the relationship. “Off Da Zoinkys” is another notable effort on this project, the steady building beat towards its chaotic finish works well with JID’s nasally delivery to sell this song as a desperate anti-substance plea. Meme name aside, “Despacito Too” is probably my favorite track on the album if only for the following series of lines

“They saying, ‘What you wanna be J.I.D? What you wanna be kid?
A doctor, a lawyer, exploring the coral reef shit?
A football player, a track sprinter, I know you run fast
Oh you gon’ be a rapper with your dumbass’”

I love JID’s point here, suggesting that these other careers are just as much of a pipe dream as the one he’s chosen, yet only one of them is ridiculed. All in all, Dicaprio 2 shows the clear talent and ability of one of the music industry’s rising stars.

Notable tracks: Slick Talk, Off Deez, Off Da  Zoinkys, Just Da Other Day, Despacito Too

11. boygenius – boygenius: If there was a Marvel like team up of indie sadgirl singer/songwriters, it would likely look something like boygenius. “boygenius” isn’t so much an experimental triumph of three formidable musicians creating something unique, but rather the obvious showcase of why these three should have been working together much earlier. “Bite the Hand” serves as the signature punch in the gut that you can expect from a Baker or Dacus track, the echo of “I can’t love you how you want me to” plays us out at the end as the ultimate conclusion of a broken relationship, it’s haunting tone lingers with me, making up what I would say is one of my favorite moments in music from 2018. “Stay Down” is another entry in Baker’s series of songs about self-harm and boxing metaphors that I fall for as vulnerable but bold. To me, “boygenius” is at its best when group gives one another the opportunity to take front and center, while the others support by setting a backdrop that will allow their temporary lead to shine.

Notable tracks: Bite the Hand, Stay Down, Ketchum, ID

 

10. Dream Wife – Dream Wife: Dream Wife’s self-titled debut project is the latest in installment in the already storied female lead punk rock outfits. The cadence of Rakel Mjöll’s vocal delivery stands out to me the most in a casual listen, particularly on tracks where the same lyrics are retread throughout the track (like “Somebody” or on the dynamic “F.U.U.”), I find it engaging the different ways she adjusts the inflexion of her voice or the emphasis on specific syllables, while it’s a simple artistic decision, the group gets plenty of mileage out of this style. Alice Go on lead guitar offers a diverse array of sounds, she goes from sweet, subtle riffs on tracks like “Love Without Reason” to explosive anger on “F.U.U.”. Since I’ve already mentioned it twice, “F.U.U.” is simple in its idea, but damn is it a great track. People will knock the lyrics as simple, to which I would say when was the last time you were eloquent when you were experiencing unbridled rage? Dream Wife is a spectacular debut, the group knows what they do well and they stick to it.

Notable Tracks: Somebody, Love Without Reason, F.U.U.

9.New Levels New Devils – Polyphia: One of the most common critiques I find of instrumental groups like Polyphia is the lack of lyrics makes it hard to make a connection to the music beyond “I like how it sounds” (this critique is in no way exclusive to instrumental music, how many times have you heard an old head say “you wouldn’t like [flavor of the month rapper] if he didn’t have a hard beat”). I would challenge folks who have this critique for instrumental-centric music to defend this position against the rough, muddy sounds of Jimi Hendrix’s “Purple Haze” or the several triumphant guitar solos on Boston’s “Foreplay/Long Time”. Polyphia’s third studio album New Levels New Devils is a showcase of personality through instrumentation. The melodic, Spanish, influences on the opening guitar arrangement of the track “Death Note” sets the tone for a funky, yet fluid experience. “Rich Kids” is another highlight on this album, the track opens with this whining, spacey guitar chords, then we’re treated to a medley of timbre changes in the guitars’ sounds, you would think this would sound jarring, but Polyphia pulls this off in a way that makes it all blend together into one harmonious final product.

Notable tracks: Nasty, Death Note, Rich Kids

8. Superorganism – Superorganism: If the online collective of Superorganism is a glimpse into the future of music collaboration and the creative process in a digital age, then man am I stoked for what’s to come. For those unfamiliar, the latest indie darling started making music entirely online before they ever met one another in person. Their self-titled debut album is an exercise in bringing a hodgepodge of musical talents together to form a cohesive whole (some might say a superorganism of sorts! I’ll show myself out). Anything and everything is transformed into a musical instrument on this album, you’ll hear bird chirps, bubbles popping, a way too realistic horn honking, a tab cracking open a soda can (and the satisfactory sigh after the first sip shortly thereafter), and of course more traditional musical instruments a la synths, guitars and drums. Altogether, the cacophony comes together to make a fluid, almost lazy, experience that makes for the perfect summer album. The mash-up of sounds can feel a bit overwhelming at times, but Orono Noguchi’s monotone voice becomes quickly familiar and becomes a consistent ceterpiece that grounds the whole project. Superorganism is a whimsical, breezy project that always found its way into my rotation thanks the group’s natural chemistry.

Notable Tracks: It’s All Good, Nobody Cares, Reflections on the Screen, Relax

 7. Tierra Whack – Whack World: 15 track, 15 minutes. That’s all Tierra Whack needs to win you over on her 2018 project Whack World, and she makes every second count. My main gripe with this project is so many of these tracks deserve a “full” version (which I would say is a testament to Tierra’s ability as an artist to captivate her audience from track to track). The brisk pace of this record is a nice change of pace in the current streaming landscape where artists release bloated albums that lack any cohesion and just see what sticks. Given the album’s gimmick, I think of this project as Tierra’s highlight reel as she showcases the many different she’s capable of performing, including traditional R&B, contemporary trap, including some kooky sounding tracks that I could only describe as electronic country (I’m not entirely sure, just listen to “Fuck Off” and tell me if you have a more appropriate descriptor than what I came up with). This project is charming, brisk, and serves as the perfect introduction to an artist that I’m sure will be wowing us for years to come.

Notable tracks: Black Nails, 4 Wings, Pretty Ugly

6. St. Paul and the Broken Bones – Young Sick Camellia: While on the press tour for Young Sick Camellia, Paul Janeway, lead singer of St. Paul and the Broken Bones, described himself as “I’ve always felt like a little broken Southerner” in reference to his love for his upbringing. If I were to condense the ideas of this funky, soulful project into one statement, that’s about as good as you’re going to get. Everything from the frail, withered camellia (Alabama’s state flower) on the album cover, the band’s clearly southern influence, and not to mention the lyrics throughout the album, all contribute towards this conflict of loving something that exists in conflict with your personal values. Janeway’s vocal performance has a personality befit a Baptist preacher, his voice bursts on every track as he pleads with the listener to heed his message. “GotItBad” is a stand out song that brings all these characteristics together into a concise, earnest message, wrapped in charming presentation that you can expect from St. Paul and the Broken Bones. Even the concluding track “Bruised Fruit” where Janeway take a holistic view of his heritage in a stripped back, near silent moment, his voice is still packed with power that envelops the listener, it’s a touching performance as he confronts this conflict head on.

Notable Tracks: GotItBad, Apollo, Bruised Fruit

5. Mick Jenkins – Pieces of a Man: The poet turned rapper pays homage to Gil-Scott Heron on his second studio album Pieces of a Man (a title he borrows from one of Heron’s albums). The comparisons are apparent from the opening track “Heron Flow” as Jenkins re-writes Heron’s “The Ghetto Code” to make himself the speaker and derive his own meaning from the idea of “dot dot dit dit dot dot dash” aka “The Remorse Code” aka “Damned if I know”. Comparing Heron and Jenkins is appropriate, the use of jazz production, speaking truth to power and the importance of knowledge have always been prevalent themes in Jenkins’ work, and I think that Pieces of a Man is a touching tribute to Heron’s legacy and not a cynical cash grab. For specific tracks, “Reginald” is about as classic as it gets for Jenkins, a classic jazz beat, sophisticated word play, and an unparalleled flow to tie the track together, the same can be said for “Understood”. After many were disappointed Jenkins’ debut studio album (NOTE: I am NOT one of those people), I would be shocked if those doubters didn’t dub Pieces of a Man as a return to form thanks to Jenkins’ pen and his artistic vision.

Notable Tracks: Heron Flow, Stress Fracture, Reginald, Pull Up, Understood

4. Room 25 – Noname: There are fewer voices in music that I find more genuine than Fatimah Nyeema Warner, better known by her stage name Noname. I was quick to fall in love with her brilliant 2016 mixtape Telefone, a coming of age tale about Warner’s growth, insecurities, and early life in Chicago, all to the backdrop of stringed instruments and doo-wop type beats. Room 25 is the natural extension of Warner’s previous work, although this time she brings a bit more sass and wit, allowing for a more three-dimensional view of the soft spoken emcee. The opening track “Self” serves as a sort of thesis to the project as Warner floats all the different ideas of what the album could be. Her line “Y’all really thought a [expletive] couldn’t rap huh?” is one of my favorites of the year, Warner’s delivery with a slight chuckle, the smooth way she speaks this line, it’s packed full of sass that you could almost feel her making a sideways glance as she speaks. There’s a laundry list of spectacular lines throughout this project like the gut check towards her former lover, “You wanna nasty [expletive] psychiatrist that cooks like ya mamma” on “Window” or the bait-and-switch line “I’m just writing my darkest secrets/like ‘wait and just hear me out’/saying ‘vegan food is delicious’/like ‘wait and just hear me out’” on “Ace”. Noname grapples with tough questions throughout this album that don’t necessarily have an answer, like the lack of useful solutions in inner city communities on “Prayer Song” or the fleeting love that fame brings on the track “Don’t Forget About Me”. Warner brings her scars to bare on Room 25, and we’re all better people for the opportunity to hear her story.

Notable Tracks: Blaxploitation, Prayer Song, Window, Ace

3. TA13OO – Denzel Curry: The rapper of “Ultimate” meme fame has always struck me as the most impressive from the crop of Miami rappers. I’ve always thought of him as the most polished product from the area without giving up the aggressive vocal quality/flows that’s characteristic of the scene. It feels as though Denzel Curry finally came through and delivered a complete studio project with TA13OO. There was no doubt that there would be a handful of monstrous bangers that have become a sort of calling card for Curry at this point in his career, I was much more impressed by the more melodic, restrained tracks. I find myself coming back to “BLACK BALLOONS | 13LACK 13ALLOONZ” more often than any other track on this album, it’s feel good, clean baseline and generally breezy production makes for an infectious beat. While the track has some serious summer vibes, it’s far from a generic top 40 hit as Curry thinks about the pain in his life through the vehicle of the titular black balloons in his life. “MAD I GOT IT | MAD 1 GOT 1T” is another highlight on this project, it has a dreary yet simple beat that pairs fantastically with the paranoid lyrics, this track feels a perfected version of the sad boy rap that a lot of the current up and coming rappers are experimenting with (a la Lil Xan, Lil Peep, etc). While I’ve spent most of my time lauding artistically divergent tracks on this album, that’s not to say that the more classic Curry tracks didn’t deliver (fans of Curry’s work will love “SUMO | ZUMO,” “SUPER SAIYAN SUPERMAN | ZUPER ZA1YAN ZUPERMAN,” and every other hype track on this album, they’re fantastic). It’s safe to say that Denzel Curry made a huge step forward with “TA13OO,” by expanding his toolbox of styles and production choices.

Notable Tracks: BLACK BALLOONS | 13LACK 13ALLOONZ, MAD I GOT IT | MAD 1 GOT 1T, VENGEANCE | VENGEANCE, BLACK METAL TERRORIST | 13 M T

2. Charli XCX – Pop 2: (NOTE: Pop 2 was released in 2017, since it was a December release it was not considered for my 2017 list, hence its inclusion here). I was surprised that I liked this release as much as I do. Pop 2 is a collection of boundary pushing electro-pop tracks that have adopted an almost “prog-pop” nature, by which I mean each track isn’t quite content with staying in one place for the course of a 3:00 minute track. Rather, with most songs on Pop 2, you’ll find that once a core beat concept has been established, it evolves multiple times throughout the rest of the song to keep it feeling fresh. “Backseat” and “Out Of My Head” serve as the perfect opening pair of tracks to this project. They’re both airy, playful builds towards a larger payoff that you might find on say an early 2010 Katy Perry or Ke$ha project, both are familiar enough to help the listener ease into the back half of the project. I’m a huge fan of “I Got It” as a hype track, the progression of the beat on this track gives lends to a sense of uncontrollable rambunctiousness Charli and her featured artists all lend to selling, cupcaKKe especially goes berserk on her verse here. “Track 10” is an amazing way to cap this project off, it’s progressive beat, Charli’s conflicting tones of voice throughout the song, the simulated choir that comes in towards the 3:00 minute mark of the track, the whole package comes off as a triumphant capstone that ties the rest of the album together. I’m of the opinion that few people are doing what Charli XCX is doing right now in any genre of music, her willingness to borrow from other genres, the prog-pop beats that she chooses on all of her tracks, and her overall vision for a song, all makes Pop 2 an exceptional experimental pop project.

Notable tracks: Backseat, Out Of My Head, I Got It, Track 10

1. Veteran – JPEGMAFIA: As I come up with these lists, I always want to make sure that the number one spot is held by the album that most appropriately captures the mood of the year. Which one found itself in my rotation so often because it just felt appropriate anytime I opened Spotify? I cannot think of a better answer to that question than JPEGMAFIA’s Veteran. It’s a cornered animal that has no other options than to lash out at anything it can sink its claws into, it’s chaos incarnate that wants to make sure you know exactly why it hates everything in arms reach, including the listener, all while making you laugh along the way. “Real Nega” is the perfect example of this style in action, the relentless, yet focused percussion is only the second most overwhelming sound on this beat, next to the operatic vocal sampling of ODB’s voice (as a note, if you listen to anything from this album, it NEEDS to be “Real Nega”). The song’s beat sets the perfect tone for JPEGMAFIA’s violent flow and fearless lyrical content. Fair warning to new listeners to this project, this music can be uncomfortable, in one listen you’ll feel threatened, offended, angry, and hopefully you’ll laugh with Peggy when he makes a dig at something you find objectionable.
To me, Veteran is a uniquely “internet” album. It takes the digital “leftovers” of soundbites that practically litter YouTube and Soundcloud at this point and crashes them all together into these beautiful abominations of sound, repeat listens reward after you start to piece together each sound’s origin (my personal favorite that I found was the sound of a Super Saiyan’s energy field on “Rainbow Six”). You’ll find there’s a lot of doing stuff for the sake of being able to on this album, which to me feels unique to modern internet culture (coming from a guy who finds this funny). The nihilistic nature of this album further lends to this feeling, as many young people that devote themselves to online culture continue to find themselves devoid of purpose. I love this album, it’s provocative, it’s challenging, and it’s a musical roller coaster that everybody should attempt to ride at least once.

Notable Tracks: Real Nega, Baby I’m Bleeding, Rainbow Six, 1488, Curb Stomp