Top 15 Albums of 2017 (So Far)

I think it’s safe to say that this country has been a shitshow as of late. Rumors of espionage plague the White House, health care is being recklessly used as a prop, Muslim bans are being disguised as “travel bans,” news anchors are going at autistic 10 year olds - everyday there’s something new and batshit crazy to stomach. And as our President continues to redefine what it means to have Twitter fingers, I’ve found myself constantly running to music for salvation.

The colorful, increasingly diverse world of this current scene has become a sanctuary of sorts and, thankfully, 2017 has been nothing short of relentless in it’s output. From commercial frontrunners like Drake, looking to apologize for presumed missteps (seriously, does anyone rank VIEWS at the top of his discog?), to a whole slew of lesser known acts forcing their way into the conversation, this has already been a fantastic year for rap and it’s associated acts. 

And with so many noteworthy releases to shuffle through, HotNewHipHop has decided to do the dirty work for our readers and round up the albums we feel best bookend the year thus far. Some projects, such as Bryson Tiller’s highly anticipated sophomore effort, Gucci Mane's fourth album this year, or Lil Yachty’s polarizing debut, dropped too recently for us to consider. Others, such as Mike WiLL Made It’s Ransom 2, are exceptional projects whose exclusion only speaks to the high volume of great content being produced in 2017. And finally, noteworthy mixtapes - if they weren’t for sale - were relegated to a whole different list entirely.  

So, without further delay, here are our top 15 albums from the first half of 2017.

Building on the groundwork laid by their 2015’s EP, R&B duo THEY. surprised us all this past February with their experimental debut, Nü Religion: Hyena. Hailing from Los Angeles, California, Dante Jones and Drew Love sound sort of like Anderson Paak-meets-Kurt Cobain - the latter of which is one of their self-proclaimed idols. This album is a free flowing mix of atmospheric crooning, aggressive rapping and rebellious rockstar swagger. What’s most impressive is their refusal to stick to any one lane; rather, they dip their toes into a wide variety of genres, freely borrowing sonic cues from their favorite rap and pop acts alike. And because they never shy away from paying homage to their idols, the result feels fresh and exciting.

Playboi Carti should be the new target for old head tirades and get-off-my-lawn Twitter. Instead, it seems as if everyone and their mom is behind Atlanta’s fledgling superstar. Maybe it’s Pi’erre Bourne’s raucous production, or the immediate success of the rattling, high-octane single, “Magnolia.” Or maybe people are just tired of hating on what’s new all the damn time. Regardless, there’s just something about Carti’s self-titled debut that’s clicking with the masses. His delivering is cloying in the most harmless way possible, his writing playfully repetitive and purposefully cartoonish. What he lacks in content he makes up for with untapped charisma and, all things considered, this is an exceptionally well constructed project (there are multiple great runs on here: “Magnolia” + the pair of rockstar anthems with Lil Uzi Vert; “Other Shit” through “Lame Niggaz”). After years of teasing his fans, Carti came through with an endlessly fun project that will keep them content for years to come (although I doubt they’ll have to wait that long for a project ever again).

Grandson of heralded blues musician Muddy Waters, St. Louis native Smino appeared to fans as a fully formed force to be reckoned with. His initial pair of EPs, S!CK S!CK S!CK & blkjuptr, were a mix of futuristic R&B vibes and old school funk that garnered him praise for his fluid, soulful rapping. He returned this March with his debut album, blkswn, and put on for his 314 area code in spectacular fashion. Oozing with palpable confidence and armed with a strong artistic vision, both unbecoming of an artist at such an early stage of his career, Smino’s raps are clever, his melodies are infectious, and his ear for beats is impeccable. The album is gripping in its cinematic execution and his whimsically elastic vocals are improving in real time. And, to top it off, he comes off as a songwriter who knows exactly where he wants to take a given track - even if it takes the listener a few seconds to catch on.

Can we all stop pretending that Chief Keef went somewhere the past few years? He’s been around, he’s been working - y’all just chose to ignore him. His guest spot on Travis Scott’s 2015 debut, Rodeo, still haunts my dreams; he also released Sorry 4 the Weight, featuring standouts like “Sosa Chamberlain,” that very year. And lest we forget, “Faneto” and “Earned It” took on a life of their own around the same time. Just a few months ago, he showed up Swae Lee at his own game on Mike WiLL Made It’s Ransom 2. So, when Keef “returned” at the top of 2017 with a staggering collection of top-shelf Sosa anthems, his loyal fans weren’t too surprised.

Two Zero One Seven - produced almost entirely by himself, with a few additional credits from Lex Luger and Young Chop - is more focused than the hardware dumps with DP Beats, without losing any of the eccentricities that make Keef such an entertaining MC. Tracks like “Reefah” and “Go” deliver great rhyming that’s menacing in its nonchalance, “Trying Not To Swear” shows off his understated wit, and “Fix That” flexes his blissful, auto-tuned melodies. However, “Anything Gets You Paid,” the brief but endearing snippet at the end of this project, might be the most important track to reconsider since Keef has recently been teasing a new chapter in his saga. On June 9th, Thot Breakers - that Valentine’s Day album he’s been teasing since 2015 - is finally arriving, and the lead single single, “Can You Be My Friend,” is one of his most refreshing songs in a minute. He claims it’s directly inspired by Drake’s own homage to dancehall and afrobeat stylings, “One Dance,” and has stated that Thot Breakers will be “Sosa&B” - his take on the recent R&B/afropop/just start rapping in patios and see what happens wave. Color us excited.

The solo studio debut from Syd, the heart of the alternative R&B outfit The Internet, is a wonderfully bold introduction to the otherwise mild-mannered songwriter. Sporting more refined pop-sensibilities than her work with The Internet, Fin is a breezy listen that spares the navel-gazing for more in-the-moment anthems that celebrate her journey thus far. Her vocals flit from airy falsettos to digitally manipulated lows, and the mellow soundscapes build up and dissolve at a refreshingly unencumbered pace. Fleeting interludes, such as “Drown in It” or “No Complaints”, leave as much of an impression as standouts, “Know” or “Body”.  Although it’s clear that she’s still finding her footing as a solo artist, her charismatic presence on these tracks help make a case for this newfound sense of individuality. As she puts: "Don't be mad if I switch up, my good tastes got me this much." 

Nine albums deep, Rick Ross is proving to have one of the most consistent catalogues in the game. Sure, he’s not as enticing as he once was - circa the Deeper Than Rap era - but his ear for beats, gripping delivery and ability to construct a cohesive album have all continued to pay off. With a narrative that sees him enriching the luxurious, no-holds-barred world building he began nearly a decade ago, Rather You Than Me doesn’t hold back in its bravado nor its unflinching confessionals.There’s equal room for Ross’s trademark flair as well as his more elusive vulnerabilities. Although it may be easy to write it off as the product of an artist grasping around for fresh content during a mid-career crisis, there are numerous flashes of brilliance indicative of an artist that’s still capable of doing what he’s always done best - making great rap music.

>Once a young kid brimming with nimble, motivational raps, Kodak Black has now pushed himself to the forefront of his class with his distinct, gritty drawl and infectious melodies. His raps are still about society as he sees it, from the eyes of a black man convicted since before birth, but he now hides his insecurities under multiple layers of drug-addled bravado. On his debut album, Painting Pictures, Kodak finds a perfect balance of reckless abandon and soulful, jailhouse blues. However, outside of the music, Kodak is at a crossroads in his life. Locked up again for the third time in about as many years, the 19 year old has yet to truly confront his legal issues, the most severe of which being a sexual assault charge. Even on this album, where he takes the initiative to look inward on a whole variety of topics - his upbringing, his family, his own kid - he refuses to do anything but deflect when it comes to disturbing reality his most serious charge. Kodak has accrued a lot of good faith in his community, both in and out of the booth, since before he was a teenager; if his recent actions will erode this bond remains to be seen.

After falling out with Rich Gang and beefing with his ex-bff Young Thug, Quan did the unthinkable: he stopped going in. Maybe it was the rough, unchecked experimentation of If You Ever Think I Will Stop Goin' in Ask RR (Royal Rich) - despite the undeniable success of “Flex (Ooh, Ooh, Ooh)." Or maybe it was the stress and the pressure that came with all the superfluous narratives that ran tangential to his actual art. Regardless, Quan soon realized it was time for a hard reset. And after taking some well deserved time off, the Atlanta superstar has returned with a concise showcase of his greatest attributes as a rapper. Back to the Basics is at times extremely grim, painting a world of shattered trust and broken loyalties. But through its disarming vulnerability, Quan was able to finally reconnect with his fans. Additionally, he does all this without sacrificing any of the uninhibited hopefulness that made his earlier work such a joy to listen to. Back to the Basics executes a great balancing act with ease that’s becoming of someone who really should be considered a top tier rapper and a master of his craft.

Dubbed a “playlist,” More Life feels like a stepping stone for the next phase of Drake's career. Over the course of 22 tracks, the Toronto superstar conducts a world tour of pop cues. He dips into the music scene of approximately 37 different regions, co-opts about 12 different dialects and features like 70 of the hottest artists in the game - and, somehow, he makes it all work. That’s the magic of Drake, The Tastemaker. Sure, it’s also a blatant attempt at extending his current iron-grip on pop culture, but I think it’s simultaneously a genuine attempt on Drake’s part to expand the sonic palette of his fanbase. Let’s be honest, is there another project in existence that always us to enjoy the greatness of Sampha, Jorja Smith, Giggs, Black Coffee, Young Thug and Kanye West in one go? Drake’s not even the main attraction for much of the runtime, but it doesn’t seem to matter. If he was unfortunately an “angry yout” while writing VIEWS, this follow up could very well be an attempt to mature into the next stage of his artistry. Hopefully, this experiment of sorts gives him the freedom to be more creative on subsequent albums.

You Only Live 2wice is the sound of Freddie Gibbs seeking absolution through music. After spending most of 2016 trapped overseas, fighting sexual assault charges - of which he was eventually acquitted - Gibbs almost sounds defeated, haunted not only by the implication of such an accusation but by the time spent apart from his fiancé and newborn baby daughter.  Comprised of 8 vignettes over a tight 32 minutes, this project sees Gibbs attempt to shed his weary soul by reaffirming his talents as a streetwise bard. Before he can transition to the next phase of his life, he clearly feels the need to unburden himself of the trials he’s faced. The eery centerpiece, “Crushed Glass,” sees Gibbs vehemently maintain his innocence while lamenting on the historical implications of falsely accused black men; it’s brutally honest, filled with sharp, poignant rapping. Ultimately, though, the introspection found here is oftentimes muddled genuine confusion and distrust with the world at large. This makes for a delirious ride, one that plays like a panic-attack even at it’s most braggadocious.

Born in Morden, South London, Sampha’s been a long way from home since he first appeared on Drake’s Nothing Was the Same; 2013 feels like a lifetime ago. Throughout his debut album, Sampha grapples with the distance, both physically and mentally, that separates him from his old life. He acknowledges that life, love and happiness are naturally accompanied by heartbreak, loss and drift. He also takes accountability for his own actions, never hesitating to shoulder the brunt of the blame. It’s a sorrowful mix of martyrdom and hope, and at just ten tracks, damn near the entire album is a highlight. Process sees him build on the past 4 years of A-list collaborations (with the likes of Kanye West, Frank Ocean and Solange), while maintaining the same aura of brooding tension that painted his earlier EPs. The sounds are an otherworldly mix of electronic and R&B, with haunting, skeletal compositions residing comfortably alongside more upbeat arrangements. Flush with an air of lingering nostalgia and lyrics that are as cheeky and self-assured as they are vulnerable and raw, Sampha orchestrates a duality that positions him as a fully formed songwriter. 

Although many rap fans may only know him for his recent work with Kendrick Lamar, Thundercat has been expanding his skillset  for nearly two decades now. Following his stint as a member of crossover thrash band, Suicidal Tendencies, the multi-genre bassist found a creative awakening of sorts when he partnered up with experimental hip hop producer, Flying Lotus. They complemented each other brilliantly, their eclectic tastes allowing them to create rich and ambitious compositions for their respective solo efforts. The artists flirted with a psychedelic mix of electronic, funk and jazz, masterfully feeding off each other’s eccentricities.  Projects such as Flying Lotus’ You’re Dead! or Thundercat’s own Apocalypse were as drenched in existential dread as they were uninhibited by typical genre constrictions. Thundercat’s strength lies in his ability to translate complex, often overwhelming ideas into very human moments. Drunk is a stunning example of this feat, turning the previous existentialism and morbidity inwards, focusing instead on the mundanity of existing one day at a time. He navigates heartache and loneliness, restlessness and escapism, all without ever sounding too pretentious. Even when he sings “let me show you the way,” he never purports to have all the answers; all Thundercat has is his own relationship with life and life after death, and it’s this active conversation with his own soul that makes for such an engrossing listen.

Man, Migos have been so consistent since their 2012 breakout hit “Bando.”  “Versace”; “Handsome and Wealthy”; “Fight Night” - their catalogue of certified bangers is downright incredible. And consistently leveling up in notoriety while relentlessly honing their craft positioned them perfectly to follow up their first #1 hit, “Bad and Boujee,” with the defiant declaration that is CULTURE. With a sublime balance of Quavo’s trendsetting vocals, Offset’s hard-hitting raps and Takeoff’s understated lyrical acrobatics, this ambitious sophomore effort yield a whole slew of new hits for the group, effectively negating the commercial disappointment of their 2015 debut, Yung Rich Nation. Underrated cuts like the Gucci Mane assisted “Slippery” or the Zaytoven produced “Big On Big” see all three rappers delivering increasingly quotable verses, while the jams on the backend, “All Ass” and “Out Yo Way,” help expose newcomers to the syrupy melodies that core fans have also come to expect from the versatile trio. Half a decade into their career, Migos continue to remain ahead of the curve, even with pop stars like Katy Perry, Calvin Harris, Liam Payne, et. al now shamelessly chasing after their drip.

2. Kendrick Lamar - DAMN.

Where 2012’s good kid, m.a.a.d city gave us much needed context to Kendrick's high stakes upbringing, the 2015 follow up, To Pimp A Butterfly let us peer into the chaotic, heavily burdened mind of a rap legend in the making. Now, nearly 13 years into his career, Kendrick Lamar finally has the world stage - and he doesn’t dare waste a second of his time at the top. His raps are as impassioned and as urgent as they’ve always been, but his tone is more deliberate and, in turn, powerful. There’s a sense of poise that’s highlighted by his refined ability to weave intricate yet poignant narratives. He no longer needs to spell out the plot for us as we’re already engaged, hanging onto his every syllable. Few artists in the current rap scene command as much attention as Kendrick Lamar; even fewer artists manage to capitalize on the spotlight the way he does.

1. Future - FUTURE / HNDRXX

And finally, our #1 pick for the first half of 2017. Yes, we're sort of cheating here. And yes, it can be argued that DAMN. is arguably a stronger record than either of these two projects. But, as we touched on with Kendrick, dropping a fully realized concept album with the entire world at attention is a painstaking mix of hardwork and perfect timing. That being said, it would honestly be a shame not to give the Atlantan Wizard his just dues for executing this stunning double feature in such a brilliant fashion. 

Future has more alter egos than your favorite rapper has good songs. And with this year’s back to back spectacle, he found a way truly harness these often divergent personas. FUTURE and HNDRXX are both equally engaging, which is a feat unto itself, while representing completely different ambitions. There’s the extroverted relentlessness of Super Future, distilled into the pure savagery of a “Draco” or “Poppin Tags”, while HNDRXX reels in that bravado and taps into something much more fragile. The latter sees Future at his most ambitious, crafting stadium ready anthems, like “Damage” or “Use Me,” that still manage to be vulnerable in a way that a lot of his post-Monster run shied away from. Even then, both records are multifaceted in their own right: FUTURE ends on the grim "Feds Did a Sweep," eulogizing those who've lost their life to the prison system, while HNDRXX goes out of it's way to close with "Sorry," a 7 and a half minute rap clinic.

With these two releases, Future proves himself to be a true virtuoso and as versatile as his proponents have always claimed him to be. And while "Mask Off," Future's biggest solo hit to date, is great in its own right, there are at least a dozen other catchy, hard-hitting, poignant songs spread out across these two albums.