Top 25 Hip-Hop & R&B Albums Of 2018 So Far

The summer solstice has come and gone, as we’ve come to settle on 2018’s halfway point. By this time last year, albums from Jay-Z, Kendrick Lamar, Drake, 2 Chainz, Young Thug, Gucci Mane, Migos, Future, SZA and more had dropped, setting the bar for an excellent top half. Thistime around, it feels a little different. Though many prominent voices have opted to stay behind the scenes, we’ve seen plenty of notable artists stake their claim.

So far, 2018 has been packed with memorable musical moments, from the strong output from Atlanta's new wave, to the G.O.O.D music helmed “Surgical Summer,” to the surprise rollout of J. Cole’s KOD. Though this recent week has been plagued by tragedy, we must look to the music to guide us through. In that regard, we’ve compiled a list of the best project of 2018 thus far, should you be looking to catch up.

Check out our official list below, and sound off. Did your favorite make the cut?

Authors:

Mitch Findlay

Narsimha Chintaluri

Alex Zidel

Aron A.

Rose Lilah

Culture II is a tour de force in rapping. Despite it’s overlong nature, Quavo, Offset and Takeoff rarely take their foot off the gas. While some of the singles may have fell flat, the album, by nature, is brimming with half a dozen other potential hits. Offset delivers two or three of the most ferocious rap verses of the year on “Narcos,” “Supastars” and “Autopilot,” Takeoff starts harmonizing if you stick around long enough, and, at one point, Quavo even repurposes the god-damn national anthem. What more could you ask for?

- Narsimha 

History is a harsh judge of character; back in 2015, after a few misguided months of beefing with Young Thug and distancing himself from the city that propelled him to superstardom, the once joyful Rich Homie Quan quickly burned out in spectacular fashion. The past two years have been a full rebuild for the OG mushmouth crooner and Rich As In Spirit is a prime example of the potential Quan still possess. Arguably his best solo effort to date, RAIS is equal parts autobiographical and fantastical, it’s as feverishly obsessed with strip club heartbreak as the best of Quan’s earliest ballads while teasing newfound facets of his maturing spirit. Despite the support he may or may not receive from the rest of his city, Quan’s core fanbase is definitely craving more from the naturally gifted rapper.

- Narsimha 

Ah, the project that brought us Future's meme-worthy "La di da di da, slob on me knob." Most film soundtracks can evidently be bad. Kendrick Lamar's stellar work on the Black Panther soundtrack prompted a new found hope in the creation of quality movie soundtracks. Kendrick is having one of the best years of his storied career after winning a Pulitzer Prize (a damn Pulitzer Prize!!!) for music and his curation of the historic film's music attributed to that. Of course, "King's Dead" is not the only highlight on the album as the project's replay value has been consistent since February's release. 

Kenny enlisted some of the hottest names in the industry with Khalid, Anderson .Paak, Travis Scott, Jorja Smith and more and, while this may be the norm for big-name film soundtracks, each feature actually fits into the overall theme of the project. Existing as a complete work, the soundtrack sounds just as good when listening to it as a whole, as when bumping individual songs. Much of this has to do with the excellent transitions between tracks due to efficient mixing. TDE and Kendrick could very well have curated one of the best soundtracks of this decade with Black Panther: The Album.

- Alex

With each album, cupcakKe removes herself from the frivolous nature of mainstream rap debates. She isn’t a female rapper vying for approval from her male counterparts, nor is she a rapper’s rapper trying to breakthrough to the pop circuit. cupcakKe is an electric force of self-love. She’s an amalgamation of uninhibited self-expression and unabashedly eclectic influences. “2 Minutes” and “Cartoons” open up her most recent album with rapid-fire flows that betray her midwestern roots, before “Duck Duck Goose” immediately dives into the alternative pop vibe that paints most of her trademark sexual outwardness. For the uninitiated, cupcakKe is an arousing whirlwind of beautiful nastiness, endearing confidence and exciting technical prowess.

- Narsimha

? can help us remember the vibes that XXX consistently offered through his music. His past, although controversial, allowed for his lyrics to bounce off the paper, emotionally coming through in so many different ways. Much like his previous effort 17, the tracks on ? are so different from one another, showcasing the late rapper's versatility to its fullest.

From song of the year candidate "SAD!," to his boom-bap collaboration with Joey Bada$$, to the Latin-fueled "i don't even speak spanish lol," to aggressive cuts like "Floor 555," X is leaving behind a musical legacy like none other. While his previous projects showed him tapping into his seemingly neverending potential, ? has XXXTentacion reaching the top literally and figuratively, debuting at #1 on the Billboard Hot 100. Introducing the project as a journey into his mind, we are grateful to have been able to hear X be loyal to himself and offer a sound that differs from what his peers are making.

- Alex

The sophomore slump is a curse many artists have to deal with throughout their careers. When Tory Lanez introduced himself to the masses on I Told You, he proved himself as a certified hitmaker. He honed his talents in further on Memories Don’t Die without the need of skits to tell his story this time around, it allowed us to feel even closer to the artist himself. On his latest project, Tory proves himself yet again to be a jack-of-all-trades, however, placing a clearer and more concise effort on his skillset as an emcee. He polishes his signature sound on this project and brings it to new heights. Tory’s confidence exudes out of every bar on this project and rightfully so. He’s come a long way from pumping out mixtapes in Toronto to Grammy nominations. Memories Don’t Die cements Tory as one of the most well-rounded artists of this era.

- Aron

Post Malone has been on a steady tear for the last few years. However, nobody could have predicted the levels of superstardom he would reach in 2018. Although beerbongs & bentleys may not be all that it was hyped up to be, it is still a pretty damn good album. Deemed "one of the greatest albums of this generation" by Posty's manager, Dre London, before it had even seen the light of day, b&b had a lot to live up to. With a gift for creating lasting melodies like the hook in "Better Now," which even received unlikely praise from Taylor Swift, Post stuck to a formula that has been tried and true. Upping his game just a little, his evolution since Stoney is distinct here. With several nominees for "song of the summer," Post's most recent work showcases his consistent ability to create albums that make for easy listening and high replay value. Considering "92 Explorer" is near the end of the tracklist and "Psycho" is right in the middle, b&b is filled with melodic bangers throughout.

- Alex

Cardi B dominated the latter half of 2017 off the strength of her breakthrough single, “Bodak Yellow.” Once the song hit number one on the Billboard Hot 100, she became a household name and proceeded to win over the heart(s) of America. Since then, many people questioned whether she’d be able to carry the hype off of a hit single to a full-blown project: Invasion Of Privacy didn’t disappoint. Over the course of a 13-track album, Cardi B delivered every aspect of her personality on wax. Each song stands out in its own right. She opens the album with introspection on the autobiographical banger “Get Up 10” while closing the album with the female empowerment anthem, “I Do” with SZA. She honed into her Latin heritage with "I Like It" (which is quickly becoming the song of the summer frontrunner). What’s even more impressive is that she proved she could hold her own among some of the biggest artists in the game such as YG, Kehlani, Chance The Rapper and of course, her hubby’s crew, Migos. Cardi B is not a fluke.

- Aron

Despite the Dante-esque allusions of its ominous title, Flatbush Zombies’ Vacation In Hell feels more triumphant than tragic. Despite lacking a clear central identity, the album’s experimentation nature is given credibility by the capable hands behind the driver’s seat.

The somewhat titular cut finds the trio straddling the line between chasing mainstream aspirations and delivering cult-revered lyricism. The vacation motif feels like an excuse for the Zombies to explore a variety of different styles, mirroring a passport-stamping backpacker’s foray into the wild; though the project is largely grounded by Erick Arc Elliott production, the man’s sheer versatility prevents stagnation, not unlike a cross-country tour. In that respect, Vacation In Hell never feels like it’s chasing a trendy aesthetic, but simply, providing the skillful Zombies with a varied and deftly crafted blend of instrumentals.

- Mitch

The first Nas album in six years just so happens to be the most interesting Nas album to date. For the man perpetually held to the unfathomable heights of his magnum opus while simultaneously critiqued for ever beat choice in his career, Nasir is a statement in more ways than one. Ironically anchored by the historically unhinged mind of Kanye West, Nas feels free to deliver lucid messages in earnest. The Richard Pryor bit is as eery as the Slick Rick sample chop is cathartic. It’s a concise concept album regarding the seven deadly sins and Nas doesn’t strain to hide the medicine in the soup; instead, he distills his views on morality in a way that may even be too on the nose for a subsect of longtime fans. In these hectic times, Nas purposefully trades tact for impact.

- Narsimha

Tierra Whack brought everyone into her quirky world with her debut album, Whack World. The project consists of fifteen one-minute long songs and each song is as unexpecting as the next. Within a short span of time, she manages to deliver a highly imaginative version of reality, manipulating different genres through out: of course, the bread and butter is hip-hop, but at one point, she even tries out country, with animated execution. Her creativity is proven further with the fifteen minute short-film that accompanied the album release. While Tierra Whack seemingly came out of nowhere with this, her brilliance as a truly unique artist will ensure that she won't leave our view any time soon. 

- Aron

Jorja Smith is breaking out. While her name initially received a light push thanks to Drake (honestly it's hard for any "hot" "up & comer" to avoid Drake's sleuthing co-sign), she's been able to truly stand on her own as her dominance continues to extend to an American audience. For awhile though, her fans were relegated to the 5-song Project 11 EP (2016) and a smattering of loose singles. Despite not having a large collection of songs backing her, her presence continued to grow.

Finally, with Lost & Found, her debut album, we are able to fully bask in the breadth of her talent. Jorja Smith's music is the sonic embodiment of a much-needed exhale and all that comes with it: a proper sense of relaxation, the loosening up muscles, a washing away of concerns and complete immersion in the present moment. Without actually describing the music itself, this is what Jorja Smith's music does. Lost & Found explores Jorja's emotional range, and while she deals in problems that plague any adolescent, she does so in a mature way (or maybe that's just her precocious voice). The production flitters with soul and r'n'b, dark and light, the type of lush production that manages to draws you in further each time you listen.

- Rose

Rocky’s Testing ostensibly derives its name from its overt desire for experimentation. Yet Testing holds a double meaning. While the expected limitations of genre and production are indeed put to the test, so too are expectations. After all, it’s not uncommon for those of a certain age to name Rocky alongside other young GOAT aspirants, a rival to the likes of J. Cole, Kendrick Lamar, and Drake. Though Rocky’s complete catalog has arguably failed to reach the heights of the aforementioned discographies, his aloof response to critical acclaim has solidified one essential fact - Rocky does what he wants, and he does it for himself.

The latest result of his musical self-exploration was Testing, a murky, deliberately lo-fi experience in creative malformity. Guests are used against type. Popular instrumental trends are foregone altogether. Production is often shrouded in haze, evocative of insomnia on red-eye flights. From the nightmarish thrill of “Fukk Sleep” to the beachside jam-session “Kids Turned Out Fine,” Rocky consistently follows instinct down the rabbit hole, often to glorious results.

Accessibility might be low, but Rocky has crafted an album that rewards those patient enough to return. Those used to conformity may find themselves alienated by the project’s production, but there is true replay value to be found. Lyrically, Rocky is as sharp as ever, and those invested in the man’s creativity can find no purer outlet than Testing.  

- Mitch

Darker, ediger and crasser than its predecessor, Die Lit is a purposefully menacing retread of Playboi Carti’s carefree and rambunctious self-titled debut. Although his songwriting hasn’t developed much in the short year since his breakout hit “Magnolia,” records with collaborators such as Nicki Minaj, Bryson Tiller and Travis Scott continue to position the young hustler as the next powerful arbitrator of pop culture.  

- Narsimha 

There is an important duality presented by Ye and KSG, regardless of the objective quality of either body of work relative to the rest of Kanye West’s exceptional discography. From depraved and desolate to full of vibrant, revolutionary energy in the span of a week, Kanye has effectively used his art to present a dynamic view of the human soul. He managed to show us that there is nuance to every situation, and that the burden of nuance often falls on those already marginalized (whether by class, mental health, racism or a combination of the three). “Wouldn’t Leave” makes the listener feel as secure and loved as the inner monologue on “Violent Crimes” makes us uncomfortable. While the album may resonate differently across his polarized fanbase, Ye succeeds as an honest portrayal of a middle-aged Kanye West struggling to reconcile his well-documented past with his increasingly uncertain present.

- Narsimha 

Top Dawg Entertainment always chooses quality over quantity. This means, it can some times take several years for an artist on their much-lauded roster to deliver a new release. Jay Rock’s Redemption arrived nearly three years since releasing 90059, but the wait was worth it. Rock rarely fails to deliver. On Redemption, he shows his growth since his last album. The rapper’s knowledge and wisdom as an elder in the rap game who’s faced label troubles along with troubles in the street is evident on this project. Rock satisfies his fans' needs on all aspects. “ES Tales” deliver dark street stories over a hard-hitting beat while introspective joints like the J. Cole assisted, “OSOM” finds him confronting his demons despite the success he’s reached. However, Jay Rock also shows a side that successfully appeals to a mainstream, or more youthful audience with songs like "Rotation 112th," "King’s Dead" and "Win"-- and he does this all without compromising his authenticity or his penmanship.

- Aron

Kids See Ghosts feels genuine and, most importantly, it feels reliable in a way neither Kanye West nor Kid Cudi’s music has felt in nearly a decade. These are carefully curated hymns meant to replenish and reinvigorate the spirit. It’s the most immediately cathartic music since Frank Ocean’s Blonde. In a genre aging as rapidly as hip-hop, this may almost play as the birth of a new movement; this is Master of Reality from the collective mind of a man who once sampled “Iron Man” and his student who idolizes Nirvana. This is Kanye and Cudi at their poignant, in their most sympathetic light. As bare as Kanye’s own Ye was, KSG is doubly textured and all that more fully realized. For someone who has actively shrugged off commercial success in hopes of creating something that can touch listeners on the ground, Cudi’s influence over the current crop of mainstream stars - from contemporaries like Drake and J Cole to rising acts such as Travis Scott - can’t be understated. Kids See Ghosts is a phoenix like rebirth for the long dormant Cudi.

- Narsimha 

Gunna’s current surge in popularity is a testament to Atlanta’s well-documented brotherhood. Where forefathers of the current wave had to grind for nearly half a decade before being accepted on the mainstream stage, Gunna’s fourth project in less than two years has already gotten cosigns from legends such as Diddy. It also helps that Drip Season 3 is damn near flawless. What it lacks in versatility, DS3 makes up for with heart and a triumphant narrative. With minor hits such as “Drip or Drown,” “Oh Okay” and “Sold Out Dates” already under his belt, Gunna is poised to tackle the second half of 2018 with an understandable chip on his shoulder.

- Narsimha 

Victory Lap is the most fitting title for Nipsey Hussle's long-awaited debut album. The slew of mixtapes he delivered prior to Victory Lap’s release really felt more like a series of albums, but it was just laying the groundwork. Nipsey Hussle masterfully curated an eighteen track project that serves as one of the best in his catalog, if not the most mature. Victory Lap stands as one of the strongest rap releases of the year, don't be fooled by the under-the-radar release. From his entrepreneurial mindset to gang life,  Nipsey’s growth as a person and artist throughout the years is evident on this album. Nipsey brings the classic feel of West Coast hip hop with a modern twist to it through his delivery and beat selection. While his album does have some heavyweights on it, Nipsey also offers a platform for up-and-comers like Buddy. On Victory Lap, Nipsey sounds as comfortable as ever as he ascends to a new level of his career in the rap game, verging on OG territory at this point. 

- Aron

XXXTentacion’s recent murder has fans of hip-hop grappling with their morality in an uncomfortably public manner. Do we shun young adults mistakes they made in their teens, or do we help rehabilitate these boys so that they may hopefully become mindful and caring men. Does caring for the mental health and subsequent public redemption of an alleged abuser negate the plight of their already grossly ignored victims? On his powerful debut album, the 18 year old Baton Rouge native Youngboy Never Broke Again attempts to provide context for his misguided actions, but rarely does he ask for our forgiveness. This makes for an uneven, often unsettling listening experience. But for what it’s worth, Youngboy seems to understand that personal growth starts with accountability. 

- Narsimha 

In the weeks leading up to its release, Royce Da 5’9” continued to build the narrative that Book Of Ryan would be his most personal album to date. While one might be tempted to receive such proclamations as one of the mill hype, Royce has never been one to deal in half-truths. Upon receiving the album, it soon became evident that Royce was covering uncharted territory, even for the day ones.

Consider the eclectic cast of characters found throughout the project. We’ve already come to familiarize ourselves with brother Vishis, and the saga of Royce’s late grandmother was put to the canon on the phenomenal Layers opener “Tabernacle.” Here, on Book Of Ryan, the circle is closed. Royce’s older brother Greg is introduced, the violent yet nobly inclined protector of family honor. As Greg’s foil, the imposing presence of Royce’s father, brought expertly to life with the same level of development present in the finest serialized drama.

Together, those to come to clash on the album, and perhaps even career defining “Power,” which serves to capture the essence of Book Of Ryan in one hazy, nightmarish swoop. Those doubting the extent of Royce’s brilliance need only listen to him masterfully establish himself as hip-hop’s greatest storyteller, filling listeners with a gamut of emotions throughout the six-minute-plus epic. Reminiscent of Eminem’s finest work, “Power” proves that Royce is indeed sitting comfortably at the height of his craft, even after two decades in the game.

Rest assured that “Power,” is simply the centerpiece; the book is filled with plenty of memorable chapters, from “Dumb,”  to “Amazing,” to the album’s victorious closer “First Of The Month.” To put it bluntly, Ryan’s brutally honest autobiography is quite obviously one of 2018’s most emotional experiences, and should be experienced by anyone seeking enlightenment.

- Mitch

It’s no secret that trap music has come to define the current musical zeitgeist. While Migos were dubbing themselves the purveyors of “culture” at the Met Gala, rubbing shoulders with the elites off the strength of their come-up, Trouble was cruising the nightmarish depths of the Edgewood projects. While some mainstream depictions of trap life can feel neatly glamorized, like footage shot from a helicopter, Trouble’s documentation is that of a hand-held camera. So much so, one can smell the baking soda and gunpowder upon bumping “Real Is Rare.”

My love of the dark banger is well documented; in that regard, Edgewood contains some of the best production of the year, no cap. Trouble found a kindred spirit in Mike WilLL Made-It, and something about the rapper’s bleak realism awakened something sinister in Mike WiLL. The EarDrummers producer has mastered the art of minimalism, often keeping his beats to a bare three elements, blending aqueous synth-lines with deftly arranged percussion. While Trouble remains the face of Edgewood, Mike-WiLL’s contributions are of equal import.

On the mic, Trouble is a capable force, formidable as he is insightful. Though far from dexterous, Trouble’s homespun vernacular and sharp perception of Edgewood culture make him a unique narrator within an extensive cast of supporting Atlanta players. Songs like the infectious “Might Not” reveal his capabilities as a leading man, as he condescendingly taunts his foes, “you not with the shit, sir, I might hit your bitch, sir.” Don’t sleep on Edgewood.

- Mitch

Success did not come easy for Quality Control - if you recall, the studio debut by now-certified legends Migos barely moved 15,000 units during its opening week. Since then, however, the machine led by ATL OGs Coach K and Pee has become a well-oiled choreography centered on kinship and mutual success. Labelmates Migos and Lil Yachty, along with close hometown friends such as Young Thug and Gunna, all joined forces to propell Lil Baby into one of the most meteoric rises in recent times. Harder Than Ever is the most effective debut album from QC to date, in that it accurately encapsulates Baby’s triumphant journey from prison to the top of the Billboard charts in just a year.

- Narsimha 

With the way GOOD Music has been rolling out these albums, each one stands to become a contender for “album of the year” solely due to recency bias. But in the near future, when all of this already feels like the distant past, it will be interesting to see which bodies of work stand the test of time. Pusha-T’s project is bulletproof; it’s his best solo effort to date and his biggest commercial moment this side of Clipse, with or without the epic Drake & J Prince saga that subsequently ensued. Always a rapper’s rapper first and foremost, Pusha crams each song with dense wordplay and countless references to classic and modern hip-hop alike. With a silver tongue and a sly sense of justice, every passage is worth scouring for hidden entendres. By distilling Pusha’s oft-one note narrative of rags-to-riches success into seven vicious rebukes of pop trends, DAYTONA allowed Kanye West to position the GOOD Music camp as anti-commercial renegades who make music by the people for the people.

- Narsimha

In some ways, J. Cole’s KOD feels like 2018’s definitive album. Though Kanye West eventually went on to hijack the spotlight with his G.O.O.D Music pentalogy, Cole’s surprise rollout felt like a genuine hip-hop moment, brilliant in its spontaneity. No gimmicks, hype, or single required. Instead, Cole had garnered attention off the strength of his name, and more importantly, his reputation. Throw in a candidate for album cover of the year (shout-out to Sixmau), and KOD seemed to encapsulate the early-aughts album experience; a coherent narrative, given ample room to unfold from cover-to-cover.

It’s safe to say that KOD feels like Cole’s most accessible album to date, and perhaps his most versatile. While songs like the titular “KOD,” “ATM,” and “Motiv8” will no doubt satiate those seeking the instant gratification of trap bangers, the subtle satire entrenched within the 808s should please those looking for substance alongside style. Technically speaking, Cole is as elite as they come, out-flowing ninety-five percent of the game with what sounds like minimal effort.

Some naysayers have painted Cole somewhat of a paragon, a shining beacon of lyricism bordering on caricature. In truth, it feels like critiques of such nature are purely surface level, brought forth by societal expectations of a echo-chamber culture. In the immortal words of the Jigga Man, “do you fool listen to music or do you just skim through it?” For those willing to take the plunge, KOD has much to offer. It’s lyrical without being indulgent, and the production is immediate without trend-chasing. While the year is still relatively young, J. Cole’s KOD can confidently stand alongside the year’s best releases.

- Mitch