Top 30 Hottest Hip-Hop Albums Of 2018

The streaming era has brought upon a marked change in music consumption. A single used to herald the arrival of an upcoming album. Now, it can have the opposite effect, pushing an album back in order to maximize streaming numbers. Soon, memories of buying a new CD on Tuesday morning will fade. That’s not to say the album as an art form has died. Artists continue to deliver full-fledged bodies of work and will continue to do so for years to come.

There is a reason for that. The album is simply the most creatively fulfilling means of spreading one’s message. It allows for introspection and braggadocio to coexist on the same plan; likewise for nuance and ostentation, hedonism and reflection. We cannot speak to an artist’s intent in curating their message. Not why they arranged songs the way they did, nor the significance of their title track, nor the importance of the opening and closing chapters. All we can do is interpret as we see fit. And that’s part of the experience. What separates the memorable projects from the fleeting. After all, longevity stands among the most important measures of success in the rap game.

It’s been well documented that 2018 has yielded many excellent projects. In that sense, our job in assembling the strongest selections proved difficult. Many criteria were considered and many discussions were had. In looking through this list, rest assured that every selection is a well-crafted, listenable project in a variety of different ways. Of course, certain omissions may leave blood boiling, and our cutoff period of November 26th left certain albums off the table; still, debate and discussion are encouraged. With that in mind, here are the thirty best albums of the year.

Mitch Findlay
Rose Lilah
Devin Ch
Alex Zidel
Aron A.
Zaynab
Patrick Lyons
Trevor Smith

This year, the discourse over the length of albums felt more long-winded than the albums themselves. Drake’s monster-streaming double album could certainly be shorter, but the meandering playlist format actually suits his newer music quite well. Scorpion feels more like a choose-your-own-Drake offering than something that needs to be digested in one sitting.

As a song craftsman, he’s as omnivorous as ever, with highs ranging from the tough-talking minimalism of “Nonstop,” the anthemic pop-rap of “God’s Plan,” or the New Orleans bounce homage of “Nice For What." Don’t let the overwhelming size of the project distract from fourth quarter gems like R&B throwback “After Dark,” the cutting “Blue Tint,” or the intriguingly divisive “Ratchet Happy Birthday.” All in all, Scorpion is imperfect, but still serves as a reminder that Drake hasn’t run out of ideas. hen it comes to engineering hits, he’s as sharp as ever.

- Trevor

XXXTentacion was one of those artists that showcased a touch of his potential during his time on Earth. When listening to his music, you could tell that he was a haunted individual, expressing his emotions differently with each release. ? begins similarly to his previous album as the Florida musician offers an introduction to his fans. “With this project, again, you’re entering my mind, feeling my insanity, feeling my genius, my energy,” says X. He wasn’t incorrect either - the versatility of the late rapper was on full display as he projected his feelings through screams, melodies, and flows.

From the haunting nature of songs like “Moonlight” and “SAD!,” the lyricism in tracks like the Joey Bada$$ assisted “infinity (888),” and the pure fury of “Floor 555” and “schizophrenia,” XXXTentacion proved he could be one of the leaders of the new school. The young artist never got to accomplish everything he had set out to do, but at least he delivered a strong and lasting project in ?.

- Alex

Kevin Gates was pulled away from music at the height of his powers. It wasn’t long after the release of his proper debut album, Islah, which hit platinum within the year of its release, that the rapper began serving a prison sentence with an uncertain release date. Upon returning home in 2018, Gates took his time to put out new music, while staying out of the spotlight, publicly expressing his distrust of the media. By the time he did put out a new project, it was only right that he get back to basics, reviving his beloved Luca Brasi series.

Luca Brasi 3 explores the full scope of Gates’ songwriting, beginning with more confrontational rap tracks before sliding into the middle section's slower, hookier material. He’s still wearing his heart on his sleeve, whether it’s on straight-up love songs like “Shoulda” or confessionals like “Wrong Love” where he reflects on those who’ve let him down on his rise to fame. At the same time, he sounds reinvigorated to make change as he returns to a Trump-led America: “I drop time on first time, nonviolent offenders… Let the families from Mexico go be back with they children.” Gates is still working on himself, but major growth seems imminent.

- Trevor

Before beerbongs & bentleys was even released, Post Malone’s manager Dre London confidently referred to it as one of “the greatest albums of this generation.” Texas artist Post Malone had shown flashes of superstar potential in the past, releasing tracks like “Congratulations,” “I Fall Apart,” and “Too Young.” We were hoping for a similar number of hits on b&b and Posty absolutely delivered, becoming the most unlikely recipient of our undivided attention.

Literally any one of these tracks could have been a radio single. There is no written formula for creating a catchy hook, but Post has the art down to a tee. From “Better Now,” to “rockstar” and “92 Explorer,” so many of these songs will get permanently lodged into your brain. While it likely isn’t the classic project we were promised, beerbongs & bentleys will be remembered as the album that catapulted Post to a certain level of superstardom. 

- Alex

Tierra Whack is a beacon of creativity. The Philadelphia-bred artist was unknown to most prior to 2018-- prior to six months ago, even. Then, one day at the end of May, she appeared with fully-realized talent, a flawless audio-visual project, and a unique concept. The day Whack World released, via a 15-minute YouTube visual, Tierra’s name quickly went from obscure to familiar, with the co-signs pouring in almost immediately. Major label artists took a moment to shout her out on social media that same day, while others, like Andre 3000, took her out to lunch in real life (probably not that same day). Suffice to say, Tierra Whack’s artistry was recognized almost instantly, and applauded by the industry at large, although she herself is not a product of the industry.

Tierra is simply herself, and that is definitely more than enough, as you well know if you’ve listened to/watched the 15-minute Whack World opus. It’s something she expressed in her recent FADER cover story: “I have so much to offer and I think of so many ideas throughout the day, week, the month, and it was just a way to, like, say, ‘Hey guys, this is what I have, I have a lot.’” Indeed, it’s a lot, but just the right amount of “a lot.” With each song 1 minute in length, you’re in and out before you know it. At once, she’s a downtrodden marble-mouthed rapper, a squeaky-voiced crooning singer, a country-slanging rap cowboy; that’s to say nothing of the flows, and the stories within each short song.

- Rose

Oxnard is an odd case. The principles by which albums are graded can feel stuffy. The order of succession (for hip-hop albums) is yearning for a shake-up, so artists like Anderson .Paak who dabble in “funk” fall outside of the regular grading system when the going gets tough. Oxnard is no exception.

The majority of critics agree: Anderson .Paak’s Oxnard is invariably a hip-hop album, but not in the conventional sense. Mostly because it’s rooted in “other genres” specific to California culture, among them, the all-important “Mothership Connection” channelled by George Clinton as a limitless resource. As a consequence, Oxnard mirrors Paak’s energy level on stage, even when the songs rain in at a more languid pace than usual. Oxnard is being sold to modern audiences in the most convenient manner possible, but the truth is really in the pudding.

- Devin

Chicago’s own Valee had himself quite the year. A year of come-upping. He went from a name that was buzzing locally/underground, clung to in inner hip-hop circles, but not necessarily in the wider rap arena, to a Kanye West-approved major label rapper, influencer of flows, with a TV sitcom appearance under his belt.

The release of his EP, GOOD Job, You Found Me, arrived a month after it was announced he had signed with G.O.O.D Music. Much of Valee’s hype quickly followed suit. At that point, it was clear to see why: the rapper had a distinctive sandy voice, a particular hollow production sound, and a je-ne-sais-quoi charisma all neatly tied up with one cohesive-sounding bow.

- Rose

Cardi B’s debut album dropped like a hulking affirmation of her place in the entertainment industry. The project, named as the album of the year by TIME magazine, shot down her skeptics, some of which actually enjoyed her outspoken online persona as a goofy stripper. Despite her previous mixtapes, a dismissive attitude surrounded her musical efforts. The “Bodak Yellow” rapper took the same fierce attitude and humor that shot her to social media stardom and laid it down unapologetically throughout Invasion of Privacy.

She swings with hefty bars, asserting her rightful spot as a rising star while claiming her hood roots like a true emcee. The project’s very first lines unleash this fiery tone by addressing her naysayers from the quickness. “Look, they gave a bitch two options: strippin' or lose/Used to dance in a club right across from my school/I said ‘dance’ not ‘f*ck’, don't get it confused/Had to set the record straight 'cause bitches love to assume.” Her lyrics might not be 100% authentic, having been crafted with the help of several other writers, but her personable voice is as real and unique as it gets.

-  Zaynab

Vince’s smartass syndrome is probably to blame for a record like FM! coming into existence. Not because “fun” has eluded him since birth, but because nobody foresaw him ever creating a smarmy club record like FM!. The album is Vince’s way of satisfying multiple sections of his fanbase: the fans who’ve been loyal to him since day one, and the SoCal culturists with whom he seeks approval. Where he draws the line between fetish and reality is hard to ascertain.

Based on what he foretold, the album’s concept and execution were deeply driven by personal objectives. The casual listener, who jumps in and out of focus by habit, gets a valuable crash course in SoCal culture by listening to FM! By creating an idyllic model of SoCal culture, Vince stands a good chance of dragging his old fans into new territory. FM! is only the beginning.

- Devin

Lil Wayne's Tha Carter V was reaching DETOX status. But unlike Dr. Dre’s need for perfection, Lil Wayne was facing a different sort of barrier that prevented him from releasing the project. Yet Wayne came out on top, despite the adversities, and delivered a project that his fans have been waiting on since its announcement in 2012.

Tha Carter V gave fans a glimpse of Wayne's creative brilliance, a brilliance that hasn’t always been consistent across the past decade. His stream-of-conscious delivery is refined and the raunchy punchlines are toned down, but the rapper born Dwayne Michael Carter II finally championed himself as the figurative father to the rap game as we know it today. CV had an extended moment of becoming an enigmatic album lost to history, but Wayne returned in full force, easily exceeding the lofty, borderline unrealistic expectations. If Lil Wayne announced that he was retiring after 2018, he would leave on a good note. 

- Aron

I have come to accept my place as our team’s longstanding Eminem fan. Having previously followed Em since The Slim Shady LP, I have since observed an artist at the height of his craft; sadly, I have also seen Em reach near Poe-esque lows, short of foraging, stark raving mad, through the streets of Detroit. Those unfamiliar with Em’s legacy likely missed the transition between Relapse and Recovery, which signaled a noted shift in both sound and songwriting.

Gone were the ominous soundscapes of Dr. Dre. Instead marked the era of Alex Da Kid and Rick Rubin, a partnership that culminated in the oft-maligned Revival. Yet Em managed to bounce back with Kamikaze, tapping into a contemporary aesthetic with help from Ronny J, Tay Keith, and Mike WiLL Made-It. He even opted for the blinding release; paired with a renewed sense of that “Just Don’t Give A Fuck” attitude, Kamikaze found Em once again embracing his position as hip-hop’s beloved antagonist.

- Mitch

The poetic sensibilities of Chicago’s Mick Jenkins are second to none. Few can inject their prose with as much meaning as Mick, who frequently encourages the lost art of interpretation. Perhaps it may be too challenging an approach for some. For others, however, such density is what elevates Mick to the upper echelon.

The simple act of writing often goes underappreciated, or worse, brushed off as a curmudgeon’s game; cue Funk Flex screaming “bars.” Yet Pieces Of A Man is a well-structured and meticulously crafted album in which penmanship is prioritized. It's been a minute since Mick was finding his voice on Trees & Truths; now, Mick can look back on an impressive discography, bookended by his most thought-provoking chapter thus far.

- Mitch

Testing is a curious body of work, pieced together by a scattershot combination of LSD-fuelled visions and high fashion fantasies. A$AP Rocky has always possessed an aura of aloofness; though his undeniable skillset left rap traditionalists seeking a more focused product, Rocky seemed more interested in the art of experimentation. In that regard, said traditionalists have frequently found themselves disappointed by Flacko’s increasingly disjointed narratives. Yet those willing to delve deeper can find much to enjoy here, should they prove willing to put in the time for a return visit. Or several.

Let it be known. I fought for “Fukk Sleep” to be the song of the year; between Rocky’s muted presence and FKA Twigs’ unsettling yet beautiful harmonies, it proved a worthy contender. Yet the insomnia-tinted nocturnal prowl was but one of many standout moments, each one more disparate than the last. By the time we conclude on an introspective grown-man campfire anthem, led by Frank Ocean of all people, we’re left wondering if we’ve been duped along the way. Yet should you come away disappointed, perhaps consider that the fault lies within. It’s not hard to be thwarted by one’s own expectations, and those who continue to wait for Rocky’s “rap” return may find themselves eternally by the windowsill.  

- Mitch

Last year, Future pulled a Sweat/Suit and split his artistry right down the middle, pulling it off better than any other rapper who’s ever attempted the extremely difficult task. FUTURE provided the hardness, HNDRXX the introspective R&B bangers, and both stand as some of Future’s best full-lengths. If anything was missing, it was the fusion of those two sides— the ability to be aggressive and emotional. Future became a star off the back of that hybrid sound, and after showing that he could still excel on either side of the divide, Beast Mode 2 is a welcome reminder of his alchemical gift.

Outmatched in anticipatory tenure only by Ape Shit, the long-teased Mike WiLL collaboration, Future’s second project with Zaytoven pulling full time measures up in every way to the quality of the original. The first Beast Mode gave us every side of Future: the unrepentant flexer (“Ooooh,” “Peacoat”), the shameless womanizer (“Lay Up,” “Real Sisters”), the wounded crooner (“No Basic”), the misty-eyed veteran (“Just Like Bruddas,” “Where I Came From”).

Beast Mode 2 scatters seemingly incongruous aspects of his personality even more randomly. Even the most flex-heavy tracks like “WiFi Lit” surprise with moments of unbridled desperation: “I'm not going back no more when I ain't have shit/Pray I get a new connect, pray I get a brick.” If anyone else has ever been able to pivot from the exuberance of “Doh Doh” to the deepest dark of “Hate the Real Me” in just four songs, I’ve never heard of them. That’s what you get when you put the most emotionally versatile rapper and his most trusted trap architect together for a full project.

- Patrick

When Kanye West announced that he was ambitiously undertaking five albums at once, we were all excited for what the future held. Once he casually tweeted that one of them would be a collaboration between himself and Kid Cudi, our childhood dreams suddenly came true. Ye and Cudi had worked together extensively in the past, but they never got the chance to bang out an entire project as a duo. In 2018, it seemed like a pipe dream to even wish for them to drop but alas, it was on its way.

The self-titled Kids See Ghosts is short and sweet, clocking in at just under twenty-five minutes of action. There are moments better suited to Cudi’s strengths (like the humming in “Reborn”) and times where Kanye shines brightly, specifically his verse on “Kids See Ghosts” and some clever wordplay in “4th Dimension.” KSG is one of the better collections from G.O.O.D. Music’s repertoire this year, allowing both artists to show why they’ve accomplished so much over the last decade.

- Alex

Dave East has been putting in work for the better part of this decade to solidify his place among the legends. The rapper has yet to release his official commercial debut album, but since signing a partnership deal with Def Jam, East has released several mixtapes including his most recent solo project, Karma 2. Though East’s style falls more in line with lyrical New York giants rather than his contemporaries, on Karma 2, he proves that he doesn’t have to compromise his artistry in order to keep up with the current climate surrounding him.

East maintains his roots while bringing unexpected collaborators into his realm on Karma 2; he tends to stay consistent in his delivery, but at the same time, he doesn’t stray away from dabbling in other sounds.  BlocBoy JB and Gunna brought their own unique styles into Dave East’s world and the Harlem native didn’t have to downplay his pen game to find chemistry with either of them. In truth, East has had one of the most prolific runs out of any rapper this year. With his debut album expected to arrive at the top of 2019, Karma 2 sets the bar high where expectations are concerned. 

- Aron

Gunna’s list of 2017 collaborators is nothing to scoff at— Young Thug, Lil Uzi Vert, Hoodrich Pablo Juan, Lil Baby, among others. But it’s nothing compared to the names that have had him on speed dial this year— Mariah Carey, Drake, Metro Boomin, Travis Scott, Future, to name a few. Drip Season 3, released one month into 2018, feels like the turning point in the Atlantan’s young career.

Although it hasn’t produced as many hits or sales as Gunna and Lil Baby’s joint Drip Harder project, released eight months later, DS3 is a more complete showcase of Gunna’s talent. It also proves that, during a year in which he’s become known primarily as a guest verse pinch hitter, he can hold our attention for 52 full minutes. A powerful braintrust of Metro Boomin, Turbo, Wheezy, and Richie Souf account for all but two of the album’s 17 tracks, lacing Gunna with heavy-lidded beats that fit his relaxed style and are probably the envy of older and more experienced rappers.

With both grade-A production and a guest-heavy tracklist featuring Thug, Lil Durk, NAV, Lil Yachty, Uzi, Pablo Juan, and Lil Baby, Gunna’s clearly set up to succeed, but that wouldn’t matter if he fumbled it. Instead, he outshines everyone from the get-go, kicking off “Helluva Price” with the now-instantly-recognizable flow that everyone seems to be mimicking. Drip Season 3 was the first moment that proved that Gunna, as he says on one of its tracks, can no longer be a “regular pedestrian.”

- Patrick

Within the thirteen years Nipsey Hussle spent working the mixtape market, he established himself as a self-sufficient independent artist connecting the lines between art and commerce. The release of 2013’s Crenshaw came with the controversial move to sell physical albums for $100 - a move that proved successful after Jay-Z dropped $10K to buy a hundred copies. Five years later and Nipsey is both applying the knowledge he’s gained and spreading it on his major label debut, Victory Lap.

Everything about the album feels like the long-deserved win in Nipsey’s career. The album’s title is an ode to the years of grinding that went into earning his crown as one of the young Kings of the west coast. As a businessman, the partnership between his label All Money In and Atlantic Records proved that he could make major moves without having to compromise his morals or ethics. Victory Lap shows Nipsey’s growth as a man now placed in a position to spread financial and life knowledge, applicable from the courtroom to the streets. 

- Aron

Youngboy is a prolific artist, and even as a fan, it can be hard to keep track of his releases. Whether they be mixtape format, proper streaming service uploads, loose Soundcloud drops, random Youtube uploads -- Youngboy does it all. Until Death Call My Name, though, was the Baton Rouge rapper’s proper debut, and while many of Youngboy’s off-the-cuff releases still bang hard, this is a body of work deserving of the album title.

While the releases that followed were all relatively strong in their own right, the intensity and rawness of Until Death Call My Name remains unparalleled. At 13 songs, the original release was the perfect length for each song to hit, without any wasted moments. A ‘reloaded’ version brought the song count up 20, yet, even in this ploy to boost streaming numbers, we received gems like “Through the Storm.” Until Death Call My Name is Youngboy truly in his element, that is, teetering on the edge of the streets, emotionally drained or else emotionally driven, using a bed of bubbling, southern-style beats to help alleviate the pain.

In the intro, Youngboy seemingly pleads with the listener to not discount him as a “bad person," in light of the legal woes and domestic violence accusations against him. While doesn’t exactly make a strong argument for himself, you’ll still find morsels of this internal struggle throughout the music, making Until Death Call My Name that much more harrowing.

- Rose

Noname’s Room 25, displays her growth in both her artistry and her character. While her first project, 2016 debut Telefone, presented itself as an assertive account of a young woman’s trepidations and conquest along a journey of self-discovery and determination, Room 25 extends the narrative with renewed fortitude and an attitude bolstered by the experience of a matured spirit.

The female rapper comes through with iconic lines from the very beginning of the album. “My pussy teachin’ ninth-grade English/My pussy wrote a thesis on colonialism.” The 27-year-old juxtaposes this confidence with vulnerability, pointing to the inevitable flaws imposed by her humanity, which makes Room 25 well-rounded and honest in its lyrical content. This complex yet cohesive craft is also found in the Phoelix-produced instrumentals with the smooth melding of a variety of Black genres, from jazz through neo-soul, and beyond.

What makes her project all the more inspiring is the fact that the collection of stellar compositions were strung together and released in full independence. Noname put in work, racking up the funds for the project through her live performances and tours. The rapper built her own seat at the table.

-  Zaynab

As if Jay Rock needed another traumatic life event to make him sound more grizzled and experienced, the Watts native endured a near-fatal motorcycle crash during the run-up to his third album. He comes out the other side sounding less like a hardened hustler and more like Scarface, but interestingly enough, Redemption also offers more in the way of modern, radio-ready beats than its predecessor. On one hand, there are meditative, piano-led cuts like “For What it’s Worth” and “Broke +-.” On the other side, “Knock It Off” and the Jeremih-assisted “Tap Out” are airier and more youthful.

This contrast would prove difficult to wrangle for rappers less seasoned and comfortable in their own skin as Rock, but in his hands, the newfound versatility leads to the strongest writing of his career. Think Rock’s making shallow plays for mass appeal? Knotty, dextrous bars like, “Am I too prolific? The vision my pugilistic/Moods insisted food come from them tools he so choose to use.” Think he’s old and washed? See Rock spearheading “King’s Dead” alongside Kendrick and Future, leading to his highest chart position to date. And also “WIN,” prominently featured in HBO’s Ballers and…a campaign ad for Stacy Abrams’ nearly-successful bid for governor of Georgia. Your fave could never.

The workmanlike Jay Rock is often overshadowed by his showier TDE labelmates, but Redemption yet again proves that he’s capable of crafting albums that go toe-to-toe with anything this side of good kid, mAAd city and To Pimp a Butterfly.

- Patrick

As I write this, we’re already anticipating Lil Baby’s newest solo effort of 2018, Street Gossip. Whether or not it is better than Harder Than Ever, the quick-rising rapper’s debut album, remains to be seen, and indeed, it will not be seen in this article, at the very least. We’ll have to let Street Gossip sink in further as we discuss the many merits of Baby’s previous release.

Most hip-hop fans are aware of Lil Baby’s story at this point, one that has “hope” written all over it. ICYMI though: Baby was playing around in the streets a bit too much, and after being released from a stint in prison, with the encouragement of friends and family around him, he picked up rapping a little over a year ago. To great effect, obviously. In that extremely short span of time, he’s shown true growth as an artist -- growth that is easily traceable through his slew of mixtapes preceding Harder Than Ever. His upwards trajectory shows no signs of stopping too, as he not only continues to find his voice, but as his star shines brighter with each release.

That being said, Harder Than Ever was the culmination of these two things, so far. Harder Than Ever was expertly curated from a beat perspective, each song dripping more than the next, while Baby uses his high-pitched cadence to find pockets within and outside of the beat. He also lets us in, sharing stories of his past trials and current successes, revealing his person in the process. The album ends with the somber “Never Needed No Help” where Baby is adamant he can do this shit with or without support. We believe it.

- Rose

Royce Da 5’9”’s Book Of Ryan is not an accessible album. Nor does it profess to be. Instead, it is a self-scribed biopic, written with two beneficiaries in mind: Royce himself, and those who have followed him since the days of Grand Theft Auto III. Casual listeners attuned to the game’s players are well aware of Royce’s skillset, though perhaps ignorant to the peaks and valleys of his journey.

In that sense, due respect is often given where Nickel’s name is concerned, though little time is made for the man himself. Book Of Ryan flips the script, equivalent to a hip-hop veteran gathering fans round a stoop for a Slick-Rick-esque storytime session. It soon becomes evident that Royce has penned a slow-burning narrative, forsaking the breakneck pace of 2016’s Layers. The man can still out-rap your favorite rapper, yet such competitive validation is not the goal.

Instead, Book Of Ryan focuses on character development. Fans are well aware of brother Kid Vishis, but for the first time, Royce opens up about a pivotal player in his come-up: his father, whose presence looms over the entire project. Royce looks to the past in analyzing his present, examining his childhood with a razor-focused lens, culminating in the magnificent “Power.” Simply put, the nightmarish Thanksgiving dinner easily stands alongside the best storytelling tracks in hip-hop history. And that is but one of many chapters. 

- Mitch

Potential has to count for something. Doubly so when said potential is being realized beyond expectation. Such is the case for Dreamville’s own JID, who has emerged as the label’s, and possibly the rap-game’s, next up. Those familiar with The Never Story and the magnificent “Hasta Luego” can likely attest to his undeniable skillset as a technician, and before long, sophomore effort DiCaprio 2 was amassing hype befitting of an established act.

Brilliantly towing the line between mixtape and album, JID brought forth a well-structured effort, revealing, but never reveling in the scope of his artistry. “Bars” were served in spades throughout DiCaprio 2’s opening quarter, with the run from “Slick Talk” to “Off Da Zoinkys” standing alongside the year’s best. Yet JID allows himself room to evolve and experiment, to pay homage to a variety of styles without forsaking his own; there’s something refreshing about JID, Method Man, and Joey Bada$$ trading verses and tokes, a torch-passing moment of sorts.

I stated in my official review for DiCaprio 2 that JID managed to stumble upon the golden mean of the Skill/Sauce Spectrum. Possessing enough contemporary sensibilities to navigate an ever-evolving landscape, JID has consistently kept his lyricism and flow sharp enough to turn the heads of legends and current greats alike. Like the man after which JID named his latest project, the proverbial Oscar has yet to come; still, can you not feel the inevitability?

- Mitch

I get the impression Edgewood was enjoyed, but not the way Trouble or Mike WiLL had intended. Between the moments of unnerving silence on the record, the ripple hits a new high for Trouble, as he quickly dispels the notion that he is but a “useful vessel” to Mike WiLL and his dramatic scene-setting. In reality, both men measure up confidently to each other’s quality, 50-50. Edgewood is as much a career-defining moment for Trouble as it is an extension of Mike WiLL’s constant foreshadowing.

With that said, Edgewood is about as balanced a composition as you will find in the muddy waters. You get a sense, Mike WiLL borrowed from film when he accounted for cutscenes, in an order befitting of Trouble’s marked intensity: a personality trait we’ve come to understand a little differently, maybe even sympathetically.

Trouble’s language is often sparse, and at times, hard to discern, but of course, it helps that he gives you a crash course along the way. Mike WiLL’s penchant for drama met its perfect match in Trouble’s irresistible drawl.

- Devin

Mac Miller’s final album is a subtle sort of masterpiece. The late rapper worked on the album over the course of two years, revealing in his interview with Vulture that the opening song on the album, “Come Back to Earth,” was first created in 2016, post-Divine Feminine. While he created many iterations of the record, it was ultimately the very first version of the song that made the album (and you can apply this principle to all things in life-- isn’t that always the case?).

This little bit of information: about how much time, effort and devotion he put into his music, was important to Mac. He stressed as much in that same interview. It should be important to us too, as fans and listeners of the music. Swimming is the type of album that takes time to properly consume and enjoy, the type of album that requires multiple listens-- each time there will be another “new” song to discover, a new depth to explore. If you’re not careful though, Swimming could easily slide through your mind, verging on “elevator music.” That is to say, there is plenty to grasp and dissect within the album, profundity in both content and production, but it’s easy to listen at a surface-level given how relaxing the music is.

As Mac described it, the sound that pulled the album all together was “water.” Water, both the image or the idea of it, is relaxing. The soundscape acts similarly, flitting between silky keys, laidback horns, bubbly strings, and soft percussion. A bit of funk. A bit of jazz. A bit of hip-hop. While it may not have been the grand finale Mac was planning, it feels appropriate as the closing chapter in his discography.

- Rose

Pusha T has earned his stripes in the rap game; his pen is never questioned, nor is the authenticity in his narratives. There are few rappers in modern times that can so vividly juxtapose the ups-and-downs of the streets while providing a glimpse into luxuries the majority will never experience. Over the course of seven tracks, Pusha T packs in dope boy dreams and realities. He delivers a dense project that’s meant to speak to the streets, likening himself to Raekwon and Ghostface Killah’s Only Built 4 Cuban Linx in the process.

The album that was initially titled King Push arrived packaged as DAYTONA; a 21-minute long album connecting some of Kanye West’s strongest recent production and Pusha T’s high-taste, luxurious drug raps. The project serves as Pusha T’s official follow-up to 2015’s King Push -- Darkest Before Dawn: The Prelude. “DAYTONA represents the fact that I have the luxury of time,” he explained on Twitter. “That luxury only comes when u have a skill set that your confident in.”  

His subsequent beef with Drake briefly steered the spotlight away from the album, but DAYTONA, like the rest of his discography, withstood the test of time in a quickly overflooded market. Music arrives at such a fast pace these days, with artists casually announcing projects on short notice, but Pusha T has long solidified his position. He’s earned the right to work on his own clock. Even if we have to wait another two and a half years for a new album, Push will make it worth the while.

- Aron

A personal favorite, Denzel Curry’s TA13OO marked the year’s biggest instance of artistic growth. Though his days at the forefront of Raider Klan are long behind him, Denzel has lost none of his raw technical prowess. In fact, he has since honed nearly every tool in his kit, standing at the forefront of his generation in nearly every category. Twenty-three years old, and already arranging three-act albums structured in a theatrical fashion.  

Of course, there are the songs like “Sumo,” “Black Metal Terrorist,” and “Percs,” which bring forth memories of Denzel’s formative years. Those who came to discover his talents through “Ultimate” memes will find simple pleasure in Curry’s charismatic intensity; those seeking something less visceral can easily lose themselves in his clever lyricism and surprisingly deft melodic touch. And yet there is a coherence grounding TA13OO, ensuring that “Black Balloons” can coexist alongside its “Blackest” counterpart. Bookended by two disparate tracks, the beginning sounds nothing like the conclusion. The markings of a successful journey, in which our protagonist undergoes a disturbing transformation, from Light, to Gray, to Dark.

Most importantly, however, is the fact that TA13BOO is insanely listenable from front to back, boasting strong writing and stellar production. It’s not often the case that two of the best young lyricists join forces, and the J.I.D-assisted “Sirens” proves that the game’s future remains in capable hands. A bonafide work of auteurship, one can't help but wonder what the twisted genius of Denzel Curry will conjure up next.

- Mitch

2018 seemed like the year that rappers finally listened to fans’ hand-wringing about overlong albums saddled with overly active rolodexes. With a few noteworthy exceptions— *cough cough* Culture II and Scorpion *cough *cough— we got more 20-to-30-minute-long collaborations between one rapper and one producer than ever. For 98% of the industry, this is a great move. For Travis Scott, it would not have been a wise choice. Running counter to the trend, he went full maximalist and delivered his finest work yet.

Scott’s weakest moments have come when he tries to downplay his outsized vision— the middling Birds in the Trap Sing McKnight and the completely forgettable Quavo collab Huncho Jack could’ve been made by anyone with the Houston native’s enviable contacts list. What separates Scott from every other rapper ever is his completely deranged ambition, his view of the major label rap album as a potential carnival with rollercoasters, sickly-sweet cotton candy, and funhouse mirrors. We all know that, as a writer, he’s never going to give us a high-art concept album. As a curator though, he’s always had the potential of putting together a cross-genre event of an album. “Who put this shit together?”, he asks on world-conquering single “Sicko Mode,” “I’m the glue.”

It’s fitting that Scott commissioned David LaChapelle, the lowbrow artist who once said, “I like the Eiffel Tower in Las Vegas more than the actual one,” for the Astroworld artwork. He also named the album after a now-shuttered Six Flags location, after all. Scott’s all artifice, but I'll be damned if it isn’t fun as hell on his third album. He almost got there on Rodeo, but there were still too many moments that 25 other rappers could have accomplished. Nobody, and I mean nobody, is putting together Astroworld’s absurd collaborations other than Travis Scott. THis is the moment when his means finally match his ambition, and it’s a beautiful, if garish, thing.

- Patrick

King Overdosed. Kids On Drugs. Kill Our Demons. The three subtitles of J. Cole’s KOD paint a bleak picture. One not often associated with his appointed role as hip-hop’s definitive mentor. Yet the connotations that arise - drug abuse, impressionable youth, addiction and mental health - make up the foundational core of J. Cole’s fifth studio album. Yet KOD is wizened without being didactic; it’s musically appealing to a diverse array of listeners; it balances complex issues with moments of levity, a testament to Cole’s brilliant arrangement.

Opening salvo “KOD” serves as the bait, pairing J. Cole with his long-rumored mortal enemy: 808s. A technician at heart, Cole uses his opening moments to simply flex, though never once sacrificing lyricism in favor of flow. In that regard, he manages to bridge the gap between old souls and contemporary aficionados without shedding his hard-earned integrity. What follows is a decidedly more reflective section, in which Cole trades musings with own alter-ego, lamenting the death of intimacy and the troubling nature of revenge. Though heavy-handedness can occasionally arise with the territory, Cole inserts enough self-awareness and occasional doses of irony to ground his messages.

Ear-candy like “ATM” and “Motiv8” signify Cole’s awareness to the current landscape, and “1985” proves he can respectfully deconstruct it when provoked. Such is the J. Cole effect; can one truly be feared if they move in a benevolent fashion? Yet his goal is not to inspire fear, nor promote any direct competition. There’s enough for everyone to eat at Cole’s table; if one feels threatened, it is simply because Cole operates at such an elevated level. As such lesser attempts may pale in comparison. Especially those who have forgotten that the album is, indeed, an artform. It must be treated as such, from the artwork to the production, the lyricism to the sequential arrangement. Though 2018 brought no shortage of excellence, J. Cole’s KOD stands aloft as the year’s crowning achievement.

- Mitch