best albums of 2019 rap

Taking things full circle, Latifah herself appears on “Hatshepsut” with a retrospective verse recollecting her importance, while the album’s lead single “Ibtihaj" succeeded as a nostalgic moment that paid homage to GZA’s “Liquid Swords.” Step by step, Rapsody works tirelessly to recreate the idea of what a popular woman can look and sound like headed into 2020, as she refuses to budge when it comes to the mere thought of compromising her integrity.

Remember, you can’t really sit with them.–A.W. Thug didn’t pave any new ground here, but he reminds you he already paved the last few roads – and that’s more than enough.

Killah's "Pity in the Summer" bar: "Me and Jim, we woulda made a livin' smackin' kufis off," embodies the true-life humor which authenticated the hip-hop collectives' early 2000s reign. But even going the comfortable route, she is constantly disrupting her own ’70s soft rock pastiche with sounds that represent the future—space-age synths, satellites trying to connect. Stormzy - Heavy Is The Head#Merky/Atlantic UK. He signed to Interscope in '06 but was dropped before he was ever able to release the debut album he recorded for the label. Solange’s follow-up to the widely-hailed A Seat At the Table wasn’t the across-the-board hit that masterwork turned out to be, but …Home is an atmospheric, mood-driven sequel that doesn’t care much about airplay or accessibility. The MC's synthy librettos straddle the album's conscious effort to do right by women and on the songs that follow -- including the Kelly Price-assisted "Set You Free," and "BGM," which tackles both the gender pay gap and parenting a daughter. 8. slowthai - Nothing Great About BritainTrue Panther/Method. I can't think of another artist who dominated hip hop on that level this year, and the immense popularity is deserved. Malone says not to listen to hip-hop if you want to feel something, but Malone’s vision of hip-hop makes you feel regardless. Opener “Alewife” finds 21-year-old singer-songwriter Claire Cottrill revisiting suicidal thoughts that she had in eighth grade, and over the next 10 tracks, we are with her through so many growing pains and regrets. And rap in 2019 wasn’t necessarily prolific, but it was still rewarding all the same. Out came Crush, a record that vibrates with sadness and anger, buoyed by squelching melodies that flutter and pop. Listeners may not receive a New York-based record this thorough for some time, but El Capo's versatile bravado will assuredly endure.

It’s self-conscious stuff, to be sure, with highlight “Wake Up Next to God” reveling in the G-force of self-torment. of pouring out his emotions with his pen.

–Mike Powell. Offering nine tracks in 18 minutes, the project burns quick and bright: Mostly, Rico jumps in, commands a raucous beat, and dips before the three-minute mark. It’s an experience that can offer shelter from the noise—or it can offer better noise, if that’s what you’re looking for. For the past few years, Bad Bunny has remained a true original in an urbano scene littered with talented copycats, and X 100PRE is his hard-to-catch victory lap. For as fragmented as this carousel of mall punk, trap-pop, video-game soundtracks, and melodramatic Euro-trance can feel, the lingering mood is one of intimacy, of inner children mashing the pleasure button without boundaries or shame. When The Diplomats first began to bubble in the early 2000s, many fans would never believe that nearly two decades later, Jim Jones would arguably be the most consistent and developed rapper in the group. KIRK continues his reign of could-be hits and actual hits, and also introduces a more sentimental side that suits Baby surprisingly well (parts of KIRK are about DaBaby's father passing away just as he started getting famous). And on "We Gon Make It," which features Meek Mill, YBN embodies the universality inherent to living out your dreams against all odds and side-eyes a rap game "based upon what ni**a’s lying better," insisting that "I'm everlasting, better graspin' this thing in life." Seattle, Washington isn’t exactly known as a hotbed of hip-hop activity, but local rapper Travis Thompson makes a strong case that perhaps it should be. But the Rhodes-accented "Thousand Words" proves resonant in its biting critique ("Sittin’ on this phone for hours, feel my brain getting rotten") of the social media feedback loops we all occasionally get mired in.

House of Sugar is his most ambitious and immersive album yet.

LEGACY! LEGACY! (Were it not for certain coastal allegiances, he’d undoubtedly have fit in well over at TDE.) “U (Man Like)” is a piano ballad that urges men to do better. –Jillian Mapes, The magic of Christian Fennesz’s work comes in the way he turns the minimal into the maximal, expanding tiny moments into huge sonic environments.

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