Pretty much everything he has dropped this decade has been stellar, be it solo or as part of Armand Hammer (with Elucid).

Both are produced by Keyel, who, with fellow producer Dart, has been working with Boogie since his second mixtape, The Reach, but now with big studio backing, they’ve never felt more in tune with the ineffable anxiety Boogie’s been trying to put words to since he started. And so, if you find yourself clenching your teeth as you peruse the list, take a deep breath a remember, this riotous venom is what keeps the genre moving. Who better to recruit than Ghostface Killah to ensure the creation of another potentially timeless Hip Hop record? HEAR IT: Spotify | Apple Music, Five years after they first teamed up, Freddie Gibbs and Madlib share the same unlikely chemistry. —Rodney Carmichael. Again and again and again.

New Sauce City is a kind of thought experiment: How would that voice sound over classic New York-style beats? But this record—a sort-of mixtape best-of/compilation/rush-job issued just as the rapper was beginning his ascent—is better than that one, and it does a better job of communicating DaBaby’s class-clown appeal.

Munson styles himself as ‘raw boom-bap’  beatmaker, and with this album he definitely lives up to that moniker.

But on Anger Management, her collaboration with the great thud-blat producer Kenny Beats, we get the best version of Rico Nasty.

And then, a few clicks away from any Detroit rap video on YouTube, there were the Sh***yBoyz, a trio of designer-draped teens obsessed with '80s electro, chintzy freestyle music and rapping like every studio session is a race against time before Mom gets home. As Hip Hop continues to explores its boundaries going into the next decade, a sample-heavy, lyrically dynamite album like Bandana reminds us we don’t have to stray too far from the foundation to make a classic. What rises this album above most other albums in the NYC boom-bap renaissance that is going on right now, is Nems’ lyricism. The Last Poets – Transcending Toxic Times The March release of his multiplatinum-selling debut studio album Baby On Baby was balanced with comedy, hardcore gangsta rap and his impressive range of rhyme cadences, including its smash title track and club banger “Baby Sitter” featuring Migos’ Offset.

A celebration of brotherhood, blackness, maturity and everything in between, Phonte and Pooh’s comeback project was seamless. I know a jeweler who says there are a million tricks in the process but to be a viable craftsman, the end result must be controllable.

This album is straight-up boom-bap with beats sounding like they come straight from the early ’90s.

Gibbs is an earthy technical rapper with a limited, street-level focus, and Madlib is a maker of diffuse, vaporous, sample-dazed beats. But there’s no mourning, no sorrow or gnashing or teeth.

Guests like Chester Watson, billy woods, Zeroh, and Loji add their perspectives – resulting in a poignant project meant for thinking people. Soulapowa brings nothing new or revolutionary to the table, but it is a really well-executed album, filled with soulful soundscapes and thoughtful lyrics. Das sieht man spätestens, wenn man sich die Top 10 der Charts seines Lieblings-Streamingdienstes anschaut.

It all amounts to mesmeric, soul-crushed circa-now blues music, the sound of a young man contemplating ugly and bleak realities without letting those realities drown him. Was it worth the wait? In his verse on “Bang” (a previously recorded verse which feels tacked on here), he raps about his beef with Canibus and Ja Rule and other ancient histories which makes his presence on this album feel totally out of place. It not only showcased the level of Hip Hop Super Sayen Sky has evolved into but was also a brilliant reminder of just how incredibly nasty Rock is on the beats. But where before, that energy was infectious, explosive, exciting, here, it’s healing. Rebel INS has always been of Wu-Tangs best lyricists, and together with Boston underground legends 7L & Esoteric he is the process of putting together a pretty impressive series of albums as Czarface.

He’s wacky and glib rather than numbly emotional, choppy rather than melodic, technically virtuosic rather than mushmouthed. Or, as Kenny Beats tweeted on release day: “ITS LIKE A TEMPTER TANTRUM.” He was right about another thing, too: This is a mixtape rapped in all-caps. In hip-hop, we tend to laud a rapper's evolution — the storied trajectory is from street life to business and family life. 38 Spesh dropped a couple of dope EP’s in 2019, but this compilation arguably is the best of his output this year. While the old guard’s rebellion may have finally curdled, we hope rap never stops spitting in the face of the status quo. Required fields are marked *. Thanks for this. It packs heat, including the lead single “I Know” assisted by singer Haile Supreme, “Still Trill” featuring Method Man and Grafh and “Concrete” featuring Statik’s 1982 ace-in-the-hole Termanology and Westside Gunn. It’s exactly what its title might suggest: a livid, charged flare-up, like an outburst of outrage tempered in the studio. KWESBAAR pushes his musical prowess to a level beyond his past; demonstrating his love for retro production and true-to-life raps. Sampa The Great’s The Return might be the most fascinating Hip Hop album of the year. Dusty is the ninth studio album by Queens, New York emcee Homeboy Sandman, his first one on the Mello Music Group label. On The Plugs I Met, Benny connects with heavyweights well-versed in both (Black Thought, Jadakiss, Pusha T).



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