TDE artist Ab-Soul has released Soul Burger, his first album since 2022’s acclaimed Herbert. The album features DoeBurger, Vince Staples, Doechii, JID, Lupe Fiasco, Ty Dolla $ign, Jason Martin, Thirsty P, Kamm Carson, Fre$h, Punch, and Asia Holiday with production from 9th Wonder, ScHoolBoy Q, Kal Banx, Terrace Martin, Rascal, TaeBeast, Devin Malik, Beat Butcha and more. With Soul Burger, Ab-Soul pays tribute to his childhood best friend, DoeBurger, who passed away in 2021. Doe always encouraged him to create more upbeat music for fans to dance to at shows, so this project is both an homage to him and a reflection of the music he inspired Soul to make. Throughout the mixtape, Doe serves as a narrator, urging Soul to persevere despite his challenges.
Ab-Soul is known for challenging rap’s conventional narratives with his deep, thought-provoking lyricism and distinctive style. Joining Top Dawg Entertainment (TDE) in 2007, he became part of the revered Black Hippy collective alongside Schoolboy Q, Jay Rock, and Kendrick Lamar. His music often delves into personal hardship, philosophy, and social issues. His journey has been marked by significant struggles, including being diagnosed with Stevens-Johnson Syndrome at age 10, which severely impacted his vision and skin. The 2012 loss of his best friend and longtime girlfriend also deeply influenced his music, inspiring his breakout track “The Book of Soul” on his sophomore album Control System. After a six-year hiatus, Ab-Soul returned with Herbert (2022), an album that showcases his vulnerability as he reflects on mental health, grief, resilience, and self-discovery—earning praise from both fans and critics for his growth and authenticity.
Ab-Soul is quietly the most impressive lyricist on TDE. He was in contention with Kendrick Lamar for years, but now that Dot has started pgLang, the crown is inarguably his. Nobody raps like, or about the same things as Ab-Soul. Soul Burger contains his usual mixture of heady metaphors and juvenile humor, but it also branches out in way that previous Solo albums have not. This album has West Coast bangers, jazzy freakouts, and collaborations with non-TDE wordsmiths. It maintains Ab-Soul’s esoteric appeal and makes it more palatable than its been in years.
This unique balance in struck within the first couple songs. “9 Mile” and “Payday” pay tribute to the icons that influenced Ab-Soul, with the former being an obvious 8 Mile riff. The rapper is in rare form on these songs, dropping bars that will take a rewind or at least a few repeat listens to fully sink in. The solo Soulo tracks vary in terms of tone. Some are more aggressive, others more reflective, like “Peace” and the Soul Burger closer, “Righteous Man.” The variety of collabs is definitely helpful in keeping things moving, with emcees like Punch, Lupe Fiasco, and Vince Staples taking center stages and delivering stellar work. Soul is never outshined, however. Soul Burger is a triumph. Check it out.
Let us know what you think of this brand new album, in the comments section down below. Additionally, stay tuned to HNHH for the latest news and updates from around the music world. We will continue to keep you informed on all of your favorite artists and their upcoming projects.
This year’s Camp Flog Gnaw Carnival lineup was rolled out in a fun way: Via a crossword puzzle with clues to each artist’s identity on the festival’s website. Now that the puzzle has been solved, we know who all is performing at this year’s Camp. In addition to regulars like festival organizer Tyler The Creator and frequent collaborators Vince Staples, Earl Sweatshirt, Domo Genesis, and Denzel Curry, this year’s fest includes Doechii, Kaytranada, DJ Mustard, Raye, Laila!, The Alchemist, Action Bronson, Concrete Boys, Blood Orange, Tommy Richman, Sampha, Faye Webster, and a special tribute to the late, great MF DOOM. You can check out the completed crossword below.
While Tyler told fans at the last Camp Flog Gnaw that he wouldn’t be releasing any new music soon, this year, he’ll have a whole new album to perform. Tyler announced his new album, Chromakopia after teasing new music with the eerie video for “St. Chroma.” It’s a good thing he’s got a new project coming, too, as last year’s headlining festival set will be hard to top; Tyler caroused across the stage firing a flamethrower, so you can bet he’ll be going even further over the top with this year’s set.
You can see the full list of performers below and get ticket information here.
Camp Flog Gnaw Carnival 2024 lineup
Action Bronson
André 3000
The Alchemist & Friends
Amelia Moore
Blood Orange
Concrete Boys
Daniel Caesar
Denzel Curry
Doechii
Domo Genesis
Earl Sweatshirt
Erykah Badu
Faye Webster
FM MOOD: A TRIBUTE TO MF DOOM
Hana Vu
Jean Dawson
Jordan Ward
KAYTRANADA
Kenny Mason
Laila!
Latin Mafia
Left Brain
Lithe
Ma$e
The Mainliners
The Marías
Matt Champion
Mike G
Mustard & Friends
Na-Kel Smith
Omar Apollo
Orion Sun
Playboi Carti
Raye
Rio Amor
Sampha
ScHoolboy Q
Sexyy Red
Syd
Tommy Richman
Tyler, The Creator
Vince Staples
Wisp
Yves Tumor
At this stage of his career, Vince Staples‘ catalog has grown to six studio albums, four mixtapes, and two EPs, meaning that his Black In America Tour has a lot of material to pull from for its 24-song setlist. Thanks to setlist.fm, we now know exactly which songs from his ever-expanding discography are included. It’s a diverse collection of tracks, although it is fairly upbeat, with energetic tracks such as “Fun!,” “Magic,” “Free The Homies,” “Big Fish,” and of course, “Norf Norf” interspersed among songs from his latest album, Dark Times.
Meanwhile, his second-best represented album is 2022’s standout Ramona Park Broke My Heart with six songs, while his 2021 self-titled album shows up four times. Big Fish Theory has three entries, while FM! and Summertime ’06 get a single entry each. You can check out the full setlist below, along with the remaining tour dates.
10/18 — New York, NY @ Terminal 5**
10/20 — Boston, MA @ Roadrunner*
10/21 — Philadelphia, PA @ Franklin Music Hall*
10/23 — Toronto, ON @ History*
10/24 — Washington, DC @ The Anthem*
10/26 — Detroit, MI @ Masonic Cathedral Theatre*
10/28 — Minneapolis, MN @ Palace Theatre*
10/30 — Denver, CO @ Mission Ballroom*
11/02 — Seattle, WA @ Showbox SoDo*
11/03 — Portland, OR @ McMenamins Crystal Ballroom*
11/05 — San Francisco, CA @ The Warfield*
11/06 — Los Angeles, CA @ Shrine Expo Hall*
JPEGMAFIA released his latest album, I LAY DOWN MY LIFE FOR YOU early Thursday morning. The album is his first since SCARING THE HOES, his 2023 collaboration with Danny Brown. It is his first solo release since LP! in 2021. His latest effort features an appearance from frequent collaborator Denzel Curry, on the song “JPEGULTRA!” It also features his first collaboration with Vince Staples, on the track “New Black History.” The song, which is produced by JPEGMAFIA himself and electronic producer Flume, is in line with his trademark sound. It’s quirky, opening with a sample of Future’s “Covered N Money” before transitioning into Staples’ verse. Staples finds his pocket on the off-kilter beat, delivering a series of bars about gangster life, him being the best rapper out, and shouting out Long Beach. It’s reminiscent of his performance on the SOPHIE-produced “Yeah Right” from his sophomore album, Big Fish Theory. Peggy’s verse covers a lot of ground and shouts out the professional wrestler CM Punk at the end.
JPEGMAFIA’s verse created controversy this morning for a line directed at Drake. “‘Specially when y’all cashing out for PDFs and rapers (No Drizzy)” is the second bar of his verse. Of course, he’s referencing the allegations made against Drake by Kendrick Lamar during their heated battle earlier this year. Peggy has long been a Drake hater, a moniker he bestowed upon himself many years earlier. That line is not a surprise to anyone who’s been following his career. Regardless of JPEGMAFIA’s controversial bars, “New Black History” is a song you should be checking out today. Listen to the new track below.
When I come around, better stare at the floor (Yeah!) ‘Cause I’m in that mode, on my own, I got that flavor, Jonathan Major paper ‘Specially when y’all cashing out for PDFs and rapers (No Drizzy) I hope y’all paid attention, no really I die and I killed myself, tell ’em they killed me (Hey)
JPEGMAFIA is a menace. The man raps like nobody else, and makes beats like nobody else. He sounds beamed in from another dimension, where hip-hop is slightly off-kilter, and it’s incredible. Peggy reached a cultural high with his Danny Brown collab SCARING THE H*ES in 2023, but he’s back to doing what he does best on his new solo album. I LAY DOWN MY LIFE FOR YOU definitely scares the h*es, but there’s darker elements at play here, and JPEGMAFIA channels them all brilliantly. The opener, “i scream this in the mirror before I interact with anyone,” lives up to its antisocial title. Guitar riffs crash into Peggy’s voice, resulting in an unhinged sonic stew.
There’s more of a traditional rap sound on the rest of the album, but only barely. “SIN MIEDO” flips a classic Miami bass sample into the musical equivalent of a mosh pit. “I’ll Be Right There” provides an unexpected breather, with its lush strings and romantic and the Jade sample spliced throughout. The artist has a knack for making incongruous sounds work together to create something unexpected, and the best parts of I LAY DOWN MY LIFE FOR YOU stem from this unpredictability. It also helps that Peggy has electric chemistry with the likes of Vince Staples and Denzel Curry. Staples sounds menacing as ever on “New Black History,” while Curry skates over a messy horn break on “JPEGULTURA!” JPEGMAFIA also finds time to diss Drake multiple times, but you can read more about that here. Overall, I LAY DOWN MY LIFE FOR YOU is another triumph.
Like most online debates, this one was started by an account expressing a “hot take” with which fans took issue. “There’s not a single thing Vince Staples does better than J. Cole,” it wrote. Within an hour, the challenge was met by a dissenter who wrote, “I’m a J. Cole fan but Vince does just about everything better than Cole.” Thus, we were off to the races, with various voices chiming in to make their points or refute others’.
I’m a J. Cole fan but Vince does just about everything better than Cole https://t.co/eoAgphoSct
Of course, the funniest response came from Staples himself. As fans pitted the two rappers against each other, Vince had a characteristically cheeky response, tweeting, “You n****s need jobs” and following up with, “So passionate about hip hop but I’ve yet to see one of you weird ass n****s break dance.”
We here at Uproxx support both rappers, but tend to agree with Vince here: There are far more interesting things going on in the culture than subjective comparisons of “who’s better.”
Still, if that’s your thing, you can check out more responses below.
I hate hip hop twitter because they always have these dumbass takes to look cool. Vince Staples can’t do a SINGLE THING better than J. Cole besides somehow sound more boring. I love Vince but Cole has done too much for this game carrying the essence of hip hop for the past decade https://t.co/194UXFX0k8
vince staples discography is better than j cole by like miles…. plus Vince is actually interesting and has amazing beat choices https://t.co/UwUJJecpLq
Questlove is an amazingly accomplished artist, with six Grammy Awards, an Academy Award, and a slew of books and movies to his name. Likewise, fellow Philadelphian multihyphenate Quinta Brunson has a ton of hardware adorning her shelf, with an Emmy Award to go alongside multiple(!) Peabody Awards.
You’d think that these would be pretty serious people, but everyone needs to unwind sometime — and, in their case, they equally overachieve with their game nights as with anything else, putting on a party of epic proportions with a guest list that reads like a dream blunt rotation.
In addition to fellow Abbott Elementary stars Ayo Edibiri (who plays Quinta’s character’s sister), Cree Summer, and Zack Fox (who plays Quinta’s character’s ex), the guests included music stars like Eryn Allen Kane, Finneas, Jason Sudeikis, Jojo, Kelly Rowland, LL Cool J, Maggie Rogers, Steve Lacy, Thundercat, Vince Staples, Willow, and even Weird Al Yankovic. I’d ask what a brother has to do to get an invite, but it seems pretty obvious: Get nominated for a Grammy or two, shift the paradigms of popular music, or be one of the most talented humans alive. You can check out some photos from the hosts below.
Kendrick Lamar’s “Pop Out” show will go down as a classic moment. E-40, a guy who has seen a lot, deemed it one of the greatest nights in hip-hop history. All the heavy hitters from the West Coast were in attendance. Well, almost. Vince Staples is one of the few L.A. stars who was not present at the show, but it wasn’t for lack of support. Fans questioned why Staples was missing in action, and DJ Mustard set the record straight on social media.
The answer was simple enough. Vince Staples just dropped his latest album, Dark Times, and is gearing up to go on tour. DJ Mustard let it known that Staples was working when the “Pop Out” was popping off. “Vince Staples was overseas making the blacks proud on Juneteenth,” he wrote. “Other wise [sic] magic would of been magic on stage.” The producer is referencing the song “Magic,” a collab that appeared on Staples’ previous album, RAMONA PARK BROKE MY HEART. Vince Staples’ Instagram seems to back up Mustard’s claim. The last time the rapper posted was on June 8, and he included photos from a show he did in Germany.
Vince Staples’ busy schedule didn’t stop fans from asking where he was. The rapper even hopped on X (formerly Twitter) to quiet the speculation. “Stop politicking on my behalf,” he wrote. “Enjoy the beautiful moment.” The rapper also voiced his approval over the surprise appearance of Tommy the Clown at the “Pop Out” show. Staples tweeted the L.A. icon’s name, before elaborating. “In all honesty,” he wrote. “If I knew Tommy the Clown was gonna be there I would’ve cancelled the tour. I been waiting for my moment since ‘02.” Tommy the Clown is a dancer best known for pioneering the “clowning” style. In true Staples form, his comment is both hilarious and sincere.
Vince Staples is a Kendrick Lamar supporter. That being said, he didn’t love the impact that Lamar’s beef with Drake had on the music world. He spoke on the matter during a Long Beach event in May. “[Artists] are getting priced out of our contracts, we’re getting priced out of our imprints,” he explained. “There are no labels, basically, that are incentivized to sign Black music.” He then criticized media personalities and label heads for hyping up the beef. “While Taylor Swift is fighting for people to be able to have streaming money,” he noted. “N**gas is on the internet arguing with each other about some rap sh*t.”
My colleague Derrick Rossignol is right; writing about beef and hate for the past six months has been exhausting. We here at Uproxx would much rather focus on the positives — especially when it comes to hip-hop, which has been about as innovative and productive as it has ever beeen in 2024.
Whatever coast you claim, whichever generation you consider yourself part of, no matter why you listen to hip-hop in the first place — to party, to think, to hype yourself up, or to escape into a gangster fantasy where you’re the toughest person in your town — there has been an embarrassment of riches with respect to the sheer volume of hip-hop releases this year, and its quality.
So, yes, the bloodsport was enjoyable while it lasted (for some of us), but when the dust has settled, you still need something to listen to. Whether you’re catching up, revisiting favorites you forgot about in the chaos, or just setting up your summer listening playlist, we’ve got you covered. Here are the best hip-hop albums of 2024 so far, presented in alphabetical order and including the entries from the best albums of 2024 so far list.
21 Savage — American Dream
21 Savage’s first solo album in over three years arrived at the top of the year to end a brief run of collaborative albums that included Savage Mode II with Metro Boomin and Her Loss with Drake. American Dream, his third solo album, presents all the sides of 21 Savage that we’ve come to love over the years. His menacing demeanor lives on tracks like “Redrum” and “Dangerous” and his charm is captured on “Prove It” and “Should’ve Wore A Bonnet” while honesty prevails with “Just Like Me” and “Dark Days.” 21 Savage’s long-awaited solo return checks all the expected boxes and elevates the rapper to a higher status, making an American Dream turn global and reach his birthplace of London where he performed for the first time at the end of 2023. — Wongo Okon
Anycia — Princess Pop That
Following a 2023 year that put her on the map, Atlanta rapper Anycia stepped in 2024 with a point to prove. In a matter of four months, it was seen and received thanks to her debut album Princess Pop That. She excels in a lane occupied by few where a cool and calm demeanor delivers the intended messages with a crispness that sends a chill down the spine. Anycia means every word she says as records like “Type Beat,” “Bad Weather,” and “Splash Brothers” prove. That’s Pop That side of Anycia, the Princess that is Anycia uses the Cash Cobain-assisted “That’s Hard” and the splashy “Squigi” to get her point across. What Princess Pop That gives you is duality and evidence that Anycia has plenty to show in the coming years of her career. — W.O
Benny The Butcher — Everybody Can’t Go
Benny The Butcher’s Def Jam debut didn’t usher a change in style or approach for the Buffalo rapper. If anything, his new home allowed him to more comfortably do what we’ve seen him excel at for much of the last decade. On Everybody Can’t Go, Benny puts up a fine display of rapping alongside Lil Wayne on the haunting “Big Dog” all to deliver a riveting and championing tale of a double life on “One Foot In” with Stove God Cooks. “Pillow Talk & Slander” with Jadakiss and Babyface Ray unites different generations of rap for a moment of introspection and celebration. Everybody Can’t Go opens a new era for Benny and promises many more bright moments to accompany the ones he put forth years prior. — W.O.
Bossman Dlow — Mr Beat The Road
Few rappers in 2024 have been as fun to listen to as Florida rapper Bossman Dlow rapper is. His Mr Beat The Road project is a 17-track compilation of exaggerated money spreads, pretentious claims about his ability to make money, entertaining adlibs, and catchy bars and punchlines. For Bossman Dlow, it all started with the success of “Get In With Me,” a convincing how-to on bossing up, increasing your cash flow, and living like a star. The standout single doesn’t even scratch the surface of Mr Beat The Road though. “Boss Talk” puts his title as head honcho on full display while “Mr Pot Scraper” paints him as a hustler like no other. “Come Here” with Sexyy Red is flirtatious fun and “Lil Bastard” with Rob49 sounds the alarm on Bossman Dlow’s inescapable arrival. Mr Beat The Road is a welcome party worth attending and remembering. — W.O.
Buddy — Don’t Forget To Breathe
In an era of so many rappers employing therapy and its associated lingo as a stylistic shortcut to being truly vulnerable, honest, and confessional on records, Buddy’s Don’t Forget To Breathe is, fittingly, a breath of fresh air. The Compton rapper not only takes the time to get to know himself after his decade or so in the game — letting listeners in on the process — but displays his expansive taste with a lush musical palette incorporating groovy R&B instrumentation over head-nodding hip-hop rhythms. “Buddy A Fool” is a self-aware self send-up, “Got Me Started” is a confident slick talk session, and “You 2 Thank” bridges the gap between post-G-funk and diasporic excellence. — Aaron Williams
Chief Keef — Almighty So 2
There’s no denying Chief Keef’s impact on modern-day hip-hop. All of what exists today, for better or for worse, would be different or absent without Chief Keef. At 28 years old, he’s a rap veteran when many at that age are just a few years into their careers, and many who checked into the game at 17 years old, like Keef did, fizzled out shortly after they could legally drink. So Keef’s continued relevance for more than a decade is impressive, as is his fifth album, Almighty So 2. Originally announced back in 2019, the album’s arrival five years later is a great gift to fans. What makes it better are splashy features from Tierra Whack, Sexyy Red, Quavo, and others, as well as sharp bass-rattling production supplied by Keef himself. — W.O.
Flo Milli — Fine Ho, Stay
If Ho, Why Is You Here? was Flo Milli’s fun-loving introduction to the rap biz, and You Still Here, Ho? was her concentrated effort to prove she could consistently make hits, Fine Ho, Stay is a self-possessed declaration of her own permanence as a fixture in the limelight. It’s also a rock-solid display of her rhyme prowess; while she does her fair share of pop-friendly crooning on “Can’t Stay Mad,” songs like “Clap Sum” and “Neva” can easily be argued as the result of her time spent on the road with some of rap’s most practiced contemporary spitters like Benny The Butcher and Gunna. — A.W.
Fredo Bang — Yes, I’m Sad
It’s been three years since Baton Rouge rapper Fredo Bang emerged with his breakout hit “Top,” which was later boosted by a remix from Lil Durk. He stands tall on his own through honesty and vulnerability, as depicted on his Yes, I’m Sad project. The takeaway from it is that all that glitters ain’t gold, a message Fredo puts forth successfully through songs like “Come Thru” and the project’s sincere title. Still, the gold is very much present in Fredo’s world on “Ring Ring” with Kevin Gates and “Sideways” with NLE Choppa. Fredo’s Yes, I’m Sad acknowledges the hardships in his life, but also pushes himself to do something about and improve the circumstances, a mindset that brings more value to the project. — W.O.
Future and Metro Boomin — We Don’t Trust You and We Still Don’t Trust You
In 2017, Future did something no other artist had ever done before: He released Future (a trap-heavy, bass-knocking rap album) and Hndrxx (a softer, more confessional, and R&B-inspired effort) in consecutive weeks, becoming the first artist to release a pair of Billboard 200 chart-topping albums in the same week. Fast-forward seven years, and Future and Metro Boomin’sWe Don’t Trust You and We Still Don’t Trust You are modeled the same way, respectively. Future’s ability to channel both sides of his artistry and deliver the very best of them multiple times in his career is a feat accomplished by few and dreamed of by many. But for now, we can remember these albums as two of music’s best releases in 2024 and one being the catalyst for hip-hop’s biggest war in decades. — W.O.
GloRilla — Ehhthang Ehhthang
Girls just wanna have fun. For all the hand-wringing about the lack of substance in hip-hop these days (from people who happily did their Stanky Leg and bumped “Tipsy” back in the day), rap music has always been about turning up at parties. Rappers like GloRilla remember this — or, at least, keep the spirit of the function alive in their music — making catchy hits that won’t elicit boos for the DJ who plays them. Ehhthang Ehhthang might be light on deep topics and cultural criticism, but while it runs on club anthems like “Yeah Glo!” and “Wanna Be,” it does have some deceptively heartfelt moments, as well. Even its title is a clever callback to so-called substantive rap, adding a country twist to the title of Lauryn Hill’s 1999 smash hit. — A.W.
Gunna — One Of Wun
The current era of Gunna’s career is one nobody could have predicted five years ago. Once-guaranteed collaborations with Young Thug, Future, Lil Baby, and others are now a thing of yesterday. Today, as Gunna’s fifth album One Of Wun displays, the Atlanta rapper makes the most of his inner circle as the variety and availability of past resources have run dry. One Of Wun is as flashy, slick, and smooth as we’ve known Gunna to be. It’s confirmation that he can present that persona when he pleases. “On One Tonight” is one of Gunna’s best outputs in years while “Hakuna Matata” glides with ease and hits corners with impressive finesse. “Today I Did Good” is a surprisingly bright track that showcases the change in Gunna’s life. One Of Wun escapes the dark of yesterday and runs toward the light at the end of the tunnel, which remains bright for Gunna. — W.O.
J. Cole — Might Delete Later
Nearly a decade after his fellow hip-hop heavyweights, aka Drake and Kendrick Lamar, did it, J. Cole delivered a surprise album of his own with Might Delete Later. Cole surprised fans with the project on the weekend of his annual Dreamville Festival and weeks after Kendrick challenged both Cole and Drake for rap’s crown on his “Like That” verse. The strong output from Cole failed to truly shine thanks his lukewarm Kendrick Lamar diss in “7 Minute Drill,” its eventual removal from streaming services, and Cole’s apology for even responding in the first place. Nonetheless, Might Delete Later is still a strong body of work. “Crocodile Tearz” is an impressive display of Cole on the offensive, and “HYB” with Bas and Central Cee presents Cole in a fun and laid-back state worth bringing out more often than he does. Long story short, Might Delete Later is worth keeping in rotation for a while. — W.O.
Kenny Mason — 9
In the four years since Kenny Mason dropped his debut album, Angelic Hoodrat, he’s seen a fairly prodigious jump in his public profile, landing feature placement on tracks from the likes of J. Cole and JID, touring the nation with Danny Brown and Jpegmafia, and garnering widespread acclaim for his unique blend of grunge, shoegaze, and punk rap. On 9, he expands on that genre gumbo, incorporating features from such wide-ranging sources as trap upstart Babydrill and chillwave pioneer Toro Y Moi. More mellow than alt-rap screamers like Trippie Redd and XXXtentacion, but more introspective than Atlanta peers like Gunna and Young Nudy, Kenny’s in a class of his own, bridging gaps between what works and what’s possible. — A.W.
Kyle — Smyle Again
The recent resurgence of jungle and drum & bass is making me feel young again, and a large part of the reason for that renaissance is Southern California native Kyle. Last year, his album It’s Not So Bad evoked the sounds of the Y2K British rave scene with a palette of 2-step and garage, and Smyle Again (named after his breakout 2015 mixtape Smyle) continued to mine that fertile era from a more hardcore angle. Like its predecessor, it borrows the skittering forceful riddims of 2000s UK EDM and pairs them with the sunny, beach-bred cheeriness Kyle is known for. The result is one of the year’s more innovative projects. — A.W.
LaRussell & Hit-Boy — Rent Due
How exactly does one settle on just one LaRussell project when he’s so prone to releasing multiple in a year’s span? It certainly helps when he brings one of the West Coast’s premiere beatmakers, Hit-Boy, along for the ride. Although Rent Due is only seven songs and 18 minutes long, both collaborators bring their A-games, going in like… well… the rent’s due. What truly impresses is the versatility of the album, from the airy uplift of “Lead Me To The Water” to the boisterous street stomp on “Another One.” The two California natives have unsurprisingly great chemistry and if HB wants to drop another four projects with LaRussell, I don’t think anyone will complain. — A.W.
MIKE — Pinball
MIKE’s drowsy lyrical ruminations have always defied easy categorization, even as they’ve illustrated his broad range of cultural and stylistic influences. In the past, this has often resulted in dense, borderline opaque listens that can get mired in murky soul samples and abstract rhymes. Pinball is a different story, though. Like the arcade games it’s named after, Tony Seltzer’s beats on Pinball instead gives MIKE a lively, bouncy background for his cerebral lyrics, bringing more energy out of him and making it sound like he’s actually having a lot of fun. It’s a needed reminder that thoughtful hip-hop needn’t be boring or super serious to get its point across. — A.W.
Rapsody — Please Don’t Cry
In my interview with Rapsody about her new album, Please Don’t Cry, I called it her best and THEE best hip-hop album of the year so far. I may end up revising that opinion by December, but the bar is going to be really hard to clear. Combining lessons she’s learned from therapy, endless reiteration of ideas, and some of her production teams’ finest work to date, Rapsody has crafted a masterclass in vulnerability, honesty, and lyrical dexterity. “Stand Tall,” “Diary Of A Mad B*tch,” “A Ballad For Homegirls,” and “Forget Me Not” are the sorts of honest, “real” rap writing that fans have been begging for for years. — A.W.
Schoolboy Q — Blue Lips
At this point, few of us, if any, should be complaining about the long wait between Top Dawg Entertainment projects. The last few years have brought projects such as Ab-Soul’s Herbert, Isaiah Rashad’s The House Is Burning, and of course, SZA’s SOS after five-year gaps — an approach that seems to be the recipe for producing some of those artists’ most heartfelt, innovative works to date. Schoolboy Q turns out to be no exception. His latest also arrives five years after its predecessor, Crash Talk, bringing with it the very soul of Los Angeles’ experimental jazz history. An eccentric compilation that never stays in one vibe too long, Blue Lips presents a portrait of a matured, sophisticated gangster. — A.W.
Skilla Baby — The Coldest
Detroit rapper Skilla Baby, fresh off a 12-month run that boosted his stock thanks to songs like “Mama” and “Bae,” showed what he’s really made of on The Coldest. Often mislabeled as a rapper with song’s solely for the ladies, Skilla Baby embraces the title with the flirty and infatuated “Whole Package” with Flo Milli as well as “Wifey” alongside NoCap. However, Skilla Baby is more than just a ladies’ man. He’s a certified hustler on the grim “Mike Jack” and he’s successful one who can brag about his wins on “Richie.” Skilla Baby has the type of duality that one should admire and The Coldest puts it all on full display. — W.O.
Tierra Whack — World Wide Whack
World Wide Whack is perhaps one of the most anticipated hip-hop debuts of the last five years, and it doesn’t disappoint. Tierra Whack had the world in the palm of her hand after her EP Whack World introduced the public to the colorful inner universe of the Philadelphia creative, but then reality stepped in. Tierra’s experiences since then inspired World Wide Whack, which despite its whimsical stylings contains some of her most heartrending music yet. “Two Night” and “27 Club” deliver a one-two punch of empathetic pleas for a more measured reception for the sort of creative personalities that have suddenly become a quite endangered species. — A.W.
Vince Staples — Dark Times
Hometown bias aside, I have long believed that Long Beach rapper Vince Staples has been one of rap’s most quietly insightful, innovative voices since 2014, when I first heard him on Common’s Nobody Smiling single “Kingdom.” Since then, his confidence in his artistic vision has only grown, while his already prodigious talents sharpened in his efforts to bring that vision to grungy, cinematic life. Dark Times is the culmination of that growth, presenting a version of Vince that pairs his photographic observations of life at the bottom of the American pyramid with a collection of instrumentals destined to shatter the last (stupid) arguments against him — you can’t say he picks bad beats now. — A.W.