Yesterday, we debuted our contenders for the Top 15 Hottest R&B Albums of 2019. Today, we’re continuing to pick up where we left off with the Top 25 Hottest Hip-Hop Albums of 2019. The past year introduced us to several new faces, who came out the gate with exceptional albums, while some of our now-elders returned to the fold, only to broad their sound and push their artistry even further. The list below is a reflection of both, some more eclectic in taste than others, but all are albums that we’ve been listening to consistently since they released, ones that we’re still excited about, and ones that have us even more excited for what the future may hold for the respective artists.
This was a group editorial effort, with contributions coming from:
25. Young Nudy – Slim’erre
While Young Nudy’s proved in the past that he’s just as adept at rapping over menacing horror-movie beats as his cousin 21 Savage, Slim’erre suggests that maybe he’s better off rapping over beats that sound like blunted 8-bit video game levels or stoned picnics. On the collaborative Slim’erre, hyper-talented producer Pi’erre Bourne tweaks the formula— but only slightly— that made Playboi Carti’s debut a classic, lacing Nudy with sunnier, more happy-go-lucky fare. It may seem an odd pairing, a Slaughter Gang-affiliated rapper calling himself “Mr. Dopeboy” over fluttery flutes that would make Zelda swoon, but lead single “Mister” rides that formula to infectious success. Standout cut “Sunflower Seeds” goes even further, with weightless, swooning keyboard and guitar parts… and it somehow still works! Slim’erre is real magician shit, proving that Bourne’s versatility knows no ends and that Nudy can make tough talk sound great over any mood of music. My vote’s for his next one to be really angry and aggro.
– Patrick
24. JPEGMAFIA – All My Heroes Are Cornballs
JPEGMAFIA’s best trick is how he plays with tension. He brings together juxtaposed elements to create the most absurd product possible. All My Heroes Are Cornballs is a sentence that doesn’t end how you’d expect. The same remark could be made about the title of the first single off this album, “Jesus Forgive Me, I’m A Thot.” The song captures how the rapper-producer puts as much effort into crafting an interesting clash sonically as he does linguistically. It opens with the shattering of a glass and the cacophony of a crowd before all the noise is absorbed into a progression of pretty piano chords. Little eruptions continue below the soothing surface though. JPEGMAFIA is not as interested in beauty as he is innovation and texture.
Forcing discordant things together for shock value isn’t a clever concept in itself. The way JPEG bridges these things to make them seem like they belong in the same vicinity is what he deserves to be commended for. All My Heroes has an undulating quality, so even when its moving parts come into contact with one another, they merely produce a pleasant splash. Beats are constantly switching up, his delivery is constantly switching up and something about the chaos of it all resonates deeply with our current climate. JPEGMAFIA is one of the most exciting artists right now because he’s one of the few trying to juggle all the burning heaps being thrown at us. That’s the only way we’re going to form connections and create something genuinely novel.
– Noah
23. GoldLink – Diaspora
It’s quite clear that Goldlink takes his time with his music. The DMV native first broke out in 2014 with The God Complex, resulting in much online chatter and critical interest (as well as praise). The rapper, who kept his face and persona under wraps for much of his come-up as well, has kept the full-length releases to essentially every other year, since then. He’s not as prolific or heavily embedded into our daily online space (whether that be your streaming service, your Instagram feed or your Twitter feed) as some of his colleagues. Much like his decision to keep his face a mystery at the beginning of his career, this seems like a concerted effort.
Diaspora served as his second studio album with RCA Records. As the album title alludes to, the project collected sounds from across different borders, as well as collaborators from around the world, to create an entirely fresh experience with each. GoldLink masterfully created a cohesive listening experience despite diverse inspiration, and equally, showed another dimension of his artistry, beyond what he explored in releases like At What Cost.
– Rose
22. Burna Boy – African Giant
When Coachella announced the 2019 line-up, Burna Boy was written in small letters three rows down. He asserted, “I don’t appreciate the way my name is written so small in your bill. I am an AFRICAN GIANT and will not be reduced to whatever that tiny writing means.” This point was only solidified with the release of African Giant. With the rise of afrobeats in pop music, Burna Boy’s idea of “crossing over” is rooted in his versatility as an artist. He still grounds himself in African music, but he adapts different sounds and incorporates it into his world of afro-fusion. Artists like Jorja Smith and Jeremih bring R&B elements, while Future and YG find their own rhythm over afrobeats-influenced production. Even Burna Boy’s penchant for reggae and dancehall creates standout records, with assistance from Jamaican heavyweights Damian Marley and Serani.
Burna Boy’s African Giant solidified him as one of the leading voices in afrobeats internationally, but his ability to bring artists from various genres together, and immerse them into his world, is a strong indication of what we can expect from Burna Boy in the future.
– Aron
21. YBN Cordae – Lost Boy
Leading up to his debut project The Lost Boy, hip-hop fans were excited to see if YBN Cordae could live up to the hype fleshed out by some of his singles. It was becoming quite clear that Cordae wasn’t your average Gen Z rapper. Instead, Cordae demonstrated tremendous songwriting potential which included attention to bars and smooth production.
With The Lost Boy, Cordae more than lived up to the hype and delivered a phenomenal body of work that has resonated with fans. Recently, the project was nominated for a Rap Album Of The Year Grammy and it’s easy to see why. Songs like “Have Mercy,” “Thanksgiving,” and “Broke As Fuck” show Cordae at his most introspective. The young MC discusses the struggles of growing up and wanting to work your way out of poverty. Cordae does this while backed up by impressive guest verses in Chance The Rapper, Anderson .Paak, and even Pusha T on the gripping “Nightmares Are Real.”
On this project, Cordae subverts expectations while also allowing plenty of room for growth. If there was one artist to be excited about going forward, it would have to be him.
– Alex C
20. Boogie – Everything’s For Sale
There’s a certain charm in the everyman. Especially in the context of a hip-hop landscape in which extravagance is celebrated. That’s not to slap Boogie with the blue-collar label and call it a day. But his relatability remains his greatest asset; his status as the hopeless romantic, the one who might pull lint from his pocket. Though he’s prone to the occasional fit of “Self Destruction,” the Compton-based Shady Record signee comes through as a man simply trying to get by. A single father who listens to his baby mama, even if he does so reluctantly. Networking is a chore to him.
His slice of life tales, delivered beautifully on Everything’s For Sale, combine to form a lush, intimate, and sincere piece of autobiography. The production is mellow, with acoustic guitar, piano, and restrained percussion. Melodically, Boogie’s approach reflects his maturity, delivering his vocals with a weariness beyond his years. Even when he allows himself room for ignorance, it’s done so with a self-awareness not often seen among his peers. Standout offerings like “Silent Ride,” “Tired/Reflections,” and the J.I.D.-assisted “SoHo” seldom make the highlight reel; instead, they’re closer to strong defensive play, the likes of which can secure a championship if properly coached.
– Mitch
19. Dave – Psychodrama
Dave has been championed as an underdog for so long, but this year he finally came up on top with the release of Psychodrama. The Streatham-raised rapper’s vision for this concept album was executed with clarity. The project is broken down into three acts: Act I: Environment, Act II: Relationships, and Act III: Social Compass. Stringing together the eleven tracks with therapy sessions inspired by his older brother’s visits in prison, Dave delivers a sobering body of work detailing the complex Black experience in the U.K. Appearances from J Hus, Burna Boy, and Ruelle lend unique perspectives throughout the project that enforce Dave’s mission statement.
Psychodrama was a long time coming but the release of a project couldn’t have arrived at a more opportune moment, when a voice like Dave is necessary. Dave touches on a lot of heavy subject matter throughout the project but he still sprinkles in bangers and infectious melodies. J Hus, who was incarcerated at the time of the project’s release, joins Dave on “Disaster,” a melancholic record detailing the struggles of balancing fame without losing sight of where one came from. “Location” ft. Burna Boy might be the sole record that’s meant for the parties but even then, the two rappers still cleverly address colorism and systemic racism.
Dave’s debut album set a high bar for himself as he makes the transition from the young boy to a bonafide star with a message to get across.
– Aron
18. Megan Thee Stallion – Fever
Megan Thee Stallion started stunning people with her rap prowess in cyphers. The fact that she honed her skills in these arenas explains why her freestyles – whether uploaded to her YouTube channel or performed on a radio show – were a major catalyst in her rise to fame. She was and continues to be hailed for her unfaltering cadence, her exquisite breath control and her Southern swagger. These characteristics all fuelled the Megan-worshipping of 2019.
Her dedication to the fundamentals of hip hop became weaved into her image, but people were equally drawn to her personality. Everyone wanted to hop aboard the boat Meg was steering this summer because she seemed to be having the most fun. Luckily, she was incredibly welcoming. Her catchphrases were all-inclusive and her booty-bouncing anthems empowered all to feel as if a Hot Girl Summer was theirs for the taking. While there are many directions left for Meg to explore, Fever was exactly what the time called for and a scorching assertion that Meg is here to stay.
– Noah
17. Kevin Gates – I’m Him
Kevin Gates is a wild card. In more ways than one, you never know what to expect from the Baton Rouge rapper. Musically though, he’s one of the most consistent artists doing it right now. His lyrical matter may switch up from time to time but one thing has remained constant throughout the years: the man knows how to craft a solid body of work. I’m Him is yet another strong addition to Gates’ discography, serving as his first full-length release since he got out of prison.
On the day I’m Him dropped, Gates came through with “RBS Intro,” a perfect example of what we could anticipate from the record. The album opener sets the pace, letting the listener into a man’s mind who has just spent a decent amount of time in prison, reuniting with his family and realizing what’s truly important around him. This doesn’t necessarily mark a departure from the streets for Kevin Gates but it is the first “family man” album we’ve gotten from him. Hopefully, it isn’t the last.
– Alex Z
16. Maxo Kream – Brandon Banks
Though commercial hip-hop was undoubtedly thriving this year, so too was the gangsta rap movement. In fact, some of the year’s best albums came courtesy of the streets, with Maxo Kream’s Brandon Banks cutting an imposing figure among them. In many ways, Maxo’s brutally honest major label debut reveals the depth of his character; a surprisingly frank sensitivity working in tandem with his intimidating persona and flair for brutal gallows humor. Together, they help solidify Maxo as a layered antihero worthy of spending forty-seven minutes and forty-five seconds with.
Boasting production from Mike Dean, D.A. Doman, Zaytoven, Chasethemoney, Supah Mario, and more, Brandon Banks manages to sound polished while retaining its inherent grit. Stories unfold with no stone unturned (“Meet Again”), crossover bangers flirt with commercial viability (“Change”), and bold statements leave little room for misinterpretation (“Drizzy Draco”). Across the board, Maxo has cemented his presence and his artistry appears to be honing with every release. There’s little to fault on Brandon Banks, and it wouldn’t be surprising to see this album remembered all the more fondly under the microscope of hindsight. The perfect album for someone looking for a middle ground between old-head energy and premium contemporary hip-hop.
– Mitch
15. Young Thug – So Much Fun
This is the victory lap. So Much Fun doesn’t bring the earth-shattering weirdness of past Young Thug projects, although this being Thug, we’re speaking relatively here. That’s not the point though— by summer 2019, every rap listener knew who Young Thug was and had already formed an opinion about him (many hated him when they first heard him then fell in love at sometime before or right around when Jeffery dropped). So Much Fun wasn’t out to raise eyebrows, it was out to do what Thug should have been doing with every album since Barter 6— succeed commercially. It did that, marking Thug’s first #1 album and giving him his first two Top 20 singles as a lead artist, but that’s not why it’s a good album.
While Thug’s more relaxed and less free-associating throughout, he also uses the album as a chance to show his many sides song-to-song. Just look at the first four tracks. On “Just How It Is,” he’s reflective almost somber (maybe a first for him); on “Sup Mate” he’s clowning around an
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