Stereogum's 40 Best Rap Albums of 2016

On this, his first masterpiece, Chance evolves—from Rapper to pop visionary. Influenced by gospel music, *Coloring Book* finds the Chicago native moved by the Holy Spirit and the current state of his hometown. “I speak to God in public,” he says on “Blessings,” its radiant closer. “He think the new sh\*t jam / I think we mutual fans.”

Brutally honest stories of L.A. street life fill the Compton rapper\'s second album. Like his commanding debut, *Still Brazy* brings together point-blank rhymes and vintage West Coast production. But when YG looks beyond the life-and-death drama of his neighborhood—taking aim at right-wing politics, police brutality, and racial division—his street-level honesty is every bit as biting.

On the gritty, star-studded *Blank Face LP*, ScHoolboy Q is at his very best. Through 17 tracks of heavy-lidded gangsta rap, the incisive L.A. native joins forces with guests both legendary (E-40, Jadakiss, Tha Dogg Pound) and soon-to-be (Vince Staples, Anderson. Paak). “Robbin’ your kids too,” he says on “Groovy Tony / Eddie Kane,” a haunting double feature. “My heart a igloo.”

On their final album, Q-Tip, Phife Dawg, Ali Shaheed Muhammad, and Jarobi rekindle a chemistry that endeared them to hip-hop fans worldwide. Filled with exploratory instrumental beds, creative samples, supple rhyming, and serious knock, it passes the headphone and car stereo test. “Kids…” is like a rap nerd’s fever dream, Andre 3000 and Q-Tip slaying bars. Phife—who passed away in March 2016—is the album’s scion, his roughneck style and biting humor shining through on “Black Spasmodic” and “Whateva Will Be.” “We the People” and “The Killing Season” (featuring Kanye West) show ATCQ’s ability to move minds as well as butts. *We got it from Here... Thank You 4 Your service* is not a wake or a comeback—it’s an extended visit with a long-missed friend, and a mic-dropping reminder of Tribe’s importance and influence.

More trauma and travails with the magnetic Detroit MC. Like *XXX* and *Old* before it, *Atrocity Exhibition* plays like a nightmare with punchlines, the diary of a hedonist who loves the night as much as he hates the morning after. “Upcoming heavy traffic/say ya need to slow down, ’cause you feel yourself crashing,” Brown raps on “Ain’t it Funny,” a feverish highlight. “Staring the devil in the face but ya can’t stop laughing.”

Thugga’s agility and anguish come together in a high-impact performance for the ages. He’s always been lithe, but witness the rapper’s snakelike vocals slide through “Wyclef Jean” and “Swizz Beats,” both built on the subliminal rumbles of dub and dancehall. While he digs into “Future Swag” with wolfish gusto, his fractured croon finds home in the sore-hearted hedonism of “Riri.”

Rugged Atlanta rap gets a new dynamic duo on a murky, minimal EP that brings out the best in its precocious players. For producer Metro Boomin—in-demand architect of Drake and Future’s irrepressible “Jumpman”—it’s a chance to darken his palette with foreboding bells (“No Heart”) and muffled 808s (“Feel It”). And then there’s 21 Savage: dabbling with playful, raspy boasts (“Mad High”) while never losing the hard-edged authenticity of a true trap king.

Every element of Kendrick Lamar’s *untitled unmastered.* tells you something about the Compton MC’s provocative, multi-layered genius. Take the contrast of the collection\'s ultra-generic title and its attention-grabbing, out-of-left-field release. Take the retro-futuristic, Funkadelic-inspired grooves that simmer under tracks like “untitled 02” and “untitled 06.” These are only the beginning of the album\'s hypnotic, nuanced nod to hip-hop’s deep roots and unstoppable political and expressive currency. Songs like “untitled 03” and “untitled 05”—with layered references, wild-eyed jazz solos, and cutting insight—continue Lamar\'s winning streak.

At 19, this Pompano Beach native is already one of the best natural rappers of his generation. His effortless style pours from “Vibin in This Bih,” which echoes Juvenile’s flow, Gucci Mane’s wordplay, and Chance the Rapper’s conversational cadence. “Slayed” shows this teenager’s worries go well beyond his years, while Boosie—hip-hop’s ultimate survivor—makes a cameo as the living incarnation of stress and weary perseverance. His Southern pedigree really shows on “Can I,” “Today,” and “Gave All I Got,” a trifecta of bluesy country rap tunes that bear the scars and sensitivity of an authentic street experience.

After a busy 2015 that included albums (*Barter 6*), mixtapes (*Slime Season 2*), a slew of memorable guest spots, and a highly entertaining Instagram feed, the colorful and casually radical Atlanta rapper returns with *I’m Up*. Opening with a tribute to embattled underground hero Boosie (“F Cancer”), the mixtape showcases Thug’s ever-evolving eclecticism, sliding between hard-bitten street rap (“Hercules,” “Bread Winners”) and strange, atmospheric funk (“For My People”) without a flinch. As always, the anchor is Thug’s choppy cadence and soulful, seductive squawk—a stamp of authenticity that nobody else seems able to replicate.

Compton duo Problem and DJ Quik embark on a swaggering old-school odyssey on *Rosecrans*, and it’s a journey fueled by plenty of L.A. gangsta boogie: The lazy, luxurious grooves of “Bad Azz” and the title track were made to soundtrack a drive with the top down through the city’s streets on a sunny day. Problem’s gruffer flow is a perfect foil for Quick’s slick rhymes throughout, and the latter shows off his beatmaking chops with the freaky funk and head-bobbin’ grooves of “European Vacation.”

The Baton Rouge rapper Kevin Gates has never been much for jokes. Earnest, unsparing, and intensely personal, his full-length major-label is a downcast trip through tales of the grind (“La Familia”) romantic woes (“Pride”), and the trials of balancing the two (“2 Phones”). He delivers it all with enough charm and hope to keep things from getting too dark or gritty. “Man in the mirror you way outta order,” he raps on “The Truth”—fitting words for an artist who named his album (and his daughter, for that matter) after an Arabic word meaning \"to improve.\"

From the moment a ratcheting hi-hat introduces “Ain’t No Time,” Future brings fiery intensity to *EVOL*, leaving behind the syrupy laments of *DS2* with confidence and muscle. The Atlanta rapper’s inspirations haven’t changed—he’s still reveling in champagne baths, sexual conquest, and the spoils of fame—but he leans forward with forceful energy on highlights like “Maybach” and “Lie to Me.” The album’s steamiest moment, “Low Life,” adds a seductive guest vocal from The Weeknd.

The final installment in the mixtape series that helped launch his career, Young Thug\'s *Slime Season 3* marks the end of an era. Still raucous and raw, these eight tracks capture the slippery, percussive delivery for which the Atlantan is known, complete with barks, wails, woos, and dribbled verses as on the delirious, equally maniacal “Drippin’ and “Digits.\" London on da Track is riding shotgun, lacing each turn with the signature whirrs and slaps that have made him one of the most talked-about producers in 2016.

Indie-rap mainstay Aesop Rock has announced his new album, The Impossible Kid, dropping April 29th on Rhymesayers Entertainment, marking his first solo venture since 2012’s Skelethon. On the new album, Aesop continues finding new ways to improve on the skills that have made him one of the kings of indie hip-hop. His creative process now includes a newfound willingness to open up about his personal life, going deep on topics like depression, his sometimes rocky relationship with his family, and the turbulent handful of years that culminated in Aesop leaving his adopted home of San Francisco to live in a barn out in the woods, where he recorded the foundations of The Impossible Kid. There’s also moments of levity though, as Aesop taps into the funny side of his persona that he suppressed during the period where being taken as a serious lyricist was more of a priority. Like Skelethon, Aesop exercised complete creative control over every aspect of the album, from the production (which he handled himself, with instrumental help from Philly’s Grimace Federation) to conceptualizing the cover art by his friend Alex Pardee.

the critically acclaimed debut album from Kweku Collins.

Swet Shop Boys pollinate contemporary hip-hop and R&B with South Asian style. Producer Redinho peppers “Tiger Hologram” with Qawwali hand claps and Bollywood tablas, while rappers Heems and Riz MC use “Phone Tap” and “Shoes Off” to convey the culture of fear and suspicion imposed on brown-skinned people worldwide. Intensely political but fiercely entertaining, “T5” is easily the best song about airport security harassment every written.

On his second album, Travis Scott is flying free, enjoying the spoils of fame and spotting the pitfalls. Sharp storytelling and warm synths give *Birds* a surreal, cinematic feel. He brings street anthems in bunches (“way back,” “coordinate,” “through the late night”) and his confidence beams on the intimate “first take” and “guidance,\" a Latin-tinged R&B track à la “One Dance.” If *Rodeo* showed that Travis Scott is comfortable coloring outside hip-hop\'s lines, *Birds in the Trap Sing McKnight* shows he’s capable of creating a masterpiece.

Following a string of gritty underground mixtapes and collaborations with titans like RZA, Brooklyn rappers (and Joey Bada\$$ affiliates) Flatbush Zombies release their first official album. Channeling the surrealistic violence that made Wu-Tang Clan a phenomenon in the \'90s (and continues to play out through the supersaturated wordplay of guys like Earl Sweatshirt), *3001* is murky and dense but highly colorful too, led by the septic growl of Meechy Darko and the casually sinister beats of Erick the Architect. Special mention goes to “Bounce,” the soulful “A Spike Lee Joint,” and the mob music of “Ascension,” where Meechy declares time an illusion one minute and talks gunplay the next.

Conceived in New Jersey from its emerging DIY scene from the late ‘90s, cult hop-hop trio DÄLEK were known as pioneers over the last fifteen years or so of an intriguing sound which fused a blend of progressive hip-hop artistry supported by a rhythmic backdrop consisting of sonic experimentation through noise music and dark ambient (they would be dubbed by journalists as what would happen when you mix Public Enemy and My Bloody Valentine). Their singularity would be highlighted in four defining milestone full-length albums released on Ipecac Recordings (one of them being their “Absence” masterpiece LP from 2005), along with live actions where the band would support the likes of Tool and The Melvins, and even collaborate with the likes of artists such as Faust. In Spring 2015 mastermind MC Dälek (a.k.a. Will Brooks, with the blessing of ex-member/co-producer Oktopus) revived DÄLEK after a hiatus with a new lineup which now includes DJ rEk and Mike Swarmbots and are now preparing to release their new album “Asphalt For Eden” which will be the first official DÄLEK release since their last full-length, 2009’s “Gutter Tactics”. “Asphalt For Eden” sees a new creative peak for DÄLEK and will bring a new awareness for this cult hip-hop entity now resurrected once again and ready to show a formidable display of true hip hop artistry and experimentation through their new album and the plethora of touring the band have planned in support of it. A band which many see as one of the most genuine underground DIY hip hop iconoclasts.

The Kendrick Lamar associate sprawls out on his poetic, contemplative second album. Making good on 2014’s enormously promising *Cilvia Demo*, *The Sun’s Tirade* echoes late-night ‘70s soul and its ‘90s counterparts (Erykah Badu, Outkast) rendered in booming, contemporary colors—a fitting backdrop for Rashad’s unsparing reflections on race (“BDay”), youth (“Free Lunch”), depression (“Dressed Like Rappers”), and ambition (“Park”).

Clipping formed in Los Angeles in 2009. Initially conceived as a remix project, Jonathan Snipes and William Hutson began pairing noise and power-electronics inspired tracks with (stolen) vocals by commercial rap artists. Jonathan and William did this mostly to amuse each other and the duo earned very few fans. However, the band began in earnest in early 2010, when rapper and friend Daveed Diggs joined the group. Clipping was their first project as a trio, building on both their long friendship and their many shared obsessions: rap, experimental music, and genre fiction, among others. Clipping released Midcity on their Bandcamp page in 2013 and signed with Sub Pop three months later. The band described their debut as “party music for the club you wish you hadn’t gone to, the car you don’t remember getting in, and the streets you don’t feel safe on.” In 2014, they released their Sub Pop debut, CLPPNG, omitting “I” in the title and lyrics to vacate rap of its traditional center, revealing instead a collage of recurrent rap themes. 2016’s Wriggle EP, released after Daveed’s Tony award for his role as Marquis de Lafayette and Thomas Jefferson in the acclaimed Broadway musical Hamilton, included “Shooter,” which used gunshot sounds as the beat for an imagistic narrative of three different violent encounters. Since the release of CLPPNG, things have changed for the band—William finished his Ph.D. in Theater and Performance Studies with a dissertation on experimental music, Jonathan composed scores for the films Starry Eyes, The Nightmare, Excess Flesh, and Contracted: Phase II, and Daveed hit Broadway. Their activities outside Clipping have always influenced their work in the band, but never as much as in the creation of Splendor & Misery. Splendor & Misery is an Afrofuturist, dystopian concept album that follows the sole survivor of a slave uprising on an interstellar cargo ship, and the onboard computer that falls in love with him. Thinking he is alone and lost in space, the character discovers music in the ship’s shuddering hull and chirping instrument panels. William and Jonathan’s tracks draw an imaginary sonic map of the ship’s decks, hallways, and quarters, while Daveed’s lyrics ride the rhythms produced by its engines and machinery. In a reversal of H.P. Lovecraft’s concept of cosmic insignificance, the character finds relief in learning that humanity is of no consequence to the vast, uncaring universe. It turns out, pulling the rug out from under anthropocentrism is only horrifying to those who thought they were the center of everything to begin with. Ultimately, the character decides to pilot his ship into the unknown—and possibly into oblivion—instead of continuing on to worlds whose systems of governance and economy have violently oppressed him.