The 35 Best Hip-Hop Albums of 2025

35.Young Thug, UY Scuti

Label: YSL/300/Atlantic

Release date: Sept. 26

The peak So Much Fun days may be behind us, but Young Thug still has life in him. UY Scuti, his first album since the end of the YSL ordeal, finds Thug trying to recapture the magic of earlier eras, with some spotty results. But the album shines most when he leans into introspection. On “Sad Spider,” he zeroes in on those who betrayed him; “Catch Me I’m Falling” has him confronting the trauma of fighting the RICO case; “Whaddap Jesus” is a triumphant, nostalgic reunion with former foe YFN Lucci; and the album’s centerpiece, “Miss My Dogs,” finds Thug rapping in specific, gutting fashion about the friends he hurt over the jailhouse leaks.—Antonio Johri

34.Doja Cat, VIE

Label: Kemosabe/RCA

Release date: Sept. 26Even Doja would probably admit that going full Jean Grae on Scarlet—right before the widespread commercial explosion of the retro, disco-infused pop she’d perfected on Hot Pink—was unfortunate timing. So on VIE, she came back to reclaim her corners from the Dua Lipas and Sabrina Carpenters of the world with an album that’s unapologetically pop and breezy. And … yeah, it was kinda crickets on the charts.

VIE may be one of the quieter releases of her career, but that doesn’t diminish its quality. If anything, it has “cult classic” written all over it. It’s sexy, witty, and at times shows Doja at her best—now tapping into the synth-heavy, funky pop sensibilities of ’80s-era Jimmy Jam and Terry Lewis. —Dimas Sanfiorenzo

33.$ilkMoney, WHO WATERS THE WILTING GIVING TREE ONCE THE LEAVES DRY UP AND FRUITS NO LONGER BEAR?

Label: DB$B Records/Lex Records

Release date: July 18

Since his days as the frontman of Divine Council, the Richmond, Va. rapper has grabbed listeners’ attention with irreverent, out-of-pocket bars; disparate pop culture references ranging from Disney’s Finding Nemo to Robert Townsend’s Hollywood Shuffle; and hooks that are as coded as they are catchy.

On his fourth solo album, all of the elements that put him in the spotlight in the first place are present, but it’s evident that he’s no longer the reckless teenager of his Divine Council days. He’s turning his gaze inward. The album’s title and theme are inspired by Shel Silverstein’s children’s book The Giving Tree, and throughout he ponders what it means to give of himself and whether reciprocity is a fair expectation.

On “FIRST I GIVE UP, THEN I GIVE IN, THEN I GIVE ALL,” $ilk reveals that beneath all the attitude and irreverence is a genuine love for hip-hop as a culture and craft. He lets loose with scathing critiques of everyone from internet comedian King Bach to performance artist and alleged occultist Marina Ambramovic to disgraced actor Jonathan Majors on the album—not because he’s engagement farming, but because he truly cares. —Timmhotep Aku

32.BigXthaPlug, I Hope You're Happy

Label: UnitedMasters

Release date: Aug. 22

Most hip-hop and country collaborations deserve a skeptical eye—label-engineered Frankensteins built to game the charts. But there’s something about BigXthaPlug and his dalliances with country that actually works. Maybe it’s his storytelling prowess, his love for bluesy analog samples, or that distinct, meaty timbre that communicates working-class struggle.

That’s why I Hope You’re Happy—arguably the first truly pure country-rap album—lands so well. Yes, the album features the contemporary A-list of country—Shaboozey, Jelly Roll, Luke Combs—splitting duties with the rapper. But it’s BigX’s songwriting that stands out: emotional and vivid, with much of the record zeroing in on the aftermath of a terrible breakup. He doesn’t handle it well, but he’s always honest.

The highlight is the vicious Ella Langley duet “Hell at Night.” Driven by twangy guitar, Ella’s angelic vocals are offset by BigXthaPlug’s spiteful, snarling delivery as he wishes an avalanche of bad luck on his ex. —Dimas Sanfiorenzo

31.Lil Tecca, Dopamine

Label: Galactic/Republic

Release date: June 13

In 2025, Lil Tecca rode a “Neptunes-type beat” to new heights.

“Dark Thoughts,” a track with a halftime groove, a seductive chorus, and a Pharrell-inspired four-count intro, became a true song-of-the-summer contender—and the perfect opener for his fifth album in six years, Dopamine. Across the project, Tecca—led by Internet Money’s warm, fuzzy production—fully embraces his pop-star era and showcases his malleability. He ventures into dancehall on “Don’t Rush,” slides into dance-pop on “Favorite Lie,” and flips the iconic “Video Killed the Radio Star” sample to perfection on “OWA OWA.” —Antonio Johri

30.Jay Electronica, A Written Testimony: Leaflets

Label: Jay Electronica

Release date: Sept. 19

“The entire trajectory of my career / scream ‘fuck the industry!’ / yet you can’t have a debate about the greats and not mention me … ”

Jay Electronica has been telling us who he is, what he believes, and what we should expect from him since he made his debut in the blog era. He’s an artist who frustrates fans as much as he exhilarates them. So when he spits the aforementioned line on “Abracadabra,” he’s letting us know that he’s fully aware that no matter how much of a headache he can be, we’ll still be listening (and watching closely).

On Leaflets, Electronica serves up Elijah Muhammad soundbites, a Diddy intro at the worst possible time, seven-minute tracks that defy playlisting, UFO talk, Soul Train excerpts, biblical imagery, and heroic homilies. He’s prophetic (“Is It Possible That The Honorable Elijah Muhammad Is Still Physically Alive???”), problematic (see: his Cassie/Diddy reference on “Four Billion, Four Hundred Million (4,400,000,000) / The Worst Is Yet to Come”). Yet he’s still as compelling as ever. A beautiful mess if there ever was one. —Timmhotep Aku

29.2hollis, Star

Label: Interscope Records

Release date: April 4

On Star, 2hollis prioritizes cohesion over chaos, blending EDM, pop, and hip-hop over the course of 15 tracks. But it isn’t all distortion—Hollis explores feelings of self-doubt, the plights of navigating fame (with “tell me” being an ode to the side-eyes and mile-long stares from superfans) and protecting what he loves most, whether it be his “girl” or his art. What uplifts Star is its sequencing, each song cascading into the next as 2hollis expertly curates an experience rather than just another rage escapade. After all, Hollis produced and recorded the entire project in his childhood home in LA, and “Burn” was the last song he was able to finish before fire engulfed his house. —Jon Barlas

28.De La Soul, Cabin in the Sky

Label: AOI/Mass Appeal

Release date: Nov. 21

People like to say hip-hop is a sport for young’uns, and that age, perspective, and an adherence to the old ways is antithetical to the rapidly modulating and shifting sounds of modern rap music. And yet De La remains an essential part of the contemporary hip-hop picture. Approaching their 40th year as a group—now without the brilliant Trugoy the Dove, who tragically passed but appears posthumously throughout Cabin in the Sky—they’re still vital. And on their latest LP, they’re as fresh as they’ve been in years. This is classic De La: insightful, heartfelt, inventive, and often funny. Pos puts it best on “YUHDONTSTOP:” “Some young ones don't think we got that edge / Sayin’, ‘OG, we don't hear you.’”—Will Schube

27.Freddie Gibbs & the Alchemist, Alfredo 2

Label: ESGN/ALC/Virgin Music Group

Release date: July 25

With song titles like “Ensalada,” “Empanadas,” and “Gas Station Sushi,” Freddie Gibbs and The Alchemist serve up a whole meal. The rapper–producer duo reconnect the spark of their first Alfredo, but the sequel moves with a more eclectic palette: jazz keys and choir lifts on “Ensalada,” electronic undercurrents pulsing through “Skinny Suge II,” and the mystical glimmer of wind chimes on “Shangri La.” Gibbs raps with a clarity and precision that anchors the project, while features from Anderson .Paak, Larry June, and JID expand its resonance. —Leila Sheridan

26.EsDeeKid, Rebel

Label: Lizzy Records

Release date: June 20

Yes, EsDeeKid is rumored to be Timothée Chalamet, and yes, “Phantom” has been going crazy on TikTok for months now. But those aren’t the only reasons he’s become the most talked-about rookie in hip-hop in 2025. His debut, Rebel, is fire—a 20-minute dopamine hit packed with bangers. Part of Rebel’s strength is his instinctive, versatile rapping, flexing his Scouse accent and his knack for finding interesting pockets. But props also go to producer Wraith9, who handled the project and blends elements of rage, jerk, and hard trap through overblown 808s and eerie synth patches. —Antonio Johri

25.Danny Brown, Stardust

Label: Warp

Release date: Nov. 7

Rap has often followed Danny Brown’s wake. He aims to shift the culture again with the hyperpop-inspired Stardust, a relentlessly thoughtful examination of the outer limits of what we perceive rap to be. If Death Grips were addicted to molly, or Fred again.. was a punk, they might cook up something like Stardust. Of course, that defeats the entire purpose of the album’s philosophy, which suggests that no one besides Danny Brown could ever conceive of such a brash, bold, and excellent album. —Will Schube

24.Wale, everything is a lot.

Label: Def Jam

Release date: Nov. 14

Wale’s strength has always been his willingness to embrace vulnerability, a quality that shines in Everything Is A Lot, his R&B-rap-hybrid statement album.

On “Conundrum,” he infuses vocals from Kut Klose’s “Get Up On It,” and on “Belly,” he flips Soul II Soul’s “Back to Life”—clear examples of how he uses samples as an aid, not a crutch. His ear for R&B collaborators remains unmatched: The velvety Odeal lifts “City On Fire,” while artist-of-the-year contender Leon Thomas adds depth to “Closer,” a cuffing anthem that reimagines Goapele’s classic and could rank among Wale’s greatest hits.

The project isn’t a one-note effort. There are moments that honor his allegiance to Afrofusion, the DMV, and his MMG-era Folarin persona. Yet hearing him lean into the fusion he executes best is poetry in motion—a reminder of why vulnerability and musical curiosity remain Wale’s greatest assets. —​​Kemet High

23.BabyChiefDoit, ZOO LIFE

Label: BabyChiefDoit

Release date: April 23

BabyChiefDoIt is the second son of Chicago, a student of Chief Keef with a more playful and charismatic aura. Zoo Life showcases the burgeoning artist turning the rap world into his playground. Forget about the ChatGPT stuff, the 17-year-old rapper shows crazy range. BabyChief hopscotches over a variety of different beats, from the buoyant “Happy Feet” to the Chicago street anthem “Am I Understood” to “Yeyeezytunechiweezy,” where he spits over a retro Lil Wayne-sounding beat. His rhymes are still rough around the edges, but the ceiling is high. —Jordan Rose

22.Nino Paid, Love Me As I Am

Label: Signal Records/Columbia Record

Release date: February 4

Nino Paid is a beacon of hope for the criminally slept-on DMV scene. ACEs haunt Love Me As I Am as he tries to decipher if success is enough to move past your PTSD. Slowing the DMV’s free car flow down to a steadier pace, Nino’s flair for reflective, emotionally captivating beats shines as the album swings from pop-punk and emo-revival guitars to glittering keys and pluggnb soundscapes. His songwriting is stark and introspective, just as willing to probe lingering doubts as it is to tally his growing wins. Even when contemplating broken dreams and lost loved ones, Paid remains optimistic: The past might haunt you, but all that matters is what lies ahead. —Josh Svetz

21.Larry June, 2 Chainz & the Alchemist, Life Is Beautiful

Label: ALC/The Freeminded/Empire

Release date: February 7

If you just woke up out of a 13-year coma, 2 Chainz, Larry June, and Alchemist’s album would absolutely sound like the result of a twisted rap Mad Libs session. It kinda still does. But it also sounds like one of the best rap projects of the year. Coated in luxuriant ALC production, the project sees Larry and 2 Chainz cruise over contemplative soul loops as they play a game of seesawing flexes. Larry makes a bagel and a nice view sound like a scene from The Godfather, while Chainz bends syllables and ideas with such flair you don’t care about him mispronouncing amenities. —Peter A. Berry

20.billy woods, GOLLIWOG

Label: Backwoodz Studioz

Release date: May 9

The first thing you hear when you press play on billy woods’ 2025 opus is what sounds like a film projector. It’s fitting, because though much has been made of woods’ literary flair, his vivid, image-conjuring verses transcend the pages in a book to describe what we might see on the big screen.

That’s to say, woods specializes in cinema—specifically, the cinema of the oppressed. As his Backwoodz Studios cohort Cavalier says on “Lead Paint Test,” “Every Black life [is] a thriller.”

And what does woods show us on GOLLIWOG? Vignettes that illustrate the banality of evil, the mundanity of violence, and the persistence of life despite it all: a family evicted from their home right before Christmas “(“BLK XMAS”), a surreal video of a man killed by drone strike “(“All These Worlds Are Yours”), an injured dog who returns home only to be put out of its misery by its owners (“Lead Paint Test”). The stories are poignant and profound and sometimes tap into the kind ironic humor you summon when ain’t a damn thing funny (“Cold Sweat”). If GOLLIWOG was a film, it would be worth every second of its runtime. —Timmhotep Aku

19.Little Simz, Lotus

Label: AWAL

Release date: June 6

Lotus is a breakaway and a reckoning, Little Simz’s first post–Inflo project and easily her most self-excavating. She toggles between rap vocals and soft bursts of singing as she confronts love, fear, loyalty, and the messiness of finding her footing without the collaborator who shaped her last era. Little Simz lays it bare on the opener, “Thief,” naming the manipulation she experienced and the survival mode she lived in. As the sound moves from low-end rumbles to bright jazz pockets, it’s clear she’s more than fine post-breakup. She leveled up. —Leila Sheridan

18.OsamaSon, Jump Out

Label: Motion Music/Atlantic

Release date: January 24

On Jump Out, OsamaSon navigates his clear influences—e.g. Lil Uzi and Playboi Carti—and his own sonic identity, combining blaring rage beats with youthful vibrancy (it’s no mistake the bubbly “Made Sum Plans” has become the viral hit.) OsamaSon’s third album is textured, immersive, and colorful, assisted by producer ok priming the canvas with gritty 808s and sparkling synth lines. OsamaSon would drop another project, Psykotic, just a couple of months later, but Jump Out is the one that album artists from the unruly underground should aspire to in terms of cohesion and style. — Allison Battinelli

17.Ken Carson, More Chaos

Label: Opium/Interscope

Release date: April 11

Ken Carson’s follow-up to A Great Chaos is more off-the-wall, more guttural and more … chaotic (in the best way). Blistering beats spearheaded by longtime collaborators F1LTHY, starboy, KP Beatz and more lead the way for Carson, as he starts to come into his own as an MC. With a greater emphasis on his technical ability amidst the hellish, raw energy the album exerts, there’s one line that personifies this evolution most: “Hard work beats talent, so I work hard.” “K-HOLE” is just a glimpse at Carson recognizing how far he’s come, and on More Chaos, he’s reaped the rewards of the grind.—Jon Barlas

16.Che, Rest In Bass

Label: 10k Projects

Release date: July 18

While fans have clocked Che’s REST IN BASS for its similarities to Playboi Carti’s Whole Lotta Red, I don’t think he’s biting. He’s taking the rage soundscape Carti built and pushing it into its next iteration, molding it into something more raw yet controlled. The Atlanta rapper expertly harnesses chaos across 18 tracks—crafting a rage opus made for the mosh with immense replay value. With blown-out 808s, full-scream flows, and lawless energy, REST IN BASS was tailor-made for live shows, engineering the madness by cutting through with unmatched curation.

Frankly, rage tapes are generally tough to get through from top to bottom. Singular moments usually make for its motion. But RIB isn’t just noise—this is rage done right. Vocally, Che blitzes through each track with a presence that keeps you hooked, especially on standouts like “SLAM PUNK,” “BOSSUPPP,” and “HELLRAISER” with OsamaSon. It’s hyper-curated and wildly energetic, compacting the genre’s best elements and fine-tuning it for the next generation. All hail the “BASS GOD.” —Jon Barlas

15.Chance The Rapper, STAR LINE

Label: Chance the Rapper

Release date: Aug. 15

Like the title suggests, Chance’s follow-up to The Big Day is a journey. The Chicago rapper, once known for his image as a family man, separated from his wife, left his home, and underwent a period of self-discovery. On “Letters,” he questions the church and the health system; on “Drapetomania,” he draws from his Chicago drill roots alongside BabyChiefDoIt; and on “Speed of Love,” he reflects on his experiences and growth. The ideas are fully realized, the bars are sharp, and the album showcases just how much Chance has matured. A lot was riding on Star Line, and like any great storyteller, Chance proves that you still can’t write him into a corner. —Jordan Rose

14.Yeat, Dangerous Summer

Label: Lyfestyle, Field Trip Recordings and Capitol Records

Release date: Aug. 1

Yeat became an even bigger star in 2025 by prioritizing quality over quantity. After releasing a pair of albums in 2024—LYFESTYLE and 2093—he surprised fans this year with just one EP: DANGEROUS SUMMER, the sharpest he has sounded in his career yet. Part of this growth comes from expanding his comfort zone. The standout tracks don’t really sound like anything Yeat has released before. The ethereal, wispy allure of “FLY NITE,” the angelic, airy melodies of “PUT IT ONG,” and the sheer infectiousness of “COME N GO” show Yeat embracing new textures. And it’s led to even more success: There was a time you couldn’t scroll through Instagram without hearing “COME N GO” on everyone’s feed. —Jon Barlas

13.Dave, The Boy Who Played the Harp

Label: Neighbourhood Recordings

Release date: Oct. 24

Dave’s first full-length in four years begins with the James Blake collaboration, “History.” The Brixton rapper seems to think people may have forgotten just how meaningful he’s been to the rise of UK hip-hop. A few bars in, it’s clear few can command the mic like he does. Despite Dave demanding attention throughout the project, he cedes plenty of space to collaborators, like the aforementioned Blake, Tems, the ascendent Jim Legxacy, and more. Dave seems deeply tapped into the story he’s sharing, writing it in real time and immediately bringing it to his audience. It creates an interesting tension, where he knows his power in the rap game but is constantly hungry for more. Tremendously popular but unwilling to cede an inch is a good place to be, it turns out. —Will Schube

12.Tyler, the Creator, DON’T TAP THE GLASS

Label: Columbia

Release date: July 21

Tyler wants to see you shake ass. At a time when so much human interaction and expression are mediated by technology—and we’ve collectively become more isolated and socially awkward—a project dedicated to dancing in public feels almost radical. The robotic voice in the intro to “Big Poe” invites us to move our bodies and “leave your baggage at home.”

But let’s be real: There’s no Tyler Okonma without at least a little lament. It’s his twist. So in the midst of the bombast of “Big Poe,” the high-energy odes to cunnilingus (“Sugar On My Tongue”), and the material flexing in the key of “Black Excellence™️” (“SUCKA FREE”), there’s Tyler the Yearner.

On “Mommanem,” some self-pity slips through the braggadocio as he describes his “chest full of resentment,” and by the end of DTTG, the tempo slows and the yearning resurfaces on “Tell Me What Is,” where he asks, “Why can’t I find love?” It calls to mind André 3000’s low-key lament on “Hey Ya”: “Y’all don’t wanna hear me, y’all just wanna dance.” —Timmhotep Aku

11.Central Cee, Can't Rush Greatness

Label: Columbia/CC4L

Release date: Jan. 24

Central Cee is taking his time trying to reach the heights of rap. Can't Rush Greatness is littered with lessons the British rapper has learned over the years, like when he raps on “Top Freestyle” about how label executives “don’t care if we’re murderers, as long your catalog bringing in revenue,” and how he’s already premeditating an exit from the game once he amasses enough bread. Despite the high levels of anticipation around this debut album, Cench sounds sobering. UK rap would not be as embraced in the States if it weren’t for him, but he doesn’t sound content about any of it. It’s like he’s still chasing greatness. —Jordan Rose

10.PARTYNEXTDOOR & Drake, $ome $exy $ongs 4 U

Label: OVO/Santa Anna/Republic

Release date: Feb. 14

There was a lot going on in the world of Drake at the beginning of this year. Instead of completely retreating after his loss to Kendrick Lamar, he linked up with longtime collaborator and fellow Canadian PARTYNEXTDOOR to make $ome $exy $ongs 4 U, an R&B album born in the winter but made for the summer.

Drake and PND do what they do best on this project—find new and creative ways to croon about their faults in different relationships—and they do it with ease. Drake is one of the most versatile artists of this generation, and he showcases how easily he’s able to pivot from battle mode to make songs like “Nokia” or “Die Trying” that sound like he just spent the last six months somewhere tropical and not fighting for his life in a rap war.

He still has time to lick his wounds on tracks like “Gimme a Hug,” but he and Party’s main focus is to “make the party lit” rather than continue to feed the rap beef. In that aim, The Boy prevails. —Jordan Rose

9.Earl Sweatshirt, Live Laugh Love

Label: Tan Cressida/Warner

Release date: Aug. 22

Earl has never missed, let’s start there. But getting him to care, to pay attention, to make a song rather than dump snippets of pulse-quickening, heartbreaking brilliance onto hastily considered beats, has always been a chore for an artist who you always feel like could be the greatest rapper of his generation if he actually wanted to commit himself to his limitless potential. Death, life, maturity, and perhaps Adderall have all found Earl recently, and the result was this album, one of the most sustained efforts of his career.

The tossed-off genius is a given. What made this one of the best start-to-finish albums of Earl’s career, and 2025, is the beat selection (mostly Theravada, with a few crucial contributions from Navy Blue, Child Actor, and Earl himself), the thematic songwriting, and the unmistakable sense that for these 11 tracks, the artist was very present. —Abe Beame

8.G Herbo, Lil Herb

Label: Machine Entertainment Group/Uptown Records/Republic Records/Universal Music Group

Release date: November 7

G Herbo is from Chicago, of drill but not quite from its tradition, in league with the likes of Sosa, Reese, Durk, and Polo, but also has always stood apart. He’s from the internet era but not quite in that cohort with rappers whose monikers read like Greek email addresses because he doesn’t sing or rage. He’s classically inclined, sounding more like a New York mixtape rapper, but hasn’t been around long enough to speak to the old heads in the way, say, a new Lox album would. So Herb is a middle child of rap history, a man without country, and yet he just keeps hitting dingers, improving with each album, a spitter with chops who also loads Scarface-level pain in his bars, an unfortunate byproduct of reaching the age of 30 (as Herb did recently) when you’re from Chicago. This latest effort is his best yet, and won’t get near the praise or attention it deserves. —Abe Beame

7.Metro Boomin, A Futuristic Summa

Label: Boominati/Mercury/Republic

Release date: Aug. 1

We all need vacations. How we spend that time off differs from person to person. Metro Boomin, for example, cleared his head from a year of tangential Drake beef by time-traveling back to mid-2000s Atlanta to create A Futuristic Summa. His endlessly joyous, playful, celebratory mixtape is the lightest, airiest project he’s ever released, and it might also be his best. Rather than letting the sepia tinge of nostalgia act as the thing itself, though, Metro uses the Atlanta rap world he grew up in as a springboard, a way to invite the many sides of his style into an all-day BBQ.

Put on a song like “I Want It All,” “My Lil Shit,” or plenty of others and try not to crack a smile. After a seemingly deathly serious 2024, Metro Boomin is all good vibes here. —Will Schube

6.Cardi B, AM I THE DRAMA?

Label: Atlantic

Release date: Sept. 19

The title of Cardi B’s terminally anticipated sophomore LP is less a question than a sly nod and cunning wink.

The core conceit of AM I THE DRAMA? is that Cardi spent the past seven years giving everyone else a chance, but now she’s back and has demanded that the throne return to its rightful owner. Rarely does an artist get more popular during a seven-year hiatus, but most artists don’t release “WAP” as a non-album single, either. Cardi returns with more cultural pull than ever before, and she knows it. Take the scene-setting, slow-burning opener “Dead.” Cardi’s very first words on the track, and thus the album? “Can't compete with me, I'm not the one /

I tell hoes to suck my dick, they put they hair up in a bun.” It only gets more ruthless from there. —Will Schube

5.JID, God Does Like Ugly

Label: Dreamville/Interscope

Release date: Aug. 8

JID has an innate ability to tap into the communal memories of his Atlanta tribe—whether it’s the sayings his grandmother passed down or the shared experience of getting your car broken into outside a sporting event—and transform them into a cohesive body of work.

God Does Like Ugly is as much an exploration of who JID is at this point in his life and career as it is an oral history of his family and the city of Atlanta. Songs like “Sk8,” featuring Ciara and EarthGang, tap into the city’s rollerskating culture; “Glory” brings listeners into the Black church through real sermon samples; and “On McAfee” finds JID embracing the next generation of Atlanta rap alongside Baby Kia. The album comes full circle with “For Keeps,” which reflects on JID’s journey and introduces us to his present life as a new father.

JID has always told his story through his music, and with God Does Like Ugly, he delivers one of the most transparent and compelling chapters of that story yet. —Jordan Rose

4.YoungBoy Never Broke Again, MASA

Label: Never Broke Again/Motown

Release date: July 25

After almost a year behind bars, YoungBoy Never Broke Again was released from prison in March. There was no “first-day-out” song. Instead, we got a first-year-out album: a 30-track explosion that can be overwhelming and confusing if you’re new to YoungBoy. But if you’re a day one, congrats—you just got your All Eyez on Me: 90 minutes of pent-up, raw emotion channeled into music that can soundtrack every aspect of your life if you surrender to it.

Need energy? Put on “Shot Calling.” Feeling reflective? Try “Lo.” Have some kooky energy? Tap in with “XXX,” which, inexplicably, samples “Sex & Violence” from ’70s punk band The Exploited. The unwieldiness—and, frankly, some of the Donald Trump messaging—has caused an initial bifurcated reaction to the album. But, in the long run, I think it will be remembered as being one of YoungBoy’s best. —Dimas Sanfiorenzo

3.Jim Legxacy, Black British Music

Label: XL

Release date: July 18

The British are coming. This was the year British rap broke into the US markets; Jim Legxacy’s sophomore tape Black British Music is emblematic of how vast and diverse the UK underground is, and why it has the potential to overtake the states.

“Sprinter,” which Jim helped produce for Central Cee and Dave, showed he could craft a hit for others. Now he’s trying to prove he can do it for himself. And on this project, he seamlessly blends UK rap, grime, drill, and R&B, showcasing how deep his bag really is.

“Stick” is a fusion of pop-punk and UK rap, “‘06 Wayne Rooney” is like an alternative love ballad from the climax of a coming-of-age movie, and “3x” finds Jim interpolating Drake and matching Dave’s polished flow.

This kid is the future—tap in now while you still can. —Jordan Rose

2.Clipse, Let God Sort Em Out

Label: Roc Nation/ILH

Release date: July 11

A throwback. An outlier. A miracle.

In the age of endless streaming playlists masquerading as LPs, a 13-track, meticulously constructed album—with intention and a single legend behind the boards—achieves a sustained mood, tone, and energy.

Beyond the traditional media apparatus, its rollout mines every tool in the rap promotional box, meting out morsels of gristle with each sitdown and forcing content aggregators to work nights and weekends. It defies the logic of timelines, algorithms, and SEO, farming every click and greedily stealing the air in the room for a glorious few weeks over the summer.

Two middle-aged brothers tap into the anachronistic roots of the “proper nouns” rap that many of us who came of age a generation or two ago still love, spitting artfully constructed punchlines about coke, clothes, cars, women, and even their parents. Let Got Sort Em Out is perhaps their final exhuming of lost recipes—an event album in a post-monocultural wasteland, a reminder of how it looks, how much fun it can be when two legends come off the bench, conjure old ghosts, and make one last run for the love of the game. —Abe Beame

1.Playboi Carti, MUSIC

Label: AWGE/Interscope

Release date: March 14

Was MUSIC worth the wait? The album—released 1,540 days after the genre-changing classic Whole Lotta Red—doesn’t hit with the same seismic cultural impact. Whole Lotta Red laid the groundwork for the future of rap, launching an entirely new class of artists. On MUSIC, Carti turns his focus to his past—specifically his upbringing in Atlanta—not necessarily in narrative or coming-of-age terms, but in concept. The result is one of the most nostalgic rap albums of the year, deeply indebted to the DatPiff-era Southern mixtapes that shaped him.

The album is at its best when it fully embraces these influences. There’s the guitar flip from Ashanti’s 2004 track “Only U” on “COCAINE NOISE”; the standout remake of SpaceGhostPurrp’s street classic “Fuck Taylor Gang” on “CRANK”; a homage to Bankroll Fresh on “WALK”; and the sped-up flip of Rich Kidz’s “Bend Over”—probably the most 2010-sounding track ever—on “LIKE WEEZY.” All gas.

In mainstream rap, Carti has become one of the most album-focused contemporary rappers, taking up to five years to release each project while building his lore. (How many rappers can say they recorded in Parisian caves?) Some fans have expressed frustration with the album’s sprawling 30-track runtime and lack of cohesion. Or the fact that DJ Swamp Izzo keeps on yelling. But in focusing on these complaints, they’re missing the main lesson of mid-2000s mixtapes: The mess is the point. —Dimas Sanfiorenzo