The 50 Best Rap Albums of 2024

This year, we showcased diverse rap styles, showcasing established artists and newcomers. We have selected our 50 best rap albums, some of which made the main STS list while many did not.

They proclaim it every year, and for us, 2024 truly stood out for rap music, especially when one looks beyond mainstream trends. This year offered diverse rap styles, showcasing established artists and newcomers. We have selected our 50 best rap albums from this year—some of which made the main STS list while many did not.

The albums range from ‘90s-inspired boom bap and abstract underground sounds to mainstream hits in drill and trap. They also include genres like R&B and Memphis rap, reflecting a wide variety of influences. Although this list may seem to belong to a single genre, each album brings something unique. We hope you discover at least a couple of gems to enjoy.

It’s important to note that 50 is a very limited number compared to the many rap records released this year. This process inevitably left off many of our favorites, and if you don’t see something you love, it might simply be that we haven’t had the chance to hear it yet, or it simply sucks.

Arrested Development: Bullets In the Chamber

Bullets In the Chamber marks a delightful resurgence for Arrested Development. More than twenty years later, the group’s lead, Speech, has every right to be proud, as he declares on the album’s opening track, “Hello.” He characterizes Arrested Development as a group that has always been part of the scene yet is still distinct from the mainstream. The album, produced by UK’s Configa, spans 21 tracks that infuse the calming vibes of soul, blending uplifting melodies that highlight Speech’s hopeful tone. A standout track, “Hip-Hop Saves Lives,” features Chuck D and delves into reflections on rap careers and personal growth, with the iconic Public Enemy rapper effectively echoing Speech’s initial message (“And it don’t stop and it don’t quit/ Yeah, we don’t care if it don’t fit”). — Brandon O’Sullivan

Masta Ace & Marco Polo: Richmond Hill

A much-anticipated sequel to Masta Ace and Marco Polo’s A Breukelen Story, Richmond Hill draws inspiration from Marco’s early years in a quaint Ontario town near Toronto. This album intersperses narratives about Marco’s love for hip-hop and cartoons, his battle with substance abuse, and the unwavering support of his parents. Together, Marco Polo and Masta Ace confront contemporary issues directly, with the rapper leveraging his extensive experience to incisively navigate through the producer’s soulful melodies and sharp beats, solidifying that Ace has one of the best discographies in hip-hop. — LeMarcus

Priddy Ugly: Dust

Priddy Ugly’s swansong, the album Dust, epitomizes a storyteller at the crest of his imaginative potential. Bookending an illustrious career, this culminating installment of a triptych unspools a sonic memoir etched with self-reflection and verbal acrobatics. Priddy Ugly’s pen dances across instrumentals, his collaborators intuit his wavelength and the production’s soulful pulse synchronizes seamlessly. Shunning threadbare music journalism tropes, Dust immortalizes an artist distilling his essence. Priddy Ugly exits the stage after unraveling his psyche through rhyme, birthing an opus that will ripple through his absence. — Ameenah Laquita

Rhymefest: James & Nikki: A Conversation

In James & Nikki, Rhymefest returns from a decade-long hiatus, channeling the spirit of the iconic 1971 dialogue between James Baldwin and Nikki Giovanni, transforming their profound exchange into a riveting musical exploration. He explores themes of suffering, trauma, love, and mental health, intertwining personal reflections with sharp social commentary. Collaborations with artists like Helixx C. Armageddon, Brittney Carter, and EP da Hellcat enrich tracks such as “Triggered” and “Creator,” adding diverse voices to the narrative. Throughout the album, Rhymefest doesn’t shy away from addressing contemporary issues, offering a stirring critique of Kanye West’s recent controversies. His lyrics move fluidly between the intimate and the societal, highlighting his proficient storytelling and dynamic lyricism. — Brandon O’Sullivan

Heems & Lapgan: Lafandar

Heems is back after a significant hiatus, showcasing his renewed spirit and relevance in the contemporary hip-hop scene. Produced entirely by Lapgan, a signee of Heems’ label Veena Sounds, Lafandar features dynamic hip-hop beats infused with South Asian samples, creating a distinctive soundscape. The project boasts collaborations with notable underground rap artists such as Kool Keith, Open Mike Eagle, Quelle Chris, Your Old Droog, Saul Williams, Blu, Fatboi Sharif, Sir Michael Rocks of The Cool Kids, and Sonnyjim, as well as Sid Sriram. Despite a period of reduced musical output compared to his collaborators, Heems demonstrates a lively and ambitious presence on Lafandar, reaffirming his position in underground rap. The album dispels any lingering misconceptions about his artistry, particularly those stemming from his time with Das Racist. — Randy

Revival Season: Golden Age of Self Snitching

The Atlanta-based duo Revival Season epitomizes the dynamic essence of today’s music scene. They create an innovative fusion, where Brandon “Bez” Evans delivers adaptive and diverse rap lines over Jonah Swilley’s eclectic production that integrates rock, funk, and electronica elements. Their daring style echoes the experimental yet approachable spirit of predecessors like the Beastie Boys and Gnarls Barkley. This influence is evident in their strikingly original debut album, The Golden Age of Self-Snitching. Sporting a highly energetic and novel rap-rock fusion (admittedly a simplification of their sound), the record, launched through the genre-blending Heavenly Recordings, powerfully asserts their unique artistic vision. Revival Season’s inaugural release brims with a vibrant energy that marks its creative territory. — Brandon O’Sullivan

ScHoolboy Q: Blue Lips

With Blue Lips, the Los Angeles rapper revisits the vibrant energy reminiscent of his standout 2016 album Blank Face LP, introducing some notable changes along the way. The album balances openhearted tracks such as “Cooties” with a predominant presence of aggressive bangers like “Thank god 4 Me,” “Pig feet,” and “Pop,” featuring the spirited Rico Nasty. His fluctuating rap style, juxtaposed with often ethereal production, envelops Blue Lips in a trance-like ambiance. — Reginald Marcel

Mike & Tony Seltzer: Pinball

MIKE teams up with producer Tony Seltzer for their new collaborative album, Pinball, offering a fresh sonic experience from the NYC rapper. Known for his preference for hazy soundscapes, MIKE explores a different terrain as Seltzer introduces a harder and sharper production style, setting this project apart from MIKE’s previous work. The album showcases diverse sounds, blending lush instrumentals reminiscent of early 2000s New York rap with booming trap beats. MIKE adapts his flow to complement each track’s atmosphere, alternating between his characteristic laid-back delivery, more energetic performances, and even venturing into pop-influenced moments on songs like “Two Door” and “Yin-Yang.” — LeMarcus

Jae Skeese & Superior: Testament of the Times

Buffalo emcee Jae Skeese joins forces with German producer Superior for Testament of the Times. Skeese’s career has evolved since his 2010 debut mixtape, culminating in his signing to Conway the Machine’s Drumwork Music Group label. The album showcases Skeese’s lyrical expertise over Superior’s production, which ranges from boom bap to jazz-influenced beats. Throughout the project, Skeese raps about his personable life, staying focused, and overcoming challenges. Notable cuts include “Union 2’s,” which sets the tone with its guitar-laced instrumental, and “Cantonese Characters,” featuring Rome Streetz and Ty Farris in a lyrical display. — Phil

Real Bad Man & Lukah: Temple Needs Water. Village Needs Peace.

Real Bad Man and Lukah craft a transformative journey with Temple Needs Water. Village Needs Peace. merges the sharp lyricism of the Memphis rapper with the versatile production of the Los Angeles team. The album traverses a spectrum of Black musical traditions, from Southern rap to the pulsating rhythms of Jamaican sound clash, enriched by contributions from esteemed artists like billy woods, Adrian Utley of Portishead, and Memphis locals Sypha, Talibah Safiya, and the Stooky Bros. Lukah plunges into introspective and socially aware narratives, confronting systemic racism and personal evolution, urging a thoughtful examination of emotions and the pursuit of knowledge. — Brandon O’Sullivan

Roc Marciano: Marciology

Roc Marciano has amassed a loyal following that is deeply engrossed in his music. When he pivoted his career with the release of Marcberg in 2010, Marciano cultivated a dedicated fan base that holds him in high esteem for revitalizing the underground rap scene with his stripped-down beats and gritty, rhythmic poetry. Listening to Marciology, one gets the sense of a seasoned fighter working a heavy bag, weaving stylish jabs with rapid, complex verses delivered at varying tempos and angles. Roc Marciano’s raw and unembellished style has cemented his place among the elite of the underground rap movement. — Harry Brown

Marv Won: I’m Fine, Thanks for Asking

Well-known in Detroit and highly respected within the battle rap community, Marv Won shifts from his usual combative intensity to heartfelt, every day reflections on his 10-track project, I’m Fine, Thanks for Asking. In the central track, “It’s Okay,” Marv delivers comforting words over a groovy, psychedelic tune, offering listeners a sense of calm. Adding to the approachable and genuine atmosphere Marv creates, Freeway appears on the motivational track “Roc Nation Brunch,” recalling his industry experiences. Rapper Big Pooh lends his voice to “Nosy” with a perspective on parenting, while Quelle Chris enriches the piano-driven, contemplative song “Good Thangs” with his vocals on the hook. — Phil

Cavalier: Different Type Time

Cavalier’s rapping exudes an almost supernatural elegance and calm. Though he hails from New Orleans, he’s linked up with billy woods’ Brooklyn-based Backwoodz Studioz for Different Type Time. On this project, the MC’s delivery is effortlessly fluid, akin to a star athlete moving through a game with an uncanny sense of timing and poise. The title track sets the tone, exploring concepts of time and trends, followed by “Déjà vu / Tydro ’97,” where Cavalier employs geometric imagery over a thick, funky beat. In “All Things Considered,” he navigates Wino Willy’s cascading piano melodies to reach a realization. The album concludes on a contemplative note with “Flourish,” where associate producer Quelle Chris’s shifting backdrop underscores Cavalier’s introspective thoughts, culminating in a smooth assertion of his impeccable style. — Harry Brown

Seafood Sam: Standing On Giant Shoulders

Seafood Sam exudes a unique blend of polished retro-futurist charm that evokes visions of an imaginative, funk-infused fusion of his influences from the LBC. The artist and producer’s smooth delivery bears the unmistakable influence of the 1970s, brimming with sleek confidence. His preferred mode of transportation is a Cadillac, and he is never without an indulgent supply of caviar. The brass-accented, easy-flowing opening track “Saylo” showcases Sam’s casual dismissal of extravagant parties as mundane occurrences typical of a Tuesday night. While reveling in this luxurious lifestyle, Sam delves into spiritual reflections with tracks like “Can’t Take Tthe Hood to Heaven,” exploring themes of mortality and ethics—though he does so while sporting alligator shoes and a pristine new church suit, topped off with an elegant cologne. — Brandon O’Sullivan

Nascent: Don’t Grow Up Too Soon

Nascent is a distinguished producer with Mexican-American roots and operates out of Chicago. His impressive list of production credits includes major artists like Ye (formerly Kanye West), SZA, Chance The Rapper, and 50 Cent. The album titled Don’t Grow Up Too Soon carries an unmistakably clear message. This motto is one that Chicago-based producer Nascent has come to embrace and is now eager to impart to an audience open to living by these words. Nascent’s latest project highlights his development, marking his most sophisticated work to date while maintaining a playful edge. In one track, Ab-Soul delivers a reflective verse over a somber jazz sample, emphasizing the value of taking your time with the phrase, “Live slow, die old.” By contrast, another track presents an energetic hit featuring BJ the Chicago Kid, Maxo Kream, and Paul Wall. This juxtaposition creates a cohesive duality within the album. — Harry Brown

Brother Ali & unJUST: Love & Service

Love & Service delivers a rich experience across its aura by Brother Ali and unJUST. It offers an unembellished yet captivating presentation that raises thought-provoking questions. The album seamlessly blends various styles while maintaining a natural and unified feel. Exploring how humanity falters in its relationships ultimately underscores the message that everyone deserves love. When music began to take form, unJUST gave the project a distinctive visual essence. With a passion for hand-drawn illustrations and cartoons that span his entire life, he crafted an animated, dynamic canvas that visually narrates the concepts Brother Ali was exploring. Every song is paired with a distinct animation style that evokes the nostalgia of pen doodles and charcoal sketches. — Brandon O’Sullivan

Saigon & Fredro: The Jordan Era

Saigon and Fredro Starr’s debut collaboration, The Jordan Era, offers a vivid glimpse into the golden age of hip-hop. By assembling an impressive lineup of pioneers such as Grandmaster Caz, Pete Rock, Big Daddy Kane, Grand Puba, Kool G Rap, and others, the album pays homage to the genre’s roots. Having risen during the gangster rap surge of the early 2000s, Saigon showcases his unfiltered talent as an MC. Together with Fredro, they bridge the gap between past and present, embracing the shared experiences that link athletes and rappers. The longstanding connection between sports and hip-hop is undeniable. Athletes and rappers often admire one another, united by the common challenges Black entertainers face. Despite cultural ambivalence toward the past, multimedia retellings continue to attract a dedicated audience. Fans of classic hip-hop and its core elements—production, scratching, lyricism, and songwriting—will appreciate spending time in The Jordan Era. — Randy

Mach-Hommy: #RICHAXXHAITIAN

Mach-Hommy himself delivers an exceptional performance on #RICHAXXHAITIAN. His characteristic slow flow glides seamlessly over these abstract beats, and his lyrics remain consistently sharp and thought-provoking. He fluidly transitions between English, French, and Haitian Creole, adding a rich layer of complexity. From the soulful touches of Quelle Chris and Georgia Anne Muldrow to the eerie soundscapes crafted by Conductor Williams and August Fanon, the beats are stellar throughout. These instrumental backdrops, which often draw from jazz, reggae, and other genres, perfectly complement Mach-Hommy’s vocal delivery, and it also helps that features including Black Thought and Roc Marciano deliver exceptional guest verses. — Harry Brown

Rapsody: Please Don’t Cry

The five years it took for Rapsody to make Please Don’t Cry feel worth it, primarily because of how deep and personal the themes are. The sound and lyrics are as soulful, sharp, and wise as ever, backed up by a calmer but consistent production style. The big change is that she tackles topics like identity, grief, Black struggles, sexuality, family, love, mental health, and more in a way that’s a lot more straightforward, personal, and direct compared to the bigger concepts and stories she’s told on albums like Laila’s Wisdom. Rapsody faces plenty of obstacles that only time can fix, like illness, grief, fame, or systemic racism. But that doesn’t mean she can’t do something about those problems in her own life or that she can’t work on being at peace with the constant fight to make tomorrow better. In that way, Please Don’t Cry is a healing, tender album that gives listeners the same peace Rapsody found for herself. — Brandon O’Sullivan

Vince Staples: Dark Times

As indicated by its name, Dark Times delves into rap tracks where Vince Staples reflects on his upbringing in Long Beach, California. A significant portion of the album portrays Staples grappling with the chaos of his surroundings, revealing how his past traumas have led to troublesome relationships. One of the album’s standout cuts, “Justin,” is particularly notable for narrating a story that methodically builds suspense only to conclude with an unexpected anticlimax. This brilliantly illustrates the constant and pervasive danger of street life. — Tabia N. Mullings

CRIMEAPPLE & Big Ghost Ltd: Bazuko

In a noteworthy collaboration within the underground hip-hop community, New Jersey-based rapper CRIMEAPPLE has partnered once again with esteemed producer Big Ghost Ltd. to produce his latest full-length studio album, Bazuko. CRIMEAPPLE initially achieved critical recognition alongside Big Ghost Ltd. through their 2017 EP Sweet Dreams, followed by their 2018 album Aguardiente, which played a crucial role in advancing his career within the underground scene. Over the past six years, Bazuko has extended and deepened the thematic and sonic elements established in Aguardiente, reflecting the parallel evolution of Big Ghost Ltd.’s distinctive production techniques and CRIMEAPPLE’s unique lyrical style. This latest work demonstrates the maturation and refinement of their collaborative artistry, illustrating the ongoing development in their respective crafts. — Harry Brown

Tha Dogg Pound: W.A.W.G. (We All We Got)

Even though Tha Dogg Pound hasn’t been in the spotlight as much lately, they are most fondly remembered for their 1995 debut album Dogg Food. Recently, they have teamed up with West Coast icon Snoop Dogg to release a full-length collaborative album called W.A.W.G. (We All We Got). Snoop Dogg, an early influence on their sound and a cousin to Daz Dillinger, joins them in this project. With this album and beatmakers from DJ Premier, Mike & Keys, Rick Rock Battlecat, and Soopafly, Tha Dogg Pound are far more than a mere nostalgia act relying on their earlier hits. Although this record might not be heralded as the best album of the year for others, it is bound to be played frequently. Fans who miss the genuine West Coast vibe will particularly appreciate its return, which is evident throughout this project. — Brandon O’Sullivan

ShrapKnel: Nobody Planning to Leave

ShrapKnel debuted in 2020 with their self-titled album, and they haven’t missed at all. Throughout Nobody Planning to Leave, the duo demonstrates their lyrical dexterity, and Controller 7 showcases his production skills, bridging the gap between the duo’s playful and apocalyptic tendencies. The album’s soundscape ranges from eerie piano loops to boom-bap-inspired beats, providing a varied backdrop for Castro and PremRock’s impressive flows and wordplays. While maintaining their unconventional approach, the duo reveres hip-hop traditions, cleverly integrating homages to classic tracks and artists within their avant-garde framework. — Harry Brown

Your Old Droog: Movie

In Movie, Your Old Droog reflects on viewing himself as a counter-culture artist, and it’s evident that he has achieved iconic status in that sphere. The underground rap scene has evolved considerably since Droog made waves with his debut EP a decade ago, yet he has remained a constant force. Droog presents his signature style over a stellar array of ’90s-inspired boom-bap beats produced by Just Blaze, Madlib, Harry Fraud, Conductor Williams, and others. He delivers sharp punchlines, memorable pop culture references, and inventive rhymes potent enough to impress his idols. While his steady release of seven-song EPs throughout 2022 showcased his prolific nature, this project is remarkable for its grandeur and deliberate craftsmanship—it isn’t titled Movie without reason. — Harry Brown

Lupe Fiasco: Samurai

Lupe Fiasco’s career trajectory presents a parallel narrative to The Last Samurai in the music industry. Once a rising star in hip-hop, Fiasco’s public disagreement with Atlantic Records over his third album, Lasers, marked a turning point. While maintaining critical respect, his subsequent releases have seen diminishing commercial success, suggesting a disconnect from mainstream rap audiences. Fiasco’s latest album, Samurai, continues collaborating with producer Soundtrakk, featuring a concise, jazz-influenced sound. The album’s title, inspired by Amy Winehouse’s self-description as a “samurai battle rapper,” is a metaphor for Fiasco’s artistic approach: a skilled practitioner honing their craft in relative isolation. His technical ability is evident in his varied vocal delivery and top-tier wordplay, yet the album reflects on the precarious nature of artistic pursuits, echoing themes of fragility in the face of commercial and personal challenges. — Nehemiah

Previous Industries: Service Merchandise

The inexorable march of time manifests itself in myriad ways, from the subtle aches that greet us upon waking to the fleeting nature of businesses that once defined our local landscapes. Open Mike Eagle, Video Dave, and STILL RIFT, collectively known as Previous Industries, have harnessed this shared experience of temporal flux in their debut album, Service Merchandise. The trio, whose roots trace back to Chicago’s hip-hop scene, crafted this work during pandemic-induced isolation sessions. Their album’s title, a homage to a defunct retail catalog, is a springboard for exploring the complex emotions associated with nostalgia and the passage of time. This approach complements the group’s lyrical focus on linguistic dexterity and unexpected wordplay, hallmarks of their street corner battle-rap origins. While the album does reference cultural touchstones familiar to Generation X and older Millennials, it transcends mere nostalgia, instead utilizing these shared memories as a lens through which to examine the collective experience of aging and the evolution of personal and cultural identities. — Brandon O’Sullivan

Bashy: Being Poor Is Expensive

Drawing deeply from his experiences growing up in London, Bashy explores the intricacies of poverty and life on society’s margins. He paints an expressive portrait of urban hardship, confronting systemic inequalities and the relentless grind of daily existence. His unfiltered narratives are set against a dynamic soundscape that fuses soul, grime, hip-hop, reggae, and UK garage. This shifts seamlessly from aggressive beats to introspective melodies, allowing moments of defiance and vulnerability to resonate profoundly. That said, it’s a stirring social commentary that illuminates often-overlooked realities of Black life. With Being Poor Is Expensive, Bashy reaffirms his place as a thoughtful and prominent voice in contemporary UK rap by blending in blending personal storytelling with broader issues. — Ameenah Laquita

Common & Pete Rock: The Auditorium, Vol. 1

The collaboration between Common and Pete Rock on The Auditorium, Vol. 1, signifies a noteworthy convergence of two influential figures whose contributions have shaped hip-hop culture over the past three decades. Pete Rock’s production on the album demonstrates his exceptional aptitude as a master synthesist, seamlessly integrating samples as Common’s performances on the album exhibit a heightened luminosity in his vocal delivery, coupled with lyrical acumen that is replete with references and sophisticated wordplay. His narratives, imbued with wisdom, spiritual depth, and positivity, align cohesively with Pete Rock’s compositional vision. — Harry Brown

Denzel Curry: King of the Mischievous South, Vol. 2

Over the past decade, Denzel Curry has remained a consistent force in the rap world. Now, he’s releasing a sequel to one of those early mixtapes: King of the Mischievous South, Vol. 2. Although he originally intended to create a sequel much sooner (hence the “Vol. 1” in the original title), he explored other directions and set the idea aside until recently. With a new batch of Southern-inspired rap songs, he realized the moment was right for the sequel. The beats pay homage to various Southern rap hotspots, and the guest artists represent a range of regions. Returning to Memphis roots, he collaborates with actual members of the Three 6 Mafia family. Although KOTMS2 is technically the long-awaited sequel to an underground mixtape series, it feels as effortlessly grand as Denzel’s official albums. — Javon Bailey

Freeway & Jake One: The Stimulus Package 2

After a 14-year gap, Jake One and Freeway have released their second collaborative album, The Stimulus Package 2. This project is Freeway’s most engaging work since the original Stimulus Package and his Roc-A-Fella releases. The production quality surpasses Freeway’s last three albums, with Jake One providing a consistent sound throughout. The State Property alums’s lyrics on this album focus on reinforcing his legacy in hip-hop culture. Despite some perception of Freeway’s output in recent years as average, this latest collaboration marks a return to form. The Stimulus Package 2 joins its predecessor, and Freeway’s Roc-A-Fella is a key entry in his discography. — Reginald Marcel

Blu & Evidence: Los Angeles

Presenting an intriguing blend of West and East Coast hip-hop influences, Los Angeles, the album by Blu and Evidence, showcases a mix of soul samples and complex basslines, exploring both the harsh and serene aspects of West Coast life. The album effectively uses musical shifts to explore contrasting themes, which is especially notable in “LA Tourists” with its dynamic beat transitions. “Wish You Were Here” and “Lights At Night” reveal East Coast influences through twisted jazz samples, while “54th and The Cold” depicts the grittier side of Los Angeles not highlighted in tourist brochures. “LA Traffic” captures the intensity with persuasive hooks and collaborations from Cashus King and Self Jupiter, showcasing impressive rap skills. It’s likened to a rare gift that captures diverse musical styles and perspectives. — Harry Brown

Killer Mike: Michael & The Mighty Midnight Revival – Songs for Sinners & Saints

After clinching three Grammys for his deeply personal album MICHAEL, Killer Mike encountered an unforeseen twist. An altercation with a security guard at the ceremony led to his arrest that same night. Released later that evening, the experience reignited his creative spark, and he was back in the studio the next day. His first release following the incident was “Humble Me,” an emotive reflection on his arrest. He unveiled a 10-song project he regards as an “epilogue” to the MICHAEL era. Titled Songs for Sinners & Saints, the project is credited to Killer Mike—billed simply as Michael—and The Mighty Midnight Revival, the gospel group accompanying him on tour. From hard-hitting trap anthems to introspective, soulful rap ballads, Songs for Sinners & Saints resonates with the same energy as MICHAEL, potently continuing his artistic outing. One notable track, “Slummer 4 Junkies,” is a medley of two songs from MICHAEL—“Slummer” and “Something for Junkies”—inspired by his live performances. — Javon Bailey

Mavi: Shadowbox

Mavi has become increasingly straightforward in his approach. His latest album, Shadowbox, is his most candid and sincere work to date, offering some of the most genuine music of the year. He addresses themes such as loss, heartbreak, mental health struggles, addiction, and family dynamics with clarity and honesty, avoiding clichés. His delivery possesses a subtle melodic quality, and the emotion in his voice resonates deeply. Featuring one guest vocalist, Mavi handles all the rapping himself, navigating a range of soundscapes from jazzy to orchestral to hard-hitting boom bap. — Harry Brown

38 Spesh: Mother & Gun

38 Spesh has consistently released multiple projects annually and has already exceeded his typical quota with the launch of Mother & Gun. The sentiment of being Spesh’s most personal album is immediately apparent in the opening track, “Early Morning,” where Spesh’s initial lyrics establish the album as a tribute to his late mother. The thematic content extends beyond filial homage, encompassing narratives of personal difficulties, reflections on Spesh’s past experiences, and other intimate anecdotes.. — Nehemiah

Doechii: Alligator Bites Never Heal

Although neither of Doechii’s biggest tracks (“Persuasive” and “What It Is”) appears on her new 19-song major label project, Alligator Bites Never Heal, she may reserve them for a future album. Regardless, this debut mixtape showcases Doechii’s versatility, blending traditional rap, airy R&B, and modern electronic beats. The project is enriched with skits and interludes that contribute to its overarching narrative. At any moment, she can deliver hard-hitting verses reminiscent of ’90s street rap or exude the theatrical charisma of Ludacris, Ol’ Dirty Bastard, and Missy Elliott. While she balances her lyrical intensity with moments highlighting her vocal abilities, Alligator Bites Never Heal suggests that Doechii is just beginning to make her mark in the industry. — Tabia N. Millings

LL Cool J: The FORCE

The eagerly anticipated return of LL Cool J arrives with his latest album, The FORCE. Produced by the venerable Q-Tip of A Tribe Called Quest fame, this offering represents a fresh chapter in LL’s multifaceted 40-year career. Throughout the album, LL’s lyricism hasn’t lost a step. “Passion” impresses with cultural references, braggadocio, and street wisdom layered over a Herbie Hancock sample deftly reworked by Q-Tip. “Murdergram Deux” pits LL against Eminem in a display of wordplay and competitive spirit that highlights their unique strengths. Other standouts include the storytelling of “30 Decembers,” the celebration of African American culture in “Black Code Suite,” and the spiritual themes merged with social commentary on “Praise Him,” featuring a show-stealing verse from Nas. Q-Tip’s diverse production, spanning boom bap, uptempo beats, and hard-hitting tracks, provides a cohesive and refreshed sound. The album’s concise yet impactful nature leaves us hoping for further collaborations between these two influential figures in hip-hop history. — Brandon O’Sullivan

Blu & Exile: Love (the) Ominous World

With introspective lyrics rooted in personal reflections and narratives about life in L.A., Blu offers a compelling look into his experiences in the music industry and his hometown. Exile’s soulful and jazz-infused boom-bap production provides the perfect canvas for Blu’s bars and delivers a more potent impact in terms of production, lyrical depth, and conceptual cohesion. On the track “Suge Knight,” he details his early career encounters with prominent record labels such as Death Row. The album is elevated by well-placed guest appearances that complement Blu’s voice without overshadowing it. While perhaps not quite reaching the lofty heights of the pair’s most iconic works like Below the Heavens (not that it has to), Love (the) Ominous World is nonetheless another strong entry in Blu & Exile’s impressive discography, blending sharp social commentary and self-reflection with head-nodding beats. — Harry Brown

Ka: The Thief Next to Jesus

Ka has become one of the most prolific and consistently exceptional underground rappers. Every project he has released over the past 15 years has been gripping and immersive, and The Thief Next To Jesus continues that tradition. Like his 2020 album Descendants of Cain, this new release delves into themes of religion, particularly how it intersects with race, freedom, and life itself. Ka favors hushed storytelling over catchy hooks, but this album’s soul, gospel, and blues samples provide a melodic immediacy that sets it apart from his recent work. As always, the album boasts a darkly beautiful exterior and a deep interior that reveals more with each listen. Investing time into exploring it is worthwhile. — Phil

BigXThaPlug: Take Care

Opening with a reimagined version of Willie Hutch’s "Tell Me Why Has Your Love,” BigXThaPlug's latest album fuses nostalgic vocals with contemporary trap beats. Drawing from the influence of Southern legends Scarface and 8Ball, BigX is recognized for his distinct voice and production choices. Though his music is often formatted for TikTok's brevity, it occasionally leaves admirers desiring longer tracks to appreciate his talent. "Therapy Session" and "Leave Me Alone" provide insights into his life, touching on therapy sessions and the stress of newfound popularity. "2AM" delivers a storytelling rap filled with unexpected developments, and tracks such as "Law & Order" and "The Biggest" present forthright self-reflection and assertive portrayals. — Javon Bailey

ELUCID: Revelator

On his solo album Revelator, ELUCID breaks new ground by collaborating with co-producer Jon Nellen to craft a noisier, glitch-driven electronic sound while embracing live drums. This approach departs from his work with Armand Hammer on We Buy Diabetic Test Strips, where live instrumentation took center stage. Drawing significant influence from Miles Davis’ avant-garde 1974 piece “Rated X,” the connection is unmistakable. “Rated X” stands among Davis’ most experimental and unsettling compositions, and ELUCID’s rapping would seamlessly meld with its chaotic essence—much like it does throughout Revelator. Spanning 15 tracks, ELUCID intertwines deeply experimental soundscapes with his ominous vocal delivery, resulting in one of his darkest and most unconventional albums to date—in the most captivating way. His Armand Hammer partner billy woods joins him on two songs, with Creature and Skech185 making the only other guest appearances. The rest of the album drenches you in ELUCID’s distinct psyche, offering a fascinating journey into his delightfully unconventional mind. — Phil

GloRilla: Glorious

GloRilla has been unstoppable since her breakout hit “F.N.F. (Let’s Go)” went viral two years ago. Though her third major label project, Glorious presents as her “debut album.” This record seems set to sustain her vigorous momentum. Featuring appearances from Megan, Sexyy Red, Latto, and others, Glorious offers more of the raw, hard-hitting Southern rap that fueled her biggest singles. Given its status as her debut album, there’s an effort to elevate it beyond her previous releases. The latter half introduces a fresh emphasis on gospel and R&B, with contributions from Kirk Franklin, T-Pain, and others woven throughout. At times, the album feels like it’s reaching for more than necessary, attempting to encompass multiple directions simultaneously. Yet its peaks soar high, adding even more intensity to Glo’s already blazing trajectory. — Tabia N. Mullings

Benny the Butcher & 38 Spesh: Stabbed & Shot 2

The dulcet partnership displayed on Stabbed & Shot 2 melds street-hardened production with spectral vocal arrangements. While Benny maintains his characteristic narrative approach, 38 Spesh’s varied delivery and humorous observations provide a welcome contrast. Their collaborative chemistry appears strongest during their coordinated verses, creating layered narratives rather than isolated performances. “Center Stage” eschews traditional grittiness for orchestral grandeur, diverging with the haunting vocal arrangements of “Brick Specials.” Guitar-driven “Bad Guy” and horn-heavy “Internal Affairs” showcase accomplished production work. Strategic guest appearances maintain momentum throughout—Busta Rhymes dominates “Jesus Arms,” while Ransom’s contributions to “Coke Runs” establish new benchmarks for excellence. — Harry Brown

Nappy Nina & Swarvy: Nothing Is My Favorite Thing

With her debut, The Tree Act, in 2019, Nappy Nina sprouted as a matchless voice in hip-hop, consistently presenting byzantine wordplay over eclectic beats. Her newest album, Nothing Is My Favorite Thing, produced with the talented Swarvy, expands on last year’s Mourning Due while charting new territory in her creative evolution. Against the backdrop of Swarvy’s soothing instrumentals, Nina investigates the clash between the frantic pace of modern existence and the yearning to slow down and reflect. Throughout the record, her verses embody ease and precision, allowing the audience to contemplate the meaning of her words. Her fluid delivery, influenced by the underground scenes of Oakland and Brooklyn, mesh smoothly with Swarvy’s ethereal production—featuring mellow basslines, irregular grooves, and soulful samples that foster a contemplative, relaxed mood. This album moves deliberately slow, allowing Nina’s words to tintinnabulate fully. — Jamila W.

Tyler, The Creator: Chromakopia

Tyler, The Creator paints a picture of personal growth and introspection much different from his earlier work. It’s like watching a guy who’s spent years making noise finally hit pause and take a deep breath. Think of it as when you revisit your high school diary and cringe at how dramatic you were, but also give yourself a mental high five for surviving it. Tyler juggles heavy themes throughout the album, from grappling with his father’s complicated legacy in “Like Him” to the turbulent seas of impending fatherhood in “Hey Jane.” “I Killed You” feels like Tyler put his old self in the passenger seat only to drive through his conscience like a New Orleans parade. By encouraging Black folks to appreciate their authentic selves, it’s clear Tyler’s been on one heck of a self-awareness trip. And let’s face it, we’ve all wondered if we’re turning into our parents—he just turned that existential moment into art. While Chromakopia has enough heartfelt intensity to fuel a family reunion, the carefree, swaggering tracks like “Rah Tah Tah” and “Sticky” let Tyler breathe. His past may have been a rock-filled backpack, but he’s learning to put some stones down—though sometimes he can’t resist showing them off. — Phil

Ché Noir: The Lotus Child

Under the Buffalo skyline, Ché Noir crafts her long-awaited The Lotus Child, her third studio creation. Through partnerships with TCF Music Group, Apollo Brown, and her self-produced After 12, each record sharpens her artistic voice. Food for Thought, Noir or Never with Big Ghost Ltd, and The Color Chocolate showcase her maturing penmanship. Nine months past her previous offering, The Lotus Child demonstrates precise artistic timing. “Jodie Landon” rings with crisp percussion and upbeat, flowing aesthetics, speaking to universal enlightenment. “Wis Love” shifts toward brooding contemplation, honoring matrimonial bonds. “Choices” chronicles periods of uncertainty, while “Angels” pairs Statik Selektah’s gospel-tinged production with remembrances of Noir’s brother and cousin. — Tai Lawson

Sadistik: At Night the Silence Eats Me

Sadistik doesn’t miss. Not one bit. His second album of the year feels like a voyage across the alcoves of a psyche that has spent years quivering toward obscurity. “Eyes Wide Shut” cruises through identity, belonging, and existential reflection, capturing a pathway through metaphor and allegory. The imagery on “60” evokes a sense of stagnation and anguish, analogized with the philosophical meditation on identity (“If we’re all the same energy, the soul isn’t mine”). “You’re All Alone” presents a haunting meditation on loneliness and introspection that synopsizes what the album is about. The anecdote also reflects a struggle with self-identity and purpose as the artist grapples with inadequacy and existential dread. Sadistik offers a mordant commentary on the human condition, illustrating the challenges of finding meaning in a seemingly indifferent world and nabbing the dainty balance between hope and despair. — LeMarcus

Freddie Gibbs: You Only Die 1nce

Freddie Kaine is never the one to pull no punches in his raps. Following $oul $old $eperately, he returns to the independent scene to confront uncomfortable truths about fame, crime, and redemption. You Only Die 1nce is an unflinching depiction of life’s volatility, articulated through Gibbs’ sharp and unyielding lyricism, which dissects the core of personal and collective struggles with a clarity that reveals and challenges the status quo. “Brick Fees” reflects on the broader implications of his experiences, which paint a vivid portrait of the impermanence of street credibility and the relentless pursuit of respect and self-preservation in a treacherous landscape. With his visceral prose, “Rabbit Island” paints a convincing picture of the razor-thin balance between aspiration and peril while underlining his struggle to maintain credibility while grappling with the pressures to evolve: “If I switch it up, changin’ my message, then they ain’t gon’ feel me.” — Javon Bailey

Ab-Soul: Soul Burger

Opening with a cinematic flair, Soul Burger introduces Ab-Soul in a contemplative mood. The tracks “9 Mile” and “California Dream” deliver a powerful one-two punch, with the latter highlighting the duality of his affection for his home state alongside the challenges and aspirations it brings. Among the album’s standout tracks is “B.U.C.K.O. Jr.,” which showcases Ab-Soul’s ability to blend vivid storytelling with raw, unfiltered energy. The song displays his expertise in rhythm and wordplay, demonstrating the evolution of his writing, which has grown even more refined. The collaborative pieces on Soul Burger are just as remarkable. On “I, Myself, Me,” Ab-Soul teams up with Doechii, crafting a track that merges their unique energies. Doechii’s vibrant presence complements Ab-Soul’s introspective verses, creating a harmonious balance. Meanwhile, “Don Julio,” featuring Fre$H, serves as an anthem of independence, with its laid-back, smooth vibe contrasting the album’s more intense lyrical themes. Soul Burger is a layered album that establishes Ab-Soul as an artist who can hold his own among the top-tier of rap. — Brandon O’Sullivan

Maxo Kream: Personification

Maxo Kream made a strong impression on the rap scene with his 2018 debut album Punken, and since then, he has consistently stayed true to his style, ignoring passing trends. Personification keeps this direction. Like his past work, it shows that introspective lyrics and energetic anthems can coexist, exploring his evolution through three personas: Trigga Maxo, Punken, and Emekwanem. Maxo often delivers both in tandem, integrating personal stories smoothly into catchy hooks and infectious beats. While he is a formidable artist in his own right, Maxo also understands the value of solid collaborations, and Personification is filled with impactful guest appearances, including Tyler, The Creator on “Cracc Era.” The album also includes contributions from Denzel Curry, BigXthaPlug, That Mexican OT, Rob49, Skilla Baby, Z-Ro, and Maxo’s brother Josh Kream, each adding a unique flavor to the project. The penultimate track, “Bang the Bus,” stands out thanks to the pitched-up sample of Frou Frou’s “Let Go,” creating an engaging backdrop. The album maintains a balance of fun and emotional weight, much like Maxo Kream’s previous work, and his ability to stick to his formula without losing any intensity is impressive. — Murffey Zavier

Cavalier & Child Actor: Cine

Cavalier made waves earlier this year with the release of his underground hit, Different Type Time, in April. Now, he’s returned with another album, Cine, featuring a cover inspired by a 1975 Jean-Paul Goude photo and fully produced by Child Actor, who also contributed to Different Type Time. The album includes two tracks featuring Quelle Chris, with one also showcasing ELUCID. This project was released under billy woods’ Backwoodz Studioz label. Woods, ELUCID’s Armand Hammer partner, played a crucial role in initiating the collaboration between Cavalier and Child Actor, who first connected at a pop-up release show for Armand Hammer’s album from last year, We Buy Diabetic Test Strips. Now residing in New Orleans, Cavalier takes you straight into the heart of his old neighborhood, sharing vivid, personal narratives. Child Actor complements Cav’s storytelling with a diverse backdrop from jazzy boom bap to more experimental, psychedelic elements. Despite already delivering a major highlight in his discography this year, Cav’s ability to release another album of such depth and cinematic quality is truly remarkable. — Harry Brown

Kendrick Lamar: GNX

Drawing on his status as a trailblazer in the hip-hop world, Kendrick Lamar’s surprise release GNX challenges expectations by veering away from his typical conceptual framework. This time, the album lacks a central theme or narrative, opting for a collection of tracks that spotlight his West Coast roots without relying on the iconic sounds of classic local legends. The album’s production is laden with modern underground LA influences, giving it a distinctly gritty feel that contrasts with the polished sounds Lamar is known for. “Wacced Out Murals” and “Reincarnated” exhibit Lamar’s introspective and aggressive lyrical style, while collaborations with new voices attempt to bring local flavor. Standing in thematic opposition to its predecessor, Mr. Morale & The Big Steppers, his sixth release takes a more straightforward approach, with Lamar asserting his cultural dominance and talents through bold tracks. Songs such as “Man at the Garden” and “Hey Now” reflect a mix of self-aggrandizement and commentary on legacy, featuring moments where Lamar remains rooted in his strengths—contemplative storytelling, boundary-pushing production, and commanding performances—yet also hints at reaching for themes and relationships that don’t quite align with his established identity. — Brandon O’Sullivan

Skyzoo: Keep Me Company

Bedford-Stuyvesant and Crown Heights shaped a chronicler true to hip-hop’s essence. This early passion blossomed into a career marked by a commitment to lyricism and storytelling, evident from his earliest mixtapes and collaborations with the Justus League. Over the years, Skyzoo has worked with artists like Black Thought and Jill Scott, further developing a reputation for his lyrical skills and collaborative spirit. Albums like Retropolitan, a tribute to New York City with Pete Rock, showcased his ability to merge storytelling with hip-hop’s cultural heritage. In Keep Me Company, he channels this authenticity through carefully constructed soundscapes. Jazz-tinged percussion forms the foundation for his observations, where “Community Service” examines social dynamics, “Finder’s Keepers” and “Home Away From Home” sketch portraits of persistence and connection. The contemplative “Sleeping Beauty” balances against Chuck D’s commanding presence in “Courtesy Call.” — Phil

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Honorable Mentions

Ol’ Burger Beats: 74: Out of Time

Ol’ Burger Beats brings his signature jazzy sample-based beats to life in his album 74: Out of Time. Paying tribute to the year 1974, the album embodies chill abstract jazz rap and maintains a steady tempo of 74 beats per minute. Featuring Fly Anakin, Awon, Quelle Chris, Pink Siifu, billy woods, lojii, YUNGMORPHEUS, Tha God Fahim, Vic Spencer, and others, this consistent rhythm provides the foundation for sublime, jazzy instrumentals that are the perfect backdrop for some of underground and abstract hip-hop’s finest vocalists. Throughout the album's 17 tracks, a cohesive collection showcases his musical style and vision. — Phil

Apathy: Connecticut Casual 2

Emerging from Connecticut’s underground two decades ago with the Demigodz and Army of the Pharaohs, Apathy marks the 10th anniversary of his acclaimed Connecticut Casual with a compelling sequel. On his ninth solo album, he dives back into his roots, with Playa Haze crafting chilled-out boom-bap beats that echo the ‘90s hip-hop era without feeling dated. Tracks like “Todd McFarlane,” featuring longtime collaborator Celph Titled, highlight his enduring artistry. Connecticut Casual 2 reflects Apathy’s growth, as his sharp lyrics glide over stylish production. — Reginald Marcel

YUNGMORPHEUS & Alexander Spit: Waking Up and Choosing Violence

On his latest album, Waking Up and Choosing Violence, YUNGMORPHEUS sheds lingering doubts, stepping forward with artistic maturity and self-assurance, teaming up with producer Alexander Spit, the L.A.-based rapper crafts a multifaceted record that confronts life’s anxieties and embraces growth. The lyrics reflect on societal pressures, personal history, and the looming approach of his thirties, all delivered through his characteristically laid-back flow. Spit’s production layers jazz nuances, ‘90s R&B grooves, and ‘70s soul samples, constructing a soundscape that mirrors the emotional depths YUNGMORPHEUS explores. The interplay between introspective verses and energetic beats solidifies a work that could elevate his presence in the hip-hop community. — Brandon O’Sullivan

ANKHLEJOHN: Pride of a Man

ANKHLEJOHN isn’t confined to a small playground. His sights are on conquering the rap landscape. With Pride of a Man, he brings this ambition to life in vivid detail. From the album’s opening notes, where he commands your full attention and a measure of patience, he recognizes his place among rap’s elite and isn’t afraid to assert it. His unmistakable voice pierces through the imaginative and captivating beats crafted by producers like The Alchemist, August Fanon, Nicholas Craven, V Don, and Statik Selektah; the sonora constantly shifts and surprises, yet the project remains seamlessly unified. Stellar contributions from Navy Blue, Willie the Kid, Domo Genesis, Fly Anakin, and Inspectah Deck elevate the album further, ensuring top-tier collaborations at every turn. Yet, even amidst such illustrious company, ANKHLEJOHN shines the brightest, his presence undeniable—glimpses of his childhood surface alongside his wry humor paint a multifaceted portrait of the artist. — Murffey Zavier

Talib Kweli & J. Rawls: The Confidence of Knowing

The Confidence of Knowing proves that Talib Kweli remains on top form and has J. Rawls will back him up completely, musically speaking. The Black Star and Reflection Eternal affiliate has been on an upswing over the past two years regarding singles drops and fresh new projects, with this weekend continuing that trend. Combining the essences of cultural identity and personal expression with collaborations by artists such as Blu, TriState & Diani. Combining boom-bap roots with jazz keys transports the audience into a world of intense soundscapes. For “Breath, Eyes, Memory,” Kweli crafts a vibrant soundscape that blends European and African art forms. Hip-hop’s trailblazers are also distinguished, with the Native Sons anthology reflecting his dedication to hip-hop antiquity. Regardless of mixed receptions over the years, Kweli’s body of work still illustrates much of the rapper’s original talent and ample versatility as an MC, making him relevant in comparison and evolution between albums. — Javon Bailey

MC Lyte: 1 of 1

At age 12 in East Flatbush, Brooklyn, MC Lyte first grasped rap’s allure. Four years later, “I Cram to Understand U” announced her arrival, addressing crack cocaine’s social toll. Through “Poor Georgie” and “Eyes Are the Soul,” she confronted drunk driving and AIDS awareness. 1 of 1 is her finest work since the 1990s, spanning 50 minutes of sharp observations and masterful wordplay. After a ten-year pause, this collection pairs her characteristic wit with contemporary production values. “Thank You” opens the proceedings alongside Muni Long and Mary Mary, while “Life & Luxury” examines the achievement’s price. Queen Latifah joins for “King King,” celebrating Black masculinity. Traditional hip-hop elements shine throughout “To Rock the Mic” and “1-5,” demonstrating her enduring mic control. Big Daddy Kane and Cheryl “Salt” James unite on “Woman,” while Common and Stevie Wonder contribute to the transformative message of “Change Your Ways.” “Alright” shares accumulated wisdom before “Music Is” concludes with exquisite contemplation. — Tabia N. Mullings

Rome Streetz & Daringer: Hatton Garden Holdup

Under the neon glow of New York’s relentless streets, Rome Streetz and Daringer craft a raw narrative with Hatton Garden Holdup, merging modern crime tales with the unfiltered spirit of classic hip-hop. Drawing deeply from ‘90s East Coast traditions, Rome’s razor-sharp storytelling glides over Daringer’s shadowy production. On “Ace of Bass” and “Sage,” his words cut through the darkness, painting stark images of ambition amidst the struggle, while Daringer’s brooding beats thicken the atmosphere with tension. ScHoolBoy Q steps in with energy, his distinct style colliding with Rome’s relentless flow, adding new shades to the album’s gritty palette. The drumless minimalism of “Spike” leaves room for introspection, countered by the raw intensity of “Pro Tro,” where Daringer’s signature sound lays the foundation for Rome’s thoughtful lyrics, especially on “Reap What You Sow.” The project reaches the summit with the autobiographical “Heavy Traffic,” a dive into Rome’s world wrapped in ‘70s-inspired motifs, where his storytelling proficiency shines at every moment. — Randy

Kurious: Majician

New York rap veteran Kurious, admired by devoted hip-hop fans, remains an unsung legend despite his limited discography. Emerging in the early ‘90s with the Constipated Monkeys, a group that included members of KMD, he briefly worked with Def Jam. His debut album, A Constipated Monkey, was released in 1994 through Columbia’s distribution. Thirty years later, he’s back. Executive-produced by DOOM before his untimely passing, Rhymesayers released Majician and co-released under Metalface Records. With beats crafted by Mono En Stereo, a frequent collaborator of Homeboy Sandman, the album draws from synth-funk, orchestral soul, fusion, and yacht rock. This eclectic mix showcases a sampling and beat-chopping style reminiscent of DOOM’s productions, yet it maintains its distinct sound. Looping a spare piano and kick drum, Mono sets the stage for Kurious’ hard-hitting rhymes and vivid imagery on “Eye of Horus.” The spiky guitar, robust horns, and rapid tempo of “Unknown Species” evoke past triumphs, with Kurious’ verses injecting ’90s realism to counterbalance the ’70s influences. Unafraid to embrace nostalgia, he delivers extemporaneous bursts of energy, matching Majician’s lively instrumentals with raw, instinctive vigor. Recognizing hip-hop pioneers’ foundational work, he supports up-and-coming rappers by ensuring they understand the industry’s pitfalls. Blending profound introspection with playful humor, his lyrics offer insight while maintaining a lighthearted tone. — Harry Brown

Philmore Greene: The Grand Design

Philmore Greene joining Mello Music Group is a no-brainer. In 2022, he teamed up with the veteran music producer Apollo Brown to drop one of the more underappreciated efforts with Cost of Living, as Greene raps about where he grew up on the west side of Chicago, dealing with the loss of his brother due to street violence, but found passion in the art of MC’ing that hope remains alive. Almost two years later, The Grand Design acts as a sequel to its predecessor by continuing that there’s a belief in something grander and the likelihood of something better. Through its candid depiction of life within marginalized communities (“Magic”), the reality of seeking solace in self-destruction with the inability to sever ties from a burdensome legacy (“Stay Gone”) and an overarching dedication to redefining one’s narrative against all resistance (“Whole Time”), Greene illustrates the exacting road of striving for success while browsing the challenges imposed by society and self-doubt. — Phil

Westside Gunn: Still Praying

When it comes to Westside Gunn, he’s one of the finest curators in the scene right now. He tends to rap over obscure soul essentials that wire around the dusty, gritty hip-hop allure, and Still Praying is no different. Gunn’s gritty, unfiltered verses find their footing atop opulent, sample-heavy production, crafting a dynamic that has become his calling card. While divisive, DJ Drama’s contributions underscore the unapologetic attitude permeating the record. “Max Caster” embodies Gunn’s knack for wrestling references and vivid storytelling, while collaborations with his Griselda cohorts on “Free Shots” and the posse cut title track elevate the album’s impact. Though not his magnum opus, Still Praying still carries the hallmarks of Gunn’s idiosyncratic flow, stellar beat selection, and uncompromising ethos that has garnered him a devoted following. — Javon Bailey