The Best Songs of 2019 (So Far)

Image via Complex Original

Album: 4REAL 4REAL

Producer: GYLTTRYP and Mustard

It’s a shame that YG already did his Dos Equis commercial parodies, because they would have paired perfectly with “Go Loko,” a hypnotic single that pulls out a win from a truly baffling hand of cards. The song contains Spanish guitar, rhythmic bedframe squeaks, and Tyga calling himself “a badass mofo,” and it’s still one of 2019’s most irresistible early summer singles. Puerto Rican MC Jon Z drops off an animated verse, and YG’s opening verse is a raunchy riot. It may not go down as one of the Compton rhymer’s career defining hits, but “Go Loko” proves that few rappers can find more ways to have fun on a song than YG. —Grant Rindner

Album: N/A

Producer: Jimmy Napes, StarGate, Tim Blacksmith, and Danny D

Normani opened up her post-Fifth Harmony solo career working alongside multiple male collaborators (Khalid, 6lack, Calvin Harris). Her latest (and arguably most impressive) is the Sam Smith duet “Dancing With a Stranger.” The record captures the heartache of love lost (“Look what you made me do, I'm with somebody new”) and takes it to the dance floor with a disco R&B flare courtesy of Stargate and Jimmy Napes. The result is a pop hit that feels satisfying, even in the lonely hour. —Edwin Ortiz

Album: Hyperion

Producer: Gesaffelstein

Easily the biggest song on Gesaffelstein’s Hyperion, “Blast Off” is a great combination of the themes that run throughout the project. All of the album’s slick, ’80s-driven energy is thrust into this cut, which could’ve easily sat on the Drive soundtrack, but now feels like it’s prime and ready for a Pharrell-produced cinematic space odyssey. —khal

Album: N/A

Producer: Beat Butcha, Nascent, and Corbett

In writing this blurb, I asked myself an existential question: Who am I, a man who each morning wakes up, looks in the mirror, and stares into the abyss of middle age, to address a 19-year-old rapper (and one who often sings, at that)? While TJ Porter may not be a rap classicist, “Harlem” is a classic rap song. Over distorted horns and trap drums, he pays homage to his neighborhood with didactic precision, name-checking everyone from Roc-A-Fella co-founder Dame Dash to basketball phenom-cum-hustler Pee Wee Kirkland, and situating himself in Harlem’s rap lineage in the process. No, TJ’s bars may not change the game. And, yes, he might draw comparisons to A Boogie Wit da Hoodie. But even to an old reared on New York artists decades TJ’s senior, “Harlem” is a worthy addition to a rich canon. —Lucas Wisenthal

Album: N/A

Producer: KeY Wane and Slade Da Monsta

You can’t properly discuss Cardi B’s “Press” without talking about everything that came with it, from her near-naked single cover (calling back to the time she threw a shoe at Nicki Minaj) to her recreation of a photo of sex worker and infamous serial killer, Aileen Wuornos. It’s clear that Cardi has the press wrapped around her finger—even though she doesn’t need it. “Press, press, press, press, press/Cardi don't need more press,” she bellows. “Kill 'em all, put them hoes to rest/Walk in, bulletproof vest/Please tell me who she gon' check/Murder scene, Cardi made a mess.” Despite the entire song sounding off like a middle finger to my chosen profession, Cardi has me spellbound by her sharp (and improved) flow, as she oscillates from being a creation of the press to damning their existence. From the release of Invasion to Privacy a year ago to her letter to the “Press,” Cardi B has come a long way. Whatever the relationship between the rapper and the media really is, it’s clear that it’s working for both of them. —Kish Lal

Album: N/A

Producer: Roofeeo, Louis Bell, Brenton Duvall, and ​ILoveMakonnen

It’s difficult to make blowing cash feel more giddy than Makonnen and Gucci Mane do on “Spendin,” which is an ode to excess built around buoyant, springy synths. Makonnen, who has always had a knack for taking his melodies in slightly unexpected directions, finds success with the song’s simple chorus. Gucci and Makonnen have long had an easy chemistry, with both occupying vastly different characters that operate within the same universe. Gucci’s delivery is measured, which means bars like “Fuck your opinion, my opinion, back to spendin’/If you ain't got it, why did you not go and get it?” land with stern disapproval, feeling more pointed than punchlines. And Makonnen hasn’t sounded this joyful in years. —Grant Rindner

Album: N/A

Producer: T-Minus and J. Cole

“Middle Child” is as much a warning shot as it is a mission statement from J. Cole, who uses T-Minus’ aggressive horn-filled backdrop to break down his place in the rap game, as well as where he’s headed. Cole sounds focused throughout, as he offers up boastful bars (“I studied the greats, I'm the greatest right now”), reveals plans for a Dreamville takeover, and shares multiple shout-outs (Drake included) on a performance he’s described as urgent. The record has since gone three-times platinum and counts as Cole’s highest-charting song ever. Not too shabby for his first official single since 2013. —Edwin Ortiz

Album: Drip or Drown 2

Producer: Wheezy

Ever since his breakout guest verse on Young Thug’s 2016 mixtape, Jeffery, Gunna has been positioned as the newest star under Thugger’s YSL imprint. Last year, the 24-year-old College Park native cemented his status as a certified superstar on the strength of his collaborative mixtape with fellow rising local Lil Baby, Drip Harder, along with a handful of notable features alongside Young Thug on Slime Language (“Chanel (Go Get It),” “Dirty Shoes,” “Scoliosis,” and “Chains Choking Me”). But, if there was a specific moment when the torch was passed from teacher to student, it has to be on Drip or Drown 2 standout “3 Headed Snake,” which sees Gunna going toe-to-toe with Young Thug, battling his mentor to a draw. —Brad Callas

Album: N/A

Producer: Tainy

If “Callaita” was a Drake song, it would be much bigger here in the States. On this song, Bunny sings about a quiet girl who’s a freak on the low. So, basically every Drake song ever. It sounds much better in Spanish, trust me. But Bunny isn’t shaming her, he’s just speaking on the secret affair they’ve had. This is the perfect song to listen to when you’re drunk this summer, so you can hit that old flame up and really get busy and rekindle some shit. Scary hours, indeed. —Angel Diaz

Album: Apollo XXI

Producer: Steve Lacy

The first single from Steve Lacy’s debut solo album, Apollo XXI, “N Side” still holds up post-release—arguably even more enjoyable now that our winter clothes are stowed away. Every part of this song is horny, from the lyrics to Lacy’s voice to guitar notes that are reminiscent of the sun’s rays radiating off the pavement. Mentions of making out and ass-grabbing keep things youthful, but make no mistake: “N Side” is grown and sexy. —Carolyn Bernucca

Album: Arizona Baby

Producer: Romil Hemnani, Jack Antonoff, and Kevin Abstract

Kevin Abstract doesn’t give a fuck. He isn’t worried about conforming to the traditional ideas of genres and song structure; he isn’t concerned with the expectations of fans; and he definitely doesn’t care how you feel about hearing the phrase “I'm a power bottom” in a rap song. “Big Wheels,” the opening song of his new album, Arizona Baby, is only 96 seconds long, but it makes the most of its short runtime as Abstract barks brutally honest lines over foreboding production. Representing our first taste of solo material from the Brockhampton ringleader since the crew blew up in the summer of 2017, this emphatic one-verse cut is a bold statement from an endlessly talented young artist at a pivotal point in his career. —Eric Skelton

Album: Revenge of the Dreamers III

Producer: Pluss

The first taste of Dreamville’s Revenge of the Dreamers III project proves the power of holding their rap camp recording sessions in Atlanta. While Cole and Bas acquit themselves just fine, the elements that really elevate “Down Bad” are the standout verses from J.I.D, Young Nudy, and EarthGang’s Johnny Venus, as well as a beat by Pluss that feels heavily inspired by a specific era of buckwild southern rap. Ultimately, the song is a southern fried warning shot about the looming Dreamville summer takeover, with clever bars from J.I.D (“Let a n***a cover FADER ’fore I have to fade a n***a at the FADER Fort”) and Bas (“Dreamville like Marion Jones on the steroids”) who establish the fact that they’re gearing up for an inimitable run. —Grant Rindner

Album: N/A

Producer: DJ Shay

This is like the coke rap avengers linking up, or when Hogan and Macho Man formed the Super Powers. Fans of this type of rap music have been clamoring for a collab between these guys for a couple years now, especially after Benny gave us the critically-acclaimed Tana Talk 3 tape last year. And I’m here to tell you, folks, “18 Wheeler” does not disappoint. Bars like Benny’s opener, “We don't do no price talk 'cause I already know they numbers,” and Pusha’s, “The only drug dealer out at Fashion Week/With an 80/20 split like Master P/Why would I ever 50/50? You ain't half of me,” are a couple of those lines that only certain people could really relate to, but also make others feel like they’re a drug dealing anti-hero. Benny and Push make us root for the bad guy. —Angel Diaz

Album: Dedicated

Producer: Kyle Shearer

There is no title track from Carly Rae Jepsen’s long-awaited follow-up to 2015’s Emotion, but if there were, it would be “Julien.” Described by the songstress herself as being about “that one person that I always pine for,” the album opener represents the subconscious dedication and devotion we might feel to that aforementioned “one.” On “Julien,” this allegiance is brought to life by the palpable desperation in Jepsen’s vocals. Over glittering funk production (provided in part by The Knocks’ Benjamin Ruttner), her near-whisper personifies the chorus’ promise: “To the end, to the last breath that I breathe/I’ll be whispering, ‘Julien.’” —Carolyn Bernucca

Album: Covered N Blood

Producer: Geraldo Liive

Young Jefe rhymes volcano with lame hoes, which is worth the price of admission alone. But, initially released as a single, this intro to Shy Glizzy’s excellent new album Covered N Blood is some of his finest work through and through. He gets meditative about his come-up, but his distinct voice and delivery can make almost any cliche’d line feel fresh. You can see how he earned himself an invite to Puffy’s house; now let’s see where he takes it from there. —Frazier Tharpe

Album: ZUU

Producer: FNZ

To listen to “Birdz” is to submit yourself to a Fear and Loathing in Miami-style trip through the Magic City with Zeltron and Rozay as your Raoul Duke and Dr. Gonzo. The beat, provided by Curry’s longtime collaborators FnZ, sounds like a car being torn to shreds at a chop shop, but Curry and Ross manage to find distinct pockets to ride within it. This is the pair’s second collaboration, following 2016’s “Knotty Head,” and their chemistry is once again palpable. Curry is all frenetic energy, while Ross projects an air of mafioso cool with one of his best verses in years (“Vroom, vroom, vroom, bitch, we on the move/Snort a line of this, I bet you clean your room”). Curry’s ZUU is a tour through Miami, and there’s no moment on it that encapsulates the mix of glitz and grime better than “Birdz.” —Grant Rindner

Album: N/A

Producer: Phoelix

Noname is finally making dividends from her music career, and on “Song 32,” no one is safe from her razor-sharp wordplay. Not weak rappers (“I'm everything that you're not, like Kendrick before his prime”), not the American establishment (“I'm the Kennedys out for lunch with a preacher, martyr the king”), and not even the 44th president of the United States (“I'm Obama pushing the button, in Libya, Pakistan”). Her regular collaborator Phoelix provides a canvas of crackling snares and a swirling organ, fitting for her understated flow. If this is what it sounds like when Noname has a bit of change in her pocket, let’s hope she gets the biggest bag possible. —Grant Rindner

Album: Bandana

Producer: Madlib, Eothen Alapatt, Ben “Lambo” Lambert, and Freddie Gibbs

Of the loosies that Gibbs and Madlib have dropped from their forthcoming LP, Bandana, “Crime Pays” is the one that encapsulates their partnership the fullest. From that soulful sample thrown around Gibbs’ rhymes to him riding this dream of an instrumental with ease (including his quicker flow towards the end of his second verse), “Crime Pays” is a vibrant outing from a pair of standouts in a rap game that can seem so monochromatic. —khal

Album: Ventura

Producer: Fredwreck, The Alchemist, and Anderson .Paak

It’s difficult to think of a bigger 180 than going from rapping about getting blown while driving on “Headlow” to teaming with a septuagenarian soul legend for the warm, slow jam “Make It Better.” But, as always, Anderson .Paak proves himself magnetic and versatile enough to connect those two poles. The bittersweet instrumental on this song frames a portrayal of love on the brink, with .Paak transitioning from pained protagonist on the first verse (“And it's easier to walk away / Than to look for what would make you stay”) to bird’s eye narrator on the second (“When you take somebody for your own / It can't survive on history alone”). The inclusions of Smokey Robinson and a line that feels culled from a ’50s Hollywood romance simply add to the timelessness of .Paak’s message about staying together and starting over. —Grant Rindner

Album: N/A

Producer: JD On Tha Track and Iceberg

The melodic swing in rap over the past decade has made it easier for rappers to craft hard-nosed anthems disguised as party bangers. A continuation of this trend, 20-year-old Chicago rapper Polo G’s inescapably catchy single “Pop Out” (which currently sits at No. 9 on Billboard’s Hot R&B/Hip-Hop Songs chart) is a work of trauma that’s also pure ear candy. Despite producers Iceberg Beatz and JD On Tha Track’s remarkable job masking the narrative with a wildly addictive beat (along with Polo G’s dazzling display of charisma and 18-year-old Bronx sing-song rapper Lil Tjay’s thrilling guest verse), there’s no denying that “Pop Out” is a song haunted by death and despair. —Brad Callas

Album: Shea Butter Baby

Producer: Ron Gilmore

From the croak of her voice as it lilts in the presence of pain to the lusty soulfulness of her lyrics, Ari Lennox is always unafraid to show us the chinks in her armor. “I Been” is an instantly refreshing track in the back half of Lennox’s excellent debut album, Shea Butter Baby. As she stretches the limits of her staccato flow, Lennox narrates an all-too-familiar story of trying to forget an ex-lover, even when they did you wrong. “And I try, and I try, and I try, and I try, I try (ohh),” she sings. “But I'm havin' the worst luck on Tinder.” It’s millennial ennui mixed with a plume of smoke, a relatable string of moments, apps, and poisons over a velvety beat that digs its nails into the listener’s heart before releasing it with a doting touch. Ari Lennox is unquestionably a special storyteller. —Kish Lal

Album: Still Summer in the Projects

Producer: Mustard and GYLTTRYP

Literally no one else on Leonardo DiCaprio’s green Earth talks flavorful cash shit as wonderfully as 03 Greedo. His new album—produced in its entirety by DJ Mustard and evidently recorded after receiving his lengthy prison sentence, but before going in—is anything but burdened. In fact, it’s unbothered, with Greedo’s head held high, likely off the Avon Barksdale aphorism that one only does two days inside: the day you get in, and the day you get out. Maybe that’s why he spends “Bet I Walk” flexing his ass off, declaring that he’ll saunter in prison wearing each piece of ice, and daring you to doubt him. Why would you, after everything he’s done? Just in case anyone still does, though, he saves the last 50-odd seconds for shit-talking that plays like his anti-Tupac promo run of last summer on wax. Free this man immediately. —Frazier Tharpe

Album: When I Get Home

Producer: Panda Bear, John Key, and Solange

Solange’s When I Get Home feels like one long stream of consciousness, with each song and interlude bleeding into the next. While much of the album invites listeners to sit back and vibe to its dreamy, soulful repetitions, “Binz” (that’s “Benz,” with a Southern accent), invites them to get up and finally (maybe) learn how to twerk (see the video for guidance). The sub-two-minute track finds Solo rapping about yachts and Saint Laurent, and reclaiming the term “CP time” over an impossibly bouncy bass, plus an energetic hi-hat courtesy of Panda Bear. It’s aspirational and jubilant; bet you can’t listen just once. —Carolyn Bernucca

Album: N/A

Producer: T-Minus

We’d been waiting for Thugger and La Flame to reunite properly, but Thug and Cole together will never not be a weird pairing: from tour announcements, to the news that Jermaine would be executive producing the slime’s next project to this. But that’s what makes it so exciting. Against all odds, “The London” works. Travis is in full imperial phase hot streak mode, on the kind of run where every major rapper feels like their project is incomplete without some kind of contribution from him. And J. Cole is committed as ever to swerving outside of the lanes we already know him for, each time to greater effect. Whether it’s announcing projects with more frequency, debunking the “no features” myth, dropping singles irrespective of an album, or gamely stepping up to all the visibility and promo that comes with fully putting a label on, Cole is clearly on a mission this year. So far, so good. It’s a little startling to hear him glaze his verse in heavy AutoTune, but when he’s saying shit like, “A verse from me is like 11 birds/Just did the math, that's like two thousand dollars every word,” who cares? Thug is as dexterous as ever, a chameleon who can sound great next to anybody on any beat. Hopefully this begins a great 2019 for him, one that’s at least halfway as good as the year Jermaine Cole has been enjoying. —Frazier Tharpe

Album: N/A

Producer: El Guincho and Rosalía

If you’re reading this and don’t understand Spanish, just trust me when I say Rosalía is coming for the summer. Bursting on the scene with her take on flamenco music with her album Los Ángeles, and most recently, El Mal Querer, this single is Rosalía trying to cross over Stateside and succeeding. She’s talking cash shit on this and casting spells, guys, so watch out. Get used to Rosalía because you’re going to be hearing a lot from her for the rest of the year. —Angel Diaz

Album: Outer Peace

Producer: Toro y Moi

Toro y Moi and Wet? Chaz and Kelly?! This couldn’t be anything less than a heater. As any track named after a classic coupe inevitably must be, this is peak nighttime driving music. Toro reflects on his humble beginnings, which is probably why he’s dwelling on a 20-year-old Chevrolet that doesn’t have push-to-start, and why Kelly holds him down with a yearning hook. This is great music about simpler times. —Frazier Tharpe

Album: We All Shine

Producer: SMKEXCLSV

The headlines about YNW Melly in 2019 have been so unbelievable that it’s easy to forget why we were all paying attention in the first place. At the age of 19, he had figured out how to channel his life’s challenges into some of the most moving (and catchy) rap music we’d heard from a new artist in years. On songs like the Fredo Bang-assisted “Ingredients,” Melly’s greatest strengths jumped to the surface as vivid tales from his personal life were presented alongside inventive vocal deliveries and endlessly addictive melodies. He had mastered the rare art of making pop music with heart. Unfortunately, as he sits behind bars on double murder charges, Melly’s story has taken a dark turn that will forever be associated with his music. But the music itself is undeniable. —Eric Skelton

Album: Brandon Banks

Producer: Mike Dean and Teej

You can feel Mike Dean (and co-producer Teej) willing Maxo to go down memory lane with this gorgeous, retro beat. It’s practically sepia-tinged. Instead, Maxo doesn’t just reflect on his past, but also the stark realities of his present, as he matter-of-factly rattles off verses-as-letters to his folks in the pen, catching them up on the current predicaments of his family and friends. Maxo’s career may be blowing up, but shit is far from sweet. It’s the directness of his delivery that really draws you in, creating for a day-in-the-life slice of banality that’s gripping nonetheless. This is just the way it is. Hopefully it gets better. Hopefully everyone will meet again. —Frazier Tharpe

Album: Sli'merre

Producer: Pi'erre Bourne

This isn’t the first time cousins 21 Savage and Young Nudy have created something special together, but it just might be their best. It’s been a tough year for the two of them, as Nudy was booked for assault and gang-related charges at the same time as 21’s highly-publicized immigration issues, which threatened to destroy the only life he’d ever known. “Mister” is a result of their cumulative pleasure and pain. The flute-heavy track, courtesy of Pi’erre Bourne, exudes a playful exuberance in this family affair. But what really makes this a standout track is the resilience of the Atalanta rappers in the face of near tragedy. —Kish Lal

Album: Gangalee

Producer: Karloff, Dímelo Flow, and Sharo Torres

Farruko and Bad Bunny really put the reggae in reggaeton with this one. My coworker and I were in Puerto Rico a couple months ago and we couldn’t stop playing this—especially because I had the kush in the fanny pack (la cartera) for the entire week we were there, really living what these rappers rap about! Seriously, though, “La Cartera” has (to me) easily the best hook of the year behind “Old Town Road.” You know the vibes. —Angel Diaz

Album: Assume Form

Producer: James Blake, Metro Boomin, Dre Moon, Wavy, and Dan Foat

James Blake began the year with what promised to be his most compelling musical experiment yet. The English producer’s Assume Form included a collaboration with Travis Scott and Metro Boomin. “Mile High” sees Scott and Metro contorting to fit the unfamiliar twists and turns of Blake’s imagination on the dizzying beat. Over 808s and layers of reflective textures, Blake glides across the song, at times mimicking Scott’s flow in the same way that new friends adopt each other’s mannerisms, slang, and style. Despite being released in the dead of winter, “Mile High” demands to be played on hot summer nights. —Kish Lal

Album: sweetener

Producer: “Pop” Wansel and Happy Perez

At this point, you’ve likely read every single comparison between Ariana Grande’s sweetener and thank u, next, but nowhere is the leap from one album to the other more apparent than on “Fake Smile.” Featuring a sample of Wendy Rene’s “After Laughter (Comes Tears)” (most notably sampled on Wu-Tang Clan’s 36 Chambers cut “Tearz”) “Fake Smile” is the antithesis of sweetener’s triumphant, it’s-all-gonna-be-okay disposition. Our reigning queen of modern pop music reminds us of all of the very real pain (and bullshit) she’s faced over the last few years, and lets us know that she will no longer smile through it. The highlight is the song’s bridge, in which we get a post-“7 Rings” taste of rapper Ari, complete with a “yuh!” that dares you not to jut your chin out in its wake. —Carolyn Bernucca

Album: N/A

Producer: El Guincho, Frank Dukes, and Rosalía

Rosalía goes off on this. She’s talking shit like a rapper, bro. She’s a star, an idol, and a jewel of the purest form. She puts roses on her Porsche Panamera. These are bars, folks. You’re not going to feel alive until you pull up to a function on Dyckman when this is playing and shorty hits you with that perrero that’ll send you to meet God. And let us not forget about the wonderful contributions of J. Balvin and producers El Guincho and Frank Dukes for bringing that beautiful old school reggaeton vibe to life. This is a clear candidate for song of the summer for my Spanish-speaking constituents. —Angel Diaz

EP: Save Me

Producer: Detail and Seth Firkins

Future rarely lets himself belt like he does on “Shotgun,” a highlight from Save Me, and the first “baby” he hits on the hook contains an entire album’s worth of yearning. It’s one of the most pop-forward ballads of Future’s career, as he often copes with these sorts of emotions through restraint—not excess. Vocally, we hear Future all over the map, especially in the intro where he goes from calm to crisis in the span of two bars. Some of the other vocals on Save Me come across as too raw, but the elegiac instrumental here can more than carry the weight. “Shotgun” is especially poignant, as it was co-produced by Future’s close friend and frequent engineer, the late Seth Firkins, and it’s been speculated to sample his ex-fiancée Ciara’s “Promise.” —Grant Rindner

Album: N/A

Producer: Oogie Mane and Brandon Finessin

Lil Uzi Vert is keeping a positive outlook amid his label drama, with “Sanguine Paradise” setting the tone for what’s to come on his highly anticipated sophomore album, Eternal Atake. Working On Dying’s Oogie Mane and Brandon Finessin flip Mykko Montana’s “Do It” for a piano-laced beat that keeps up with Uzi Vert’s free-spirited rhymes. He jumps between Michael Jackson and GEICO references and money talk (“In reality, I'm 5'4"/Stand on my money, now I'm 6'6””) with ease, speeding up his flow after each verse. “Free Uzi” may be the better lyrical performance from Uzi Vert this year, but “Sanguine Paradise” is representative of everything that makes him such an entertaining figure. —Edwin Ortiz

Album: CrasH Talk

Producer: Cardo Got Wings and Johnny Juliano

Schoolboy Q might have kicked off the CrasH Talk proceedings with “Numb Numb Juice,” but the album really took a viral turn when ZaZa pulled up on her IG to go ham to the Lil Baby-assisted “Water.” Her lit-ness made a believer out of me, but after a few listens, you’ll also find yourself just singing the simple hook without any thought of ZaZa. This is one of the most “modern” vibes Q comes with on the whole album, but he finds a way to maintain his intensity, and stay true to himself on the track. “Water” is a surprise jam that will ride out through the rest of the summer. —khal

Album: When I Get Home

Producer: John Carrol Kirby, Pharrell Williams, and Solange

When Solange announced the release of When I Get Home, a fond homage to her hometown of Houston, the unlikeliest guest feature was Atlanta rapper Playboi Carti. But there he was, on the second half of “Almeda” in all his baby voice glory. “Brown liquor, brown liquor/Brown skin, brown face/Brown leather, brown sugar/Brown leaves, brown keys/Brown zippers, brown face/Black skin, black braids/Black waves, black days,” Solange meditates over a funk-flecked, 808-heavy beat. Repeated over piano-laden melodies like a mantra, Solange’s words are no longer a tribute to a geographical place, but a spiritual one that encapsulates the culture and the joys of being black in America. Then Carti joins in. “All of my diamonds, big lumps,” he raps. “I get that cash, got a bunch I’ma die lit, bitch, I promise (Hol’up).” A hypnotic offering from R&B and rap’s most innovative artists, “Almeda” is a thick, syrupy spoonful of joy. —Kish Lal

Album: IGOR

Producer: Tyler, the Creator

Tyler, the Creator is a romantic, though not in the traditional sense. Rather than show us a rose-colored point of view, he prefers to display the uglier sides of love, sex, crushes, and partnership—often dressing them up in synths and keys that might trick you on first listen. A standout from his magnum opus, IGOR, “A Boy Is A Gun” does just that. Over a sample of the Ponderosa Twins Plus One’s “Bound” (yes, that “Bound”), we hear Tyler resisting the infatuation phase, trying his hardest not to be a sitting duck for the apple of his eye. Even when he seems to be ready to lean in (“You're a gun ’cause I like you on my side at all times”), his measured flow gives him away, further emphasizing his hesitation, until he’s so far gone that he’d prefer the boy in question “stay the fuck away” from him. This is a sunshower of a song. —Carolyn Bernucca

Album: N/A

Producer: Kevin Parker

It’s been nearly four years since Tame Impala’s critically-acclaimed Currents, which was a synth-pop masterpiece complete with a Rihanna cover (just kidding). Thankfully, the Australian musicians’ highly anticipated return was well worth the wait. Kevin Parker’s breezy vocals combine with psychedelic production held together by frantic keys (to quote my coworker, “This song sounds like cocaine”) for a five-minute track that begs the central questions of early summer and gives in to the realization that the year is halfway over: “Has it really been that long?/Did I count the days wrong?” Appropriate for a mid-year list, no? —Carolyn Bernucca

Album: Fever

Producer: LilJuMadeDaBeat

The song that contains one of the year’s strangest and funniest disses (“Your momma don’t bring your dad to the mall”) is also home to some extremely raunchy raps. Between Megan’s verbal acrobatics and DaBaby’s actual ones (note his lyrics about headlocks), the song is one of the most fun outings on Megan’s extremely enjoyable Fever. And good luck getting Hot Girl Meg’s staccato delivery of the song’s extremely long hook out of your head. It can’t be fucked with, no. —Shawn Setaro

Album: CrasH Talk

Producer: Nez & Rio, DJ Fu, and Baby Keem

Remember that scene in J.J. Abrams’ Mission Impossible movie where Tom Cruise, having just rescued a heavily sedated Keri Russell from bad guy captivity, has to shoot her with pure adrenaline to get her in the game so they can shoot their way out? Which, in turn, is just the big-screen version of an almost beat-for-beat scene in J.J. Abrams’ superior but vastly underrated spy tale Alias? Which is just a rip of Pulp Fiction’s seminal adrenaline-shot sequence between John Travolta and Uma Thurman? Well, yeah, pluck any related scene from the cinema history books, and it describes “Numb Numb Juice,” which is a fucking undiluted syringe plunged straight into your heart with reckless energy. One hundred and seven seconds may seem too short for a song at first blush, but a longer runtime may have induced angina. When Q unfurled his album rollout with this song, I swore he was coming in with the unmitigated album of the year. (Alas, that didn’t happen, but the album is still very good.) Credit Baby Keem, who is listed as a writer and producer on the song, for putting Q on to his under-two-minute wave. And credit Schoolboy for the execution as he harnesses a snarling, maniacal, brash gangster energy and fits it into an infectious radio-ready package without compromising his sound. —Frazier Tharpe

Album: WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?

Producer: Finneas and Billie Eilish

The opening salvo of Billie Eilish’s long-awaited debut album affirms the talents that made her rise to mainstream stardom so quickly. Her razor-sharp sense of humor, penchant for melancholic melodies, and deep reserve of vocal deliveries make her one of the most fully realized artists to emerge in years—and all three are on display on “bad guy.” The track plays on tropes about pop stars and antiheroes, as Eilish flatly delivers lines that would typically be imbued with over-the-top emotion and offers sly commentary on her status as a teen A-lister (“My mommy likes to sing along with me, but she won't sing this song/If she reads all the lyrics, she’ll pity the men I know”). The majority of the track has a demented, gleeful whimsy, thanks to the funhouse synth line by Finneas, but the outro beat switch is deathly serious: a subtle flex from Eilish that she is already in full command of her craft in ways that many stars never attain. —Grant Rindner

Album: N/A

Producer: DJ L Beats

I know some people really fuck with Herbo’s original version, “Gangway,” but I would be inclined toward recency bias and stand by Uzi’s version, mainly because I try to copy his dances randomly (especially when I have “Free Uzi” blaring through the speakers while I drive). Who doesn’t feel like shifting imaginary gears when this comes on? Also, this proves once and for all that Uzi can fucking rap. Y’all gonna have to stop frontin’ un día desto. This song and video are amazing. Free Uzi. —Angel Diaz

Album: N/A

Producer: Hit-Boy, G-Dav, and Corbett

Nipsey was about to go on a run after dropping this. With rising star Roddy Ricch giving us an exquisite hook, “Racks in the Middle” was an early contender for not only song of the summer, but also song of the year. Hearing Nipsey talk his shit on this is both inspiring and incredibly sad. Another rapper in his prime gone too soon, Nip left a lot of jewels, along with a legacy that will help those who grew up like he did for years to come. Lyrics like “Damn, I wish my nigga Fats was here/How you die 30-somethin’ after banging all them years?/Grammy-nominated, in the sauna sheddin’ tears/All this money, power, fame, and I can’t make you reappear/But I don’t wipe ’em, though/We just embrace the only life we know” hit especially hard, because Nip ultimately suffered the same fate as his childhood friend. This street shit is real life, never to be glorified. There’s real pain and triumph in this song. RIP Nipsey Hussle. —Angel Diaz

Album: Rap or Go to the League

Producer: 9th Wonder

Lord, this is a perfect hip-hop beat, courtesy of the immortal 9th Wonder—and 2 Chainz does not waste it. How many other rappers could invite Jigga to rappel in, “Diamonds From Sierra Leone”-style, but still have the song soar when he, regrettably, says, “Maybe next time?” It’s JAY’s loss, because this track is gorgeous. The subtext of Rap or Go to the League is its bid to position 2 Chainz plainly as the multi-faceted artist he’s always been, but he can’t help but be overt here: “I don’t get the credit I deserve—I don’t know if you’re hearing every word.” By enlisting a beloved rappity-rap producer to serve him a volley, and then indisputably spiking it, Tity scores the threat-level ranking he’s always longed for. —Frazier Tharpe

Album: When I Get Home

Producer: John Carroll Kirby, Metro Boomin, and Solange

If you judge by the first minute of this punningly titled song, there might not appear to be much to “Stay Flo,” or at least nothing that would merit a ranking this high. There’s a single-pitch bassline, a repeated one-bar keyboard part, and a sole melodic phrase. But as the song continues, layers unfold. Peter Lee Johnson’s bass pitches and rhythms change, giving the keyboard phrase different harmonic meaning and added off-balance syncopations. New keyboard portions and textures are introduced. While this is happening, Solange’s melody crosses the line from repetitive to hypnotic (helped along by the “Hol’ up” ad lib throughout). By the end, all you want is to go “down down down on the floor,” again and again. —Shawn Setaro

Album: N/A

Producer: YoungKio

It’s totally OK for a song to be fun, so stop complaining about “Old Town Road.” Yes, it’s a novelty song, and Lil Nas X may very well be a one-hit wonder, but have you seen video footage of little kids going crazy to this? Lil Nas got “Baby Shark” out the paint crazy. Music is supposed to make you feel something, and when I listen to this, I want a night playing Red Dead Redemption. “Old Town Road” is “March Madness” for kids, and I’m not mad at it. Also, Billy Ray got off on this. —Angel Diaz

Album: IGOR

Producer: Tyler, the Creator

“Earfquake” is an anomaly. For its first 95 seconds, high-pitched vocals guide us through a meandering, lovesick path as Tyler disregards all conventional song structure norms. Then the beat falls away to make room for Playboi Carti, who delivers the most textbook example yet of his infamous baby voice flow as twinkling pianos play in the background. By all measures, it’s a weird-ass song that most artists wouldn’t even attempt to make, but the payoff for it has been huge for Tyler. Shortly after the release of IGOR, “Earfquake” immediately rose to the top of Spotify and Apple Music’s charts and peaked within the top 10 of the Billboard Hot 100. Tyler says he originally wrote the song in 2017 for Justin Bieber, and later tried to get Rihanna to sing the hook, but those missed opportunities proved to be a blessing in disguise. “Earfquake” is a deceivingly catchy pop song that works so well in part because it’s presented in the context of the unorthodox universe that Tyler has been building for the past decade. Only someone like Tyler could pull this off. “Earfquake” is easily one of the most unique, refreshing songs of the year so far. —Eric Skelton

Album: thank u, next

Producer: TBHits and Scootie

Ariana Grande’s vocals have always been out of this world, but she went full interstellar on this one. Who else but the formidable writing trio of Ariana, Victoria Monét, and Tayla Parx could make a song that analogizes deep space travel with negotiating breathing room in a relationship sound this good? The beauty of thank u, next is in the way it renders the specifics of Ariana’s love life down to its base relatable concept, fulfilling its role as therapy for her, but not at the expense of being an enjoyable earworm of a pop song for us. No track on the album does this to greater effect. Ari sounds so dulcet as she coos white lies like “You can come and kiss me through the phone tonight” to placate some poor guy (wonder who) that there’s no deeper meaning behind her needing me time. Who could blame any man for believing her? —Frazier Tharpe

Album: Baby On Baby

Producer: Pooh Beatz and JetsonMade

DaBaby’s true breakout moment this year came when he dropped the song and video for “Suge.” It was a bit prophetic in that DaBaby has been tested a couple of times by haters (each of which has resulted in the rapper knocking people out for the world to see): once in the mall, while trying to purchase some Louis Vuitton, and another time during a live show, when someone walked up on him while he was performing. This is what plays in someone’s head when DaBaby and his bodyguard are chasing their ass down the street. What really makes “Suge” special, though, is even if you feel like you’re getting tired of the song, the beat and hook are both so infectious, you can’t stop bopping to it. Someone on Twitter said DaBaby makes Scooby-Doo chase music, and you know what? Whoever said that was absolutely right. —Angel Diaz