The Best Albums of 2018

Label: Quality Control Music/Motown/Capitol

Released: January 26

Did Culture II live up to the high expectations we had for Migos after Culture? No. Is Culture good enough that even a mid version has plenty of slaps to go around, including a handful that y’all slept on? Absolutely. Almost a year later, highlights like “Stir Fry” still hold up, showcasing the Migos at their goofiest. But let’s talk about those sleepers. “Gang Gang”? A beautiful song about friendship. “Bad Bitches Only”? Home to one of 21 Savage’s best moments of the year. “Open It Up”? A reminder of exactly where the trio came from, after “Bad and Boujee” was colonized by fraternities nationwide last year. At an hour and 45 minutes, there’s plenty of fat to trim, and one could more than fairly argue that Culture II only reinvented Culture’s wheel. But there are certainly worse things to reinvent. —Carolyn Bernucca

Label: Tan Cressida/Columbia Records

Released: November 30

Earl Sweatshirt’s Some Rap Songs might be the most contentious album on this whole list. In the days following the record’s release, as the songs got aired out loudly in the Complex office, consensus quickly formed—it was a miss. But then something started shifting. For some of us, tracks that seemed strange when aired back-to-back with the latest from the Quality Control assembly line, opened themselves to reveal profound challenges and joys within the context of the album as a whole. Earl is dealing with topics like his own mental health and his father’s January 2018 death, and the sound of the record reflects that. It’s lo-fi, with static and seemingly random vocal samples around every corner. But Earl treats the lo-fi nature of the process in the same way that Guided by Voices did in their heyday—the noise and difficulty becomes the mood, and adds depth to the record’s themes. While Earl Sweatshirt’s latest opus might not have won over the whole office (yet), these are Some Rap Songs that, love them or hate them, you won’t be able to get out of your mind. —Shawn Setaro

Label: Epic Records

Released: November 16

After her interesting year(s) in the public eye, which featured everything from an awkward reality show on E! to an equally awkward New Year’s Eve performance, bouncing back with a slapper of a 15th studio album didn’t seem like it was in the cards for the supreme diva—yet here we are. Ascending to her throne, Mariah Carey found a way to reestablish her unique blend of hip-hop, pop, and R&B into a release that flows effortlessly. Sure, tracks like “The Distance,” with a powerhouse of talented artists behind it (Skrillex, Lido, Poo Bear, and Ty Dolla Sign) should be no-brainers, but you’re still not ready for the emotional gut punch when the bass drops under that heavenly hook. Lil’ Kim’s “Crush On You” gets a fresh coat of paint on the empowerment anthem “A No No,” and current sensation Gunna finds a way to flex with Mariah like it’s nothing on “Stay Long Love You.” For anyone wondering if Mariah still has it, Caution is the perfect release to quiet that talk. —khal

Label: Young Turks

Released: June 22

After Kamasi Washington built a name in the industry through his work on Kendrick Lamar’s To Pimp a Butterfly, many discovered the Los Angeles tenor saxophonist’s debut album, The Epic, which was released mere months after Kendrick’s opus. Three years later, Washington returned with a robust assortment of free-thinking jazz excellence on Heaven and Earth. Washington spreads his message out over two discs (three, if you found the hidden third companion, The Choice), finding a way to build all-encompassing anthems that ignite revolution; just peep the spoken-word bits from “Fists of Fury.” Washington revamps a Bruce Lee theme, but manages to take that concept and use it as a rallying cry for the voiceless who are working towards a better tomorrow with few tools at their disposal. Familiar names like Thundercat and Terrace Martin are featured on the project, but they don’t overshadow Kamasi’s vision in the slightest, showing just how powerful his emerging voice is. Tune out the world—both the heavenly and earthly parts—and open your mind to this. —khal

Label: Republic/XO

Released: March 30

On My Dear Melancholy, the Weeknd took a slight detour from pop dominance to wear his heart on his sleeve. The six-song project is arguably his most personal to date, with the 28-year-old artist channeling the pain, regret, and aftermath of multiple high-profile breakups. Lyrics about his relationship with singer Selena Gomez and its upsetting end are spread throughout, like on “Call Out My Name,” where he sings, “I almost cut a piece of myself for your life.” Bella Hadid, who the Weeknd has since rekindled a flame with, is also referenced, but in a more affectionate manner: “Wasted times I spent with someone else/She wasn’t even half of you.” While My Dear Melancholy, is less accessible than Starboy or Beauty Behind the Madness, and is not quite as captivating as the Trilogy series, the project has its moments of excellence on songs like “Wasted Times” and “Try Me.” Moreover, it showcases the Weeknd opening up more, which can only bode well for “Chapter VI” of his catalog. —Edwin Ortiz

Label: AWGE/Interscope

Released: May 11

Playboi Carti’s Die Lit is one of the most fun rap albums of the year. Carti’s voice is an instrument in and of itself, which makes the album feel like a producer tape as Pi’erre Bourne’s hypnotic beats and the rapper’s hazy flow prop up a horde of standout features. The support Carti provides doesn’t diminish his importance, though; he holds his own on solo tracks and alongside everyone from Lil Uzi Vert to neo-R&B darling Bryson Tiller. The album is half trappy lullabies (“Lean 4 Real,” “Fell in Luv,” “FlatBed Freestyle”), half club bangers (“Choppa Won’t Miss” and my personal favorite song of the year, “Poke It Out”), which makes it perfect for the pregame, the function, and the postgame—mans contains multitudes. Die Lit makes the inarguable case for all that mumblin’ shit. —Carolyn Bernucca

Label: Aftermath/12 Tone Music

Released: November 16

Anderson .Paak likes to take his time. He's a lot like his mentor Dr. Dre in that way. It’s been nearly three years since the release of his breakout project, Malibu, but the California native was careful not to rush the follow-up. Instead, he formed a tight bond with his band the Free Nationals and broadened his skill set in preparation for an ambitious album that builds on the silky G-funk sound of his earlier work. Oxnard lacks cohesion at times, and the album takes a few songs to really find its footing, but Anderson’s nose for joyous melodies and forward-thinking instrumentation is enough to right the ship by the project’s midway point. He even finds a way to weave the stylings of big names like Kendrick Lamar, J. Cole, and Pusha-T into the fold in a way that feels natural and unforced. Yes, Lawd! —Eric Skelton

Label: Top Dawg Entertainment

Released: January 19

Back in January 2017, the world learned that Top Dawg Entertainment had signed SiR, and I was elated. I’ve been a fan since at least 2015, when he officially released his debut project, Seven Sundays, through the indie label Fresh Selects. Fast-forward to January 2018, and SiR put a winner on the board for TDE with November. It sounded rich and inviting when it was first released, but with the passage of time, the album settles into the mind more deeply, with an intoxicating effect. “Something Foreign,” a 2017 single featuring SiR’s labelmate Schoolboy Q, sounds at place in the context of November, which glides and dips like a flock of birds flying synchronistically over an ocean. Even “I Know,” which hits a little harder, sounds sweet coming out of SiR’s mouth. November is yet another gem from TDE. —Kiana Fitzgerald

Label: Griselda Records

Released: June 22

Westside Gunn named his second studio album in tribute to Ghostface’s Supreme Clientele, but it does more to invoke Only Built for Cuban Linx…, with the roles reversed: the high-pitched Gunn as Ghostface, but in the starring role this time around, and Benny the Butcher as his deeper-toned, detail-oriented foil (“Blood on the money when they got paid back”). The record is Ghost-like in other ways as well. Westside Gunn frequently raps, Tony Starks-style, over soul samples with the vocals still included. But there’s a whole lot more to Supreme Blientele than its reference points. The rapping is sharp and vivid throughout, and the guests turn in superb performances that serve as a counterpoint to Gunn’s style. The beats are beautiful, too. Varied and understated, they are the perfect canvas for Westside Gunn’s street stories. GhostDeini would be proud. —Shawn Setaro

Label: Mixpak Records

Released: July 20

Since working with artists like Drake, AlunaGeorge, Gorillaz, and Freddie Gibbs, Popcaan has seen his crossover appeal continue to grow. 2014’s Where We Come From was a big feat in its own right, as many dancehall artists tend to focus on putting out hit singles rather than complete bodies of work. And though it was never officially released, Popcaan’s version of Drake’s “Controlla” in 2016 helped make the single a summer hit—further boosting the anticipation for his sophomore album, Forever. This year he finally delivered the project we’d been waiting for. From “Body So Good” to “Lef My Gun,” Popcaan offers up an album full of love songs and gunman tunes, which the Jamaican artist somehow manages to balance effortlessly. —Adrienne Black

Label: Republic Records

Released: November 2

So much for a “retirement.” Metro Boomin wants some more. After a short hiatus, one of this decade’s most influential producers returned with a project of his own in November. Working with go-to collaborators like 21 Savage, Offset, Gucci Mane, and Young Thug, Metro doesn’t completely reinvent himself on Not All Heroes Wear Capes, but he doesn’t have to. Instead, the 25-year-old leans into everything he does well, and ends up with a cohesive project that flows from top to bottom—a rare feat for a solo effort from a producer. Not All Heroes avoids sounding like a compilation, and it’s clear that Metro has the juice to keep some of his best songs for himself; tracks like “Space Cadet” and “Don’t Come Out the House” would have been standouts on Gunna and 21 Savage’s own projects. For good measure, he flexed on everyone by releasing a deluxe instrumental version that proved he isn’t at the mercy of his famous collaborators. In turn, Metro was rewarded with his first No. 1 album, setting a new high water mark for all producers to follow. —Eric Skelton

Label: Universal Music Latino

Released: May 25

Make no mistake: J Balvin is the reason reggaeton is back in such a big way. The Colombian Drake came on the scene with a refreshing take on a stale genre, and he has influenced a new generation of artists, including megastars like Ozuna and Bad Bunny. An album like Vibras is what makes Balvin so necessary to the Urban Latin genre. With its first single, “Mi Gente,” he and Willy William were able to bring reggaeton to billions of people. The song was such a monster that the Queen Beyoncé even hopped on the remix. Then you have songs like “Cuando Tú Quieras” and “Machika,” featuring Jeon and Anitta, which put Balvin’s ear for new sounds on full display. Vibras was the perfect 2018 summer album. —Angel Diaz

Label: Terrible Records

Released: October 19

I was sleeping on Empress Of, but I’ve since atoned. Dreamy alt-pop is almost always a layup, but the Honduran-American singer (born Lorely Rodriguez) adds unique flavor by allowing her art to imitate her life. Us is a tight collection of synthy songs about love and loss that feature Rodriguez widening her aperture in contrast to her debut album, Me, which was more consistently autobiographical. Still, when she turns the focus back on herself, it’s a win for us all: The album’s crown jewel is the crushing bop “When I’m With Him.” If you’re like me and missed this one when it first dropped, it’s time to wake up. —Frazier Tharpe

Label: G.O.O.D. Music/Def Jam

Released: June 22

Because it came five weeks into Kanye West’s Wyoming sessions, there was some concern that Teyana Taylor’s second proper studio album, K.T.S.E. (Keep That Same Energy), was going to be overlooked or underappreciated. Diverting from the seven-song format (it’s an eight-track release that would’ve been nine if a sample got cleared), K.T.S.E. is an incomplete vision that still captivated listeners who were looking for R&B they could truly feel. Diving into his bag of soul tricks, ’Ye (and his co-producers) managed to build a sonic bed that allowed Teyana to pour out her heart on threesomes, connecting with her lover, and, ahem, working that pussy. Standouts like “Gonna Love Me” and “Rose in Harlem” either made believers out of doubters or helped solidify the riders who knew that Teyana had some SHIT waiting for them after a four-year absence. She delivered, above all. —khal

Label: MCA Nashville

Released: March 30

The narrative that surrounded Golden Hour when it was released this past spring was intriguing: talk of acid trips, Sade, songs written for LGBTQ youth, and “galactic cosmic country.” Of course, the fact that so many mainstream outlets fell in love with the record also translated to talk about whether it was, in fact, country. But now that we’ve had time to appreciate Golden Hour for what it is, apart from the colorful interviews and definition-of-country battles, we know it’s a beautiful collection of songs, whatever genre you want to lump it into. Musgraves, alongside collaborators Ian Fitchuk and Daniel Tashian, crafted melodies and chord changes that feel familiar without being predictable. Lyrics are evocative and emotional, but still specific and clever. Arrangements know when to strip down to almost nothing and when to bring in flourishes of color from a banjo or a pedal steel. Musgraves’ nod to Neil Young’s After the Gold Rush on album highlight “Space Cowboy” (“You can have your space, cowboy”) is not an accident. Young was one of the singer’s earliest influences, and she shares his fuck-you attitude to genre and expectation. If Musgraves wants to include a dance song (“High Horse”) or a one-minute sketch about intergenerational loss (“Mother”), she’s going to go right ahead and do it. We’re all the luckier for it. —Shawn Setaro

Label: Alamo Records

Released: June 27

Released just before he was about to begin serving a 20-year jail sentence, 03 Greedo’s God Level is a difficult record to judge and in some ways an even more challenging one to listen to. It’s 27 songs long—nearly an hour and 40 minutes of music. Greedo has long said that his songwriting method is improvisational and that he’ll often freestyle while in the booth. God Level sounds like it, though not at all in a bad way. Greedo’s stream-of-consciousness lyrics get right to the heart of a rapper who is caught in a dangerous place and has been there for a long time. “I swear I bought my first blower from a basehead,” he says on the standout track “Basehead.” And his ad-lib of “Twenty-five dollars!” lends the claim a chilling veracity. Even hopeful-sounding songs like “Floating” have a sense of menace sitting below the surface. “I’m a gangbanger, not an entertainer,” Greedo clarifies on “Cutlass.” And, unlike most I’m-not-a-rapper-I’m-a-trapper boasts, God Level makes this sound like the truth. —Shawn Setaro

Label: Young Money Entertainment/Cash Money Records/Republic Records

Released: June 29

We were all hoping Drake would deliver a classic in response to “The Story of Adidon” this summer. Instead, we got Scorpion. Drizzy tried to come out swinging on Side A; the Tay Keith-produced “Nonstop” is fantastically hype, and songs like “Mob Ties” prove he can keep that same energy. But too often, the music is held back by the same problems that have fueled his detractors for so long: “Emotionless” is ruined by fake-deep ruminations on Instagram culture, “I’m Upset” couldn’t even be saved by a Degrassi reunion, and “Survival” is yet another forgettable opening track (word to Views). Side B is bloated, but it does have redeeming qualities, thanks to standouts like “Peak,” “Jaded,” and the Ty Dolla Sign-assisted “After Dark.” “Ratchet Happy Birthday” is silly, but it’s nowhere near as bad as Rap Twitter claims it is. “Nice for What” and “In My Feelings” were two of the biggest songs of the year, and for good reason: They’re Drake at his most lovable, made more powerful by the fact that he was arguably at his most hateable in 2018. It’s not his strongest work by any means, but Scorpion has its moments, and Drake will ultimately make it out of this mess of a year alive. —Carolyn Bernucca

Label: Soul Assassins Records

Released: October 19

Roc Marciano has had a career-best year in 2018, releasing a gang of superb albums. There were two under his own name (RR2: The Bitter Dose and Behold a Dark Horse); a couple of collaborations; and the greatest of them all, a full-length collaboration with DJ Muggs called KAOS. Muggs provides a wild variety of beats on this one. There’s an intro that sounds ripped from a ’70s blaxploitation flick; plodding, menacing rhythm sections; wild organ sounds; horns and flutes; and even a sitar. As for Roc, he mixes his grimy tales with a mind-blowing assortment of references (“Dolph Lundgren” sees him refer to the titular actor, Brand Nubian, Tracee Ellis Ross, the Hoosiers, and Gil Scott-Heron in a single verse). As a great man once said, Roc consistently brings you the silkiest rhymes and most exquisite beats, and KAOS is no exception. —Shawn Setaro

Label: Def Jam/Atlantic

Released: October 26

Does the phrase “horny anthem” mean anything to you? If not, please refer to MihTy, the collaborative effort from Jeremih and Ty Dolla Sign. It’s just 35 minutes long, with Jeremih bringing breathy falsettos and Ty Dolla delivering romantic bars and raspy crooning. Hitmaka production adds to the album’s dreaminess, especially on tracks like “FYT,” “Lie 2 Me,” and “Ride It,” where trap drums and bass are accented by wind chime-y instrumentation. ’Mih and Ty lean into more standard R&B sounds, too, on “These Days” and the album’s closer, “Imitate.” It’s pretty much exactly what we were expecting from these two, and that’s more than fine. Consistency is underrated. —Carolyn Bernucca

Label: Def Jam Recordings

Released: November 2

Tough. That’s the most accurate word I can use to describe Vince Staples’ self-described “buffer” between albums, FM!. Filled to the brim with California-based artists (Kehlani, Jay Rock, Ty Dolla Sign, E-40) and producers (shout-out Kenny Beats), the project sounds like C-walking with the homies on a crisp summer night in Long Beach. But just like the nights in Cali can run cold, so too do Vince’s bars. When you take the time to listen to what Vince is actually rapping about—murder, murder, and more murder—it becomes less of a party and more of a deep reflection on how our society functions. At 22 minutes, FM! is just long enough to vibe out to but short enough that you’ll be itching to hit play again as soon as it finishes. Thank you for being respectful of our time, Vince. —Kiana Fitzgerald

Label: Ear Drummer Records/Interscope Records

Released: May 4

It’s a shame the current music industry climate will condition most to write SR3MM off as a business decision for the sole purpose of finessing streaming data. There might be some truth to that, but I also see it as a beautiful rejection of the idea that the Sremm brothers would eventually break up and go solo—a narrative they have been facing since the first album dropped and Swae Lee came off as the creative lead on most of its tracks. The betting cynic would've assumed ’18 would see the long-anticipated Swaecation arrive well before a third Sremm album or anything from Jxmmi.

Instead, they released a triple album with nine tracks as a duo and nine tracks each on their own, which is a brilliant solution that lets the boys and their fans have their cake and eat it, too. The collaborative SR3MM is my least favorite of the three, but it also contains some of the project’s most dynamic songs. “Powerglide” is Rae Sremmurd doing what they do best, while songs like “Perplexing Pegasus” see them continuing to rise to the challenge when Mike Will throws them the weirdest beat in his oeuvre. Swaecation mostly lives up to the hype with hazy Malibu-ready vibes (“Offshore” is a top song of the year) while still leaving room for Swae to refine his approach as he pivots into full heartthrob. The pleasant surprise, though, is Jxmtro. Jxmmi doubles down on the rambunctiousness of Rae Sremmurd with even harder-hitting Mike Will beats and an unexpectedly wide net that draws in everyone from Rapping Skateboard P to Zoë Kravitz. And “Brxnks Truck” is the most lit signal blare this side of Cactus Jack records. I can’t wait to see what the duo does now that they’ve proven what they can do together and apart, but never too far apart. —Frazier Tharpe

Label: PH Recordings/Loma Vista Recordings

Released: July 27

Three months before releasing his three-act album TA13OO, Denzel Curry dropped the project’s first single, “SUMO.” Produced by Charlie Heat, it contains the same unrelenting energy that Denzel has been known for since dropping his debut album, Nostalgic 64, back in 2013. Denzel’s already multifaceted persona expands in both subject matter and musical approach throughout the rest of the album. TA1300’s standout track, “Clout Cobain,” directly targets the fuckery that’s afoot in the music industry today, highlighting what many of his peers are willing to do for a dollar and a chain. Thematically, Denzel is addressing the shortcomings of not just those around him professionally, but also those who grew up with him. More specifically, he’s pulling the veil back for anyone who’s pretending they still don’t understand how and why black youth get tossed by the wayside all too often. —Kiana Fitzgerald

Label: Maybach Music Group

Released: November 30

Meek Mill capped off an absolute roller coaster of a year with one of his strongest solo albums to date. CHAMPIONSHIPS is a sprawling, star-studded affair anchored by Meek’s incisive writing and commitment to using his music to critique the criminal justice system while offering candid thoughts on being a black man in America. “Judge bangin’ that gavel, turned me to slave from a king/Another day in the bing, I gotta hang from a string/Just for poppin’ a wheelie/My people march through the city/From a cell to a chopper, view from the top of the city,” he raps on “What’s Free,” making us feel his anguish and resilience with his trademark fiery flow. The unflinching depictions of his incarceration and difficult past on tracks like “What’s Free” and “Oodles O’ Noodles Babies” make the celebratory moments on CHAMPIONSHIPS feel truly earned, like his Drake reunion, “Going Bad,” or the hard-hitting Cardi B collaboration “On Me.” After #FreeMeekMill became a national rallying cry, the Philadelphia rapper found himself with the largest platform of his career, and he made an album worthy of its own victory parade down Broad Street. —Grant Rindner

Label: Heaven Studios and Entertainment One Music

Released: May 4

How does Royce just keep getting better? Book of Ryan is his most personal body of work in a very illustrious career. The Detroit legend (whose real first name is Ryan) tries to make sense of a relationship with his father, as they both struggled with addiction throughout their lives. Now sober, Royce sounds as focused as he has ever been. Each rhyme has a purpose and each flow marries the beat in chilling fashion. Take “Who Are You,” for instance. Royce brings up a dream about his father and all the things he’s ever wanted to ask him, ranging from questions about addiction to the physical abuse his mother endured. Then “Cocaine” comes on and Royce rides DJ Khalil’s beat like a goddamn rodeo star while he raps about his father’s love for that white girl. As Royce pours his heart out, Book of Ryan will give you goosebumps like real rap should and bring out emotions you didn’t know you had. This might be the most vulnerable rap album since Jay-Z’s 4:44. —Angel Diaz

Label: Cash Money Records/Republic Records

Released: June 15

Every few years we hear that a new artist, usually someone who writes his or her own songs and is either harkening back to a time when Babyface reigned supreme or charting new territory, is bringing R&B back. Jacquees’ name has yet to come up as one of those torchbearers or path-blazers, which is odd because, as his debut studio album showed, he’s doing both. 4275 works to showcase the many talents of the Decatur, Georgia, native: his dazzling voice, which has an emotional clarity missing from much of modern R&B and pop; his ear for production and song structures that reach back to the familiar and comfortable while confidently playing with new ideas; and slick lyricism that your aunt or little cousin could appreciate. On what other album could you get music from Young Thug and Donnell Jones? None. Time to start giving Jacquees his props. —Damien Scott

Label: LoveRenaissance/Interscope Records

Released: September 14

In 2016, 6lack delivered an impressive introduction with Free 6lack. Two years later, he’s toured the world, become a father, and collaborated with the likes of Ty Dolla Sign, Khalid, and Syd. With all of that out of the way, 6lack dives deeper into his personal life on East Atlanta Love Letter. Though the album title hints at a bubbly collection of love songs, 6lack heads in the opposite direction on his sophomore release. He is able to pen his thoughts on love in its fullest form, from early butterflies to heartbreak to learning how to love yourself. East Atlanta Love Letter isn’t just 14 songs meant to make your heart flutter. Instead, 6lack makes listeners think. —Adrienne Black

Label: Konichiwa/Interscope Records

Released: October 26

Robyn’s first album in eight years was started in a place of pain. She was facing the 2015 death of close collaborator Christian Falk and a painful breakup with a longtime boyfriend (they have since reconciled), while in the middle of intense psychoanalysis. Honey reflects this bleak starting point (she has referred to the album as “a diary in grief”), but it’s much more than that. The songs appear in the order they were written, and they reflect an artist working through her difficulties and ending somewhere within sight of happiness. If you know Robyn, you know that melancholy and a danceable groove are never far apart, and that’s true again on Honey. The songs combine the structure of pop—easily identifiable verses and instantly memorable choruses—with the hypnotic, meditative quality of dance music. The arrangements are stellar, and the history of dance music is signified and played with in creative ways. Disco’s ever-present four-on-the-floor kick is heard on several songs, but doesn't beat you over the head. Instead, it functions as a quiet pulse, or an accent, rather than the center of attention. The record finishes in a place of determination as Robyn sings, “Never gonna be brokenhearted, ever again.” Here’s hoping. —Shawn Setaro

Label: Republic Records

Released: April 27

Post Malone’s blend of pop, rock, and hip-hop made him a household name with Stoney, and that formula reaches new heights on Beerbongs & Bentleys. Lyrically, the 23-year-old artist doesn’t stray too far away from a self-indulgent party lifestyle that includes drugs (“Zack and Codeine”), alcohol (“Takin’ Shots”), women (“Same Bitches”), and the occasional spending spree (“Ball for Me”), which can get repetitive over 18 tracks. But he more than makes up for it with his ear for melody. Take “Better Now,” an upbeat heartbreak anthem with a catchy hook that will be stuck in your head for days. He also has a knack for linking up with acts who help him shine. Ty Dolla Sign and Swae Lee may have him beat when it comes to pure vocals, but on both collaborations (“Psycho” and “Spoil My Night”), Post controls the narrative. He even pulls out the acoustic guitar on “Stay,” a relationship-in-turmoil performance that serves as one of a few sobering moments on the project. Post Malone may still be a contentious figure in hip-hop, for reasons at least partially of his own doing, but the music (and platinum plaques) speak for themselves. —Edwin Ortiz

Label: Zero Fatigue/Interscope

Released: November 8

Smino sings and raps how weed sounds burning in a lit Backwood, or how butter sounds when it’s melting on a fresh stack of pancakes. The St. Louis artist is difficult to put in a box, and, as you can see, it’s even more difficult to explain how his music sounds. NØIR, his follow-up to 2017’s blkswn, is more of what makes Smino so special. With the help of Monte Booker handling the bulk of the production, every track is a journey into the coziest of lifestyles. Smino seems to be having more fun this go-round than on his more autobiographical debut. He’s getting comfortable in this unique pocket of sounds, carving out his own lane in a genre that can be monotonous. There’s nobody out right now who sounds like Smino, and that in itself is refreshing. —Angel Diaz

Label: Columbia Records

Released: July 20

Following a well-deserved Grammy nomination for Ego Death, the Internet took some time to allow each member to release albums of their own before finally returning this summer with Hive Mind. The album’s sound is cohesive while still allowing individuals to shine. Adding some funk to their signature sound makes for a release that is both seductive and two-step-worthy. Whether it’s Syd’s dreamy vocals, Patrick’s deep basslines, Matt’s futuristic production elements, Steve’s sweet guitar chords, or Christopher’s steady rhythm on the drums, every song on the album makes it clear just how crucial each member is to the success of the band. Hive Mind is the ultimate team effort. —Adrienne Black

Label: Dreamville Records/Interscope Records

Released: November 26

J.I.D’s DiCaprio 2 has been anticipated for years. While it primarily serves as a follow-up to last year’s The Never Story, it’s also a sequel to 2015's DiCaprio, an EP released long before the rapper joined forces with Dreamville in 2017. The life lived and time spent working on this project are apparent from jump. DiCaprio 2's second track, “Slick Talk,” kicks off like a gun firing at the start of a race. In the song’s opening seconds, J.I.D repeats the word “activate” as if he’s hyping himself up for the assault of wordplay he has waiting for us on the rest of the album.

J.I.D’s influences are heard through an Eminem-style delivery on “Westbrook” and a “Rigamortis”-type flow on “Off Deez,” but here’s the thing: Y’all can’t copyright no flows. J.I.D, a student of the game both past and present, has mastered this shit. The beats, largely handled by Pittsburgh producer Christo, alternate between gritty (“151 Rum”) and uplifting (“Off da Zoinkys”), but under one umbrella, they all sound like one artist reimagining what it means to be an Atlanta rapper in 2018. J.I.D’s voice is almost childlike in its pitch, but he’s spitting verses filled with experiences that would make an OG coyly smile in remembrance. On DiCaprio 2, J.I.D is trudging through the muddiness of life’s challenges, but his excitement at being back behind the wheel of his career is palpable from start to finish. —Kiana Fitzgerald

Label: N/A

Released: September 14

By the sound of Room 25, Chicago spitter Noname has spent her time since 2016’s Telefone crafting a project that low-key feels like her Voodoo. Her wicked pen found a way to build upon the foundation of Telefone, diving headfirst into hypnotic live instrumentation with introspective, unapologetic lyrics. She might not have gotten D’Angelo in the flesh on “Don’t Forget About Me,” but she definitely channeled his spirit, bringing a neo-Soulquarian vibe in the best way. In other places, especially “Blaxploitation,” Noname sifts through the lines on her pad to find the route to racial identity in a nation that shits on practically anything black. Other standouts on the album are the Ravyn Lenae-featuring “Montego Bae,” and “Ace,” featuring Saba and Smino. But, truth be told, Room 25 sounds best when it’s just Noname and the funky rhythms she selected, with her spirit chock-full of hilarity and humility. —khal

Label: Young Money Entertainment/Republic Records/Universal Music Group

Released: September 28

“I’m still in this bitch,” Lil Wayne says during Tha Carter V’s final track, “Let It All Work Out.” When it became clear that C5 was actually happening, many rap fans (myself certainly included) had their doubts that would be the case. After all, the album had been in limbo for years—long enough for me to write two separate timelines at two different jobs about its gestation. After the disappointment that was 2011’s Tha Carter IV, the chances of Wayne making a compelling album out of six years of false starts and legal battles didn’t seem high. But somehow he did it.

While Tha Carter V has a few too many draggy ballads and ’90s rap remakes among its 23 tracks, it’s an overall solid effort by a man who at one point called himself the best rapper alive with enough gusto that tons of people believed it. The album has a fair amount of moments like “Dedicate” and “Let It Fly,” where Wayne recaptures the what-will-he-possibly-say-next magic of his peak. He sounds comfortable in other modes beyond Mixtape Weezy, too. There’s the narrative of “Mona Lisa” and the existential questioning of “Open Letter.” And then there’s “Famous,” where Wayne attempts to reckon with his substantial artistic legacy in light of his repeated promises that C5 would be his last album. But, the sentiments of that song aside, Tha Carter V makes it clear that Lil Wayne is indeed still in this bitch, and not likely to go away anytime soon. —Shawn Setaro

Label: Jet Life Recordings/ESGN Records/ALC Records/EMPIRE

Released: October 31

The Alchemist is one of the most underappreciated producers in rap history, and he makes it a point to show off on Fetti. Building off the chemistry they had on “Scottie Pippen,” from Currensy and Alchemist’s Covert Coup tape, both rappers decided to give their fans a surprise album this year, and they didn’t disappoint. Much of the discussion around the album before it dropped was that Gibbs was about to rap circles around the New Orleans car junkie, but that wasn’t the case. Currensy sounds as motivated as he’s ever been on Fetti. He and Freddie complement each other like Scottie and Mike, taking turns running the offense. To me, “Location Remote” and “Tapatio” are the standout tracks. The production and bars will fuck you up. Shouts to normal-length rap albums—we fucking love you. Stop compensating for your wack raps with long albums stuffed with throwaway bullshit. —Angel Diaz

Label: N/A

Released: May 30

In this era of 15-plus-track, stream-gaming albums, a 15-minute project is, at the very least, something different. But Tierra Whack’s debut is refreshing for more than just its length. Each track is a minute-long peek into the many corners of the 23-year-old’s off-kilter universe. Whack World covers material that is both surface-level and intimate. On “Cable Guy,” Whack raps about a man who she thought was her friend, but who just wanted to hook up with her (“Wish he had a remote just to control me/We was supposed to be friends, he was my homie”). Three songs later, on “Hungry Hippo,” she playfully waxes poetic about putting a man on to Gucci and Rick Owens (“He needed swag and I provide it”). It’s also a visual album, which expands the individual universe of each song. Check “Pet Cemetery,” where Whack dances around an actual pet cemetery, surrounded by hand puppets, and raps about her friend and fellow Philly rapper Hulitho, who died in 2016. Or “Dr. Seuss,” which becomes as cartoonish as its name when combined with Whack’s full-sized limbs poking out of the different windows and doors of a dollhouse. Tierra Whack does more with 15 minutes than most of your faves can do with 45, no cap. —Carolyn Bernucca

Label: Saba Pivot

Released: April 5

How do you deal with death? How do you talk about it? What does it mean when someone in your family isn’t there anymore? For Saba, CARE FOR ME is an album-length attempt to wrestle with the tragic murder of his cousin and fellow Pivot Gang member Walter Long Jr., aka John Walt. Walt’s death hovers over the periphery of the album for the majority of CARE FOR ME’s running time, coloring Saba’s observations about love, sexism, race, rap, social media, family, and childhood. But it’s in the record’s final two tracks, the breathtaking narrative “PROM / KING” and the heartbreaking “HEAVEN ALL AROUND ME,” that Walt’s story truly takes center stage.

CARE FOR ME is a powerful project for reasons beyond the obvious, though. The song structures are experimental and varied, as are Saba’s rhythmic and tonal approaches. The music, meanwhile, has a consistency that holds everything together, due presumably to the entire project being produced by daedae, Daoud, and Saba himself. The circumstances surrounding the creation of CARE FOR ME are unspeakably sad, but Saba has paid tribute to his cousin in a way that will remain for years to come, guiding other people through their own moments of pain and loss. —Shawn Setaro

Label: G.O.O.D. Music/Def Jam Recordings

Released: June 8

Many of us had been waiting for a full collaborative project between Kanye West and Kid Cudi since the two first connected on 808s and Heartbreak back in 2008. Ten years later, it finally arrived amid strange circumstances. After pledging his allegiance to Donald Trump, Kanye was in the middle of an experimental run of seven-song albums in Wyoming that often felt rushed and incomplete, while Cudi was coming off a number of disappointing projects. Together, they found a moment of clarity on Kids See Ghosts. Cudi sounds more confident than he has since the early 2010s as he sings over Kanye’s rock-infused production. And Cudi’s emotional intelligence seems to have rubbed off on Kanye as he delivers his most lucid, self-reflective verses in years on “Reborn” and “Cudi Montage.” Tackling their respective mental health issues head-on, Cudi and ’Ye lean on each other as they tell a hopeful story of healing and recovery throughout the album. Like Pusha-T’s DAYTONA, the concise project also benefits from the concept of cutting a tracklist down to its bare essentials. In a year of disappointing collaborations, bloated albums, and misguided efforts from Kanye West, Kids See Ghosts is a welcome exception. —Eric Skelton

Label: Wondaland Arts Society/Bad Boy Records/Atlantic Records

Released: April 27

For Janelle Monáe, a queer black woman, to exist is to be political. Dirty Computer is an exploration of and homage to that politicization, and as the year has progressed, the need for it has only become more apparent. ICE is keeping brown and black children in cages, the NRA continues to arm the most dangerous community (white men), and the Department of Health and Human Services is attempting to erase transgender individuals with oppressive and factually inaccurate language. Monáe’s fourth studio album is the musical embodiment of our responses to all of this.

We sometimes fall into despondency (“Searching for someone to fix my drive/Text message God up in the sky/Oh, if you love me, won't you please reply?”), and that’s OK—for a little while. But then we must reckon with our reality (“And I, I, I hear the sirens calling/And the bombs are falling in the streets/We’re all screwed”) and remind them of who we are (“How many damn times I got to tell y’all?/I got the juice!”) and what we’re capable of (“Don't try to take my country, I will defend my land/I'm not crazy, baby, nah, I'm American”). The varied production (poppy, somber, funky) and vocal stylings (gentle and sweet, deep and soulful, full-on rap flow) feels intentional, too, refusing to conform to the boxes, boundaries, and borders of this world. It’s gonna be Janelle’s America before it’s all over. I can hardly wait. —Carolyn Bernucca

Label: YSL Records/Quality Control Music/Motown/Capitol Records

Released: October 5

I don’t remember the last time two up-and-comers collaborated to make a project this good. Lil Baby and Gunna, along with producer Turbo, provide waves that rappers will surely ride into the ground on Drip Harder. These guys have undeniable chemistry; it’s as if a young Michael Jackson and a young Prince put out a tape in the very beginning of their solo careers. Drip Harder isn’t a rap album to me. This is Luxury Soul, a new rap subgenre that not only makes you feel poor, but also grateful that such beautiful music could exist while you’re alive. The album ends with an incredible three-song run that includes “Close Friends,” the massive “Drip Too Hard,” with its Desperado guitar action, and the Drake-assisted “Never Recover,” in which Tay Keith continues to pummel the competition. Drip Harder has ushered in two new rap stars. —Angel Diaz

Label: REMember Music/Warner Bros. Records

Released: August 3

Throughout his career, Mac Miller always made an effort to put his artistic range on full display, even if it veered from what we were used to. In 2013, Watching Movies With The Sound Off offered up a psychedelic-influenced sound. Then 2015’s GO:OD AM featured more singing and smoother production. In 2016, The Divine Feminine piggybacked off its predecessor, but added more live instrumentation. Each of these albums helped shape and prepare us all for Miller’s last project before he passed away, Swimming. In both subject matter and sound, Swimming is a clear sign of growth from Mac Miller, the artist and the person. The production doesn't just match the emotions being conveyed through the lyrics—it sets the tone and enhances those feelings. In 13 tracks, Miller tels us about his regrets, doubts, and even some proud moments. Every track offers up a small piece of important life advice as well. Most importantly, Swimming is an intensely personal album that still manages to be inviting. —Adrienne Black

Label: Atlantic Records

Released: April 5

Cardi B delivered, bottom line. Everyone pretty much figured she’d be a one-hit wonder after “Bodak Yellow” blew up the way it did. Everyone pretty much figured she would go away once her Instagram fame faded. Everyone was pretty much wrong. The Bronx rapper played with multiple flows on this album while delivering multiple hits. “Drip,” featuring Migos, is gold. “Bickenhead” is gold. “Bartier Cardi,” featuring 21 Savage, is two-times platinum. “I Like It,” with Complex cover stars Bad Bunny and J Balvin, is four-times platinum. “Be Careful” is platinum. So much for that one-hit-wonder narrative, huh? Everything Cardi touches either goes gold or platinum, and it looks like she’s just getting started. Invasion of Privacy has cemented Cardi B as a true rap star and will serve as the launching pad to bigger and better things. —Angel Diaz

Label: Domino Recording Company

Released: August 24

Devonté Hynes is always on time. The multi-instrumentalist, producer, singer/songwriter consistently finds ways to synthesize the feelings and emotions of the moment to create something wholly original that manages to expertly comment on the goings-on of those who are a part of his generation. On his fourth album under the Blood Orange moniker, Hynes sets out to tackle black depression, the effects of his tumultuous upbringing, and the struggle of marginalized people merely existing the way they please. The songs reflect that and the times. Trans activist Janet Mock helps open the album on the contemplative “Orlando.” Diddy talks about hope returning and being brave enough to love on the smooth “Hope.” Like other Blood Orange albums, the music sounds like a perfected fusion of black pop music from the past and present. Negro Swan plays as the soundtrack for a time when black stars—and non-famous black folks—are working to carve out room to exist in the way that doesn’t deplete them. It’s right on time. —Damien Scott

Label: Top Dawg Entertainment/Aftermath/Interscope Records

Released: February 9

In a year where TDE was rolling full steam ahead, one of their earliest wins was Kendrick Lamar and company’s Black Panther: The Album. Inspired by the blockbuster Marvel film, Lamar assembled a dizzying array of talented artists and cultivated a soundtrack that marries the African-inspired soundscape in the film with T’Challa and Killmonger’s swagger. Lamar had his fingerprints all over this album; SOB X RBE were darlings for many in 2018, but they never sounded as focused as they did on the pulsating “Paramedic!,” and Jay Rock, Kendrick, and Future’s “King’s Dead” was an infectious trunk-rattler that heads were blasting even if they didn’t rock with the film. The project didn’t shy from radio bangers, either; Lamar and SZA shined on “All the Stars,” while the Weeknd and K-Dot took it darker on “Pray for Me.” Ultimately, this release not only shows that, when properly inspired, Kendrick can churn out some impressive music for himself and the squad, but that films like Black Panther (and, later, Creed II) need soundtracks/album-length releases that truly encapsulate what they mean both to Hollywood execs and, most importantly, the people flocking to see them in theaters. —khal

Label: Parkwood/Sony/Roc Nation

Released: June 16

When Beyoncé sings “Can't believe we made it,” on “Apeshit,” it’s a triple entendre. She’s in awe of the surreality that she and her husband, two self-made black entrepreneurs and artists, amassed enough wealth and clout that they could later pitch a video treatment to the Louvre for that very song and actually get it approved. It’s blissful relief that the two are even still together and copacetic enough to be making music as a duo, let alone having more children. And it serves as an audience proxy for the stunned disbelief that, after at least four years of speculation, music’s first couple actually went ahead and made a whole-ass album together.

Most listeners were never quite sold on the critical viability of a joint project from these two. I don’t know—blame “Hollywood,” I guess. Six months after the pioneers of the surprise album drop casually gave us nine tracks and the wealthiest music video ever made on a random Saturday afternoon, Everything Is Love is a curious thing. The album is better than anyone figured it could be. And yet, they didn't do much with it after it dropped. The Carters were everywhere in the months that followed, embarking on the tour of the summer. The album, however, was not. The new songs didn't even impact the setlist significantly until the U.S. leg. On this occasion, the GOATs truly let the music speak for itself. What we’re left with is a tightly sequenced ode to black love, black music, and black excellence, literally. They pick up where Beyoncé left off with Beychella and JAY with “The Story of O.J.” Songs like “Black Effect” explain that they see fame as simply another tool in their arsenal to help further their brand of black excellence, keeping stories like the tragedies of Kalief Browder and Trayvon Martin on the forefront of public consciousness.

JAY, after recharging with 4:44, is back and arguably more lethal than he’s ever been in his post-retirement era, proving he can still rattle off a rewind-worthy neck-snapper on “Friends” and hole up in the pocket of a Nav or Sevn Thomas beat as easily as he can No I.D.’s production. Beyoncé is having the most fun, though, maximizing the brash, dulcet no-fucks-given visage that got rave reviews on “Top Off,” “Bow Down,” “Formation,” and “Diva.” You wanted an album of Beyoncé in committed B mode, going full Third Ward Trill and snatching weaves with a Coke and smile? Here it is. The best decision, though? No narrative retreads from the previous albums in this Carter trilogy, nor super-overt references to its current state. The greatest sign that their relationship is doing fine how well they work together. —Frazier Tharpe

Label: All Money In No Money Out/Atlantic Records

Released: February 16

“My whole life is like a balance act,” Nipsey Hussle raps on Victory Lap’s “Keys 2 the City 2.” The rapper’s first proper album after 13 years of mixtapes is a distillation of that act. For his grand artistic statement, Nipsey teamed up with a whole gang of musicians and producers, including 1500 or Nothin’ head Rance Dopson, “Bad & Boujee” co-producer G Koop, West Coast legend DJ Battlecat, Murda Beatz, Jake One, DJ Khalil, and even the guy who produced “Get Throwed.” But the result is a project that solely reflects the passions and interests of the man whose name is on the cover. It’s not an accident that Diddy shows up four songs in. Nipsey, like Puff, is someone for whom business acumen is paramount and ownership is the key to the kingdom of heaven. On Victory Lap, Hussle’s criminal past is used not as a cautionary tale, a credibility boost, or a nostalgia trip. Instead, flips he made while dealing dope blur with flipping money into new businesses or investments. And throughout, Hussle is more concerned with teaching than bragging. “I laid down the game,” he says on the Jeezy-inspired “Last Time That I Checc’d.” “Reinvest, double up, then explain.”  

Beyond its pecuniary lessons, another thing that makes Victory Lap great is its specificity. It is a Los Angeles album, and can’t be fully understood outside of the context of that check-cashing place on West Slauson or the Mobil station on Crenshaw. In an era in which regional differences are slowly being collapsed by technology, it’s refreshing to hear an album aimed at a mass audience deal in such hyper-locality. It’s not just in the lyrics that Victory Lap is a balancing act. The sounds read as West Coast, but it’s not the G-funk of Dre, Above the Law, and Warren G. It’s melodic, sure, but also aggressive and unafraid to indulge in the sounds of trap for a wide audience. Nipsey’s self-stated aim of sounding like “Tookie Williams over Coltrane” isn’t exactly on the money, but it’s close enough to get him pretty damn high on this list. All it took was some balance. —Shawn Setaro

Label: Top Dawg Entertainment/Interscope Records

Released: June 15

Redemption is an album that nearly didn’t happen at all. Sixteen months before its release, Jay Rock was stretched out on a hospital bed with a shattered pelvis, a broken leg, and internal bleeding from a near-fatal motorcycle crash. Fortunately, Jay recovered, and he took advantage of his second chance at life to hit the reset button. When it came time to record his third studio album, he approached it from a new perspective, with a willingness to push himself out of his comfort zone. The 33-year-old’s storytelling abilities and lyrical dexterity have been apparent since he became Top Dawg Entertainment’s first signee back in 2005, but Redemption is his chance to finally reach new audiences with a bigger, more accessible sound.

Executive produced by Kendrick Lamar and Dave Free, the album follows TDE’s tradition of rap releases that appeal to mainstream ears without sacrificing integrity or originality. Experimenting with melody and production, his gritty street tales take on new life as they’re presented with more color and variety. Playing with catchy hooks and modern production techniques is a risky move for an artist like Jay Rock, but his bark doesn’t lose any bite here. Nowhere is this truer than songs like “ES Tales,” where his naturally powerful delivery is paired with a musically adventurous backdrop of pitch-shifted vocals and trunk-rattling basslines. Finally, the songs sound just as fresh as the words he's spitting. After years of waiting his turn in TDE’s pecking order, it’s finally Jay Rock’s time to win. Win, win, win, win. —Eric Skelton

Label: Republic Records

Released: August 17

Since the release of her debut album Yours Truly in 2013, Ariana Grande has steadily climbed the pop music ranks and established herself as one of our greatest living vocalists. But while she’s had her fair share of hits, she has struggled to put together a cohesive album with production and songwriting that match her vocal prowess—until now. Though some stans might disagree, Sweetener is Grande’s strongest work to date, thanks in large part to previous collaborator Max Martin and the legendary Pharrell Williams. The opening track, “Raindrops (an Angel Cried),” an interpolation of Frankie Valli & the Four Seasons’ “An Angel Cried,” is 38 seconds of chill-inducing bliss, with her pipes on full display. The rest of the album is less about her range and affinity for whistle tones, which is fine. We already know she can sing; on Sweetener, we finally get to hear Grande grow into her voice and give us more memorable work.

The standout track is “R.E.M.,” a saccharine doo-wop number whose chorus was originally written for Beyoncé. The nostalgic instrumental is juxtaposed with a more mature, full-bodied R&B sound from Grande, one that continues into “God is a Woman,” “Sweetener,” and back-half knockout “Better Off.” She incorporates the youthful energy of her previous albums, too, on songs like “Successful,” “No Tears Left to Cry,” and her trappy update of Imogen Heap’s “Goodnight and Go.” The closer, “Get Well Soon,” is an empowering song about Grande’s anxiety. It was our first taste of the album when she posted a snippet of it with the caption “see you next year” on December 31, 2017. One year later, her fourth studio album has solidified her as a true pop diva. Ariana Grande has always made good music, but with Sweetener, she’s finally given us an album that’s really hers. You can feel it, feel it. —Carolyn Bernucca

Label: Dreamville Records/Roc Nation/Interscope Records

Released: April 20

J. Cole followed up 4 Your Eyez Only—a project that was largely from a perspective that was not his own—with an album that tackles topical themes of drug abuse and addiction, as well as the ways these issues have affected his own life. He weaves commentary and critique with a commendable balance, highlighting his mom’s past struggles with alcoholism (“Once an Addict”), tales of his friends who have gone down the wrong paths in life (“Friends”), and his own flawed relationship with money (“ATM”). In each instance, Cole keeps the narrative fresh while also offering guidance where he can. This is especially true on the album’s closer, “1985.” Partially taking aim at Lil Pump—the two rappers have since worked out their differences—Cole keeps it real with his younger peer about maneuvering in the game, as he raps, “Congrats ’cause you made it out your mama's house/I hope you make enough to buy your mom a house.” J. Cole has entered the big homie stage of his career, and with KOD, he proves himself one of the most vital voices of his generation. —Edwin Ortiz

Label: Cactus Jack Records/Epic Records/Grand Hustle Records

Released: August 3

The intro of Travis Scott’s ASTROWORLD is deceiving. At first, “Stargazing” sets the scene for Travis to begin his project-spanning journey into the heart of Houston rap, as evidenced by the second line in the song, “Sippin’ on purp, feelin’ like the Barre Baby.” It's a reference to the late Big Moe, whose song “Barre Baby” cemented him as a regional legend not just in Houston, but Texas overall. Midway through the song, “Stargazing” switches from a steady ride in the clouds to a jarring moment of turbulence, without so much as a gradual uptick.

This is exactly how Travis wanted ASTROWORLD to operate. While extraordinarily cohesive, the record never feels settled. Few of the beats stay the same from beginning to end, and none of them ring off quite like “Sicko Mode,” Travis’ first No. 1 on Billboard's Hot 100 chart. It’s a three-part journey, and prominently features Drake at both the front and back end of the track. But its center—with a trunk-rattling beat, a vocal sample that serves as a tribute to Houston legend Big Hawk, and a boundlessly confident Travis—functions as the heart of the song, and of the album itself.

ASTROWORLD is characteristically eclectic enough to reclaim the attention of his devoted fanbase, which has been impatiently waiting for a follow-up to 2015’s Rodeo. But it’s Travis’ deftly sprinkled hat-tips to his hometown that provide an entry point for new listeners from Texas, which owes its statewide musical longevity to the likes of UGK, DJ Screw, and members of Screw’s S.U.C., like Lil Keke. Travis’ dedication to threading his sources’ influence throughout ASTROWORLD manifests as subtle cues and odes within odes. His strength as an artistic orchestrator is undeniable when it comes to the features, which are perfectly selected, down to Sheck Wes’ single-word contribution to “No Bystanders.” Scott brought the best out of every single one of his collaborators on both the production and vocal fronts. ASTROWORLD exists to keep us at the edge of our seats, just like the roller coasters Travis used to ride at the now-shuttered Six Flags AstroWorld, which directly inspired this album. ASTROWORLD is the sound of a new Houston, and proof that Travis Scott has reached a new level of superstardom. —Kiana Fitzgerald