Complex UK’s Best Albums Of 2018

Label: Sanus Hao Recordings

Released: March 2

For the last few years, London duo 808INK have been doing some interesting things with their music, particularly producer Charmer and his genius ability to flip the most obscure samples into a melody/vibe. Released in two volumes, When I’m About You’ll Know is the shorter affair of the two but arguably the more refined of the two. It’s “Flexing (Side A)” that sets the tone of the project, but to be honest, the sequence of that through to “Handy” is some of the pair’s finest work. The beat selection is what puts them in a space of their own, with tracks such as “Handy” and “Audiyo - Outro” proving that. This outing isn’t as conceptual as Billy’s Home or 2016’s Hungry, but it’s Mumblez’s dynamic and vivid vocal delivery as well as Charmer’s ear that made WIAYK a very nimble project—which in this day and age, can be difficult. —Jesse Bernard

Label: Black Focus

Released: September 28

Having impressed as one of the instrumentalists on Yussef Kamaal’s 2016 album, Black Focus, 2018 was the year we received South London-based guitarist Mansur Brown’s debut LP, Shiroi. Signed by Wu as he’d ‘never heard anything like it before’, it’s impossible not to be moved by the eleven tracks of Brown’s masterly riffs (on release in September he drew comparisons to Jimi Hendrix; check out “God Willing” for evidence). And while ultimately this is a jazz album, woven together by the electric guitar—highlights including “Mashita”, “Me Up” and “Motions”—tracks such as “Back South” could be headed for a Dr. Dre studio session, while “Flip Up” is a lesson in both tracing trip-hop and trying to fathom the skill level necessary for such musicianship. When performed live, Brown is able to capture (and hold) the attention of a thousand strong crowd from the first note, and you can’t help but feel you’ve witnessed a true great being born with Shiroi. —Chantelle Fiddy

Label: Parlophone

Released: June 8

Earlier this year, Giggs paired with Lily Allen to release the confessional “Trigger Bang”, thus receiving a public show of validation from UK rap’s most influential and relevant voice. Representative of the mature and honest mood on her fourth, 14-track album, No Shame is undeniably compelling. Brutally honest and transparent, the laid bare approach Lily takes with this LP awakens deep and heartfelt compassion for the reformed wild-child. Where once stood a defiant and provocative girl, now bows down a more humble and experienced mother of two. Lily has unashamedly guided her millennial contemporaries through the Brit-pop year, speaking freely about her love of class A’s and casual sex. Always repping reality as opposed to airbrushed, censored pop-packaged perfection, Lily Allen’s aesthetic remains as candid as ever, only now she’s more aware of herself and in control of her decisions—both in music and in life. —Milly McMahon

Label: Counter Records

Released: September 7

Maribou State’s talent for composing organic, electronic soundscapes matures with the clarity of a fine, vintage wine. And as the old school friends’ conjoined career has progressed, their ability to fuse together stirring orchestrals designed to inspire gut-wrenching emotion becomes unparalleled. Released this year, Kingdoms In Colour contains the duo’s most prolific material to date. Producers Liam and Chris incorporate their shared love of exotic sounds within the distinctive, multifaceted aesthetic on their sophomore album: Indian rhythms and shared formative experiences spent exploring the London club scene forge the inspiration behind this immersive, 10-track epiphany. Featuring long-term guest vocalist Holly Walker, the duo are entirely responsible for every last second of the music. Sampling, recording, producing and writing the entirety of the music, the mood of this album is transformational; the pure feeling resonating chord to chord is a thing of pure of beauty. —Milly McMahon

Label: Smoke Boys Music

Released: October 19

Smoke Boys, the South London rap crew formerly known as Section Boyz, have matured a lot since the first Don’t Panic dropped in 2015. For rappers, taking time out to live life or go through certain things is essential when putting together a strong project (what’s good, Meek!) and you can hear that throughout their 2018 follow-up. On Don’t Panic II, they’re experimenting with grime, Afro and Caribbean sounds and, topic-wise, we’re hearing a lot more about the women in their lives. Trap house antics were once a big part of Smoke Boys’ appeal, and although there are still nods to that on cuts like “Important Men” and “Section 6ixty”, standout cuts “Groupie” (which interpolates Ja Rule and Charli Baltimore’s “Down Ass Chick”) and “Outside” show a more versatile, mainstream-friendly side to the crew. I’m excited to see their 2019 play out. —Joseph ‘JP’ Patterson

Label: FAMM

Released: June 8

Since supporting Drake on his 2016 tour of the UK, Jorja Smith has accumulated fans at a fast pace. Jumping on the rise of her popularity, the exquisite Walsall native released Lost & Found, her 12-track debut LP. Fusing jazz, hip-hop, blues and stripped-back acoustic takes, the 21-year-old songwriter brings her internal world to life on this slow-moving, atmospheric record. Jorja passionately describes her deepest desires, hungering for true love and experiencing the deepest hollows of rejection and the soaring heights of lust. With a voice that sounds like it belongs to a whole different era—husky, sexy and effortlessly cool, the aesthetic of the writing and production resonates as entirely linear throughout. When Jorja could have recruited pals Stormzy, Drake or Kali Uchis onto the album, convoluting the vibes but upping impact with the features, she opted to guest no vocalists, spotlighting only her own dulcet tones—a badass statement which communicates strong self-belief. —Milly McMahon

Label: GIIG

Released: September 14

When Ghetts announced that he was set to release the sequel to his 2007 magnum opus Ghetto Gospel, it would have been fair for his long-term fans to feel anxious as to whether Ghetto Gospel: The New Testament would be able to live up to the lofty standards set by its much-loved predecessor, but the spitter delivered admirably. Bringing the sounds of the first project firmly into 2018, complete with soulful gospel choirs, atmospheric production and star-studded features, Ghetts manages to provide depth and realism with his unique brand of gospel-infused grime. The album takes the listener on a journey through his life ten years on, touching on themes such as fatherhood and the Black community, while still supplying tales from his days on the roads with the skilful, thought-provoking lyricism and hungry, energetic flow we’ve come to expect from the East London MC. —Aaron Bishop

Label: Black Focus

Released: May 28

After injecting the nu London jazz scene with innovative funk-laden sonics, as one half of the now-defunct duo Yussef Kamaal, producer, keyboard don and maestro Henry Wu proceeded to slap 2018 hard with a new group and long player —Kamaal Wiliams and The Return. With MckNasty on drums and Pete Martin on bass, the trio who deliver deft instrumental jazz, sometimes with the attitude of an old skool grime crew, carried on where Yussef Kamaal finished. With Wu’s love for both the spiritual and hip-hop sides of life coming to the fore, the intricacy and beauty in tracks like “Salaam” and “Situations (Live In Milan)” are juxtaposed by the ferocity and tempo of “Catch The Loop” or “LDN Shuffle”. Ending the year as the first ‘jazz group’ to sell out Berlin hotspot Berghain, Kamaal Williams’ The Return LP provided a backdrop for an increasingly diverse listenership seeking respite and something real in this tech-compressed hectic old world we find ourselves in. —Chantelle Fiddy

Label: Jetskiwave Records

Released: March 2

Seven years after he first charted with “The Wave”, 26-year-old South LDN native Sneakbo finally released his debut album Brixton this year after becoming consistent with his musical output and rebuilding his buzz, and collaborating with the likes of Giggs, Not3s, and Moelogo. Sneakbo has never been too far from the rap spotlight, whether he’s been chilling with Drake or featuring on major hood/club anthems such as “Ain’t On Nuttin”, but Brixton allowed the rapper to deliver on all his obvious promise and talent. Reaching the Top 20 in the UK album chart independently, the 19-track record balances club-ready anthems with introspective cuts, providing an amalgamation of both his versatility and his maturity over his nearly decade-long career. To cap everything off, his track “Active” made it onto the FIFA 18 soundtrack, allowing more ears access to one of the best, and definitely one of the most important, albums of the year from one of the scene’s most important artists. —Aaron Bishop

Label: Black Butter Records

Released: May 28

At the top of the year, Complex tipped Octavian for great things and he’s followed up on bundles of promise with energetic headline shows and impressive singles across 2018. On SPACEMAN, across fourteen short and emotive tracks, the South London MC jumps from spaced-out R&B to anthemic drill to bouncy club-stepper—and we’re only three tracks in at this point. Suffering in stature a little from the exclusion of “Party Here”, “Hands” and Mura Masa collab “Move Me”—to his credit, Octavian remains unwilling to define his sound in totality at this moment in his career. There are still a number of directions he could go off in from here and, in a few years, looking back at SPACEMAN, we’ll be able to pinpoint the hallmarks of a sound Octavian would tie his career to. At present though, we are none the wiser, but enjoying the journey all the same. —Tobi Oke

Label: Bluku Music

Released: August 31

D Double E’s Jackuum! was arguably the most anticipated debut drop of 2018. Fans had been longing for this one for at least a decade and that hunger only worsened when the album was announced for an early 2018 release, only to be pushed back. Fortunately, Jackuum! did eventually reveal itself and it proved to be a smart, well-envisioned and eclectic effort. Crowd favourites came in the form of “Better Than The Rest” with Wiley and “Nang” with Skepta, but it was the deep cuts that really shone and carried the set from being a standard album with some strong singles into the realms of something much more memorable. The most memorable moment isn’t from a single at all, but from the one-two emotional punch that is “Back In The Day” and “Back Then”, a poignant reflection on Stormin’s memory and Dee’s journey in the grime scene as a whole. —James Keith

Label: Mmmyeh Records

Released: April 13

A lot of people had been waiting for a full-length Nov project for quite some time. It wasn’t long after he dropped “Take Time” with Mumdance in 2014 that people started to ask about a potential album. Now we have it and it seems like it was worth the wait. Often when an artist waits a few years to release their debut album, they can miss their moment and by the time it’s out the hype has moved on. This artist, however, seems to have timed it well and backed it up with a strong collection and well-balanced showcase of all of his talents. The production and flows are varied, and there are a few different styles going on, so it really is no wonder that Novelist Guy was picked up by the Mercury Music Prize panel and put into their best album shortlist. Sadly, it lost out to Wolf Alice on the night but Novelist still gave a memorable performance and made grime’s presence felt at the ceremony. —James Keith

Label: XL Recordings

Released: April 20

Appearing to chart the beginning of Nines’ fully focused musical aspirations, Crop Circle opener “Pictures In A Frame” is a frank and revealing window into the back and forth anxieties of heightened street fame minus the reaped rewards. To understand Nines is to acknowledge that writing and recording music is an accessible form of therapy. As Tony Soprano visits a psychiatrist regularly across six epic seasons, for Nines, on the Crop Circle track named after the fictional mob boss, he reveals “before rap, I ran these streets”, with this album a grudging admittance that he would soon have to leave one behind. Released in tandem with an impressively made short film (both written and produced by Nines), he has chosen talent over his temptations, with all this seemingly considered in his switch to a major label (Warner) midway through the year. —Tobi Oke

Label: Little Tokyo Recordings/Sony

Released: October 26

I’m not into astrology. Not. one. bit. All I know is that I was born in May, which means that I’m a Taurus. Meh. But, just because I’m not into star signs and wonders, doesn’t mean that I can’t appreciate someone else’s belief system—especially if some amazing music can come out of that very thing. Former grime MC and current R&B singer-songwriter extraordinaire, East London’s NAO released her sophomore album this year to rapturous applause. Saturn, inspired by astrology’s season of Saturn return, placed the sugary-sweet toned artist in R&B revivalist conversations (alongside H.E.R., Daniel Caeser and the like) with NAO using elements of jazz and electro-soul to take the listener on a journey of finding her feet in love and everyday life. One of 2018’s more enjoyable listens. —Joseph ‘JP’ Patterson

Label: First Word Records

Released: July 13

Last year, Children Of Zeus were a barely recognisable name. But since the release of Travel Light by Konny Kon and Tyler Daley—who both make up COZ—I’m wondering why it took so long for them to team up as a duo. Granted, both Konny and Tyler have been around for a good few years, but Children Of Zeus is a project that could’ve only happened at this stage in their lives. Listening to Travel Light’s thirteen tracks, it’s not only an amalgamation of their lived experiences throughout the years but also a tribute to the soul, R&B and hip-hop that has passed through 0161 over the decades. Travel Light represents authenticity, evolution, growth, and as founding fathers to Manchester’s music scene, Children Of Zeus certainly left their mark this year. 

—Jesse Bernard