Pigeons & Planes Presents: Best Albums of 2016

Release date: December 9

When people first heard "White Iverson," many thought that Post Malone was just another troll mocking the genre. Over time we saw Posty in many different lights, and have learned that despite his goofiness, he actually cares about his creations and can put together some solid tracks. Many people still feel he is a vulture and can't look past his early antics as a teen, but they're mostly either jealous artists or insecure purists holding on to the days their hair wasn't grey.

With Stoney, I felt like I got to meet Austin Post. The album is fun, personal, and blends all of the genres that influenced the young Post Malone growing up. There are tracks that are fun for now, like DJ Mustard-produced "Big Lie," and songs I could listen to forever like "Feeling Whitney," in addition to all of the early hits like "Too Young" and "Money Made Me Do It." Post is going to be here for a while, Bud Light in hand, whether haters like it or not.—Eric Isom

Release date: July 14 

Cousin Stizz isn't Boston's best kept secret anymore. Following on from of 2015's Suffolk County, 2016's MONDA​, and a brilliant performance at ComplexCon, Stizz has momentum on his side and fans around the world. Even as his stock grows, however, Stizz remains grounded. His rapping isn't flashy and the beats aren't in your face, but MONDA is one of the most consistent rap mixtapes of the year.

"500 Horses" and "Gain Green" are further reminders of Stizz' ability to make hypnotic anthems, but there are no duds on this project, no weak links. Fittingly, MONDA ends with a track called "Where I Came From." The city that shaped him will always be central to the music Cousin Stizz makes, but his impact was felt far beyond Boston in 2016.—Alex Gardner

Release date: September 24

Francis Starlite has been putting out music as Francis and the Lights since 2007, but 2016 was his coming out party. Carving out a signature sound with the Prismizer, an effect that injects vocals with the layered feel of a robotic choir, Starlite contributed to songs from Chance The Rapper, Kanye West, Justin Vernon, and Frank Ocean throughout the year—but he shined the brightest on his own album.

A gifted songwriter with the talent to succeed in any era he happened to find himself in, Starlite happily embraces the modern tools at his disposal. Farewell, Starlite! is the Wall-E of 2016 pop records, glowing with soul under its electronic exterior. Bending vocals into dizzying post-Auto-Tune swirls on “Gospel OP1” moments after painting with a softer brush on the lush Kanye West-assisted “My Citys Gone,” this album takes its share of twists and turns. Francis makes sure, however, that it never falls off the tracks, giving us one of the most forward-thinking (and enjoyable) pop efforts of the year.—Eric Skelton

Release date: April 8

Kweku Collins' "Lonely Lullabies" revealed a young, thoughtful artist with an ear for melody and a disregard for genre. His following releases were all over the place, from minimalist pop chants to rootsy raps, but with his official debut album Nat Love, the 19-year-old Evanston, IL native harnessed his unique set of skills for one beautifully cohesive project. It didn't come easily.

A week before the album's release, Kweku told us that he had been thinking about this project for years. "I was a wreck after that shit," he said. "I worked so hard for this project. I really put my everything into it, as cliché as that sounds. It’s true." It paid off. Debut albums are more important than ever before. There's so much music to choose from these days that if the first album is a flop, it's easy to write off an artist and move on to other things. With Nat Love, nobody should be writing Kweku Collins off.—Jacob Moore

Release date: December 16

First off, we're grateful to get a Kid Cudi album of any kind this year, let alone a great one. He was in a dark place earlier this year, but made a triumphant return last month at ComplexCon.

And that was before we had heard the music itself: it sounds like once Cudi released the experimental Speedin' Bullet 2 Heaven into the world, his creative focus turned back to the driving, enthusiastic hip-hop production that defined earlier releases like Indicud and Man on the Moon II: The Legend of Mr. Rager. Cudi is a master of layering, and his beats are perfectly balanced on the hum-heavy "The Guide" and "Kitchen."

But as always, Cudi is innovating. The string quartet that closes "Kitchen" feels as new as any Prismizer, steel drums make an all-star appearance on "By Design," and the Willow Smith collaboration "Rose Golden" is a jolt of encouragement that makes 2017 feel a little less bleak. 

"Rose Golden" is followed by the Travis Scott collab "Baptized by Fire." The only other features on the album are Pharrell and Andre Benjamin, creating a sly symmetry: the stars of tomorrow, flanked by two giants that paved the way.

At 19 songs long, Passion, Pain & Demon Slayin' is best heard in pieces—but with Mike Dean and Plain Pat handling production, the album never feels disjointed. Every Kid Cudi album is off in its own world, but no one could ever accuse him of half-assing these custom universes.

This time is no different, except Cudi seems to be enjoying a world pretty close to ground level this time around. This is his most immediately excellent album in years, and a great sign that Kid Cudi chased off whatever worries plagued him earlier this year.—Graham Corrigan

Release date: October 28

In the wake of Prince's death, The Purple One's legacy could be felt across the musical universe. Airwaves and screens were coated in his image and discography for weeks, but the lasting memorials can be found in the music Prince helped inspire. Enter Topaz Jones, the lanky, nattily dressed author of Arcade, who became coincidentally fascinated with Prince in the years directly preceding the icon's death.

Jones grew up around Montclair, New Jersey as part of a musical family, feeding his early inclinations a diet of Outkast and classic funk. The resulting debut album is stuffed with soaring melodies, breathy, earnest raps, and a confidence that comes with a lifetime of self-promotion. "Putting on our own shows, and having to win over fans every time... it’s a sufficient gauntlet," Topaz told us. 

The album itself is strong throughout. Singles "Powerball," "Tropicana," and especially "Winona," are radio ready, but don't sleep on deep cuts like "Running Out of Runway."—Graham Corrigan

Release date: October 27

“We don’t just die, we don’t just gang bang and do dirty shit,” Chicago rapper Saba says of people from his city. “There’s also life and culture and habitat.” On Bucket List Project, Saba and like-minded peers such as NoName, Jean Deaux, Smino, and Phoelix present a hopeful perspective, and one that's often missing from Chicago's story as hip-hop tells it. For all the city's problems, it's yielded some of the most creative and forward-thinking artists of our time. "It feels naive to be optimistic in times like this. But we know it’s possible.” 

Highly musical with jazzy undertones on standouts like "Stoney," "Church / Liquor Store," and "Westbound 3," Bucket List Project is positive and personal without being preachy or idealistic. Saba is one of the brightest rising artists from any city right now, but this one's for Chicago.—Jacob Moore

Release date: December 2

When Childish Gambino first shared "Me and Your Mama" in early November it was met with mixed emotions—excitement because there was finally new music and curiosity because the sound veered completely left from previous releases. A week later, Gambino returned with his immediately infectious second single, "Redbone." Though the two singles provided different sounds, the direction began to appear a bit clearer.

Although Childish Gambino earned the majority of his fans for his quick-witted rhymes, Donald Glover has earned more admirers throughout his career because of his versatility and willingness to take a step away from the norm—"Awaken, My Love" is the embodiment of this same sentiment. The 11-track album is heavily funk inspired, drawing clear inspiration from artists such as Bootsy Collins, George Clinton, and Sly Stone.

"Awaken, My Love" may not be the hip-hop album many fans anticipated from Gambino, but it dives head first into the elements that initially influenced the culture. After such a rough year, this album simply provides the feel-good music we need and deserve to hear.—Adrienne Black

Release date: July 22

It's been said before, but allow me to say it again: 2016 has been the biggest bag over the head in a while. As we're wont to do, we as music-loving humans look towards artists to provide some kind of escape or sense of meaning with their material, and the artist formerly known as YC the Cynic rose from the ashes of his previous chapter: welcome King Kemba.

Acting as the truth-speaking spiritual guide we needed right now, Kemba spit raw reality over hypnotic leftfield productions, singing for the lives lost to police brutality, taking on the overall ills in America, and helping light the way for those in need of direction. As an artist, Kemba exudes growth, really coming into his own as he embarked on the next chapter of his journey. Hell, Kendrick respects him; if you weren't on board before, you better get to know.—khal

Release date: November 15

Almost a year and a half ago, Madison, Wisconsin rapper Trapo announced himself to P&P's staff and audience with "Cards and Conversation," an unusually visceral and evocative loosie from a 17-year-old with a gruff voice and sharp grasp on his world.

In his crackling, unpolished melodic rapping and honesty ("Cards and Conversation" hinges largely on a tale of underaged drinking and driving—and getting caught), Trapo inhabited the role of old soul with great potential, an artist capable turning reflection and autobiography into compelling listening. Though his full length album Shade Trees isn't a perfect deliverance of the rough hewn promise of "Cards and Conversation," it is a leap ahead for Trapo, a demarcating line that will likely start the clock for most listeners just discovering the teenage rapper (though it's also possible that they've encountered him on "Chicago," his single that saw modest viral success earlier this year on Spotify).

"Shade Trees is a metaphor for being at peace and stress-free," Trapo said via email. "I'm not there yet, but Shade Trees was kinda like my ground work for what's to come soon." Just as Trapo understands he has room to mature as a person, so too does he see the space for growth in his creative output—vision with unusual focus and humility. "I wanted to make an album that stood out," he continues. "I wanted people to know how versatile I can be...Shade Trees me projecting my versatility. I have yet to deliver the project I've been waiting for, but it was definitely my start and it's my motivation to do even better next time around."

Trapo's melodic rapping takes center stage across a warm collection of beats, his voice often on the verge of breaking up at the outer reaches of comfortable register. On "Hero," the word "hello" feels like a cry for help and warmth; on "Meeting Mariah," Trapo turns the titular subject's name into a longing chant with his cadence and tone. Through topical and creative decisions, Trapo constructed an album length testament to life's incompleteness, a young man's attempts to find love and purpose in people.

"I wrote most of the songs in my room, then later went and recorded them in higher quality studios before getting mixed and mastered," Trapo says, his process revealing some of the debris that makes its ways satisfyingly into the final product. "I didn't write a lot of Shade Trees down on paper, it was mostly just emotion and instinct when recording it all. And I got to work with one of my favorite indie acts out of Chicago, Saba, which was a goal of mine."—Jon Tanners

Release date: January 6

Allan Kingdom had all eyes on him following a feature on Kanye West’s “All Day.” But that was 2015, and with a new year came higher expectations for Kingdom's next project, Northern Lights. The album couldn't have been more different than his appearance on Kanye's flame-throwing single—the Minnesota rapper dialed things back a notch with great success, letting his unique delivery and disparate influences shine through.

D.R.A.M. collab "Renovate," "Fables," and "Believe" are easy favorites that make full use of Kingdom's unmistakable cadence—from his wobbly, warbling falsetto to the breathy raps that burst between downbeats. Northern Lights is a remarkable release that both improves upon its predecessor and cements the young rapper's reputation for creative musicality. Allan is working within a genre entirely his own, moving effortlessly between so many different styles that it’s a style itself.—Joe Price

Release date: November 18

Following the release of MTV1987, Kevin Abstract could have simply expanded upon its sounds and themes for a follow-up. He built an incredibly strong foundation, but there was also a sense that he was more interested in exploring different avenues. With American Boyfriend, Kevin has found himself, and he got here by ignoring all the obvious signs.

Borrowing more from Sunny Day Real Estate and Smashing Pumpkins than Kanye West and Tyler, The Creator, American Boyfriend is a stark change from its predecessor. In a tale of self-realization that looks inward rather than to the world at large, Kevin has only gotten more adventurous over time despite leaning even further into the realm of pop music.

It’s not as immediate as some of his earlier music, but there’s a sense of progression here that makes this one of the standout sophomore efforts of 2016, moving so far past the dismissive tag of “internet rapper.” Who knew Kevin had what it takes to make the best emo album of 2016?—Joe Price

Release date: November 18

Speaking on the concept behind the photo used for FREE 6LACK, the Atlanta artist explained, "I feel like as big and vicious as a bear can be, a bear also has grounding qualities. They’re peaceful in a way. With this album, I wanted it to be powerful, I wanted it to be aggressive, but I also wanted it to be calming. I want people to feel something. Regardless of how personal it can be at sometimes, and how intense the message is, it can still give you a soothing feel."

Sonically, 6LACK's music can be moody and understated, but it's packed with flourishes of intensity on songs like "PRBLMS," "Never Know," and "Rules." Over dark, intoxicating production, 6LACK finds pockets for nimble flows and changes of pace, leaving each song wide open for twists and just the right amount of jarring instability.—Jacob Moore

Release date: December 16

This was a big moment for Little Simz. She had the hype, thanks to a series of blistering mixtapes and a Kendrick Lamar cosign. Stillness in Wonderland is her second album and a confident stride forward—it's a wholly unique album, centered on a thinly-veiled Wonderland that is pretty and carefree, but Simz is haunted throughout the album by the memories of what's outside the bubble. "Have I let my people down?," she wonders on "LMPD," and the album ends with Simz deciding her time in Wonderland needs to end as well.

It feels like a reaction (and repulsion) to fame and fortune, but this album won't get Simz any less attention. The rapper born Simbi Ajikawo finds the beat's pocket over orchestral interludes and party starters alike—every beat bursts with creativity. Simz can tell a story alone or build something bigger with others—cuts with countrymen ("King of Hearts" with Chip and Ghetts) and trans-Atlantic collaborations ("Bad to the Bone" with Bibi Bourelly, "Shotgun" with Syd) are some of the best on the album.  

Overall, however, Stillness in Wonderland is a languid, melancholy album. Simz is vocally conflicted about Wonderland, but that's a good sign for an artist. Unease sparks innovation, and that's exactly what happened here.—Graham Corrigan

Release date: January 8

Nearly twelve months later, it still feels surreal—but David Bowie might have wanted it that way. Bowie was as abstract and celestial in death as he was in life, carefully plotting out an album to release just as his cancer was taking its final hold. Blackstar is a farewell in many ways, but it's also a message of hope: one of Bowie's biggest influences during these last studio sessions was Kendrick Lamar, and Bowie flipped that influence into a series of sprawling, majestic free-jazz ruminations that double as a final testament.

"'Tis a Pity She Was a Whore," "Lazarus," "I Can't Give Everything Away"—it's impossible to listen to the music as anything but a goodbye, a masterful, bittersweet twist that only a truly great artist could accomplish.—Graham Corrigan

Release date: March 14

The classic West Coast tale of a good kid thriving against the odds gets a modern face in Kamaiyah. “Music was my answer to the madness,” she raps on the grand opening song “I’m On.” Beneath a California sun, evergreen palm leaves sway to the tunes of Oakland’s latest export, a 21-year-old phenom who spins a good time out of stifling conditions.

A Good Night In The Ghetto arrived on the heels of boisterous singles built atop thick and juicy bass lines. “How Does It Feel” promised a project overflowing with melody and charisma, a crucial part of success in an era when how you say something is often as important as the words themselves.

Her striking control of cadence fluidly traverses a wide emotional scale, all the way to the poignant album closer "For My Dawg." Honoring the long-standing tradition of interludes that reveal the world behind the music, this 16-song effort is far more than a collection of bangers. Whether you’re looking for joyous, celebratory soundtracks or a body of work to digest with care, look no further.—Alex Siber

Release date: May 6

While 2015 saw the release of JME's Integrity>, 2016 was the year that JME's big brother Skepta brought the UK grime sound to the States. While artists like Dizzee Rascal helped introduce the hyper sound of grime to American shores years ago, Skepta reignited the fire with a Pharrell collab and memorable bangers like "Man (Gang)" and "It Ain't Safe."

He also hit at the right time. With mans like Drake openly IGing their love of UK culture for the world to see, British music was due for a renaissance. But they still needed a leader, someone with the songs to make it happen. Outside of the cultural climate that created the perfect time for Skepta to drop an album, he also just has heavy tunes. "Lyrics" is a hypnotic, hard-hitting bars fest with Novelist, but there is also variety in tracks like the album's closer "Text Me Back," in which he takes some time to speak directly to the lady in his life.

Dude has range, and while he is unafraid of competition, he's not spending his days aiming gats at mans' head. Skepta's here to show the world that the UK should be taken seriously without having to put on an American accent or spit over U.S.-friendly beats. He's doing him and winning, standard.—khal

Release date: March 9

Gritty and rough as it is, Denzel Curry’s Nostalgic 64 is one hell of a debut. Following the impressive 32 Zel/Planet Shrooms, his third effort tops them all. On Imperial, Denzel has sharpened up his sound without sacrificing what made him one of Florida’s most exciting rappers to begin with—the album flexes Denzel’s abilities on the mic as much as possible.

Imperial is full of satisfying hooks, punchy production, and rapping that borders on maniacal. Despite his young age of 21, Denzel has a style and sound far beyond his years, telling stories with unparalleled conviction and passion. That's the major lesson to take from Imperial: in a year where technical ability hasn’t exactly been at the forefront of major rap releases, Denzel Curry out-rapped just about everybody.—Joe Price

2014's Burn Your Fire Was No Witness may have been Angel Olsen's breakthrough album, but My Woman does something much more important. On it, Olsen completely sheds that folk singer label she owned back in 2010. My Woman can't quite be reduced to a single genre, with the St. Louis native more daring and more colorful as she extends beyond "folk singer" on songs like "Intern" and "Shut Up Kiss Me." But the best part? Her mesmerizing, molasses-like voice is front and center, never escaping the spotlight. Angel Olsen is sounding more comfortable than ever, and the result is irresistible.—Joyce

Release date: June 15

"Who Shot Me?"

"Police Get Away Wit Murder"

"Don't Come To LA"

"Why You Always Hatin?"

The titles of the songs on Still Brazy, the second studio album from Compton rapper YG, give a fair assessment of where he is mentally. Since the release of his debut album My Krazy Life, YG has seen a lot of success and made a lot of money, but he also got shot by an unknown attacker outside his recording studio in Los Angeles. This event has made YG paranoid and distrustful, happy to be alive but on edge, ready to protect himself and his family at any cost.

On the brutally honest "Who Shot Me?" YG explains his mind-state:

"I'm like damn / Did the homies set me up? 'Cause we ain't really been talking much / I know that sounds sick / My thoughts dark as fuck / Like the barrel of the pistol I saw when he sparked it up."

Of course, YG is still out to have a good time, and the beats slap hard on tracks like "Twist My Fingaz" and "Bool, Balm & Bollective." DJ Mustard handled production on half of My Krazy Life, but he doesn't appear in the credits for this album. Instead, DJ Swish is on the buttons, alongside Terrace Martin, P-Lo, and 1500 or Nothin', and they bring a distinct West Coast flavor, classic G-funk sounds delivered with a modern edge. West Coast rappers have given us some fantastic rap albums in recent years–full bodies of work that deserve repeated close listening—and YG's Still Brazy stands up beside any of them.—Alex Gardner

Release date: June 3

Drowsy, drugged croons come to define A.CHAL's Welcome to GAZI—a voyage inside the man’s mind. Swiping cards, spilling champagne, taking ayahuasca—he presses down on the gas pedal when stop signs roll into view, yet the sounds remain muddy, slurred, and intoxicating.

Just over one year ago, A.CHAL shared a song that went on to inspire the project’s title. He had one EP to his name that’s since been stripped from the internet. In the months to come, the bi-coastal act blossomed into a hit machine ("Round Whippin'," "Vibe W/U," "Memories"), someone who understood the truth in pushing quality over quantity. His 10-track full-length is more of the same, in the best of ways. Tapping textures from abroad, nobody sounds quite like this young artist.—Alex Siber

Release date: July 8

Over the past year, there were a lot of new artists trying to redefine the ‘80s synth-pop genre as their own. Shura’s debut album, Nothing’s Real, is one of the finest examples, a project that not only tries but succeeds at giving the nostalgic genre a fresh and modern facelift. Her songwriting is confident despite the naivety of her subject matter. Throughout her 13 songs she faces the awkward time period between teen years and full-fledged adulthood, all while expertly delivering smooth hook after smooth hook over luscious, instantly satisfying pop production.—Katie Kelly

Release date: August 5

Much of the hype around British rap music this year was centered on Skepta, and rightly so. He dropped a career defining album and took his sound around the world, but don't let that be the end of your exploration of the sounds coming out of London.

Rap veteran Giggs had a banner year in 2016 with the release of his fourth studio album, Landlord. The record is his highest charting to date, hitting No. 2 in the UK without losing any of the grit, grime, or raw storytelling that has made him one of the most compelling British rappers of the last ten years. Giggs' slow, gruff delivery is iconic, but on Landlord he switches things up with faster flows on "501 (Hollow & Heston)", delivers the mosh-pit inducing "Whippin Excursion," and even throws in a catchy pop hook on "Lock Doh." 

Landlord is still uncompromising and at times heartbreaking, but, with something for everyone, it's also one of the best releases of Giggs' career.—Alex Gardner

Release date: February 1

The buzz began when Toronto's Jazz Cartier released his Marauding In Paradise mixtape last year. There was a shrewd, inviting tone in both the lyrics and Lantz's production that just grabbed people, and fans flocked. Jazz took things to new heights when he released Hotel Paranoia in February. It's a fully-realized concept album this time around—we are lured into Hotel Paranoia through skits and samples, giving us a glimpse into Cartier's endless imagination. It also doesn't hurt that the album is stacked with hit after hit. There are no filler tracks here—between the more energetic tracks like "100 Roses," "Red Alert," and "Opera," and the slow builders like "I Know" and "Illuminati Love Song," there's no doubt that Hotel Paranoia has a little bit of something for everyone.—Adrienne Black

Release date: May 6

In interviews surrounding the surprise release of James Blake’s third full-length LP, The Colour In Anything, the reclusive artist told stories of falling in love and yearning to open himself up to collaboration—even hinting at a possible appearance from Kanye West. Admirers of his Mercury Prize-winning sophomore album Overgrown may have been worried about losing the nocturnal shut-in they fell in love with, but Blake managed to deftly weave his evolving worldview into the familiar delicate setting of his past works.

Like its predecessors, The Colour In Anything is soaked in solitude and heartbreak—but it cracks open a window to let in glimmers of hope alongside slyly incorporated collaborators Frank Ocean, Rick Rubin, and Justin Vernon. Traditionally shrouded vocals are emboldened to make their way to the front of stark electronic arrangements, and Blake's mastery of experimental production techniques appears sharper than ever.
 Molding the same collection of materials he’s always worked with in stunning new ways, this album is a rare example of an artist pushing himself to grow and evolve without losing the essence that endeared him to so many fans in the first place.—Eric Skelton

Release date: September 2

My Isaiah Rashad standom is a running joke amongst the Pigeons & Planes team. Laugh all you want, nerds—Isaiah Rashad provided 2016 with something no one else could. The Sun's Tirade comes only two years after Rashad's equally impressive Cilvia Demo, and continues to explore the lo-fi, intensely personal battles with fatherhood and addiction, the former of which almost derailed the Chattanooga rapper's career between albums.

The most tangible difference between Tirade and Cilvia is the guest features. The additions of Kendrick Lamar, Syd, and SZA, provide depth and a refreshing change of pace amidst the demons. But my personal favorites are still the songs that isolate Rashad's raw emotions. Featureless tracks like "4r da squaw" and "Free Lunch" are examples of the artist at work, and even though the album's voicemail interludes indicate it was like pulling teeth, The Sun's Tirade was worth the wait. And as always, TDE's production team tailors their sound to fit the musical needs of the featured rapper, with great success— this is one of three TDE releases on this list.—Graham Corrigan

Release date: March 9

It's been a whirlwind of a year for Lil Yachty. Evolving from an obscure Atlanta rapper to a "Grammy nominated, Sprite endorsing, Nautica creative director, 19-year-old mumble rapper," Yachty made his presence unavoidable in hip-hop in 2016. It all started with one project.

For a while I couldn't decide if I really liked Lil Yachty or if I liked Lil Yachty for the sake of liking Lil Yachty. Spontaneously shouting "lil boat!" seemed fun, but the music wasn't quite there for me. Even with a superb video for "1 Night," the song just never clicked, so Lil Boat stayed in uncharted waters. But after hearing Yachty shine on D.R.A.M.'s "Broccoli," Chance The Rapper's "Mixtape," and Post Malone's "Monta," I had no choice but to put on my goggles and dive in.

From the very start, Lil Boat introduces us to Darnell Boat and his two nephews, Lil Yachty and Lil Boat. These different characters serve as the perfect outlet for Yachty to tell his story and share with us that he's not quite sure what he's doing either. "I don't know who I am sometimes. I might rap a verse, I might sing a song," he raps on "Intro," a personal favorite. "Minnesota (Remix)" and "Good Day" are other standout tracks on a project that's full of good moments. With Burberry Perry handling the bulk of production, Lil Boat is a complete, cohesive project that deserves a listen from front to back. Lil Boat!—John W

Release date: March 4

Thank you, LeBron James. If it weren't for you and your coaxing tweets, these songs may have never seen the light of day. But TDE listened to King James and released this beauty—eight tracks of untitled, unmastered, behind-the-scenes music that is better than the vast majority of music released since To Pimp A Butterfly. But as much as untitled unmastered. is a sequel to TPAB (these are mostly tracks that didn't make the cut), the album stands on its own as a collection of music and a statement by TDE: even if these tracks aren't "finished" by industry standards, Kendrick Lamar can still rap circles around his competition.

It was also extremely validating to hear tracks like "untitled 03" and "untitled 08," songs we thought would live in late night archives forever, in their studio form. Those two songs would have lived happily on the previous album, but they're re-contextualized here as part of an alluring collection of cast-offs and intimate live recordings. That intimacy makes this a must-listen for any fan of Kendrick—you can hear the process in the songs, hear how ideas turn into melodies, which pop up in turn as part of longer songs. Context aside, this is further proof that Kendrick is walking on water in 2016. The musicality, lyrical content, and delivery are at a level we can only expect from our generation's most talented artists.—Graham Corrigan

Release date: May 8

It's been five years since The King of Limbs, marking the lengthiest hiatus of Radiohead's history thus far, but the legendary group proved A Moon Shaped Pool was well worth the wait. Beyond the fact that they have once again proven that they're masters of blending the familiar with innovation, the album also acts as an eerie reflection of the year we've had. Within many of the songs exist hints of optimism, but that doesn't last very long once Thom Yorke's cynical lyricism and Jonny Greenwood's dramatic, nightmarish arrangements come into play. When it all comes together, A Moon Shaped Pool is one of Radiohead's best albums yet, but it also unfortunately paints a dystopian future that's perhaps closer than we may have anticipated.—Joyce

Release date: October 21

If there was an award for “album most likely to put a big cheesy grin on your face,” D.R.A.M.’s full-length studio debut Big Baby D.R.A.M. would be the front-runner. Whether that moment comes as the Virginia native sings “You’re cute as a button” over rattling drums on “Cute” or when he yelps that he’s “getting lit to Yachty” on our favorite song of the year, “Broccoli,” it’s a safe bet this thing will leave you in a better mood than you started in. It’s no accident the cover features D.R.A.M.’s grinning mug in a rare example of rap album art that could accurately be described as “adorable.”

As warm and infectious as his personality is, however, D.R.A.M. exercises a well-rounded emotional range throughout the album’s deeper cuts, providing balance for the bubbly singles. “Monticello Ave” finds him tackling complicated post-breakup emotions with a strikingly honest and relatable touch, while the buttery soul ballad “Sweet Va Breeze” presents an opportunity to show off his silky vocals. Having already climbed out of the shadow of “Cha Cha” in 2015, D.R.A.M. proves he has many more tricks up his sleeve on Big Baby D.R.A.M.—Eric Skelton

Release date: June 28

Delivering pop music for a tumultuous time, Dev Hynes sought to create something with a little more purpose this year. Freetown Sound expands upon the textures and experiments of his previous album as Blood Orange, but the true strength of the record comes not from the sounds he’s producing, but the words he’s saying.

When he announced the album on Instagram, Hynes shared a note proclaiming the album was for “everyone told they’re not black enough, too black, too queer, not queer the right way, the under appreciated, it’s a clapback.” In just under an hour, Freetown Sound explores these themes, rightfully questioning what is expected. It’s an album that speaks to experiences, unfortunate thoughts that need to be considered to avoid violence as a black man. “Keep your hood off when you’re walking cause they / Hands up, get out, hands up get out,” he sings on the chorus of the harrowing but striking centerpiece “Hands Up.”

What makes the album so potent, though, is how the past is given just as much attention as the present. Powerful, stunning, and heartrending, Freetown Sound isn’t a reflection of dark times, but a beautiful study and critique of the shadows.—Joe Price

Release date: October 21

Songs like "Suede" hinted at it, but we couldn't have imagined just how perfect Anderson .Paak and Knxwledge would be as partners across a whole album. Yes Lawd! is like a mix or a mixtape at times, gliding from track to track, from one dusty drum fill to the next funky bassline. Although "Lyk Dis" and "Scared Money" seemed to emerge as crowd favorites, it's hard to even pick out highlights because the entire album is so strong—even songs that barely break the two minute mark like "Wngs" and "Kutless" have more personality than other artist's entire albums.

Knxwledge provides production filled with vinyl crackle and warm samples, and .Paak shows off his versatility, dancing between singing and rapping, and sounding like he's having fun doing it. Yes Lawd! was the second time .Paak blew us away in 2016—his solo album Malibu came out in January—and its funky, sexy, raunchy fun is the perfect soundtrack for summertime cookouts or late-night romance. Yes NxWorries!—Alex Gardner

Release date: January 8

Infusing the raw energy of lo-fi garage rock with a contagious pop-leaning spirit, Hinds’ debut LP is delightfully unafraid of its own youthful exuberance. The Madrid garage-rock quartet happily revels in the fumbling failed relationships and identity crises at the core of any early twenties experience, unapologetically shouting stories of their missteps over upbeat jangly guitar riffs.

Throughout the album, the Spanish rockers reveal themselves as laid-back and approachable through a series of beer-soaked anthems. Raucous power chord-heavy cuts like “Garden” are easy to gravitate to on first listen, but Hinds prove equally effective on mellower tracks like the clever gender-flipping, “I’ll Be Your Man." Leave Me Alone introduces Hinds as an unpretentious and immediately likable band you’d want to bullshit with over a round of beers. Or at the very least, the creators of an undeniably fun record perfectly suited to soundtrack a similar occasion with your own friends.—Eric Skelton

Release date: September 27

From XXX to Old, a lot changed for Danny Brown. Getting booked for countless festivals and touring all over the world, Danny was subtly shifting his sound further away from his more adventurous roots. That’s why, despite Old still being a remarkable release, that Atrocity Exhibition deserves to be called a return to form.

Considerably stranger than anything found on Old and harkening back to his breakthrough XXX in more ways than one, Atrocity Exhibition is both a recap and an even crazier sequel. With a welcome sense of déjà vu, Atrocity Exhibition reiterates some sounds while going far further than Danny has ever gone before.

It didn’t seem possible for Danny Brown—and his longtime collaborator Paul White—to get anymore unhinged in their music, but he does so here, and in typically grandiose fashion ("Ain't It Funny," "White Lines"). Making his stories fun to follow despite their frequently dark subject matter, Danny is a master when it comes to subverting. Atrocity Exhibition offers an experience no other rap record in 2016 could.—Joe Price

Release date: September 30

Was anyone else nervous about this Bon Iver album before it dropped? Between Justin Vernon's alleged existential panic in the Greek islands, a five-year gap between albums, and a solid side project with Volcano Choir, I can't have been the only one a little worried that Bon Iver's third album would be the moment all that forward momentum came grinding to a halt. 

Those fears vanished the third time I listened to 22, A Million. The first time, I was perplexed. The band is using the same instruments (saxophones, guitars, bells) in very different ways, and it took a few listens to start to appreciate the stark, unfamiliar beauty of songs like "715 - CRΣΣKS" and "33 'GOD.'" The old dog learned new tricks, toying with language to create new words, fiddling with instruments to create new ones. It's a whole new world for Vernon, who has once again—with his band back behind him—cemented his title as one of the great artists of our time.—Graham Corrigan

Release date: July 8

Schoolboy Q’s Blank Face LP is kind of album that perfectly summarizes the feeling of 2016. Paranoid and ominous, the album matches the eerie uncertainty of the year through its scarred soundscape. What makes Q’s latest even more engaging than a standard mood piece, though, is how that soundscape encapsulates his own mind. Offering a vivid tour of memories and a hopeful look toward his future, Blank Face is the sound of Q reaching the potential he’s hinted at since 2012’s Habits & Contradictions.

Coming in at over 70 minutes long, Blank Face is Q’s most ambitious project yet. Voices come and go, adding to the atmosphere, but Q is the master of ceremonies. Over the most consistent production to soundtrack his lyrics yet, Q is challenging himself as much as he challenges the listener. From a diversity standpoint it’s impressive to see Q trying so many sounds successfully while tying it all into the narrative of the album.

Leading up to the release of the album, Q shared a number of videos telling a short story alongside a number of other captivating visuals. While these videos complement the stories told wonderfully, Blank Face is capable of painting these visuals on its own. From the manic intensity of Vince Staples collab "Ride Out" to the groovy confidence of "JoHn Muir," Q is a master storyteller who has finally reached rap's top tier by his own volition.—Joe Price

Release date: January 28

Any casual fan of Rihanna would be forgiven for doubting ANTI at first blush. It is a daring album in its restraint, a svelte 13-song collection devoid of the over-produced pop hits that soundtracked her climb towards superstardom. "Work" is the closest thing on ANTI to that old way of doing things, and even though "Work" flew up the charts, ANTI as a complete album is much more concerned with exploring new territory, with a variety producers. 

Boi-1da, DJ Mustard, Frank Dukes, Kuk Harrell, and No I.D. are among those that come through to pay homage to Rihanna's creative vision, and together they made (among others) an '80s rock ballad ("Kiss It Better"), a glitchy dub anthem ("Consideration," with SZA), a grating, experimental dressing-down ("Woo"), a Tame Impala cover, and one of her most cutting, devastating tracks ever ("Needed Me"). ANTI doesn't cater to any preconceived notion of who Rihanna is as a musician, and the resulting disparate collection is her best album yet. Yeah, I said it.—Graham Corrigan

Release date: July 15

Atlanta rapper 21 Savage was already blowing up before Savage Mode, but the project, a collaboration with Metro Boomin, put his ascent in fast-forward. The Slaughter Tape and the Slaughter King mixtapes, which both came out in 2015, introduced many people to 21 Savage's raw style, and they were still bubbling when Savage Mode dropped in July.

With Metro Boomin providing spare, ominous soundscapes, 21 Savage doesn't waste words. His economical rapping style is compelling throughout, whether he's outlining his past on fan favorite "No Heart" or hypnotizing you with the memorable hooks of "No Advance" and "Savage Mode." Most songs are delivered with softly spoken menace, but towards the end of Savage Mode we hear a different side of 21 Savage—"Feel It" is a love song and "Ocean Drive" is a strange but beautiful blend of guitars, auto-tuned melodies, and crisp drums.

A true collaborative success, Savage Mode is yet another reminder of super-producer Metro Boomin's dominance and sets down a marker for 21 Savage. Issastar.—Alex Gardner

Release date: May 6

Kaytranada had been gearing up for 99.9% for quite some time, and he more than delivered with his long-awaited debut album. The Canadian producer spared no expense: all the guests on the album—Craig David, BadBadNotGood, Syd from The Internet, Anderson .Paak, Little Dragon, AlunaGeorge, GoldLink, Phonte, Vic Mensa—do an incredible job working over Kay’s smooth production.

Even if he steps back to take on more of a directional role on a number of tracks, 99.9% encapsulates everything that Kaytranada has been working towards, fit snugly into 60 excellent minutes of music. Moving through countless production styles at a brisk pace, he refuses to settle in one place for too long. His style is easily identifiable and hard to replicate, making it easy to see why so many artists have jumped at the chance to work with him.

Not many albums, let alone albums in 2016, contain as many diverse styles as 99.9% without sounding haphazard or disjointed. Kaytranada is an absolute master when it comes to putting a track together, but what 99.9% shows is that he’s also able to stretch that talent across an entire album without wearing himself thin.—Joe Price

Release date: November 25

Starboy isn’t The Weeknd’s best release, but it is his most confident. With the fog-smothered production of his earlier material left behind, Starboy is Abel Tesfaye’s biggest push towards embracing his unexpected stardom yet. Unexpectedly thrust into the spotlight, this rapid ascension to superstar status despite his lyrical focus on debauchery isn’t lost on him.

Referencing his nomination for “Can’t Feel My Face” at the 2016 Nickelodeon Kid’s Choice Awards on “Reminder,” Abel sees the absurdity of the situation. Moments like this highlight just how unlikely a star he is, despite his obvious talents. When you’ve got a pretty voice you can make ugliness a lot more palatable, but Starboy sees Abel taking a different approach, reaching a middle-ground that does anything but compromise.

With two stellar appearances by Daft Punk that highlight the disparities between the album’s themes, Starboy is a meta meditation on fame. It’s the most direct Abel has ever been with his music, and that goes for the streamlined production, too. Starboy may be a little too long, but by refusing to completely abandon the past as he looks to his future, The Weeknd successfully reinvented himself, and delivered one of the year's best pop albums to boot.—Joe Price

Release date: September 2

As a disciple of Kid Cudi and Kanye West, Travis Scott approaches music from ten steps back. It isn't about writing the perfect verse, or working within the confines of genre expectations. On Birds in the Trap Sing McKnight, it seems as though Scott started off with a vibe in his sights, and came with a heavy arsenal to execute on that mission. It's theatrical, fun, dark, and full of youthful, reckless, invincible energy.

In his previous work, Scott's ambition was always present, but on Birds in the Trap it's fully realized with dramatic production, great use of melody, and a cohesive mood throughout. Nothing gets lefts on the table. He brings in heavy-hitters like Kendrick Lamar, André 3000, Young Thug, Quavo, and 21 Savage to support, and while it may be the most self-indulgent album of the year, it's also one of the most consistent and enjoyable. For years, Travis Scott has hinted at his potential, and he's finally orchestrated his vision.—Jacob Moore

Release date: November 11

About a month before the world lost Prince, 2016 took Phife Dawg from us. At that point you could've said A Tribe Called Quest, the group he was an integral part of, was gone, but somehow word dropped that they'd reconciled and were working on their sixth studio album in secrecy.

After The Love Movement, many assumed that one of the greatest groups in hip-hop history were a wrap, but We got it from here... Thank You 4 Your service sounded like there hadn't been 18 years since their last project. It also sounded like a new coat of paint was thrown onto the Tribe of old, allowing Phife, Consequence, Tip, and Busta Rhymes to style over tracks that were just as lush and experimental as their most memorable works.

The album dropping a few days after Trump was declared the President elect was necessary to our healing as well; with the #BlackLivesMatter movement coming into existence due to a serious bout of black lives not mattering at all, we needed a record like Tribe's to provide a voice for the voiceless, give hope to the hopeless, and most importantly help redefine what it means to be black and beautiful in an age where black life is so often demeaned. For this to be Phife's last trek with Tribe? It means so many things, and we're truly thankful for their service.—khal

Release date: March 25

Young Thug is one of the most exciting factors in mainstream rap in 2016. Every project he released this year—I'm Up, Slime Season 3, and Jeffery standing out as the most significant—was unpredictable to the core, and never failed to grab attention with outrageous and highly captivating antics, lyrics, and visuals. But Thugger has it all figured out on Slime Season 3—the first two projects of the Slime Season series both had over 15 tracks, and they were tough to get through in one sitting.

Slime Season 3 is just eight tracks long, and a better representation of who Thug is as an artist. While Jeffery was certainly a more polished, mainstream release (Thug went so far to name every song  on that album after one of his idols), he's never been as comfortable as a mainstream artist glad-handing the industry. Thug is a weirdo, and he gets plenty weird on SS3. "With Them" and "Digits" are the fan favorites, but if you want to dive completely into the Thugger rabbit hole, "Drippin'" is the one. It's a demented, nearly unintelligible kaleidoscope of ideas and deliveries performed over jerky, ominous Allen Ritter production.

SS3 is the final chapter of the Slime Season trilogy, and even if it's the end of an era—Jeffery would certainly seem to indicate Thug is headed for the mainstream full steam ahead—he finished this phase off with an unforgettable flourish.—Eric Isom

Release date: April 23

In February, just a day before her halftime performance at the Superbowl, Beyoncé shared the stunning video for a new single titled "Formation." But it wasn't until April that Beyoncé really made waves with more new music. Instead of formally announcing her sixth studio album, HBO announced they would be showing an hour-long Beyoncé special, without much further detail.

The hour-long special titled Lemonade turned out to be a visual album, and as if this breathtaking TV special wasn't enough for the Bey Hive, the Queen completed the full surprise attack by releasing the Lemonade album immediately afterwards. Drawing from the famous phrase, "When life gives you lemons, make lemonade," the 12-track album tells the tale of overcoming difficulties in relationships with spouses and family to find your own happiness.

Though the lyrical content on Lemonade initially created speculation that Beyoncé could have possibly been inspired by marital problems with her husband Jay Z, she proved once again that she was merely using her music as a vehicle to speak for those who feel silenced. Not just women, but black women specifically. The visual album, as well as the songs on Lemonade, highlighted black women in an exceptional light.

Songs such as "Formation, "Sorry," and "Freedom" with Kendrick Lamar provided the ultimate soundtrack for black women fighting to feel unapologetically comfortable with themselves. It's impossible to not feel instantly more empowered after one listen of Lemonade. This year was rough, but Beyoncé helped many of us power through with music that made us feel confident, bold, and strong enough to build the foundation for an even better 2017.—Adrienne Black

Release date: February 15

Much of the conversation around Kanye West's The Life of Pablo, his seventh solo studio album, centered on its unique and messy rollout, both before and after its actual release. We might have guessed that this was going to be a scrappy, evolving process after West changed the album title four times (So Help Me God, Swish, Waves, and finally TLOP), but that was just the beginning. After teasing fans with singles "Real Friends" and "No More Parties in LA," not to mention returning to Twitter with a vengeance, Kanye West debuted most of the album alongside his Yeezy Season 3 fashion show at Madison Square Garden in New York on February 11.

The album was originally slated for release that same day, but by February 12 it still hadn't arrived. "The album is being mastered and will be out today," Kanye tweeted. Still, it wasn't until February 15 that the album finally hit Tidal, now with 17 tracks. From there, this "living breathing changing creative expression" (Kanye's words) was altered again in March, when it also became available on other streaming services like Spotify, and again in June, when "Saint Pablo" with Sampha was added. From the notepad Kanye used to reveal song names and featured artists to the tweets explaining why the release was delayed, for the first time ever we saw an album evolve in real time, and as such gained a little more insight into West's creative process.

So, that was the context, but what about the music? Well, once you get past a few headline-grabbing lyrics and the fact that the inferior version of "Wolves" made the final cut, this is another excellent Kanye project, in many senses a glorious mix of the best elements from his previous albums. Certain sounds or styles of production came to define past records—soul samples on The College Droput, emotional electro-pop on 808s & Heartbreak, abrasive experimental electronics on Yeezus—but this time we get it all. We get gospel ("Ultralight Beam"), viral rap hits ("Pt. 2"), genius sampling ("Famous," "Fade"), bumping boom-bap ("30 Hours"), moody pop ("Wolves," "FML"), edgy electronics ("Feedback") and even a Frank Ocean sighting.

The stellar guests are fitted into place on the album like pieces of a puzzle—Ty Dolla $ign, Kid Cudi, Rihanna, The Weeknd, and Young Thug all providing memorable hooks or melodies on this truly collaborative effort of an album. Yes, The Life of Pablo is stylistically schizophrenic, and a little sprawling ("Facts" could certainly have been cut), but when all is said and done, that's a testament to Kanye's outsized ambition.—Alex Gardner

Release date: July 31

Children race to nearby corner stores as the reaper watches from above in Noname’s Chicago. Telefone toys with the disruptive power of an unwanted voice mail, an unexpected call. The minutes separating departure and notification prolong life itself, ending only after bad news strikes a cell phone or landline. Call it temporal ignorance.

Noname juggles lullabies and shell casings with unrivaled grace, breaking ankles with words. She bundles her city in a blanket of warmth—talk of worldly wonders and natural love atop lush sound beds (courtesy of Cam O’bi, Saba, and Phoelix, among others)—before prodding at its very fabric with cold steel, calling attention to babies in suits. Soft-spoken reality checks balance each sun-soaked celebration. Embedded in the fairy tale musings of “Forever” and the infant warbling of “Casket Pretty” is a message worth heeding: Enjoy the little things, but watch your step. Death’s whisper can emerge at a moment’s notice, however joyful the afternoon.

Telefone’s ten tracks double as case-in-point for Noname’s legitimacy as a rising star (and, in an incredible twist, a Saturday Night Live alum). The best debut project of 2016 pairs a poet’s grace and a rapper’s instinct. Rare is an album so emotionally charged and rich in detail. As we approach the sixth month since its release, we continue to uncover new stories that take place beneath purple skies. Open your eyes and soak it all in.—Alex Siber

Release date: May 27

Up until 2016, Chance The Rapper has been the underdog that everyone wants to root for. He's fiercely independent, defiantly optimistic, and brazenly welcoming. But before his third album, there was a feeling that the next step for Chance was away from underdog status and into the position of top tier rap superstar. Intentionally or not, Chance introduced the world of Coloring Book three months before its release, with his verse on Kanye West's "Ultralight Beam."

"He said let's do a good ass job with Chance three / I hear you gotta sell it to snatch the Grammy / Let's make it so free and the bars so hard / That there ain't one gosh darn part you can't tweet / This is my part, nobody else speak / This is my part, nobody else speak."

When Coloring Book finally dropped in May, nobody else was speaking. The roles are reversed this time around—Kanye West features on the album-opening "All We Got." The rest of the A-list guests are mind-boggling, considering that this is a project made by an independent artist and released for free, with sales totaling zero. Lil Wayne, 2 Chainz, Jeremih, Young Thug, Justin Bieber, Jay Electronica, Future, and Ty Dolla $ign all appear on the album, all accommodating for Chance's vision.

It's an amazing feat for an independent artist, and no easy task. “I don’t agree with the way labels are set up,” Chance told Zane Lowe. “I don’t agree that anybody should sign 360 deals or sign away their publishing or take most of the infrastructure that’s included with a formal deal. I’ve learned not to be like, 'fuck this company and fuck that company,' even though a lot of those people tried to make it really hard for me to release my project.”

Somehow, Chance got Coloring Book done on his terms, and he boldly addresses his clash with labels on the Lil Wayne and 2 Chainz-featuring "No Problem": "If one more label try to stop me, it's gon' be some dreadhead n****s in ya lobby." Musically, Chance's third album is a giant move forward, blending the lively energy of The Social Experiment with the kind of gospel influence we expected from Kanye and bars so hard that there ain't one gosh darn part you can't tweet. There are too many good songs to point out highlights, and the sequencing is faultless. Coloring Book is a game-changer on so many levels. It advances Chance's standing in popular music, it exposes the potential for independent music in 2016, and shit, it might even win a Grammy.—Jacob Moore

Release date: September 30

It's been four years since we last heard a full project from Solange. Her True EP in 2012 featured seven tracks that weaved stories of heartbreak with rhythms that helped us dance the pain away. Fast forward to 2016 and Solange finds herself singing about trying to "dance it away" on A Seat at the Table's breakout single "Cranes in the Sky."

On September 30, just a few short days after announcing it, Solange released her third studio album. Using quotes from conversations with her parents and Master P as inspiration to guide the direction of the album, Solange created a spectacular body of work that somehow manages to feel both inclusive and intimate. Rather than working to stretch herself thin trying to please everyone, Solange made what she needed to hear—"this shit is for us," she sings on "F.U.B.U." The resulting album is an open invitation to anyone who can relate to her battles to come and sing along until they feel a bit lighter

Tracks like "Weary," "Mad" with Lil Wayne, and "F.U.B.U." featuring The-Dream and BJ The Chicago Kid, explain the emotional and mental exhaustion that Solange, and many of us, experience during these trying times. However, the album stresses the importance of not going through these hardships alone. On "Mad," she opens up by singing: "You got the right to be mad / But when you carry it alone you find it only getting in the way / They say you gotta let it go."

As a whole, A Seat at the Table is a beautiful celebration of being black over 21 tracks that seem to fly by far too quickly. With news broadcasts constantly telling heartbreaking and infuriating stories about black people being the victims of police brutality, fashion magazines lightening the skin of black models, films completely excluding black actors from narratives, and so on, life as a young black man or woman can feel very discouraging at times.

In the face of all that negativity, Solange's latest album is here to provide that light at the end of the tunnel that motivates us to not only keep going, but feel proud of who we are.—Adrienne Black

Release date: January 15

The music world finally stopped sleeping on Anderson .Paak in 2016. We started waking up when .Paak appeared all over Dr. Dre's Compton in 2015, but Malibu was a bucket of cold water to the face. Every major musical movement of the last 50 years gets its due over the album's course—doo-wop, soul, rock, punk, dance, rap, ballads—it's all there, and .Paak is the chef turning all these tastes into a delicious California ceviche. Favorites are hard to pick—album closer "The Dreamer" is anthemic inspiration ("I'm on my fifth brew / And my rent's due"), "Parking Lot" and "Lite Weight" provide dance-off opportunities, and the album's first third ("The Waters," "The Season / Carry Me") zooms in on social justice, fractured childhood, and the trappings of fame.

But what really makes Malibu stand out from this year's competition—and even from its excellent predecessor, 2014's Venice—is its staggering musicality. The whole album sounds live, a seamless jam session where no one hits a wrong note. Watching .Paak perform these songs—often singing and playing drums at the same damn time—proves it's more than a feeling. Hearing Anderson .Paak do his thing is a gift, and at 16 tracks, Malibu almost feels too short.—Graham Corrigan