Best Albums of 2017

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Release date: March 10

PC Music found their conduit to the mainstream in Charli XCX. The British collective that turned heads with a collection of sugary hyper-pop first collaborated with Charli on 2016's Vroom Vroom EP, and they're behind most of the production on Number 1 Angel. The resultant project is giddy with adrenaline. Charli is up to the task, as are her guests—MØ, Uffie, and cupcakKe make vibrant contributions over bubbly, sticky beats best enjoyed mid-strobe. 

Charli has retained the punky mystique that made her such an appealing pop star in the first place, but she's plunging headlong into virtual realities with this album. There are moments when it veers towards sensory overload, but when it works—"Emotional," "Dreamer," or "3AM" are post-pop anthems that act as gateway drugs to the album's heavy stuff—there's nothing else that sounds like Number 1 Angel.—Graham Corrigan​

Release date: March 3

19-year-old El Paso native Khalid first caught our attention with his breakout single “Location,” and he’s continued to impress us ever since. His rich, distinctive voice and unflinchingly honest lyricism are what drew us in, and he continues to make great use of these talents on his debut album, American Teen.

The album finds him ruminating on young love, self perception, and his desire to leave his hometown in pursuit of his dreams. He wrote the lyrical content of American Teen as he prepared to graduate high school, documenting his complex, sometimes conflicting emotions about diving headfirst into the “real world” in real-time. His classically beautiful vocals bring an element of maturity to his youthful subject matter, forcing listeners to take him seriously regardless of how many years out of high school they are. He pairs his timeless, soulful vocals with punchy pop percussion and maximalist production elements, crafting a sound that is referential of the past, but also forward-thinking.—Charlotte Freitag

Release date: May 10

Despite inconsistencies and the occasional lack of polish, Choker’s Peak is one of the best debuts of the year. It’s all over the place, but that’s a big part of the reason it's so exciting. Throwing almost every idea at the wall, with most of it sticking, the album is relentlessly inventive from the moment it starts.

More established artists could learn a thing or two from Peak, even if it sometimes sounds like Choker still in the process of learning himself. Listen to "El Dorado" or "Lush" and you'll soon realize that the young Michigan artist has a very bright future ahead of him.—Joe Price

Learn more about Choker here.

Release date: March 18

After Views was seen as a misstep, Drake decided to dial it back by giving folks 22 tracks, an assortment of features (ranging from Jorja Smith and Skepta to Kanye West and Quavo), and a multitude of vibes. From hypnotic, house-drenched tunes like "Passionfruit" and "Get It Together" to the more turnt "Portland" or "KMT," Drake found his pocket and rode this "playlist" directly into all the functions.—khal

Release date: October 13

IDK, formerly known as Jay IDK, gave us one of the most impressive level-ups in 2017 rap. He's always been a talented artist, but IWASVERYBAD has the Maryland rapper at his most confident and most ambitious. The project boasts features from Swizz Beatz, DOOM, Chief Keef, and Del The Funky Homosapien, but none of those stole the spotlight from IDK himself. 

The album rolled out in chunks that made it hard to process IWASVERYBAD as a whole project, but when all settled it turns out to be one of the most cohesive rap albums of the year. It's cinematic and personal at the same time, and IDK is an assertive lyricist and compelling storyteller who still cares about more than his own vocals. On songs like "Maryland Ass N****a," "Dog Love Kitty," and "Baby Scale," the dark, bass-heavy production is just as impressive as the razor-sharp rapping. If IDK keeps progressing at this rate, 2018 should be interesting.—Jacob Moore

Release date: December 24, 2016

Run the Jewels 3 was technically released on December 24 of last year (it was a Christmas fucking miracle), but we would be remiss not to include the duo's excellent third album.

RTJ3 is a raucous, exciting listen from start to finish with expectedly unconventional production and razor-sharp verses from​ Killer Mike and El-P, who sound more furious than ever. More importantly, though, RTJ3 came at an impeccable time. The album acts as a dirge that honors a crumbling nation as the two emcees defiantly hold those responsible accountable for their actions.

RTJ3 challenges listeners to question the status quo—its purpose is to make you angry about it, and succeeds in doing so. Considering the quality of RTJ3, one can't help but wonder what the past year might have inspired within Killer Mike and El-P, and we can't wait for what's to come.—Joyce

Release date: December 1

Miguel has quietly become one of the most consistent artists in R&B over the past five years. 2010's All I Want Is You was bright with promise, but his subsequent three albums (Kaleidoscope Dream, Wildheart, and this year's War & Leisure) have each demonstrated growth, ambition, and an ability to write pop music that still pushes boundaries. 

"Sky Walker" with Travis Scott was the big single, but it's not reflective of the album as a whole. There's a rawness to songs like "City Of Angels," pure funk on the partly Spanish-language "Caramelo Duro," and (this is a Miguel album after all) lots of sexual innuendo on "Banana Clip." Miguel's sound is still built on R&B, but rock, funk, soul, and, a psychedelic edge help complete an album that you can, and should, listen to front to back, no skips.—Alex Gardner

Release date: February 24

What a couple of years the young king Stormzy has had. From freestyle videos in the park to singles on the U.K. chart to a U.K. No. 1 album, the rapper has made an indelible mark with his debut. He combines the raw power and aggression of grime with a pop polish on Gang Signs & Prayer, with Fraser T Smith (Adele, Britney Spears, Sam Smith) enlisted as an executive producer.

Some of Stormzy's hardest ever tracks ("Bad Boys," "Return of the Rucksack") sit alongside gospel ("Blinded By Your Grace"), R&B songs ("Cigarettes & Cush"), and deeply personal moments ("Lay Me Bare"). People expecting only grime tunes might have been disappointed, but as a complete artistic statement, as a reflection of the breadth of sounds that a 21st century music fan listens to, it's an essential album.—Alex Gardner

Release date: September 5

There’s something very assured about Corbin’s return. Three years ago, he ditched the Spooky Black moniker and went into a sort of self-imposed exile. But fans didn't forget about him, hanging onto every fleeting glimpse during this silence. This Minnesota kid who made a name for himself with ghostly R&B and goofy videos returned, and he did so with a bleak and far more mature album than was expected.

With its eerie Shlohmo and D33J production, Mourn details the particularities of isolation and how life never quite works out the ways we expect. Exploring a narrative that sees him and a lover hoping to retreat to the middle of the woods in hopes of escaping an apocalyptic world, the album feels very much a product of 2017. Brimming with dark imagery and storytelling that grips from beginning to end, Mourn is a confident debut from one of the most interesting young voices in America.—Joe Price

Release date: June 16

"Country Billy made a couple millie"—at least. Young Thug flipped the rap world on its head with this one. And while the "singing album" label doesn't tell the full story of Beautiful Thugger Girls, it's a fine descriptor. Thug traded Metro Boomin beats for Wheezy strings and acoustic guitar, creating a collection of songs as pretty as they are mystifying.

After the stirring opener "Family Don't Matter," Thug leans into the new persona. His hooks are just as catchy (check "She Wanna Party" and "Feel It" for confirmation), and his melodies are just as effortlessly surprising ("On Fire"), but there's a restraint here that's been missing from Thug's previous releases. And a decidedly country influence—he's warbling and affecting intonations usually reserved for Memphis and Alabama, not Atlanta. This is a new leaf for rap's Andy Warhol, and yet another reminder that Thug is one of the most uniquely creative artists alive.—Graham Corrigan

Release date: October 13

Masseduction is St. Vincent's most pop-leaning record to date, but its thoughtful lyrics deceive this notion, even with its Jack Antonoff production credits (he also produced Lorde's Melodrama and Taylor Swift's latest release). These songs about love, loss, and loneliness are packaged in lively and colorful soundscapes that showcase Annie Clark's incredible guitar work without undermining her songwriting prowess. (Songs like "Pills," "Los Ageless," and "Fear the Future," in particular, are great examples of this.)

Doubling down this juxtaposition with her tongue-in-cheek interview snippets and loud, eye-catching album art, Clark cleverly exposes mass-produced pop as a glamorous but empty shell. Her creative director Willo Perron said that their approach for Masseduction was "pop-level intention." It's no wonder that the album would become St. Vincent's boldest work yet.—Joyce

Release date: February 24

If this is a Graham-only list, Drunk is a top five album. But it's not, so Thundercat got bumped back a bit, even if he might be the most talented musician on this list. 23 tracks would feel outrageous in anyone else's hands, but Thundercat's music grabs the listener immediately, even when it doesn't make sense on paper. He was able to get Kendrick Lamar, Wiz Khalifa, Michael McDonald, and Kenny Loggins on an album together—and make it all fit.

What Thundercat can do that no one else can is blend a distinct taste for dark comedy with thoughtful questions about existence and death. He has a song with fluctuating time signatures that orbits a hook demanding you "beat your meat, go to sleep." "Jameel's Space Ride" might sound like a lighthearted jaunt through the galaxy, but listen to the lyrics and another song emerges. It's this balance between Thundercat's musical knowledge and his real-life anxieties that makes Drunk stand alone in 2017, unapologetically weird and undeniably imaginative.—Graham Corrigan

Release date: October 6

The promise of Kelela's debut mixtape Cut 4 Me is realized on Take Me Apart, a brilliantly polished and sonically adventurous debut album. In 2013, Kelela made a stunning introduction with Cut 4 Me, blending timeless pop and R&B melodies with hard-edged electronic production from underground artists like Bok Bok, Kingdom, and Jam City. 

Those producers return on Take Me Apart alongside new faces like Ariel Rechtshaid and Arca as vocals and production work hand-in-hand throughout, Kelela's vision executed flawlessly. Blending sounds and genres in new ways can go horribly wrong, but Take Me Apart manages to sound familiar and totally new at the same time.

"When it comes to melodies, production, and sound in pop music, people try to be formulaic and solely concerned with what’s resonant in a way that is so cheap and ugly," Kelela told Interview. "It actually just devolves culture, ultimately. I wanted to make pop music in a responsible way, in a way that helps people connect without losing the layers or sophistication of complex, intersectional feelings." Mission accomplished.​—Alex Gardner 

Release date: May 26

It's unfortunate but true: some great art is fueled by drugs, alcohol, and turmoil. A lot of times, these are just the side effects of a creative, outside-the-box mind, and they typically end in self destruction. When an artist cleans up their act, the whole creative process can fall apart, but this doesn't always have to be the case.

When Gucci Mane was released from prison in 2016, it was obvious that he was a changed man. He was clean, fit, and his new demeanor even sparked an embarrassingly internetty clone theory. It was unclear how the music would be affected, but with Droptopwop, all doubt has been removed. Gucci Mane is a character, with or without the drugs, the belly, and the extracurricular activities. He's a one-of-a-kind oddball full of left-field charisma and a way with words completely unique to Guwop and Guwop alone.

Plus, Gucci's place in hip-hop history doesn't hurt. This man birthed half of today's popular rap scene in one way or another, and he can casually drop an album like Droptopwop, produced entirely by Metro Boomin and with features from Rick Ross, Offset, Young Dolph, and 2 Chainz, like it's no big deal. This is part of the fun of listening to Gucci Mane. You never know what you're going to get, when the magic is going to hit, and when a song like "Met Gala" or "Finesse The Plug Interlude" is going to sneak its way into your daily rotation. Droptopwop has plenty of these moments, and it's a positive sign that Gucci Mane is still a fucking legend, even if he is a clone.—Jacob Moore

Release date: March 24

There was no album this year as heartbreaking as Phil Elverum’s latest as Mount Eerie. Following a battle with pancreatic cancer, Elverum’s wife Geneviève passed last year. A Crow Looked At Me finds Elverum confronting her death and processing her absence in the days and weeks that followed. Stark and heavy—“barely music” as he put it—the album is an unflinching depiction of mourning. Death and the fragility of life loom over Eleverum’s lyrics like a tyrannical presence dominating every thought.

“I brought a chair from home,” he sings on the painful but deeply affecting “Seaweed.” Digesting how death goes from a profound concept to a very real part of life, he continues, “I'm leaving it on the hill / Facing west and north / And I poured out your ashes on it / I guess so you can watch the sunset / But the truth is I don't think of that dust as you / You are the sunset.” It’s devastating and plain-spoken, but it’s also one of the most beautifully poetic and complicated declarations of love ever committed to record.—Joe Price

Release date: July 7

In the middle of 2016, 21 Savage released Savage Mode, his collaborative project with producer Metro Boomin. Its lyrics are as dark as its production, with 21 unabashedly detailing a life full of violence and crime. That became the aesthetic associated with the young rapper. He was the grim, authentic voice from the street void of the vulnerability that had started to become evident in his hip-hop contemporaries.

When it came time for him to release his official debut, this same grisly, brooding voice was what we expected on the album. But it's not what we got. Instead, 21 showed an unexpected range as an artist, from lighter beats to even singing on a few tracks. He surprised us lyrically as well. Instead of solely focusing on the street life, he talks about wanting love and trying to make relationships work. "Wanna give a bitch my heart but I can't though," he raps on "Numb." It's another side of 21, one that adds depth to an artist who risked being pegged as a one-trick pony.

This shift is what makes Issa successful. To think that 21 can only become (and consequentially rap about) a product of his environment is reductive. If hip-hop today has shown us anything, it's that it's elastic enough to handle the multifaceted nature of personalities: rappers can be both emotional and tough, dark and goofy, contemplative and boisterous. With Issa, 21 proves we were wrong to ever put him in a box.—Katie Kelly

Release date: September 22

Moses Sumney has been making his signature brand of otherworldly, haunting folk-soul for years. When he spoke to us in 2013 about his track “Dwell in the Dark,” Sumney said, “I tried to write a song that, instead of the typical ‘you’re-no-good’ break-up song, gives perspective into the psychological trauma that causes us to treat people like they’re expendable.” That sentiment informs his full-length debut, Aromanticism.

It’s one of the most intimate albums of the year—Sumney’s vocals feel like they’re being spoken into your ear from inches away and his guitar fills the soundscape in a way that full bands struggle to do. Far from a collection of love songs, Sumney’s record focuses on the toll of loneliness and isolation in modern society (he gets to the heart of these themes on the barren, minimalist “Doomed”), and how our collective fixation on romance can be debilitating. Still, the album is filled with tender, beautiful moments. From the swirling strings and falsetto of “Make Out in My Car” to the swelling vocal harmonies of “Quarrel,” the arrangements on Aromanticism are so rich and alive that this often heartbreaking record is one of the easiest and most captivating listens of the year.—Grant Rindner

Release date: October 6

With his gruff voice, vivid street stories, and sly sense of humor, Giggs is a certified star in the U.K. and has been for years. Recently, America is starting to catch up, and whatever you think of Drake, he certainly put Giggs (or should we call him Batman?) in the mainstream rap conversation by featuring him on two of the hardest songs on More Life. Six months later, Giggs returned with Wamp 2 Dem, which was positioned as a mixtape, but was commercially released in partnership with Island Records.

Where his 2016 album Landlord, was a U.K. centric affair, Wamp 2 Dem looks abroad. Young Thug, Popcaan, 2 Chainz, Zaytoven, and London on da Track get involved alongside D Double E, Footsie, Donae'o, and rising star Dave, who steals the limelight on "Peligro." "People wasn't really respecting England," Giggs told Beats One. "Wamp 2 Dem was more showing where we're coming, [explaining that] we're the same as you." Putting his English flair on the type of beats that American listeners are used to hearing, Giggs further cemented his legacy with Wamp 2 Dem, reaching out to a new audience without sacrificing any integrity.—Alex Gardner

Release date: May 5

Against all odds, Mac Demarco has accepted that he can’t always be a goofball. The overarching theme of Mac’s latest, This Old Dog, is how things can’t always stay the same. Lamenting strained relationships and addressing how he’s never really got to know his dad, This Old Dog seems, at first, out of character. Moving beyond his reputation for wild onstage antics and offbeat humor, Mac is beginning to accept what it means to be human.

More developed musically and lyrically, the album is Mac’s most impressive. It's is still identifiably him, but there’s a hint of sadness throughout that album that makes it feel like a major step forward. That friend that’s always eager to make a joke is facing up to life, and he's not taking it as well as one might hope. Listening to This Old Dog isn't the same carefree experience as Mac’s previous output, but because of that, it is essential listening.—Joe Price

Release date: April 14

When Cousin Stizz came to New York to shoot for the Who is Cousin Stizz? video, I remember asking him who his favorite rappers are right now. Without hesitating, he named only one: Playboi Carti.

I didn't understand how that was possible. At the time, Carti seemed like an average rapper with lots of charisma and a knack for simple hooks and cool beats. How could he be anyone's favorite rapper? But I trust Cousin Stizz, so I kept listening. The more I listened, the more I liked Carti. A couple months later, we were at an Airbnb in Miami for a shoot with Trippie Redd, and Playboi Carti was blasting. For the first time, it clicked—Playboi Carti is the best.

Carti is a master of his own lane. He's got it down to a formula, and with enough variation to not sound played out, Carti nails it time and time again on his self-titled debut. His effortless allure is difficult to define and even harder to replicate (his clones are all boring and monotonous), but the combination of his nonchalant delivery, melodic but charmingly under-produced beats, and those simple ass hooks works every time.

Now, when people say they don't like Carti, I understand. But just know, if you spend enough time with Carti, it might start to click. And once it does, his album is one of the few projects from 2017 that you can play from front to back without skipping, and each week you'll have a new favorite song (right now mine is "Location.") These days, that kind of album is rare, and few artists have the attention span to stick to one sound for a whole album. Maybe the key is to just keep it simple, and don't try so hard.—Jacob Moore

Release date: July 7

Toro y Moi came through with the feels on this one. Chaz Bundick (now Chaz Bear) has always had a knack for creating emotional textures in his music. For Boo Boo, he nestled into the turmoil of a 2015 breakup, moved to Portland, and got to work on his 808s.

It's amazing how much he's able to do with a few drum patches and synth pads—the album has a consistent tone throughout, but it never walks the same path twice. Instant classic "Girl Like You" is the personification of late-night cool, while eerie cuts like "Window" and "Pavement" seem depthless, wandering ruminations on a simple melody that stretch and bend like oil in water.

But Toro still has a soft side. "You and I" shows there's hope yet, and "Labyrinth" feels like the kind of bittersweet love song Fleetwood Mac would write if they were still around. If this is Toro's heartbreak album, here's hoping he doesn't need to do it again. This one's near-perfect. —Graham Corrigan

Release date: April 26

Rex Orange County is a teenage singer, producer, and multi-instrumentalist from the U.K., and on Apricot Princess he is unashamedly himself, singing autobiographical lyrics that can't help but put a smile on your face. "When we first spent the night / Nothing else would ever feel that way," Rex sings on "Nothing," the third song on the album. "I'm glad I'm not alone anymore / Is this too good to be true?," he sings on the next song, "Sycamore Girl."

He taps into the awkwardness and pure, giddy joy of young love and captures the trials and tribulations of growing up through his intimate songs, which mix indie rock, R&B, jazz, partially rapped verses, and melody driven ballads. Rex Orange County packs a lot into his songs, which sometimes take unexpected twists and turns, but his songwriting ability holds everything together on Apricot Princess. Since its release, his profile has risen tremendously with features on Tyler, The Creator's album, a live performance with Skepta, and excellent new singles like "Loving Is Easy." It feels as if it's just the beginning for Rex Orange County, but whatever is in store for him, this album remains one of 2017's most intimate and exciting projects.—Alex Gardner

Release date: July 14

With her second album as Japanese Breakfast, the artist born Michelle Zauner catapulted herself into our collective consciousness. She had already made waves out of Philadelphia as part of Little Bit League and released Psychopomp in 2016, but Soft Sounds From Another Planet is one of those albums whose ambition and scope is immediately apparent.

Every song is a tide, guitar riffs reflecting off Zauner's aching voice to push or pull the listener deeper into the cosmos she's creating. Singles "Machinist" and "Boyish" are surprising for their lack of immediacy rather than an immediate hook—but they're hits despite, or perhaps because of, that distance. Throughout Soft Sounds, the artist seems intent to keep us at arm's length, like a night sky viewed from afar.

For that reason, it's an album in the truest sense of the world. There are plenty of standout moments, but the full extent of the best indie-rock album of the year is only felt when heard in full. With lyrics that confront the infinite and immediate in equal measure, and arrangements that recall the golden age of shoegaze, Japanese Breakfast has created something wholly new.—Graham Corrigan

Release date: November 10

It’s a sign of innovation when there’s no one to compare an artist to. When Yung Lean made his debut back in 2013, it was clear he was paying tribute to his favorite American rap. Now, with the gorgeous Stranger, it’s impossible to make comparisons. Removed from his off-kilter amateurish slur-rap and instead full of luscious production, fantastical lyrics, and stunning melodies, the album is the artistic breakthrough he’s always hinted he’s capable of.

Last year’s Warlord showed Yung Lean in a bad place, enveloping himself in darkness. With Stranger, he’s showing that it’s necessary not only to overcome darkness, but to live with it. “When I’m afraid I lose my mind / It’s fine it happens all the time,” he sings on “Agony.” At peace with the sadness that defined his output throughout the years, Stranger has Lean reaching his full potential. When he rapped about his emotions in the past it came across as ironic, but now it’s something he conveys with conviction.—Joe Price

Release date: January 27

Back in January, we listed Migos’ then-forthcoming album Culture as one of the most anticipated albums of 2017, and it did not disappoint. After their No. 1 single “Bad and Boujee” blew up towards the end of 2016 and carried its momentum into the new year, it was clear Migos had finally reached a new, unstoppable place. Culture not only came at the perfect time but was a solid packaging of everything the trio does so well.

With 13 tracks, Culture doesn’t miss a beat. Quavo, Offset, and Takeoff each deliver fast-paced verses accompanied by infectious melodies, fun ad-libs, and singalong choruses. Often, artists have to change their style or persona in order for their career to reach new heights, but Migos have stayed true to themselves and continued to represent their city as they earn the international love they deserve. Many of us already knew and appreciated how great Migos were, but Culture helped solidify their spot as leaders in contemporary rap music.—Adrienne Black

Release date: March 31

Kodak Black's debut studio album opens with a collection of local news sound bytes that outline his legal troubles—a fitting intro for a project surrounded a long list of distractions including ongoing court dates, bizarre morning show appearances, and feather-ruffling quotables including: "I'm better than Tupac and Biggie." But as Painting Pictures settles into its groove, we're reminded why we put up with all of this. At only 20 years old, Kodak Black is one of rap's most intriguing characters, possessing a distinct style that stands out from his peers.

On his studio debut, Kodak sounds more polished than we've ever heard him—rapping over intoxicating beats from guys like Metro Boomin and Mike Will Made It​ that make up a canvas for his colorful lyrical imagery. In the same way that the simple illustrated album cover is immediately recognizable as Kodak, when you hear the young Florida artist rap for a few seconds on any of these songs, you immediately know it's him. Whether it's his unique way of describing the world he sees around him or little melodic decisions that no one else would consider making, everything about this project feels true to Kodak himself.—Eric Skelton

Release date: February 3

When you are known for being a part of a collective—first with Odd Future, then three albums later with The Internet—it can be hard to establish yourself as a solo artist. But for Syd, that jump was seamless, and Fin is a perfect example of how a solo debut can establish an artist's unique outlook and approach. The album oozes sensuality, and at first glance Fin is a highly polished R&B album, one of the year's best. Beneath the surface of each slick, experimental, and subtly soulful track is a perspective less heard. Fin is the embodiment of the confident independent woman who's in complete control, and the result makes for a tantalizing and inspiring listen.—Joyce

Release date: October 31

21 Savage, Metro Boomin, and Offset were each having incredible years for themselves when they met on Without Warning this October. Over the years we’ve seen that big name collaboration projects usually have a difficult time living up to expectations, but this is the exception. Metro’s menacing production brings out the best of both 21 and Offset as they weave dark, intimidating verses together throughout the tape (which appropriately dropped on Halloween).

The two rapper's personal styles exist on opposite ends of the rap spectrum, but they make a compelling duo on Without Warning. 21’s slow, methodical flow provides the perfect foil for Offset’s colorful delivery and chirping adlibs. There’s something incredibly satisfying about hearing 21 come in under Offset’s “Woo! Woo! Woos” with vicious lines like, “Kim Jeong, yeah big bombs / Wonder Bread man, make your bitch lick crumbs.” That’s scarier (and more interesting) than any horror movie I could have watched this Halloween—and it’s still on repeat months later.—Eric Skelton

Release date: May 12

J Hus album for the #1 spot was really all that was on my mind as the P&P team was debating our ordering for this list. Well, we couldn't quite all agree on that, but as everyone who listens to this album soon realizes, Common Sense is a special debut. In a way, the British artist is like Drake—a rapper who can sing, a songwriter with a brilliant ear for melody—but where Drake feels like an outsider trying on different sounds and styles like costumes, J Hus inhabits the very fabric of the music. There's the influence of the African music that his Gambian parents played him, the sounds of grime and dancehall that surrounded him growing up in London, and the mid-2000s rap that inspired him to pick up the mic.

All this manifests itself in a varied album that is held together by J Hus's charisma, whether he's crooning about making love ("Closed Doors," "Like Your Style"), rapping about going to war ("Clartin," "Goodies"), or toasting his success over sparkling production ("Did You See," "Common Sense"). Executive producer and long-time collaborator Jae5 deserves a lot of credit for the richly textured beats across the whole album, but the biggest takeaway has got to be J Hus's incredible hooks, melodic moments that pop up on almost every track.

Highlights abound, but the personal storytelling on "Spirit," "Who You Are," and "Leave Me" give moments of honesty that might stick with you long after you've finished dancing to "Good Time." From London around the world and back, J Hus is providing a blueprint for the future of global rap and pop music.—Alex Gardner

Release date: February 3

Sampha's album was a long time coming, but you can't rush greatness. Since he debuted on Young Turks with the Sundanza EP in 2010, Sampha had released just one solo EP, 2013's Dual, before his debut album Process came out this year. In that time, however, he made an album with SBTRKT and toured it around the world, worked with superstars Drake, Kanye West, and Frank Ocean, and dealt with the loss of his mother, who passed away in 2015.

Sampha attempts to make sense of that loss across the soulful album, while themes of home and belonging also feature prominently. The beautiful Process film, directed by Kahlil Joseph, was shot in Sampha's parents' hometown of Freetown, Sierra Leone and the area of London where Sampha grew up. It's an essential companion piece, helping draw out the album's themes, giving more context to lyrics like, "I don't know which way to go now / Don't know which way is home now," from "Timmy's Prayer."

With polished production that ranges from spare piano to upbeat electronics, and Sampha's glorious voice front-and-center, Process is a bold debut album from an artist who I'll still be listening to when I'm 70.—Alex Gardner

Release date: October 13

This year was a bit of a clusterfuck across the globe, but the return of King Krule was a silver lining. The Ooz runs an hour long, but by the time you've gone through all 19 tracks in one sitting you won't be ready for it to end. On this record, Archy Marshall doesn't just let the listener into his complicated mind, he tears himself wide open. King Krule slowly reels you in with the moody "Biscuit Town" before dragging you across the floor and into the pit with angst-ridden tracks like "Dum Surfer” and “Half Man Half Shark.” For every punch, there’s a mellow interlude slipped, in like “Sublunary” or “The Cadet Leaps,” so you have enough time to recover before the next blow. All the while, Marshall's deep howls and yelps bring the songs to life as he shouts tongue twisters about various struggles triggered by his former muse.

There's a lot of noise on The Ooz as the band veers from jazz to punk and R&B. At first glance, this mix of styles could be jarring, but King Krule makes it work. His voice is supported by a combination of guitars, saxophones, drums, keyboards, and bass that give the songs a rich texture. There are moments where the emotions stirred up on these songs feel both suffocating and exhilarating, but the bite is worth the pain.

Ultimately, this is a body of work that shows tremendous growth from an artist who is still trying to figure out how and where to leave his mark on the world. In the end, he’s building the road to his bright, blue future and The Ooz is an indication that he's making great strides.—Sydney Gore

Read our interview with King Krule here.

Release date: July 21

When Flower Boy dropped, most of the headlines were focused on revelations about Tyler, The Creator’s sexuality. But as we spent more time with the project, it became clear that the enduring legacy of Tyler’s fourth studio album will instead be the turning point it marks in his career arc. It’s rare that we see artistic growth from an artist as substantial (and sudden) as the evolution that took place between Cherry Bomb and Flower Boy.

Tyler has been talking about his love of pretty chord progressions and jazzy arrangements since his earliest days with Odd Future, but at the time he was known as a wild, aggressive rapper. Occasionally, Tyler tried his hand at these sounds on early projects, but he often fell flat—his technical ability didn’t yet match his ear. On Flower Boy, that changes. Tyler gives up his shocking, fictional raps in favor of nuanced introspection and pulls off truly beautiful moments on songs like “Boredom” and “Glitter.” His famously deep voice doesn’t translate as well to these delicate melodies as they did on his early material, so he wisely defers these duties to a talented young crop of singers that includes Rex Orange County and Anna of the North. 

Tyler doesn’t totally leave his old fans out of the fun, either, balancing the tracklist with some of his hardest-hitting rap songs yet: “I Ain’t Got Time!” and "Who Dat Boy." Flower Boy is a whole lot more than a coming out record—this is the moment a visionary artist finally started working with a sharpened tool set.—Eric Skelton

Release date: March 10

There's always this unexplainable feeling that takes over when I hear a great song that has the bars to match—the shit that makes you make a screwface. In 2017, it seems to be an increasingly infrequent occurrence. Young rappers are pushing hip-hop forward with genre-defying blends of melody, modern hip-hop production, and quasi-rapping, but the emphasis is shifting away from the technical skills that great rappers were once judged on. It's not a good or bad thing; it's just how it is.

The shift in style is part of what makes J.I.D and his album The Never Story so special. There are moments when you start to feel sympathy for the beat as the Atlanta rapper attacks with line after line, barely taking a moment to breathe. He snaps on this album, and it's a reminder that hearing real rapping can be such a powerful experience.—Eric Isom

Release date: February 17

At this point in my life, Future is like a gospel artist to me. Not like Lecrae, either—no offense. I'm talking a Kirk Franklin, Fred Hammond gospel artist. Time and time again Future digs deep into the many hardships he has gone through in order to uplift, encourage, and entertain us. When FUTURE came out, there were some who thought—and maybe even prayed—that this would be the beginning of the end for Future Hendrix. I was not one of those soulless haters.

Future slapped doubters in the head with "Mask Off" and took over the streets, clubs, and cars nationwide like he seems to do every year. The 17-track project features an aggressive introduction with "Rent Money," fun cuts like "Draco," and of course records like "Feds Did A Sweep" that dive deeper into the darker side of the Atlanta superstar's past. And once the early standouts got played out, the less obvious hits like "Might As Well" and "I'm So Groovy" all started sounding even better. Future's still got it, thank God.—Eric Isom

Release date: June 23

Don't ever try and put Vince Staples in a box. He's not a gangsta rapper, he's not a conscious rapper, he's not an alternative rapper. He's an artist. Big Fish Theory, Staples' second studio album and eighth project since 2011, is a bold, boundary-pushing release, unconcerned with expectations.

As on his previous albums, Vince is still an incredibly talented rapper, with sharp observations on topics like celebrity, race, discrimination, and coping with success. On opening track "Crabs In a Bucket," for example,​ he raps, "Battle with the white man day by day / Feds takin' pictures, doin' play by play / They don’t never want to see the black man eat / Nails in a black man's hands and feet." The subject matter doesn't lighten up, and even when Vince is celebrating his wins on tracks like "Big Fish" with Juicy J, it's framed in terms of the contrast with his younger self's past misfortune as a young man in North Long Beach.

This time around, however, Vince is rapping over wildly experimental beats from producers like GTA, Jimmy Edgar, Flume, SOPHIE, Christian Rich, and Zack Sekoff. Elements of techno, UK garage, and house music make their way into the mix, but the overarching theme is an experimental approach to electronic production, with no regard for arbitrary genre limitations. Zack Sekoff, a 21-year-old producer from L.A., produced five tracks and served as a sort of in-house producer, helping translate Vince's vision into a cohesive whole. "I've felt over the last few years that there's been this idea that everything’s been done already," Sekoff told us. "Vince and I just didn't buy that. We didn't buy it and we realized that a lot of our favorite stuff happens when people do the unexpected."

Big Fish Theory was certainly unexpected, and it was a risk, too. At a time where so much music feels stale and re-processed, made to appeal to a specific audience or follow a trend, artists like Vince Staples are essential. "I’m not worried about hip-hop culture. I’m worried about people, and where I come from. I don’t really care to be a rapper—I’d rather just be myself," Vince told The Guardian in 2015. On Big Fish Theory, he stayed true to his word—Alex Gardner

Release date: August 25

When Daniel Caesar released “Get You” late last year, it was a precursor to just how special his album Freudian would be. On its own, “Get You” is brilliant; far from generic, clearly dedicated to someone in particular, written with honesty and passion. These same qualities run through Freudian as a whole.

Caesar writes from a very personal and vulnerable place. Because of this, each track feels intimate—as if we’re eavesdropping on a private conversation between a couple that we weren’t meant to hear. At 10 songs, it's cohesive and concise, too, giving us a front row seat to experience his pain, frustration, love, lust, admiration, and really everything in between. By the time this emotional roller coaster comes to an end, it’s apparent that Daniel Caesar has managed to combine sadness, euphoria, nostalgia, love, and just a bit of lust into one of the year's most impressive artistic statements.

R&B returned to a beautiful place in 2017, and Daniel Caesar—with his debut album, nonetheless—must take much of the credit for this.—Adrienne Black

Release date: June 30

Jay-Z’s thirteenth studio album is also his most open and honest. The cryptic teaser art made it feel like this could be another case of style over substance, but Jay-Z left any semblance of chasing trends in the past, opting for something on the complete other end of the spectrum to Magna Carta Holy Grail and The Blueprint 3. With No I.D. serving as co-architect, Jay crafted a sonic palette of samples at once familiar (Nina Simone, The Fugees, Donny Hathaway), and completely unique in this context; it’s a record that sounds expensive but isn’t lacking in heart or depth. 4:44 is a meditation on wealth, race, legacy, and family made poignant by Jay’s maturity and the well-documented struggles to keep his marriage to Beyoncé afloat.

The record is full of killer bars (“I'm clear why I'm here, how about you? / Ain't no such thing as an ugly billionaire, I'm cute” on “Family Fued,” “I don't even know what you woulda done / In the future other n***as playin' football with your son” on “Kill Jay-Z”), and even when it turns into less of a rap album and more of a TED Talk on tracks like “The Story of O.J.” the product is never less than fascinating. More and more rappers are crossing into their 40s, and by making a record that puts his remarkable career and personal life into perspective with unflinching honesty, Jay demonstrated a path for graceful aging in hip-hop. Granted, most artists don’t have his savvy of 30 years in the game, but this is the sharpest his writing has been since 2007’s American Gangster.

Between the fascinating music videos, powerful tour, Brink’s truck of Grammy nominations , and frankly some pretty good memes, 2017 has truly been Jay-Z’s year. Maybe 2018 will be too—4:44’s success made us even more excited for the Jay-Bey album the pair have (apparently) recorded.—Grant Ridner

Release date: December 15

Saturation III wrapped up a landmark year for Brockhampton. With three albums, each better than the last, they’re intent on leaving a legacy. Just like Odd Future before them, Brockhampton is redefining the possibilities as a group of young creatives and they’ve set a remarkably high benchmark for themselves. Before its release, the group hinted that this would be their last studio album, and while we’re glad it isn’t, Saturation III would have been a phenomenal closing statement.

While the first two albums often celebrated their own chaos, the final entry in the Saturation trilogy sounds like a carefully rehearsed routine. Tracks like “Liquid,” “Boogie,” and “Bleach” see each member expressing their individuality while contributing to the larger vision, and everyone serves an important role.

But what makes Brockhampton so special, on Saturation III in particular, is how inspiring their comradery is. All three albums are a tribute to their friendship, chemistry, and creative ambition. There are lines by members Merlyn Wood and Kevin Abstract that seem to only aim for a laugh, but they sit next to lyrics tackling sexuality, race, and mental health. Brockhampton, more than anyone else this year, deserve to be crowned the best act of 2017.—Joe Price

Release date: June 16

When Lorde released "Royals," she faced some serious backlash and issued a response, which consisted mostly of explaining that she wrote that song when she was 15 years old, and was just 17 when she released it. She was still learning, and her perspective as a teenager in the small, isolated country of New Zealand shaped her outlook of the world.

It's been almost four years since then. Lorde is 20 years old now, and she's been spending a lot of time in New York City. Instead of the naive teenager we heard on Pure Heroine, she re-introduced herself as a self-aware young adult on Melodrama. Instead of commenting on things from the outside, she's in it. "Every night, I live and die / Meet somebody, take them home / Let's kiss and then take off our clothes / It's just another graceless night," she sings on "Perfect Places." She's speaking from experience in a way that gives these songs more weight than anything on her debut.

She's growing up musically, too. Instead of sticking with the sparse, rap-inspired beats that Joel Little supplied on Pure Heroine, she tapped Jack Antonoff—who's put in work with Taylor Swift, fun., and Bleachers—for an executive producer role. The result is a bigger, more ambitious pop approach, but there are still signature Lorde moments (the dramatic, drumless "Writer in the Dark" or the two-for-one "Hard Feelings/Loveless") that are more left-field than your typical, radio-friendly pop.

The thing that hasn't changed is Lorde's songwriting. She's a brilliant pop writer, and songs like "Perfect Places," "Green Light," "Supercut," and "Homemade Dynamite" are driven by undeniable melodies and hooks. That talent is what got Lorde this far in her career, and it's beautiful to witness everything else falling into place as things tend to do in any good coming-of-age story.—Jacob Moore

To learn more about Lorde's long path to stardom, watch this.

Release date: June 9

Last year felt like an incredible moment for music written by and written for black women, with powerful albums from both Beyoncé and Solange at the forefront. Thankfully, we don’t have to come down from that high just yet. After months of delays, SZA finally released her debut album Ctrl in June and one listen was enough to realize why there was such a wait. Ctrl is written with the sort of raw honesty that cannot be fabricated, only documented after it’s been lived. The wait for this album now feels absolutely worth it.

In 14 tracks, SZA unfolds the story of a young woman learning to love herself. She holds herself accountable for all of her flaws, openly admits to her mistakes, and sings about topics many would be too ashamed to tackle. There are countless songs about cheating or being cheated on, but very rarely do we hear about the insecurities that influence these decisions. From the beginning to the end of Ctrl we follow SZA as she goes from being a shy girl, looking for security and affection in all the wrong places, to a bold powerhouse who understands how each of these mistakes have molded her into the confident woman she is today.

There are moments when lyrics might hit painfully close to home, paralleling our own lives and reminding us of memories we tried our best to bury. However, this isn’t about self-loathing, just acceptance and growth. SZA has blossomed into an entirely new woman—and artist—before our eyes. She’s in full control of her life now, and she’s only reached this point by admitting her flaws, revealing dark truths, and using that as a foundation to build herself up into someone she can be proud of.—Adrienne Black

Release date: April 14

God, I've been dreading this blurb. Like, what more is there to say about Kendrick Lamar? He's the best rapper alive, you could spend a lifetime dissecting his art. Plus, I'm not even qualified to write about albums. These days, I'm ashamed to admit how I really consume music—I mostly listen to playlists, overdose on singles, and spend way less time than I should with full albums. I'm a product of spending over a decade on the internet taking in as much music as I possibly can and blabbing about it through blog posts and list blurbs. Fuck.

After releasing To Pimp A Butterfly and untitled. unmastered., I worried that Kendrick Lamar was taking a difficult path to greatness that fought against the immediacy of the age of streaming and my own re-wired brain. Those projects are great, but they're not made for people who listen to music the way I, and a lot of younger fans, do today. They are albums that demand time, attention, and brain power. The barrier to entry is high, even though the payoff is great.

DAMN. is different. It's still smart, still layered with Kendrick's masterful storytelling and musicality, still nuanced in ways that make other rappers look inferior. It's complicated, emotional, and packed with commentary on society and harsh self-evaluation. But it's also accessible enough to hold the attention of a listener like me. Without dumbing it down, Kendrick managed to make an album that is immediate, anchored by inviting production, hooks that stick, and deliveries that aim to do more than just flaunt technical skill.

Kendrick Lamar is the best rapper alive not just because he's the best rapper alive, but because he's able to move and inspire people in ways that no rapper since 2Pac has done. With DAMN., Kendrick humanizes himself both lyrically and sonically, making something that is equally challenging and enjoyable. In 2017, that is a colossal accomplishment.—Jacob Moore