Please Don’t Be Mad
Before I start this list, I’d like to note that there are still projects I need to listen to more before rating/ranking. There’s still plenty of “year” to get through, and I’m bound to change my opinion like Deandre Jordan in free agency. I feel quite strongly that these projects will be top albums at the end of the year. So, keep on reading to see what some random teenager on the internet says are the 2019 album of the year candidates at the midway point. If you disagree, feel free to send this to all of your friends and have them refresh the page constantly.
Little Simz – GREY Area
Undeniably claustrophobic and jazzy, Little Simz’s “GREY Area” single-handedly puts herself in the best female rapper category. Now, sitting amongst the Noname’s and Rhapsody’s of the world, she pens herself as braggadocious yet vulnerable. She’s someone with the confidence to step to any other rapper lyrically but open and sincere enough to win the heart of the listener. This album comes across as a period of realization in her, as the world is starting to make more sense with age.
On the opening track, she sets the stage for an album that holds nothing back, exclaiming “I said it with my chest, and I don’t care who I offend.” On “Selfish,” Cleo Sol delivers my favorite chorus of the year so far. “Venom” is leagues better than Eminem’s song of the same title and is a pure display of confidence. The lyrics are witty, with little to no filler anywhere. I have no real complaint, and the only thing keeping it from a 10, personally, is that it simply doesn’t awe-inspire as a “classic” album does. It’s just a really great rap album, which, as far as I’m concerned, is perfectly fine.
9/10
Tyler, the Creator – IGOR
Tyler is the first solo rapper to ever have a #1 Billboard 200 album that was self-produced and self-arranged. The validation and weight from that sentence should be enough to put Tyler in the AOTY conversation immediately, but I still have to tell you how good the album is. Described by Shawn Cee as “synth porn,” this project is a crown jewel of adventurous yet familiar production for rap. It sounds like a firmware update to “Flowerboy” that was programmed by Kanye West and Pharrell Williams. The fantastic chords and stellar arrangements are here again, but instead, it’s filtered through a “Cherry Bomb”-like distortion that will either endear or annoy the listener. It wears its influences without drowning in it.
“Earfquake” is the main single that will come from this album. It appeases the masses while still carrying the value of the rest of the project. “New Magic Wand” feels like a much longer song and journey condensed into this rush of sound that’s heavy yet neat. “Puppet” features probably the best example of a proper rap verse on the album. It fits into the story seamlessly and acts as a bridge between halves of the album in the “IGOR” arc.
The presentation of the story on “IGOR” is intriguing and starkly contrasts Tyler’s last project. With “Flowerboy,” it came across as Tyler exploring all his thoughts behind the veil of emotion. On “IGOR,” the love story is presented in a simple order of emotions that dive enough to pick out details but leave the characters up to the imagination. If you like older Tyler, you might not like it. It’s one of the most interesting releases this year and is the first project where the “mainstream” is realizing Tyler’s talent. That, in itself, is a win.
8.5/10
Freddie Gibbs and Madlib – Bandana
In 2014, Freddie Gibbs and Madlib teamed up for what would become a cult classic in “Pinata.” The legendary producer (Madlib) and cocaine concierge (Gibbs) were able to put together a project of absolute bangers. It had the gritty, lo-fi production we’re used to with Madlib, met with Gibbs sinking his teeth into every corner of instrumentation with his dynamic flow and razorblade sharpness. That project was beloved by many. So, when a sequel was announced, it had high expectations. Lucky for the two artists, the project lived up to them.
Production-wise, it’s exactly what you’d want from Madlib. Soul samples repurposed into a modern beat while maintaining it’s vintage and rugged flavor. It’s amazing, but Freddie takes the spotlight on this project. Topically, Freddie is open about his lifestyle and his opinion on the social climate. His focus is no doubt indebted to his time in prison in Europe (he was falsely accused of sexual assault and acquitted of all charges in court), as his thoughts are poignant, unapologetic, and precise. He presents a world lost in greed and grit, only to zoom out into the world we all know.
Lines like “Every mornin’ I wake up with my daughter, Dora Explorer; Then I get right back to the pot” juxtapose the criminal with the normal, blurring the lines between good and bad. There are tracks that feel insignificant amongst the aggressive and passionate Freddie performances, which is a problem. But, it’s still another successful MadGibb collaboration. The best songs, personally, are “Palmolive,” “Crime Pays,” and “Fake Names.”
8.5/10
Injury Reserve – Injury Reserve
Even when the trio named Injury Reserve (made up of Parker Corey, Ritchie with a T, and Stepa J. Groggs) recorded their first two projects, “Live From the Dentist Office” and “Floss” in the dentist office they worked in, their musical pallet was vibrant and explorative. Simply, they’re a group of friends exploring a shared passion and love. They weren’t afraid to take risks and that hasn’t stopped with their self-titled debut album. Mostly electronic and smooth, the production is hard-hitting and sets fantastic moods for each track’s purpose.
“Jailbreak the Tesla” is bouncy and futuristic, even going as far to sample a tire squeak in the production. Amine delivers a charismatic and clever verse that’s intertwined with the production’s purpose. On “What A Year It’s Been,” Groggs and Ritchie set a mellow, low tone with the whining instrumental supporting some spoken word. Almost halfway through the song, the instrumental introduces a series of clashing drums that are met with an aggressive and explosive verse from Ritchie. The song ends with a Kanye-like segment. The song is sonically diverse, delivered powerfully, and lyrically clever. It’s songs like this that make you realize their talent. Some tracks never come close to that bar. However, listening all the way through won’t leave you dreaming about a specific song.
8/10
Maxo – LIL BIG MAN
The “Lo-Fi Hip-Hop Music 24/7” may soon become a visible step in the progression of popular rap. The rough mixing and mastering of more low-key beats isn’t a new discovery. Its sudden rise in popularity could make way for a new sound in the mainstream (think Jocelyn Flores). Now, while this project is part of the growing subgenre, it won’t take a stab into the mainstream’s consciousness. Instead, it’ll float around aimlessly amongst the r/HipHopHeads user’s sphere and prove that this sound can be used for classic hip-hop focuses.
The imperfections found in the lo-fi instrumentals provide a human backdrop, giving more life to the focus of this project-humanization of those in the “street life.” Maxo often reflects on the same worries that many of us have and questions all the people that judge him, while articulating struggles the middle class can’t understand. “Crown Heights” features a jazzy saxophone while Maxo pens a song on pushing through his problems. “In My Penny’s” explains his frustration with a lower-class childhood. “Kinfolk” tries to grasp why humans act the way they do with each other. It’s unique in that it’s a more personal reflection rather than a political statement. The project does hit points of sluggishness, and the choruses lack of structure give way to boredom on some occasions.
7.5/10
Twitter: @CJPerSources
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Also, read my latest article on Tyler, the Creator and Kanye. My mom loved it, so you will too.