I understand that the year end list for this particular genre is noticeable shorter than my previous post regarding the year’s conclusion.
This stems from nothing more than the fact that 2017 had an underwhelming amount of selections that stood out for me in particular. There was undoubtedly a large selection of rap albums I found were good, but not necessarily great. This blog runs entirely on my abrasively honest opinion. Here are five Hip Hop albums in particular I felt stood out in 2017.
#5)
Joey Bada$$-All Amerikkkan Bada$$
Hailing from Brooklyn, 22-year-old Jo-Vaughn Virginie Scott (aka Joey Bada$$) delivers a sophomore LP illustrating an interested parallel between him and Compton rapper Kendrick Lamar.
For those who followed this blog around the time it started, I praised Scott’s debut as the “Illmatic of 2015.” B4Da$$ absorbed the sentimentalities of 90’s East Coast Boom Bap like a sponge and easily remains my favorite Hip Hop/Rap release of that year.
As the title implies, All Amerikkkan Bada$$ dives head first into politics in the vein of To Pimp a Butterfly.
Scott’s lyricism here is more simplistic and abrasive covering issues such as police brutality, racial identity, and the horrors regarding the normalization of white supremacy in America.
#4)
Raekwon–The Wild
Raekwon needs no introduction.
The Wu Tang veteran dropped his seventh solo LP earlier this year (and first absent of features from fellow Wu Tang members.) The Wild proves beyond a shadow of a doubt the Brooklyn-based MC can hold his own while progressing forward and allowing his flow to evolve with the times.
#3)
Kendrick Lamar–DAMN.
Compton-based MC, Kendrick Lamar, scores three for three delivering a third LP proving yet again he can follow up a classic with another classic.
DAMN relies less on nostalgia slightly distancing itself from the jazzy, boom bap production found on To Pimp a Butterfly.
While still heavily dabbling in political lyricism, DAMN feels less like a cultural rally than his previous effort and more like a personal narrative. The album provides a much more modern, radio-friendly appeal akin to his debut, but Lamar’s flow and tempo-shifting bars remain as unique, unpredictable, and impressive as records past.
#2)
Dälek–Endangered Philosophy
Jersey-based hip hop group Dälek remain far more obscure than they should be despite six fantastic records spanning across two decades experimenting with Hip Hop/Rap in ways most artists could barely dream of.
Perhaps such obscurity is self-inflicted due to constant genre-blending and boundary pushing dabbling in Shoegazing and harsh, industrial drone.
Endangered Philosophy is a politically-centered record utilizing droney production to invoke a sense of spacious atmosphere.
#1)
Lulls in Traffic–Rabbit in the Snare
I’ve been patiently waiting for this album for six years and I am pleased that it exceeded all of m expectations and stands as my favorite Hip Hop/Rap album of the year.
For those of you unaware, Lulls in Traffic is a musical duo consisting of Copeland’s Aaron Marsh performing vocals/instrumentals/production alongside Russian MC Ivan Ives.
Ever since Copeland released You Are My Sunshine (which I consider to be their magnum opus) it became clear Marsh’s pipes we’re the group’s biggest strength. I remember thinking to myself the first time I heard his stellar falsetto on “Should You Return” how incredible it would be if Marsh channeled his vocals skills and songwriting abilities into a solo R&B/Pop record.
After Copeland split in 2009 and Marsh focused on production, my pipedream became more and more real. In 2011, Lulls released their first single “The Rope to Pull Yourself Together” and I had been in deep anticipation ever since.
Rabbit in the Snare is a masterpiece honing in on all the strengths that made Copeland’s later work so memorable. I hear a lot of complaints about Ive’s vocal performance being underwhelming in comparison and waving the album down, but his lyrical content far outweighs what many consider to be a lackluster flow. I view Ive’s work on this LP more as delicate spoken word gently coinciding with the beautiful ambience Aaron generates.
Highly recommend this record to anyone that loves Copeland, the “PBR&B” movement (Frank Ocean, Inc no world, How to Dress Well, etc.) and Post Rock/Indie acts such as Foxing or Caspian. The composition here is outstanding, and Marsh still remains one of my favorite current songwriters.