Favourite Albums of 2018: #25 to #21

#25. Redemption, Jay Rock


From the most battle-hardened rapper from TDE, this triumphant record is a refined collection of songs that display Jay Rock’s storytelling and imagery-laden lyricism, with better production and more focus than he’s had on previous albums. If you were looking for hardcore West Coast hip-hop, there were few albums in 2018 that could sate your palette better than Redemption.

Listen to: The Bloodiest, OSOM ft. J. Cole

#24. ye, Kanye West


2018 has been the hardest year to be a Kanye fan thus far – a lot of his words remain indefensible. But through the chaos, his music retains a strange clarity. There is the occasional trademark Ye smirk aimed at the reactions to his antics, but this is an unflinchingly inward-looking album, at times more biting than some of his better efforts. It’s clear that the point Kanye makes throughout the (extremely short) runtime of ye is that this is a platform to declutter, to work through his mental health issues, however messily. It’s not the perfect way, or even advisable – but it is very much Kanye, for better or worse.

Listen to: I Thought About Killing You, Ghost Town

#23. TA13OO, Denzel Curry


Denzel Curry is one of the most technically skilled rappers around right now, but on TA13OO he uses his gift on the mic to create a well-crafted conceptual album with darkness as the leitmotif. Its three acts tackle the corrupting effects of his environments, fame and betrayal over atmospheric production that accentuate Denzel’s acrobatic flow. At a time where hip-hop is grappling with its less-glamorous side in complicated ways, this album stands as an uncompromising, incisive effort that proves you can tackle heavy themes with deft technicality. Looking at you, Eminem.

Listen to: Cash Maniac ft. Nyyerja, Clout Cobain

#22. i am > i was, 21 Savage


This was a surprise. I wasn’t checking for 21 Savage, but he really caught my ear with his impeccable verses on Metro Boomin’s album (10 Freaky Girls is straight fire) and Pay You Back off Meek Mill’s album. When i am > i was dropped, the buzz around it convinced me to check it out – and what I heard was one of the best-constructed rap albums in 2018, with 21 oozing charisma on some of the tightest production of the year. Delivering a more mature, technically evolved persona, 21 deftly sketches the darkness and extravagance with a menacing mic presence. He sounds like he’s got a gun to your back, whispering threats in your ear one moment, and wilding out on stage the next. The title of this album is truly befitting 21 Savage’s journey – and an exciting sign of what’s to come.

Listen to: out for the night, letter 2 my momma

#21. East Atlanta Love Letter, 6lack


6lack could’ve satisfied himself with being one of the many vying for The Weeknd’s alt-R&B throne, but East Atlanta Love Letter cements his place as a standout artist in his own right. Blending hip hop and trap sensibilities with velveteen vocals (and just a hint of gruff), 6lack creates a moody record that, while contemplating standard R&B tropes of love and lust, is extremely memorable, full of earworms. It’s also consistent, with great sequencing and a sleek run, all together making for a 6lack record that’s truly his.

Listen to: Pretty Little Fears ft. J. Cole, Nonchalant

Favourite Albums of 2018: #25 to #21

Five Songs for the Weekend – III

A weekly series where we pick 5 songs that we think you’d like to listen to over the weekend

#1. Slide ft. Frank Ocean and Migos by Calvin Harris

The excitement for this unlikely collaboration has been extremely high since it was first teased, and thankfully, it delivers. Backed by shimmering retro-pop production courtesy of Calvin, Frank Oceans delivers some fantastically smooth vocals – think sipping on some rum in a hammock by the beach – before the track transitions seamlessly to the melodic rap of Quavos and Offset. It’s reminiscent in parts of of 90s/early-00s rap-RnB collabs, with some distinctly trap stylings. Summer it is not, but it’s one of Calvin’s best songs in a while, and perfect for the summer. (Find the full song on Spotify)

#2. 2 Lovin U by DJ Premier and Miguel

This was unexpected. Premier hasn’t lost a step with the beats – the funk on this is crazy with some rich guitars, the scratched vocal samples adding that signature Preemo touch. Miguel lays on the silken vocals, floating over the production with unmatched swagger. Everything about this song screams a hit.

#3. Incredible by Future

Damn, Future went from underground trapper to straight up alt-RnB superstar in a week with HNDRXX. A true tropical jam, the synths are vibrant, with just a little edge, and the bass-heavy drums give this a deep house vibe. Future’s vocals are at their cleanest, crafting a trap-RnB ode to his woman in a way only he can. This has the potential to be in heavy rotation in the coming months.

#4. Anoxia by King Gizzard & The Lizard Wizard

King Gizzard & The Lizard Wizard is decidedly one of the weirdest bands out there, and thankfully, also one of the most prolific. No two of their albums sound the same, and their latest, Flying Microtonal Banana is no different. Finding a strange middle ground between desert and psychedelic rock, Anoxia sounds like a snake charmer on acid. Coupled with their lo-fi vocals, esoteric lyrics and impeccable mixing, the track sounds like one’s stumbled into a dimension that straddles the nomad and the shaman. What could they possibly come up with next?

#5. Walk On By ft. Kendrick Lamar by Thundercat

Thundercat is possibly one of the most creative purveyors of the new wave of RnB, and his collaborations with Kendrick are always phenomenal – Walk On By is no different. While Bruner reflects on the disorientation following the end of a relationship, Kendrick continues to paint striking images of the lives of the disenfranchised. The hazy production is an appropriately melancholy backdrop to their verses, and ties together a track that would be a perfect soundtrack to a plodding, sad walk.

Five Songs for the Weekend – III

Process by Sampha

Sampha is an enigmatic musician, working from the shadows with the upper echelon of the industry (Kanye, Drake, Frank Ocean) – he doesn’t have much music out, but he’s left an indelible mark on everything he’s been a part of. But it’s clear that he’s taken his time finding his voice, so to speak, opting to quietly work on a body of solo work that wears its heart on its sleeve, delving into heavy introspection with a maturity rarely seen in debut albums. Sampha’s confessional songwriting style is wistful, exploring his anxieties and regrets with imagery that can be disarming and affecting in turn. Few songs have the emotional brevity of tracks like (No One Knows Me) Like the Piano, a melancholy reflection on times gone by, or the strange, listless sensuality of Under. His vocal range is effortlessly expansive, with a knack for coaxing out vestiges of emotion in the listener, while making his own explicit. The music should sound familiar to those who have listened to his work with SBTRKT, and his (slightly underwhelming) Dual EP, maintaining an atmosphere of evocative electronica with smatterings of delicate piano.
The process that the title refers to then, seems to be one of contemplative reconciliation, a conversation with himself and the people in his life about his growth as a person, and where he seeks to go from here, ending with an assurance to himself that he can “always come home,” a sentiment which we all aspire to.
Process by Sampha

Five Songs For the Weekend

A weekly series where we pick 5 songs that we think you’d like to listen to over the weekend

1. Believer by Imagine Dragons



An anthemic earworm of a hook, rousing electro-rock production, and lead vocalist Dan Reynolds’ powerful vocals – Believer has all the ingredients of an Imagine Dragons hit. There’s an interesting bit of hip-hop influence here, with Dan adopting a rap-like flow over marching drums reminiscent of the ones on Kanye’s Black Skinhead; after a mediocre sophomore album, this is almost enough to make one a believer in Imagine Dragons again. 

#2. BagBak by Vince Staples

Vince Staples is undeniably one of the best, and smartest, rappers of this generation, and BagBak continues his streak of fiercely unapologetic sociopolitical rap, standing up for people of colour and sticking it to the Man over booming production bubbling with aggression – proclaiming quite succinctly “Tell the one percent to suck a dick, because we on now / Tell the government to suck a dick, because we on now / Tell the president to suck a dick, because we on now.”

#3. Comb My Hair by Coast Modern

The aptly-named Coast Modern is a wonderful new band that’s been putting out consistently great, summery tunes reminiscent of the beach rock of Wavves, and Comb My Hair is their latest. There’s a hint of psychedelia, and the drawling vocals deliver the decidedly weird lyrics in an oddly endearing manner. Quite the trip.

#4. (No One Knows Me) Like the Piano by Sampha

This gorgeous track from Sampha’s long-awaited debut album is a testament to the intense emotions the incredibly talented musican can evoke – accompanied almost entirely by the titular piano, Sampha reminisces on times gone by, using the full breadth of his stunning – yet somehow delicate – voice. It’s nearly impossible to listen to this without a lump in your throat.

#5. Random Haiku Generator by Sin Fang, Sóley & Örvar Smárason

The video description for this beauty perhaps describes this song better than we could: it’s a “confusing commentary on modern life” that is “one part electronic power ballad, one part delusional fantasy.” It’s just as wonderfully weird as it sounds, and thanks to musicians like Örvar Smárason (from múm) who are adept at making the weird sound serene, this track is bound to be on the soundtrack to your ruminative evenings. 

Five Songs For the Weekend

From Great Albums to Great Songs: The Weeknd’s Reinvention

My introduction to The Weeknd was the salacious Wicked Games, a track that spoke of adultery in an almost guilt-free manner, justifying Abel Tesfaye’s hypersexed hedonism with a dismissal of any real love in his relationship. It turned me off, seeming to me rather hollow and destructive, despite his silken voice – one of the best around – and gorgeous production. However, its musical beauty beckoned me, and I continued to give it a few more intermittent spins, without truly appreciating it.

That is until I listened to Wicked Games‘ source mixtape, House of Balloons in its entirety.

Continue reading “From Great Albums to Great Songs: The Weeknd’s Reinvention”

From Great Albums to Great Songs: The Weeknd’s Reinvention