This has been a year unlike any in the history of hip-hop. The variety of sub-genres and styles are more plentiful every year, and in 2021, fans were blessed with no shortage of quality music to choose from. Questions of AOTY or GOAT become less and less relevant as artists within hip-hop move in completely different directions stylistically. Nonetheless, I’ve chosen a handful of artists to make note of that impressed me the most in 2021. As usual, below is the latest playlist with my favorite tracks for the year.
The Latest Playlist: 2021
*Track listing at bottom of post
The Year of The Alchemist
2021 was the year of The Alchemist. Easily the producer of the year, The Alchemist was debatably the most significant figure in hip-hop for 2021. The veteran producer was coming off of a great year in 2020, releasing 2 of the best albums of that year with Boldy James and Freddie Gibbs. He accomplished that feat again in 2021 with Boldy James and Armand Hammer, but that’s only a portion of Al’s impact on hip-hop this year. The Alchemist’s success of late has been in his unique ability to create dynamic cinematic listening experiences through his production. I believe he chooses emcees to collaborate with based in part on how compelling they are as protagonists, and how well they’re able to narrate their own content within Al’s aesthetic. His beats are thoughtfully layered and masterfully produced, but still maintain the warm character of dusty vinyl.
Early in the year he released Haram with abstract emcee-duo Armand Hammer (Billy Woods & E L U C I D). For Armand Hammer fans, this was a dream come true. I hate the phrase, but when it comes to working with Billy Woods & E L U C I D, The Alchemist understood the assignment. As can be expected from Armand Hammer, their dystopian metaphor-infused raps are deeply layered societal critiques that are not for the faint of heart. The Alchemist composed a series of eerily sinister soundscapes for these experimental emcees, creating a fitting backdrop for their post-apocalyptic vignettes. Armand Hammer and The Alchemist are all avid proponents of experimental beat production, and collectively do an exceptional job blending themes of societal collapse and insanity with an underground hip-hop aesthetic. This is easily an AOTY contender for any fans of abstract or experimental hip-hop.
A few months after Haram, The Alchemist and Boldy James released Bo Jackson; another AOTY contender, which has been just as successful if not more successful than their previous year’s The Price of Tea in China. The Alchemist and Boldy James have a very special collaborative energy. The sound here is drastically different from Al’s work with Armand Hammer, and is equally inspired by the corresponding emcee’s aesthetic. Boldy is a great protagonist. His smooth villainous flow details a life of crime and business; cooking, selling, and trafficking illegal drugs. For Bo Jackson, The Alchemist assembled an impressive cocktail of bizarre and vintage sounding samples that perfectly support the nefarious energy of Boldy’s content, reminiscent of old mafia movie scores. As if having 2 AOTY contenders wasn’t enough, The Alchemist & Boldy James released a follow-up project titled Super Tecmo Bo near the end of the year. This project provided a fuller, more ‘supped-up’ production from Al, with even sharper raps from Boldy. I still prefer Bo Jackson to Super Tecmo Bo, but there isn’t a bad track on either project.
The Alchemist has also been collaborating with a younger generation of artists, as seen on the 2 EPs that he released this year: This Thing of Ours & This Thing of Ours 2. It’s no mystery to fans that The Alchemist has been collaborating with Earl Sweatshirt, but this two-part EP provided strong evidence that he’s become a central figure in this rapidly progressing sub-genre of lo-fi, sample-heavy, lethargic emotive rap, which I wrote about in last years 2020 Year in Review (See Lo-Fi Lethargic Raps). The Alchemist included many of the bigger names from this niche genre in his project, including Earl Sweatshirt, Navy Blue, MIKE, MAVI, Maxo, Sideshow & Pink Siifu. The Alchemist has shown that he is not only capable of perfectly catering to the aesthetic of different emcees, but he also brings out the best, most interesting versions of the artists that he works with. I can’t wait for whatever he brings us in 2022.
Conductor! Conductor!
Griselda founder Westside Gunn aka Flygod also delivered two AOTY contenders…or one, depending on how you view the ‘2-sided’ 8th installment of his long running Hitler Wears Hermes series.Hitler Wears Hermes 8: Sincerely Adolf was released in August, and in September he released Hitler Wears Hermes 8: Side B, for a generous total of 33 tracks packed to the brim with top-notch features. Gunn’s style in 2021 remains uncompromisingly outlandish as he raps of extravagant expenses, flamboyant fashion, and malicious murder…gun sounds included. The abundance of features appear to have been a call to action from WSG for his collaborators to bring their A game, because everybody did. The guests include the usual extended Griselda family members such as Stove God Cooks, Mach-Hommy, Rome Streetz and of course Benny the Butcher and Conway the Machine, as well as appearances from standout artists like Jadakiss, Jay Electronica, Lil Wayne, and Tyler, The Creator. I especially like the synergy between Westside Gunn rapping and Stove God Cooks on the hook as heard in tracks like “RIGHT NOW” and “Vogue Cover”. When it comes to the beats, Flygod never disappoints. Between the embrace of his rap persona and his preference in samples, it’s no mystery that MF DOOM would be proud of his former collaborators recent success, and the influence he’s had on it.
Navy Blue The Truest
Navy Blue has quickly become one of my favorites since his December 2020 release: Song of Sage: Post Panic!. That was technically last year, so I won’t say much more about it than ‘it’s incredible, and you should give it a listen’. This year Navy put a lot of work into his solo release Navy’s Reprise, as well as a great deal of work producing albums for his peers. Navy’s Reprise is a deeply personal arrangement of introspective reflections. Wise beyond his years, humble with respectable intentions, he opens up about his family, spirituality, and his efforts to heal trauma and grow as a being. Navy is apparently void of inhibitions as he pours his heart all over the project. When it comes to authentic expression in hip-hop, Navy Blue is The Truest.
Navy’s sample heavy production fits comfortably in the “Lo-Fi Lethargic Raps” style that I wrote about last year. I likely oversimplified my explanation of the style, but I’m happy to see it taking off. Navy Blue is another one of the central figures in that community of artists as both an emcee and a producer. Navy’s beats beg to be expressed upon. Generally at a slower tempo, Navy tends toward samples that evoke emotion, compelling emcees to genuinely express. This year Navy produced 3 different albums (not including his own) for emcees AKAI SOLO (True Sky), Wiki (Half God), and Lord Jah-Monte Ogbon (Beautifully Black). I hadn’t heard of AKAI SOLO or Lord Jah-Monte Ogbon until these Navy-produced releases, but they’re both on my radar now. Beautifully Black is my personal favorite production from Navy Blue this year. Half God ended up being a very successful collaboration with Wiki that culminated in a tour that included Wiki, Navy Blue, and Demahjiae. I was lucky enough to catch their show in LA, and it’s worthy of note that Navy Blue is the real deal at a live show.
Mach-Hommy
Another artist that gave us 2 AOTY contenders in 2021 was Mach-Hommy, with Pray For Haiti and Balens Cho (Hot Candles). His first release of the year, Bulletproof Luh went largely under the radar despite having some solid tracks; it was his 2nd & 3rd 2021 releases that stole the show. Pray for Haiti was an instant classic. Produced by Flygod himself, Westside Gunn found some characteristically outlandish samples that Mach-Hommy coasts over with his smooth and raspy vocals. Some tracks stand out like “The Stellar Ray Theory”, “Marie”, and “Kriminel”, but the project is stylistically consistent as a perfectly blended vibe of Westside Gunn & Mach-Hommy. In this project, Mach incorporates moments of singing that are refreshingly melodic, creating a nice contrast with his off-kilter flow structure. Towards the end of the year, Mach-Hommy released Balens Cho (Hot Candles), and despite having only 8 full-length songs, many fans prefer this release to Pray For Haiti. It’s another solid project with a jazzier mellow vibe. Over the course of 2021, Mach-Hommy showed an immense amount of progress in his craft, and has become a dynamic artist with a great amount of stylistic flexibility.
Lukah
Lukah is an emcee from Memphis that I only just discovered with his early-2021 release; When The Black Hand Touches You. I was immediately drawn to this album as an early 2021 favorite, due to the well-polished nature of its classic underground style. Lukah is very good at rapping and makes great music for underground hip-hop heads. With southern flavor and emcee smashing confidence he projects every word with powerful delivery, relentlessly rapping details and perspectives on life in his community. I have my favorites, but every track on this project is solid.
His 2nd release of the year, Why Look Up, God’s In the Mirror shows a clear improvement in vocal projection and flow, accompanied by a fuller production on the instrumentals. On this project Lukah continues his tear on 2021, establishing himself as a force to be reckoned with: “I am God, God is power, who dares to challenge it?”. There’s no shortage of braggadocious boasting, but he also has some very real moments addressing his community and mental health in tracks like “COLORED ONE” and “THE WAY TO DAMASCUS”. This project is just as consistent as the previous, and a strong contender for AOTY. Why Look Up, God’s In the Mirror also has a handful of features including Boldy James, Estee Nack, and Cities Aviv. I’m looking forward to seeing what this relatively new artist comes up with next.
Gumbo
I’ve mentioned a lot of “contenders” for Album of the Year. There’s been more variety in hip-hop this year than ever before, and there is no objective AOTY. My personal favorite album from 2021 is Gumbo from Pink Siifu. Without question, it’s the album that I vibed to the most this year. The project is a beautifully orchestrated stew of southern styles and sounds mixing into an absolutely delicious project. Pink Siifu soulfully glides through an eclectic mix of funky, jazzy, grimy, swaggy instrumentals, rapping about friends and family, while proudly embracing his southern roots. This is an album that keeps the listener engaged from track to track, never falling victim to any kind of predictable repetition. Pink executes a variety of styles with mastery and class, from the more hype tracks like “Roscoe’!” to the super laid back jazzy joints like “Gumbo’! 4 tha Folks”. I’ve listened to this album in it’s entirety many times, and I rarely skip tracks, but my favorite tracks that refuse to get old are “Fk U Mean/ Hold me Dwn”, “Back’!”, “Doin Tew Much. (In My Mama Name)”, and “Call tha Bro (Tapped In)”. Siifu is a dynamic experimental artist that’s rapidly evolving. As much as I’d love to hear a sequel to this project, it stands successfully on it’s own as a fantastic moment in Pink Siifu’s career and 2021 hip-hop as a whole.
Notable Videos of 2021
Freddie Gibbs feat. ScHoolboy Q– Gang Signs
Brady Watt, Westside Gunn, DJ Premier – The Narcissist
Erick Arc Elliot – Self Made on Colors
Isaiah Rashad – HB2U on Colors
Kipp Stone – Retrograde Raps on Kinda Neat
Ray Vaughn on LA Leakers
J. Cole on LA Leakers
The Latest Playlist 2021
CZARFACE & MF DOOM – Break in the Action
Freddie Gibbs feat. ScHoolboy Q – Gang Signs
JPEGMAFIA – HAZARD DUTY PAY!
Navy Blue – Ritual
Mick Jenkins – The Valley of the Shadow of Death
Tyler, The Creator – MASSA
Westside Gunn feat. Stove God Cooks & Jadakiss – RIGHT NOW
YUNGMORPHEUS & Eyedress – Candyman
Pink Siifu feat. Maxo – Call tha Bro (Tapped In)
Chris Crack – Sex Dreams About Platonic Friends
Medhane – Keep Looking
MIKE – Babyvillain (in our veins)
Fat Ray – Mental Case
Nas – Nas is Good
Cities Aviv – Imma Stay Here
Rome Streetz & Futurewave – Mud into Moet
ANKHLEJOHN – The Browder Files
Armand Hammer & The Alchemist – Roaches Don’t Fly
Mach-Hommy – Separation of the Sheep and the Goats
For hip-hop in 2020, the crown belongs to Griselda Records. Label founder Westside Gunn, brother Conway the Machine, and cousin Benny the Butcher have been creating plenty of buzz over the last few years, but in 2020 they made a statement. With 5 albums between the 3 of them, a debut album by their female counterpart Armani Cesar, and a Griselda-released mixtape from the tremendously productive Boldy James, 2020 has been Griselda’s most productive year to date.
Despite making a sudden splash on the scene, these emcees have been rapping for a long time. While the way they rap is characteristically unique in it’s graphic descriptions and hard-hitting punch lines, their music has a foundation in a classic style of hip-hop, garnering them no shortage of praise from hip-hop legends across the map.
Through expert storytelling, Griselda artists include explicit details of criminal activities, and while they don’t necessarily glorify the lifestyle, they are not in the least bit apologetic. They don’t shy away from rapping about the details of their lives before rap fame, the struggle they endured to get here today, or boasting on their success that could only have come from unwavering perseverance.
One of the most compelling stylistic features of Griselda artists is their footing in a Mafioso aesthetic. This theme runs through all label members, and is one of the notable characteristics that unify them as a collective. It is not surprising that Griselda has been referred to as “the next Wu-Tang Clan”, which has been recognized even by members of the Wu-Tang Clan themselves. This claim is not just an acknowledgement of success in 2020, but an understanding that Griselda is set to be an iconic generational influence on the culture.
Over the past 5-7 years there has been a growing sub-genre of hip-hop characterized by low-energy rapping over lo-fi, sample-central beats. Counter to stereotypical rap braggadocio, artists in this style write more genuinely introspective. Despite their lethargic leaning tone, they write in a way that is both deeply expressive and seemingly therapeutic. The consistent themes are self-reflection and social observation from an introverted perspective.
The beats can be easily digestible, or in many cases can break rhythmic norms, providing an embrace of dystopian aesthetic. This approach gives the artists flexibility to maintain a refreshing level of unpredictability. It may not be a coincidence that 2020 was such prolific year for this style of hip-hop, being a year defined by isolation, depression, and dystopia.
I often refer to this style of hip-hop as “the other mumble rap”. While this sounds nothing like the commonly referred to sub-genre of mumble rap, these artists undeniably rap in a way that could be described as mumbling, but are nonetheless far more articulate as lyricists. There have been about a dozen or more notable artists operating successfully within this style, and while there is a common thread connecting them all, each has their own unique stylistic contribution. Above are 6 projects within this style from 2020 that I recommend from Medhane, MIKE, Redveil, Demahjiae, Chester Watson,and Navy Blue.
I’ve declined to explicitly choose an album of the year for 2020, but if any artist should be recognized for their productivity it would have to be Boldy James. This year James dropped 3 collaborative projects with The Alchemist, Sterling Toles, and Real Bad Man, as well as a mixtape released by none other than Griselda Records (The Versace Tape).
Boldy James has been on the scene for over a decade, but his presence has never been more prolific than it was in 2020. Between the 4 projects, Boldy generously delivered 47 tracks (not including features), easily making 2020 his banner year. Despite the abundance of production, he didn’t cut corners. There are almost no intros or skits, and The Price of Tea in China & Real Bad Boldy are legitimate contenders for album of the year.
Like other Griselda artists, Boldy is a great storyteller, and his laid back flow guides the listener through a mesmerizing tour of illicit struggle raps. Each project has a different producer and corresponding sound, demonstrating James’ versatility and ability to adapt without compromising his own style.
Below are some of my favorite hip-hop highlights of 2019. Check the following playlists, albums, and videos for my personal run-down of the year.
The Latest Playlist: 2019
*Track listing at bottom of post
Notable Albums of 2019
Freddie Gibbs & Madlib – Bandana
The most universally accepted rap album of 2019 was Bandana from Freddie Gibbs & Madlib. Legendary producer Madlib brings some of his finest work to this highly active Bandana instrumental. The samples are chosen brilliantly and blended masterfully, contributing layers of drama and grandeur to Freddie Gibbs’ tales of criminal lifestyle. Gibbs raps about life struggles through the lens of his experiences in illicit activities, primarily drug dealing. He provides generously detailed stories and references of past experiences with criminal activity, women, and law enforcement. Though he raps with the demeanor of an experienced member of organized crime, Gibbs doesn’t shy away from expressing his emotional state as he describes struggles he experiences as a result of his lifestyle. It is not at all lost in his message that his involvement in criminal activity is born out of a struggle to survive in an environment that doesn’t care if he succeeds, fails, lives, or dies. With outstanding production and heavy descriptive lyrics, Bandana is already considered a classic.
Billy Woods & Kenny Segal – Hiding Places
For years Billy Woods has been one of the most prolific emcees in the subgenre of abstract hip hop; 2019 was his banner year. Hiding Places represents a thoroughly developed and sophisticated Woods on the dark beats and crushing drums of his perfect producer counterpart: Kenny Segal. Hiding Places from Billy Woods & Kenny Segal is not an album for passive listening. Over the course of this project, Woods weaves in and out of fragmented thoughts, metaphor, memories and tangents. This is a deeply personal and emotional Woods, as he speaks passionately in heavy reflection of his childhood and life experiences. There is a fine line between rapping and spoken word, and Woods is constantly playing with that line. The overall aesthetic of this collaboration is dark, ominous, aggressive, and a bit uncomfortable. Hiding Places can be off-putting at first, but listening to this project in its entirety is a truly captivating experience. I also recommend checking out Billy Woods’ other 2019 release: Terror Management.
Kota the Friend – Foto
The album I listened to the most in 2019 was Foto from Kota the Friend. Kota the Friend has to be the most genuinely humble emcee out. Foto is not a complex album musically, conceptually, or otherwise, but it is a true gem for fans of boom bap conscious rap. Through mellow melodic delivery Kota speaks frankly about his life, relationships, and the importance of family. Kota is nearly void of rap braggadocio. The occasional boasting is done with a subtlety that points more towards a comfort in himself rather than any self-righteous arrogance. Foto is highly optimistic from front to back, and Kota speaks from a place of content and joy, consciously leaving hardships in his past. The beats are simple but solid. People looking for more innovative styles and sounds might find the album a bit repetitive, but I personally cant get enough of it.
Below are some of my favorite hip-hop highlights of 2018. Check the following playlists, albums, music videos, cyphers, and rap battles for my personal run-down of the year.
The Latest Playlist: 2018
*Track listing at bottom of post
Notable Albums of 2018
Avantdale Bowling Club – Avantdale Bowling Club
New Zealand based rapper Tom Scott is backed by a full live band for this collaborative hip-hop jazz-fusion project. The sound is raw, high-energy, and feels completely improvisational. The tracks are very long and have multiple jazzy instrumental sections that transition from one sound to the next, making 8 tracks sound like at least a dozen songs. Scott’s ability to keep up with the band while maintaining clear vocal projection is one of his most impressive qualities. With each musical transition, Scott manages to adapt the style of his flow to the band. His lyrics are not especially complex, but they come off as commendably honest and personal. Scott raps primarily about his own personal experiences and memories, which are often accompanied by vivid descriptions. He also raps about friends, relationships, and other aspects of his life, at times progressing into unorganized contemplative tangents.
Black Thought – Streams of Thought Vol. 1 & 2
In his first major solo project, 47-year-old veteran MC and The Roots front man, Black Thought blessed 2018 with a 2-part project that made clear he is still in his prime. Thought plays the role of an elder instructor with every bit of vigor from his youth. Commanding attention with his powerful cadence, every line is delivered like it’s for a packed stadium. Vol. 1 was a June release primarily produced by 9th Wonder that served as an explosive re-introduction of who Black Thought is and what he’s about. Black Thought is uncompromisingly conscious and ultra-political, frequently referencing history, spirituality, and current events from local to global levels. Vol. 2 was a late November release produced by Salaam Remi, and debatably album of the year. With the same energy and intentions in Vol. 1, Vol. 2 was a platform for Thought to get into more specific issues, such as the pharmaceutical industry, industrial prison complex, school shootings, and gang violence to name a few. This is classic hip-hop with clean production. For any old heads in 2018, Streams of Thought Vol. 1 & 2 are true gems.
Earl Sweatshirt – Some Rap Songs
Only 3 years after his last release, Earl Sweatshirt sounds like he has aged a decade. Despite the album title, this is Earl’s most stylistically and conceptually cohesive project to date. The entire album carries a lethargic dystopian energy as Earl raps with a low muffled tone over mostly uplifting, dusty lo-fi samples. Over 15 very short songs, Earl offers admirably genuine pictures of his life and psychological condition. Despite the undertones of depression, he presents himself as sarcastically optimistic or at least apathetic. Most of his expressive content is not direct, but layered in metaphor and wordplay.
Jericho Jackson – Khrysis & Elzhi are Jericho Jackson
This project is another gem for classic heads. Renowned independent rapper Elzhi flexes clever east cost lyricism over headnodic beats that feel like the cold winter streets of New York City. Throughout the project Elzhi delivers an onslaught of continuous wordplay, creative punch lines and metaphors. Despite the lyrical density, his message is crystal clear, which is in a word, ‘struggle’. He makes clear that his life has been dangerous and difficult, that he has little trust for anyone, that he is “Self Made” and as an underground veteran, has worked for everything he’s earned. Elzhi is often known for his proudly Nas-influenced style, which is expectedly evident in this project. In a way Jericho Jackson feels a bit like a classic Nas album.
It’s that time again for my review of the last year in hip-hop. Below are some of my favorite highlights of 2017. Check the following Playlists, Albums, Music Videos, Cyphers, and Rap Battles for my personal run-down of the year.
The most wonderful surprise of 2017 was the trilogy of albums released by self-proclaimed Internet boy band, BROCKHAMPTON: SATURATION I, II, & III. My initial intention was to comment on just one of the three albums, but it would have been irresponsible not to address the entire trilogy as a whole, as well as the group’s overall significance in 2017. Formed by Kevin Abstract in an online Kanye West fan forum, the group consists of about a dozen members, each with a unique style, blending together in an incredibly impressive and complex dynamic. With a collective 48 tracks (only 8 of which are skits), and accompanied by about 20 music videos, this trilogy is and has everything, leaving little to be desired.
Forming a description of this music is anything but simple, as there are completely different styles from track to track, and even from section to section within each track. Some parts are difficult to digest; others contain a beautiful harmonizing of melodies, while others tiptoe into more classical rap and lyricism, and at times display styles that resemble poetry and spoken word. SATURATION pulls from a wide variety of genres and uses a plethora of sounds culminating in a project that is uniquely refreshing and absolutely genuine. The overall energy is invigorating and exiting in a way that is reminiscent of early Odd Future, but far more sophisticated.
In general, the content covers everything relevant to 2017 without beating the listener over the head with anything in particular. The message oscillates between introspective, contemplative, and outwardly conscious to a far less enlightened self-indulgence, which is clearly self-aware, dabbling in a comedic irony. The more time you spend with this music, the more there is to unpack and appreciate.
Milo – Who Told You To Think??!!?!?!?!
2017 brought yet another magical release from the rap poet alchemist/sorcerer: Milo. With the opening track titled “Poet” and closing track titled “Rapper”, Who Told You To Think??!!?!?!?! Actively addresses the natural crossover of poetry and rap, particularly in Milo’s own music, which has become commonly referred to as the Open Mike Eagle coined genre of “Art Rap”.
The instrumentals on this project are mostly mesmerizingly mellow (mmm…), leaving room for Milo’s message, which is, as usual, contemplative and inquisitive on many levels. Deeply saturated with abstract metaphor and philosophical references, as in all of Milo’s music, momentary distraction is unforgiving to the listener, and understanding his messages require undivided attention.
Much of this project seems to be a path of self-discovery through music as well as observation of others, and finding his place relative to those observations. He frequently employs blatant critique of stereotypical rap clichés and shortsighted arrogance, though his disses would clearly be lost upon the targets of his criticism. Well aware of his intellectual prowess, particularly in the field of hip-hop, intelligence and vocabulary become his bragging points: “The point is my vocabulary pays my rent”.
Though I wouldn’t consider this Milo’s best project to date, it is undoubtedly successful, solidifying his place as one of my favorite artists.
lojii & Swarvy – Due Rent
Any classic head can appreciate “Due Rent”, the latest double “disc” album from lojii & Swarvy. Lojii tackles the age-old hip-hop theme of hustling for cash, striving to overcome struggle, and then rapping about it. With a low-energy Godfather/Mafioso type East Coast flow, lojii casually floats over a bed of dark lo-fi instrumentals that clearly display Swarvy’s ability to orchestrate sample mastery.
Accurately self described as “rap vintage”, each track is only about 2 minutes and is essentially a different take on the same point: lojii going about his day to day trying to find a way to pay rent and make it to the next day, with of course, a bit of classic hip-hop braggadocio peppered in. Overall the album is cohesively satisfying, with a seemingly low budget production and message, lojii & Swarvy show that they can make dope hip-hop with any budget, reminiscent of an earlier time in underground hip-hop production.
Notable Music Videos of 2017
Open Mike Eagle feat. Sammus – Hymnal
Open Mike Eagle – Happy Wasteland Day
Jay-Z – The Story of O.J.
Brother Ali – Never Learn
BROCKHAMPTON – SWAMP
Notable Cyphers of 2017
Method Man & Black Thought on Sway in the Morning
Harry Mack Freestyles in Venice
Notable Rap Battles of 2017
Bigg K vs Pass (KOTD)
Dizaster vs Oxxxymiron (KOTD)
Oops vs Xcel (KOTD)
The Latest Playlist 2017:
Brother Ali – Never Learn
lojii & Swarvy – Northern Organix
Marlon Craft – The One (Intro) / TTE 1
Milo – Sorcerer
Danny Watts – Things We Have To Do
Devin the Dude – Can I
Open Mike Eagle Feat. Sammus – Hymnal
Little Simz – Backseat
J.I.D. – General
Billy Woods – Snake Oil
BROCKHAMPTON – TOKYO
Araabmuzik feat. Illmind – Selda
Anti-Lilly & Phoniks feat. Mariel – Sunshine
Cyhi The Prynce – God Bless Your Heart
Kendrick Lamar – FEEL
Loyle Carner – Ain’t Nothing Changed
Cunninlynguists – Mr. Morganfield & Ms. Waters (A-Side)
Sampa The Great – Protect Your Queen
Homeboy Sandman – Bless Up
The Doppelgangaz feat. Tnava– Roll Flee
Kota the Friend – Lawn Chair
Joey Bada$$ feat. Styles P – SUPER PREDATOR
Smino – Spitshine
Blu & Exile – Party of Two
Quelle Chris feat. I, Ced & Mndsgn – Popeye
The Underachievers – Cobra Clutch
Statik Selektah feat. Run The Jewels – Put Jewels On It
The Mic is the Message 