Sifting Through A Wild Summer of Music

December is the month of end-of-year lists. Somehow every app on your phone has a Wrapped now (LinkedIn Wrapped???? Uber??? Are we fucking for real?). This site is all about originality though, so we're NOT about to do that. Ok, full disclosure, I was supposed to put this out in September but as usual, life gets in the way. I couldn't stop thinking about this when I was listening to music from this summer though, so I figured this was a good way to get back into it. We're so back.

Right in the middle of the odd simultaneous lamaize and fleeting nature of summer, after a year where many were saying new music releases (especially in hip-hop) just didn't feel monumental in both quality and impact, it felt like in one moment the whole narrative and feeling shifted. Suddenly, 2025 was a new year with big name artists dropping long-awaited projects, especially for someone who was also tapped in to the Punjabi music industry. It was almost to hard to keep up with all the releases on time at one point. I know ranking them isn't necessarily the most revolutionary or original piece, but when I realized I was doing it in my head anyways throughout listening to these projects, I figured why not? Besides, where else can you find rankings that include these genres and languages together? A couple things worth noting before jumping in:

1. Summer = May-August

2. I didn't listen to everything ever released in these months. So no, I didn't include "Fuck My Baby Mama" by Hingle Mcringleberry or anything else I didn't hear

3. I tried to include EPs, mixtapes, and really anything that came out during this period, so it can make the rankings at face value look a little funky. The only exclusion is JID's GDLU (Preluxe); I don't really have much to say about it, especially when the actual album it accompanies is also on the list

4. I'm writing this well after the summer now. It's contributed to a more removed memory of each album, but maybe its also allowed each album to age and change perceptions in a way they wouldn't have if I published this in mid September

5. Its not that deep

With all that said, let's just get right into the rankings. It doesn't start out pretty.

18. A Futuristic Summa - Metro Boomin (August 1)

I'll start of by acknowledging that this album is not meant for me. I grew up in New England, not the deep South, and at best I listened to watered down versions of this music while growing up, so I don't have the connection to it that Metro does, nor am I the intended audience. But I know production, I like to think I know music, and I know what I like. My expectations for Metro Boomin are high, and this just couldn't meet it. Again, I see why the album as a whole might not have worked for me, but even given that it feels more like a boring imitation of the grungy mid 2000's Atlanta early trap, and that's the thing. The main criticism hanging over Metro since Heroes and Villains was that while he is amazing at that style of production, he mostly stayed in that lane with the same artists without taking chances and some critics found that part boring. He definitely deserves credit from diverging from the dark trap sound for an entire album... but its still fair to say it didn't hit the mark, even when the music is begging you to have fun with it. I personally LOVE his last album, so it felt like more of a dud than it may have been while listening, but there's still some gems. "Clap" is Metro just taking over a song without saying a word and is infused with energy. I am so here for putting Waka Flocka Flame back on songs by the way, there is no one else I'd rather have yelling in my ear. "Make it Make Sense" is reminiscent of the era of Atlanta rap Metro is trying to call back to in the best way with some entertaining ass bars from Rocko. "Partying and Drinking" is a slower and unintentionally comedic but solid track as well. With a 2-disc tracklist of 24 songs though, it's just not enough.

17. Two of a Kind - Armaan Gill and Arnaaz Gill (July 18)

    

It's kind of insane that I'm listening to Amrinder Gill's sons drop music when he still is out here dropping banger music and movies himself. The internet sensations released their first full length album in July, and they're clearly playing the game here: summer vibe romantic songs to capitalize on their chocolate boy image with the ladies, some Tik Tok ready hooks, and some songs about being gangsta and king of the world that just don't make sense. I'll be honest, they definitely have potential simply because vocally they are both very soothing and talented. It almost feels like by adhering to formula of success in the Punjabi music industry, they are holding themselves back. Not much of the 10 song tracklist stood out to me because of this, and they still have to prove to me that there is something novel and special about them outside of the formula or their lineage. However, this is their first album, so there's nothing to say they can't do it, especially because the two standouts to me are pretty amazing. There is of course "Queen", which lent itself to a viral Tik Tok trend and is a great summer romantic track that hasn't gotten old yet. While I like it, it still pales in comparison to one of my favorite tracks of the year, and the track that made me listen to the album: "Paigaam". Maybe this being the first track I heard hurt the rest of the album; it's that good. It's an interpolation of Amrinder Gill's 2003 track of the same name, although in a very different modern acoustic style. Armaan and Arnaaz are both allowed to shine with heart wringing lyrics and airy impressive vocals, and it would be great song if it ended there, but you forget about all of that the second their dad enters. Amrinder Gill's verse, lyrics, voice, everything, is so powerful and gut wrenching that I could keep replaying that minute of the song for the rest of my life and be happy. Therin lies one of the traits of the album that holds it back: you keep getting the feeling that they're not as good as the name they're attached to. That's not their fault, but if they stick with the formula they aren't helping themselves either. Those two tracks are good enough for me to check out their next body of work though, at least partially.

16. Lonely At The Top - Joey Bada$$ (August 29)

    

The last release of the summer, and one of my most anticipated, especially after a summer of Joey battling every mid-tier (popularity wise) West Coast artist by himself in a super entertaining "beef". It's funny, if you look at the album on my Spotify, you'd imagine it's one of my top albums of the summer given all the songs I have added. This is definitely one where my delay in writing this piece hurt the sentiment; it just hasn't aged super well. The songs are good, Joey raps good, the features are good and fit well, but its just... not special? I really don't know. I feel bad for not loving it more. I totally wonder if my opinion is going to grow and change if I listen to it more, but there's not much really grabbing me to. When I write about the songs I like, it will be high praise, but I'm not listening to it as much as I thought. Some people might find Joey boring, but I expect greatness from him as one of the underrated members of the early 2010s rap boom. I liked 2000 and I remember playing it for the rest of that summer. There's just something very generic about him this time around for some reason that isn't as appealing. My expectations definitely weighed this one down a little more than maybe it should have, but it is what it is. This is still a version of Joey Bada$$ though... the flames are there. "Dark Aura" is a great intro. "Swank White" has a great Westside Gunn verse. "Supaflee" is super fun funk calling back to late-90's New York. "BK's Finest" might be my favorite song and is definitely replayable, with some great features and that old NY essence. "Still" brings Ab-Soul and Rapsody together with Joey, which is always going to be worth a look. I just don't know how much of it measures up to the best of 2000 or ALL-AMERIKKKAN BADA$$, much less 1999.

15. JACKBOYS 2 - JACKBOYS and Travis Scott (July 13)

    

The first JACKBOYS was a vessel in time of the year it came out, in honestly a good way. There were a lot of standout hits and a new spotlight on the then up-and-coming Don Toliver, while still having a solid presence from label head Travis Scott. JACKBOYS 2 may also be a vessel in time of the year it came out, but not in a good way. The highly anticipated sequel should have been stronger, now that Don Toliver has come into his own, Travis Scott is part of the old guard, Sofaygo and Sheck Wes have built their own followings, and more, but it was just BORING. Travis Scott has a tendency to be amazing when he can curate his own production and sound on an album, and fairly mediocore on most features; here, he's kind of in between. He's definitely one of the better parts of the album for me, but 1) he EVERYWHERE on it and 2) the bar isn't very high. (Side note, there's a lot of Travis solo tracks here, and I'm really hoping its not an indication of where his solo music is at right now.) It hit the check marks it needed to for a JAKCBOYS record; lots of Travis, Don Toliver outros and hooks, some song in the style of each major member, popular features, and regional tracks ("Gatti" on the first record, "Florida Flow" here). It just feels like it could have used some editing and quality control. I almost wonder if the whole Pusha T row pushed Travis to release it earlier than intended. Some tracks really needed to be cut, and if they played the album front to back they'd realize its just boring and they needed more standouts (that aren't memes like "Shyne"). Even some tracks, like "Dumbo", are pretty good but have potential to be better with some more effort, even post production. "Chaimpain and Vacay" is a pretty dope track even if Travis' bars are basic, and again I am very much here for Waka on any track. "Dumbo" is probably Travis' best performance on the record and has some really nice instrumentals. "ILMB" started off as kind of an ironic enjoyment for me but it has a pretty solid Sheck Wes performance and its definitey catchy. "Where Was You" doesn't necessarily live up to the expectations a track with Travis, Playboi Carti, and Future would have but is solid nonetheless and bangs on a good speaker with a fun string instrumental, a good Carti chorus, and Future showing out. "Beep Beep" still has the "boring" energy surrounding it a little but there's something endearing about it regardless (and its definitely catchy especially with the wind chimes in the back). "Can't Stop" is where Don Toliver gets to shine for a little, which I personally can get myself to enjoy pretty easily. Its not a bad album per se, but the reactions people are having to it are somewhat valid to me because its just so low brow and nothing.

14. P-POP CULTURE - Karan Aujla (August 22)

I respect what the album was supposed to go for: there's no reason Punjabi music, with its growing popularity among non-Punjabis, can't be like k-pop or Spanish-language music with the right marketing and focus while still being tied to Punjabi music and culture. Despite his sellout tendencies, there's not a lot of people more primed than Karan Aujla to take that forward. He has the history with Punjabi listeners, he is massively popular with non-Punjabi and diaspora listeners (in a way I didn't even realize; he's pretty much only rivaled by Diljit Dosanjh with other South Asians there), he has a hip-hop background but a proven ear for pop, and he writes very well, at least compared to others in the same level of mainstream as him. Given all this, it really pains me to say that this is just not what it promised to be. Forget pushing the culture foward, its just enough to stay afloat in the current scene. It has a nice length at 11 songs, with 2 discs, one for his romantic music and one for his more rap based music. It's just not his best attempt at either though. I think "For A Reason" and "HIM." are both good vocal performancess and catchy, and they both caught on in pop culture, but it doesn't measure up to the best on Making Memories like "Jee Ni Lagda". I had to genuinly spend time thinking about whether I actually like "HIM." as much as I was saying at first. For those looking for the old Aujla, its not really present but he does have some hip-hop based tracks that are good, but again not great. "Daytona" is probably my favorite on the album, with a great electric guitar instrumental against a hard hitting beat and fire flow and lyrics that just show what could have been. "7.7 Magnitude" is a light braggadocious track that is an easy play. The last 2 tracks define the album though, in different ways. I personally am not a big fan of "MF Gabhru!" as a track: it's not all that interesting sonically or lyrically to me compared to all the hype around it (outside of the guitar and chorus), but damn it if it doesn't get you hype, especially as a Punjabi guy. It took the culture by storm when it came out, for good and bad reasons, but despite my opinions on it is an example of how music can take the center of the conversation and actually push something, even if just commercially. Ironically, Karan Aujla out of all people shows how artists can beat their chest with sensical Punjabi pride while making it digestible and commercial for a wide audience. Unlike with some other artists and hits, it didn't feel like he left Punjab or Punjabiyat behind but actually put it on a platform (and yes again, Aujla deserves flack for selling out in other areas). It's a new and captivating track, and embodies both the intended spirit and potential of the album as well as the formulaic falling short realities, all in one. The title track of the album is much the same to me: it genuinely has super interesting production from Ikky and fully leans into the P-Pop concept and pop music, despite being hip-hop based vocally. It's an example of how good we could have it and what could happen when an artist and producer fully lean into a concept musically, not just on the surface. Ikky is a great producer, and I was dissapointed in how basic a lot of his stuff was in the middle part of the album, but "P-Pop Culture", "Daytona", and "For A Reason" show how he can actually push both music and culture and keep it all intertwined in a way only he does, and I just wish it was present throughout the whole album, because it would have been a more interesting and fulfilling listen. The window isn't anywhere near closed, but it feels like this should have been a moment that it just wasn't. Aujla is at a crossroads about how much he wants to appeal to non-Punjabi South Asian commercial sensibilities vs trusting how far the Punjabi music industry's ingenuity can get him in a more authentic sense. Let's see where it goes.

13. STAR LINE - Chance the Rapper (August 15)

    

Chance the Rapper was kind of screwed from the start, and its not his fault. Yes, he dug himself into a very deep hole with The Big Day, because the only thing harder than getting over the hump of a trash debut album is getting over the internet's corny allegations. It was a little too much though, and there's a reason for that: Chance is by nature a fun, positive, upbeat, off main line, and yes, corny rapper. The "issue" is that he owns that in an era of music and hip-hop especially that insisted on being low-key and even depressed at times. He was at his peak from 2013-2016 and in its wake, when as everyone will annoyingly repeatedly tell you it was just a different, happier vibe (that change might be its own essay). That vibe, especially if not done well, just didn't have a chance (no pun intended) in 2019. Personally, while I liked some of his music I was never the biggest Chance listener, so when he dropped I didn't think I'd be interested, but after seeing constant praise I decided to give it a shot. STAR LINE is definitely a more mature Chance, and getting older, falling in commercial favorability (I mean this dude was at the White House and then just didn't exist anymore), getting divorced after making an album about how much he loves his wife, and becoming part of that "middle child" generation of hip hop all shows through in the music. It's what he needed in 2025 at this junction of his career. The album has some amazing features from Jazmine Sullivan, Lil Wayne, Smino, Joey Bada$$, and somehow Jay Electronica, reminding people that Chance really was that guy and is still respected by his peers. It's a very reflective record at times, and even if I'm not in love with the music I could sincerely appreciate how Chance looks back on his community, what he sees and what he could challenge. Its totally in line with his persona, even from 10 years ago. I should probably like this a little more than I do, but it at least shows that Chance is still worth a shot. Also, the cover art is FIRE and is perfect for the album, calling back to his Coloring Book and Acid Rap mixtape covers while simultaneously showing his change and maturity. "No More Old Men" is one of the best songs of this year and has great story telling from Chance against a laid back but powerful instrumental. "Drapetomania" is much more fun and upbeat and for some reason reminds me of the video of him getting danced on in the Carribean that caught the internet before we knew him and his wife had seperated. "The Highs and The Lows" came out so long ago I almost forgot about it, but it was one of my favorites of 2022 and I love the chemistry between him and Joey, and honestly is a great uplifting track to listen to when you're down. "Burn Ya Block" is another upbeat dance based song that will definitely get some replay. Chance had a seemingly impossible task ahead of him rescuing his career, and it looks like he played his cards right. Plus, he's met Kanye West. He's never going to fail. (Has a quote aged worse?)

12. Art of Panjab - JK and Tru Skool (July 18)

    

Folk never dies. That's all you need to know. Few things are more infectious than comically braggadocious Punjabi lyrics with high vocals and traditional music and instrumentals mixed with modern drums and sounds. This album isn't amazing, but it is fun, and in a list about summer albums it counts for a lot. I wasn't super familiar with JK before this to be honest, but Tru Skool is one of the greatest producers of all time, and many Punjabi artists owe their career boosts to him, including Diljit and Aujla. He is in top fucking form here, and JK puts up some great performances. I'm not in love with the typical lyrics, but the sound is amazing. As someone who dances Bhangra, this album was reccomended to me by someone in the circuit, and I'm sure it will be present in mixes for a few years going forward. I had already heard "Think Twice - Bach Ke Hannia" and absolutely loved it. The beat is an amazing example of the amount of instruments you can use in a beat without it being overwhelming, and (this is field tested) you can play this around people who don't understand a word and they're going to feel the energy. "Phair Muk Gai - Empty Clip" is way more traditional but hard hitting nonetheless, and the dhol stands out in the best way. That's the thing with Tru Skool: you feel the authenticity and the fact he's using real instruments. "Dhol Fire - All Night Long" is much the same. It does get weighed down by the mediocore/formulaic "Surma" and "Straight Up - Asla", but the album is fun and Tru Skool and JK are in full form here. Definitely reccomend if you like Bhangra music.

11. DON'T TAP THE GLASS - Tyler, the Creator (July 21)

    

Breaking his 2-year album cycle, Tyler dropped this surprise album while in the middle of his Chromakopia tour, completely changing personas. It made sense. After the reflective and airy Chromakopia, Tyler wanted to put out something closer to the fun music matching his public personality, especially since he had been vocal about being inspired to rap and rep the West Coast post the Kendrick-Drake beef. I'll be honest, I didn't love it as much as everyone else seemed to in the moment, but I respected what it was going for. This is his GNX. It still has a concept and persona built around it, but like he kept saying its meant for you to listen, enjoy, and dance, and what could be better in a summer album? "Stop Playing With Me" is the anthem for this album and a pretty infectious tune. "Don't Tap That Glass/Tweakin" is the obligatory double song and my favorite track: its got yellable lyrics, I love playing it in the car or the gym, and is Tyler owning every part of himself. "Don't You Worry Baby" has a great Madison McFerrin chorus and verse that is quintessential Tyler, and a similarly great Yebba feature appears on an overproduced "I'll Take Care of You". The "Tell Me What It Is" outro is another post-Flowerboy Tyler staple, because despite dating both genders apparently this motherfucker can't get a single person to commit to him and vice versa. As unexpected as the album was, and as much as it is apparent comparatively that it was more rushed, almost every phase of Tyler's career is represented in the tracklist, and I think that adds a special element to it.

10. The College Dropout - JERRY (July 3)

JERRY is someone who flew under my radar for a while. I kept hearing about how he was so underrated, how all the big artists were scared of him, and that his lyrics were next level, but whenever I heard a snippet I just didn't see what was special: it was heavy autotune, it was the same subjects as every Punjabi hip-hop artist with the same beats. I didn't see why he was that much more special than his rivals Shubh and Sukha. When I checked out some of his singles, I was pleasantly surprised at how much I liked the songs, but again I felt like the hype was much. So, when he dropped his album I had to give it a listen and see if the deep cuts could tell me what I was missing... and then I didn't love it. His voice wasn't always catching on to me, and again the subject matter was just the same. I walked away with some songs but not as many as I might have thought from that big of a tracklist. However, this is a case where letting time pass really helped an album. Since then, both the songs I like from this record and his older songs have really grown on me, and while many of my criticisms still exist I get it. I see the appeal, because he is entertaining, and he is very hip-hop in an authentic way that many of his peers seem to be moving away from. Almost every song will have bars that you have to point out, and that's always very captivating in a Punjabi song for me. "Cheetah" has such an interesting beat with a light tabla in the back of a menacing hip-hop instrumental, and JERRY flows through his verses with ease. "Damn Good" is another one of my favorite songs of the year, and such a great summer anthem. Both JERRY and Harkirat Sangha catch the bounce of the beat SO well and JERRY's bars elevate his verse. I can see the real in him for sure. "Antisocial" is another slower menacing SoundsbyJeremy beat like "Cheetah" where JERRY explains his broody personality, and while his bars aren't anything special here, there's some quality in his lyrics here that are just a vibe. "Statement" is a powerful outro with more of those type of enjoyable bars, and ends with a powerful jab at Shubh that could turn into Punjabi music's next big hip-hop beef as JERRY gets bigger. It's not as many songs as I might have hoped to stand out, but all of these are special and authentic, and I've kept a keen eye out for JERRY coming out of the summer.

9. BELOVED - Giveon (July 11)

   

I'll be honest: my personal life in that moment definitely helped me feel the vibe of this album a little bit more... but isn't that the point? To me, Giveon up to this point has put out some of the most consistent records in RnB. Within what I've heard in his discography, this is most definitely his weakest. I'm usually taking almost every song in his albums with me, but here it was more of a spatter. He still kind of has a toxic story threading through the album, but it doesn't feel as compelling or special as his past albums for some reason. Maybe it's because it feels like a lot of the same from him. I'm not sure how this stands out from the rest of his work except for almost feeling less raw in certain places. He's one of those interesting artists where he can't really step out of his lane too much without it feeling weird, and he owns that lane, but at what point does it get boring? I can't answer that question. For what its worth, that standouts are good. "MUD" is a great intro with a cool chorus and an amazing live instrumental and outro in the back that really elevates the song (maybe more of that is where he has to go?). "TWENTIES" is also instrument focused, with pretty great vocals from Giveon and an example of what he does best in the sad crooning lane. You could definitely catch me belting that chorus in July and August. "STRANGERS" is super singable and relatable with a solid vocal performance from him. "BACKUP PLAN" is laid back musically but you can feel the emotion in his voice that gives it a whole other level. "DON'T LEAVE" might be my favorite, and is executed very well. I honestly don't know if the record as a whole is too high or too low on this list, especially given its status in his discography for me, but it was still a good listen. The question now is where does he go from here?

8. SINGH SOORME - Chani Nattan and Inderpal Moga (June 4)

   

For YEARS now, people have been clamoring for Chani Nattan to write another conscious/dharmic/kharku project. As big as he is now, he created his fan base making this type of music, and many felt he had sold out for the bag making the standard hip-hop music for the fame after using the kharku aesthetic to his advantage (not saying this is or isn't my opinion). Still, he would include songs like "Daku" and "Kaali Pagg" on his commercial albums with Inderpal Moga and many other one liners which referenced these topics, but many would question the authenticity or appropriateness of them. Before diving into the songs, I do have to give him credit: he's becoming a bigger and bigger writer, and regardless of how obvious it may be that the topics would be supported by Punjabi (and especially diaspora Sikh) listeners, which is still his main audience, in this climate it is taking a risk on the commerciality he has been chasing, and that should be respected. We need more on these topics, but it has to be smart otherwise it can very easily be used incorrectly. On the flip side, while I'm sure this was always part of the plan, it feels like he felt compelled to drop this soon after NICE DAY IN THE PIND was not recieved well. The EP has 4 songs, all penned by Nattan and sang by Moga. To me, they just don't have as much heart as anything on Singhs With Attitude or anything from that era, and almost feel more.. performative? I don't want to accuse either of them of that, but what is true is that the music is a little basic. Regardless, the songs are important and hit their subject matters well enough. There are two songs I think work really well much like old Chani songs used to. "FREE DA BOYS" is an energetic and hard hitting track centered around the bandi Singh political prisoners, specifically Jagtar Singh Hawara, which I really like, and samples a very inspiring speech as the outro. "SINGH SOORME" is an interprolation of a classic resistance tune, and it doesn't do too much different with it but has some really nice tribute bars and is well paced. Let's hope there's more authentic and consistent output of this type going forward. In the hand of the right music and writing, it can be more powerful than imagined, especially among the diaspora.

7. Moose Print - Sidhu Moose Wala (posthumous) (June 11)

   

I struggled with whether to include a posthumous EP or not. I ended up doing so because I think it makes for interesting discussion, and the body of work isn't a spit on the legacy of one of the most powerful Punjabi artists in recent memory. Moose Print is a quick collection of 3 songs from the late Sidhu Moose Wala, who as many may know from my other essays I am a big fan of. Until this, all of his posthumous music has either been released as a single or a feature on another artist's album. Some of them, including "SYL", "Vaar", "Dilemma", and "Drippy" among others have been really powerful additions to his catalog, emphasizing what a tragedy his murder was. Some of the songs on this, however, don't really live up to those standards. Don't get me wrong, they're good, just not great. I really don't know how much confidence I have that these were more than just drafts when he was alive. There's a part of them, especially vocally, that feel a little incomplete and colored in, which I don't like when I notice it. "0008" is a collab with female vocalist Jenny Johal that's pretty standard, but has a good Sidhu performance on it and is a fun listen with a hard hitting beat from The Kidd. There's way less of him on it than Johal though, possibly implying only that portion was recorded. "Neal" is a more romantic track, although with a light drill style beat produced by Mxrci, and again, its good but it sounds like Sidhu's vocals are filled in and fixed with autotune from a draft that was meant to be worked on, so it holds it back for me when I know his full vocals could really capture the track even more. "Take Notes" is probably my favorite and incidentally feels the most complete as well. The lyrics are cutting and have his trademark brashness while he "lil bros" the rest of the industry, and the catchy chorus boosts it as well. Its hard to find rational takes on Sidhu's music nowadays: there's a flood of stans who won't listen to a word against him, and that along with the passing of time since his death has caused others to completely dismiss his output. The reality is, those major criticisms I have of the EP aren't in his control, nor is any of his music anymore. For me, the floor for his music is still fairly high, and it hasn't even hit that yet, so it gets this spot on the list.

6. The Summer That Saved Me - Odeal (July 11)

   

Full transparency, while I found Odeal in the summer, it was through some of his older songs, and I had no clue this album even came out until he released the fall-themed sequel to this album. "Miami" with Leon Thomas captured me so strongly that I just had to check out the rest of the short album. For sure another one of my songs of the year, I loved almost everything about it, from its instrumentals to Odeal's lyrics and soothing vocals, to the composition and the amazing Leon Thomas verse. It's one of the best summer songs in a while and sets the stage for this album. The other thing that caught my attention about it though, was the too-oft mentioned but hard to avoid vocal comparisons to Brent Faiyaz, one of my personal favorites who has been refusing to drop music. The main song I knew Odeal for before this was "Soh-Soh", which is much more afrobeats based and has its own vocal style. Here's what I have to say about it: its definitely noticeable to the point where I have no doubt Odeal uses Brent as an inspiration, but its mentioned too often and he owns his own lane and music, blending his London upbringing, African heritage, and life experiences into its own music that is definitively distinct, yes, including vocally. I also was really drawn to the story thread drawn through the album in both the music and visuals, and since his subsequent album is called The Fall That Saved Us, I'm really excited to see where it goes. Outside of "Miami", which again, is so good, "My Heart" is another soothing summer track that is afro-inspired with a subtle saxophone and folk drum background, where Odeal mixes his appealing RnB voice over the more afrobeats instrumental. "Obi's Interlude" is short but sweet: it doesn't help the Brent comparisons with the modulated voice, but its a very summer drive-while-the-sun-sets track. "In The Chair" is more sensual and traditional RnB, but Odeal does well on it. I think he's an authentic bright spot in a rollercoaster contemporary RnB scene, and definitely one that is exciting enough to keep an eye on in the future. He certainly has my attention with this one.

5. Love Made Trees - Loaded Honey (June 6)

   

This album was another surprise I found a little after it released, and I'm so happy I did. It's very different from any other album on this list, but it spoke to me. It has climbed the rankings quite a bit as time has gone on, and could continue to do so even just based on its novelty since I listened to it later than the rest. The band, the writing, the vocals, the absorbing visuals and aesthetics, and the storyline all stand out in their own ways (can you tell I like a story in an album). It took some warming to, especially as it was very different from the music I was listening to at the time, but I could immediately tell even the parts that weren't meshing for me were special. Another interesting feature of the album is that I can't help but find new sampling potential every time I listen to it, and I can't wait to work with that in the future. The story is also communicated in a powerful fashion and is touching. The aesthetics felt a little vain at first, but it really works for the album, so if you can get past that the vibe it absorbs you in is immaculate. "Don't Speak" is great near the beginning of the tracklist, with amazing engulfing instruments contrasting with Lydia Kitto's spacey vocals, and it has an infectious energy. The RnB inspiration doesn't hurt either. "Lessons" might be my favorite, really portraying the pain of feeling like something good is slipping away. It does genuinely interesting tweaks with the song as it continues, making every chorus different from the one before it. As great as the first part is, the second part really captures the change in vibe of the album just as the vibe changes in real life. "Over" is similar, but with more vocal contributions from J Lloyd that are welcome. It keep the airy sound of the album while still capturing the despair of dying love. "Really Love" is reflective and absorbing. "Only Gonna Let You Down" is a great wrap up to the story of regret and confusion with a standout vocal performance from Kitto. I found this by chance but it is as worth a listen as people say it is. I hope J Lloyd and Lydia Kitto come up with something just as amazing for me to immerse myself in again.

4. God Does Like Ugly - JID (August 8)

   

Maybe my most anticipated release, JID dropped this record at an important junction in his carrer. The Forever Story was one of the best releases of its year, satisfying many of JID's critics, and spawning the commercial hits he had been waiting on. As a longtime JID fan, I was excited. Whatever his next release would be, it would have more eyes on it than ever before. And its good. Its even pretty good. But it could have been better. I was fully engrossed in the rollout from the moment I finally saw JID live at Dreamville Festival in April, and thought the GLDU (Preluxe) EP was a good move to build hype and expectations. If I'm being honest though, there was something about it that just wasn't grabbing me completely the way The Forever Story did. I think it has a lot potential to age well, and to an extent it already is. It just didn't unlock the next level we figured he was sitting on. With all that said, it is still a very good album. "Glory" has such an interesting beat and JID uses the flow that defined his unique lane, and its a more interesting take on God/gospel adjacent music than most. "Community" is such a banger, and right when JID drops an amazing verse with beautifully ansgt-filled lyrics and multiple voices, Pusha T one matches him and then No Malice takes the cake at the end. The government better stop all gentrification projects in Atlanta, because JID WILL put a bullet in Bob The Builder. "VCRs" is an entertaining head-bob with Vince Staples, and just shows that JID has gotten much better at figuring out how to use his voice and what to tone down vs what needs to be emphasized. "Sk8" is a bouncy dance track, while "No Boo" pairs him with Jessie Reyez again for an RnB vibe. "On McAfee" is another banger that I'd love to see live, and JID masters the speed rap and control of his voice. "Of Blue" is the opposite vibe but just as good, with powerful reflective bars characterstic of someone as thoughtful as JID. Finally, "K-Word" attacks you with angry pontification on karma and consequences. As critical as I may have sounded, this was by no means a dud, and as far as JID goes, his window for growth is still open, especially if him and Metro Boomin complete their collab album. I'll always be first in line for a JID release, and that hasn't changed.

3. Alfredo 2 - Freddie Gibbs and The Alchemist (July 25)

   

Few sequels are as great as this one. As soon as I saw the album cover I knew we were in for something special. I never even listened to the first Alfredo the full way through, but Freddie Gibbs and The Alchemist is a special enough combo where it deserves some attention. "1995" is such a great sequel to "1985", and as if it wasn't fire enough it kicks up a whole another level when the guitar kicks in. Alc is a master of making you head bang to the chillest beats, because they still have that level of energy in them. I always chuckle a bit at whatever persona or theme Freddie is using at any given moment (sorry), but the whole kung-fu movie underworld theme works well enough where that doesn't harm it at all. "Lemon Pepper Steppers" starts off on such a high and maintains the vibe. "Ensalada" bring Anderson .Paak and Freddie back together again for another one of his best songs, and its not insane that many people have this as their favorite song of the year. "Skinny Suge II" has an amazing mix that steals front stage. "Shangri La" is a great summer evening drive backtrack. "Lavish Habits" is a standout with the funniest one-line disses. "Gold Feet" is elevated by a great JID feature, and now I want to see more of him and Alc working together. Freddie is in full form here and just as hillarious and hard as ever, but Alchemist is in goddamn flow state in curating the right beats for him. And after all that praise, it somehow still isn't the best album about selling drugs this summer... but we'll have to wait a little bit for that one.

2. Rennaisance - Raf Saperra (July 11)

   

Raf Saperra is the king of authentic versatility. How does he keep doing it? Just a few months before this, he released She Loves Me, She Loves Me Not... on Valentine's Day, a generally somber folk and qawali based EP, and showed us how he can perforrm vocally. Here, Raf does a complete 180 and fully leans into the Punjabi Pop sound, pairing with Ikky to give us 5 bangers. After showing us grimy hip hop, afro, bhangra, and qawali, he gives us a pop taste of each and shows how to lean into a sound and authentically add it to your repitoire. Some of these songs aren't even necessarily my usual bag, and I still like them more than just appreciate them. "Sang" is a very poppy catchy song that sounds like it could be paired with the cheesiest music video from your favorite 2010's singer's early career. "Ni Billo" is an absolute BANGER, more pop-hip-hop focused with Raf even rapping in English, showing off his Grimes influence, and Ikky doing an A+ job on the beat. "Broken" is a genuinely heart wrenching breakup song that sounds like it should be in a movie (and probably will be). "Morni" took the Bhangra world by storm, taking a classic folk and bhangra lyric (comparing a girl's swagger to a peacock) and making the new Bhangra anthem for the moment. "Step Out" ends the EP where "Sang" started it with another summer time anthem. Raf knows how to use his hip-hop and folk background/tendencies to his advantage in whatever he's tried so far, and I'm anxiously awaiting his next project. But after all, it was an EP...

1. Let God Sort Em Out - Clipse (Pusha T and No Malice) (July 11)

   

YELLOW DIAMONDS LOOK LIKE PEE PEE was a stim of mine for way too long. July 11 was just an insane day for music man. I'm not someone who regularly listened to Pusha T, even with as much praise as he gets, but I do like quite a few Clipse songs from back in the day. They're still talking about selling coke. They're still coming at the industry. They're still like 50. But goddamn are they good at what they do. I expected myself to like this less than most but it is gorgeously produced and curated and deserves a lot of the praise in my opinion. As good as Pusha is, the standout for me is the return of Malice. It's insane to think this dude was a pastor for like the past 15 years and is back doing this. You can still hear that experience and the maturity in him when he raps though, and hes all the better for it. I left this album genuinley wondering why we don't talk about Malice as one of the greats more regularly. He blacks out on this whole record. Unc was holding a lot in. "The Birds Don't Sing" is a beautful and touching tribute to their deceased parents and you feel the brotherhood. "Chains and Whips" is a menacing Pharell beat that Kendrick Lamar fits perfectly over. "P.O.V." is a fuck you anthem, and you can feel Tyler, the Creator's excitment through his voice. "So Be It" is possibly a song of the year for me, because Clipse and Pharell all spazzed on this. I am so happy the sample got cleared. The energy is crazy, Malice's bars are next level, and the diss verse to Travis is fucking chef's kiss. The beginning of this paragraph should tell you how I feel about "Ace Trumpets". "All Things Considered", "M.T.B.T.T.F.", "E.B.I.T.D.A.", "So Far Ahead" are all hard. "F.I.C.O." has a dope Stove God Cooks feature that fits so well with a hillarious Fetty Wap reference. A Nas feature is always welcome on "Let God Sort Em Out/Chandeliers", but it also reinforces just how good Malice is on this album. Clipse looks like they're here to stay, and if that's true I am loving it. They are not being slowed down by anything, and they are here for everyone's necks. Even if I don't agree with it, I can't objectively say its not hard. They take my crown spot for the summer, even after releasing on the same day as so many record on this list.