As a general rule I am not a big fan of posthumous records. Major labels scraping the barrel of a dead icons offcut recordings usually never ends well. Luckily this time one half of the iconic hip hop duo was still around to ensure their legacy wasn't tainted (although not without tabloid controversy). DJ Premier does a great job of pairing his legendary beats with unheard Guru verses and specially selected guest features. For the most part it is very successful and brings Guru back to life, without feeling too forced. With all the royalties being directed to Guru's children this feels less like a cash grab and more like closure.
I can't lie, I had very high hopes for this record. I don't want to say I was disappointed but I feel like it could have been so much more. At just 27 minutes long, there are a few moments of brilliance but also a few mis-steps. There are hints at greatness but it never quite transcends. That being said as usual with Kanye the visual side of things was exceptional and the accompanying IMAX film was very enjoyable. Shot in James Turrell's Roden Crater (to which Kanye is a major benefactor) the visual experience and reworked songs are breathtaking.
Giggs' profile on the world stage has never been bigger. With some select guest features from both the UK and stateside this is just a pure and simple enjoyable rap record. The production is on point with a good mix of current trends and some classic sample based stuff. I always enjoy a well made UK rap record because the lyricism and cultural references feel a lot closer to home. Not many people sound like they are having as much fun as Giggs and no-one can make it sound quite as effortless.
It's no secret that Apollo Brown has a signature sound and this is his magnum opus; a tribute to his home city featuring over fifty local artists from Detroit. The city is famous for the sounds it has given hip hop over the decades (from Dilla to Eminem) and Apollo Brown seeks to add to the legacy. At 21 tracks it is a mammoth record, but he switches the production styles and feature spots up enough to keep the momentum going. The signature cracks and pops of the vinyl are there along with an impeccable selection of samples that he chops into new masterpieces. If you like boom bap hip hop then it doesn't get much better than this
Danny Brown has come a long way in the last decade and nowhere is this clearer than on this record. Executively produced by Q-Tip, with a few well thought out guest features this is masterclass in both production and rhyming.
It feels like Skepta has been away for ages. Rather than throwing endless singles at the streaming algorithms he has taken his time over the last few years to explore fashion, fatherhood and create new music. You can really tell when someone takes their time with a project and this is what I like about this record. No filler, nothing unnecessary, just well crafted grime music, executed at the highest level and flawlessly released.
I really enjoyed this record. Black Milk has been making exceptional music for years, but this one feels like he really nailed it. There aren't a lot of artists that can make beats this good AND rap well over the top of them, but Black Milk shows how it is done. The overall sound is smooth and soulful and the result is just great music.
As far as debut records go this is pretty impressive. At just 20 years old Dave has made an album with depth and integrity that not only won the Mercury Prize but will also stand the test of time. Lyrically the wordplay and rhyme schemes are exceptional and although it can feel pretty bleak at times it makes the brighter songs all the more impactful. The opposite of overhyped, this record deserves all its success
Apparently this is The Games last record. I can still remember buying his first album on CD from the record store near my college. I have always liked his music but this album really surpassed all my expectations. Sure there are a few tracks that could have been cut and just the sight of Ed Sheeran's name on the feature list filled me with panic, but overall this can't be faulted. Yes some of Game's more awkward traits are still here (the name-dropping for one) but that being said this is probably the best record of his career. Perhaps it's the influence of executive producer and LA underground legend Dom Kennedy but the production is just on point. Classic samples are taken and reinterpreted (giving the album a nostalgic vibe). The bass is thick and the sound is warm, like the California streets that inspire it. The feature list is long and varied with a verse from the late Nipsey Hussle being a particular standout. The Game is trying to cement his legacy with this record and if you cut 5 or 6 tracks it would have been an instant classic. That being said it is a highly enjoyable listen and a clear standout record in his catalogue. Hopefully he will give the retirement a second thought
It doesn’t get much better than this. Freddie Gibbs is one of my favourite rappers and Madlib is an undeniable hero of the genre. Combined they bring out the best of each other and create real rap magic, as evidenced on their first record Pinata. On paper the pair should never be put together but in practice it made for some of the best rap music this decade. This time around the stakes were raised and this album was released on a major label. With the major label came a major marketing budget and the build up to the record only increased my anticipation. Luckily they more than delivered and the chemistry this time around is palpable. You can tell that rather than Madlib sending a beat and Gibbs rapping on it from separate studios, this time they got together and collaborated in real time. Madlib's production is incomparable, a particular highlight being when he "goes trap" on "Half Manne Half Cocaine". Apparently all of the beats where made on an iPad (!) and it took over a year to get clearance for all the samples. Gibbs seems to effortlessly rap over whatever Madlib throws at him, taking each switch up or tempo change as a challenge. The result of their efforts is a pretty much flawless rap record. The accompanying music videos are both hilarious and cinematic at the same time and if you get chance be sure to watch their NPR tiny desk performance, where the songs are brought to life with live instrumentation. The person who needs more credit in all this Gibb’s long time manager Lambo who masterminded the whole thing and brought the two together. 15 years is a long time to slowly build a rappers career but slow and steady wins the race and Gibbs is just getting warmed up. Now we just need them all to get together once they finish celebrating and finish the trilogy
These 2 records have no business being on a 2019 end of year list, but here they are. I still remember downloading the So Far Gone mixtape from Drake's blogspot website in 2009. A decade later he celebrated the landmark by re-releasing it on streaming services. Presumably feeling sentimental Drake also gathered all his loose songs released online over the years on various platforms and gathered them together on his "Care Package" album. Again nothing new, just obscure unrelated tracks that long term fans like myself have been dying to get hold of again. It just goes to show that the music stands the test of time and even on a year when Drake isn't dropping new music, his old stuff is still running the numbers.
As a working class northern lad I grew up on Oasis. Whilst I respect Noel for exploring new creative avenues I still feel a little bit of magic every time I hear Liam's voice. There is nothing game changing or ground breaking about this record, but the nostalgia of the sound and the undeniable swagger of the youngest Gallagher brother had me utterly convinced
I am almost certain that I am not the target demographic for Nimmo's music but that is irrelevant when the songs are this good. The first time I heard it I got vibes of M People or a dance-ier London Grammar. The lead vocals just sound so good against the music. Definitely one to check out
I was always a big fan of Wild Beasts and Hayden Thorpe's distinctive vocals were one of the key elements that set them apart. Here on his debut solo record he doubles down on his trademark vocal sound and clever lyricism but strips the rest of the music right down to often just a piano and underlying synth lines. The result is a mesmerising record
This is the music that I grew up on; gospel music blasting out of the cassette player in my Dad's Vauxhall Astra. Who would have thought that the woman who brought us "I will Survive" would make one of the best worship albums of the decade? Alongside a team of respected producers and top notch session musicians she has brought her passion project to life and it is one of the most joyous things I have heard in a long time. Highly recommended
I feel slightly guilty to have only just discovered Crazy P this year seeing as how they have been going strong since '95. Regardless this was a brilliant introduction. The music bounces, combining electronic and live elements. The vocals and lyrics are great. They effortlessly switch up styles. A few days after hearing the record I found out that I'd just missed them playing a huge show in Leeds a few days beforehand.
This is a record that I could imagine myself making, all gated snares and huge guitar leads. I love instrumental music but this is balanced with some well made pop bangers too. Although electronic music is often just thrown through some CDJs when performed live, I have seen photos of his crazy setup of triggers and sample pads against a big circular LED backdrop. I can only assume that it is an awesome live show
With the working class lyrical themes and blaring saxophone phrases, I can just about understand multiple sources touting Sam Fender as the new Bruce Springsteen. Whilst I'm not quite on board with that, this is still a very very good record. I like it when people write songs with a bit of depth and there is no shortage of that here. The songwriting and playing is excellent. Excited to see where he takes it next.
I'll admit when I first came across Maggie Rogers I was sure it was a record label ploy at "going viral". The famous YouTube video of her music leaving Pharrell speechless during a student listening session seemed too staged to be true. Maybe it was, but her debut album more than lives up to the hype that the breakout video generated, whilst ensuring that she remains fully in control of her creative output. I watched her set at Glastonbury (on TV) and she can certainly perform live too. Fantastic record to kick off her career.
They say the best music is born from heartbreak. On this record Mark Ronson takes a step out of the spotlight and instead entrusts an exceptional cast of female artists to sing his breakup songs. I've always respected Mark Ronson as a music producer but I was never a big fan of Uptown Funk and everything that came with it. Because of that I didn't expect to fall in love with this record as much as I did, but everything about it got me. The foil board vinyl sleeve, the huge broken-heart shaped glitterball and most importantly the phenomenal songwriting and production. There simply wasn't a better set of pop songs released this year. Every track is unique and every track is flawless.
It all started when I watched "Live on Broadway" over the Christmas break last year. Listening to Bruce's life story and hearing the songs stripped back sparked an obsession with his life and career. At the start of the year I listened to his entire studio discography from start to finish, bid for original vinyl pressings on eBay and read his brilliant autobiography. This all set me up quite nicely for the release of what is one of the best records he has ever made. From the first listen I knew it would be something special, especially when set within the context of his wider catalogue. There is a reason why Springsteen is one of the most respected songwriters still alive today and at the age of 70 he has made one of the strongest records of his entire career. On a personal level what gives the songs even more meaning to me is that I would play them to my 1 year old as lullabies to send him to sleep. We must have spent a hundred nights together; me, my son and the boss.