Curated rap & hip hop, updated monthly. Underground favorites, a handful of classics, and new releases that aren't already in your rotation. Best listened to in order, with a 3-4 second crossfade. Support all of these artists.
Armani White - “Touché”
West Philly newcomer Armani White opens up this batch with a bold display of energetic flow, a signature trait that he rides to full effect, presenting a more tactful and technical version of Acid Rap-era Chance. This production is deep and perfectly executed, and stands out like a shining beacon. I love the subtle callback to Rick Ross’ “Hold Me Back,” an early 2010s trap classic that seems to be forgotten, even though I used to hear it at every rap show in between sets.
Powers Pleasant - Can’t Fucc Wit It” feat. G Perico, Buddy
Founding member of Joey Bada$$’s Pro Era collective Powers Pleasant has steadily produced plenty of memorable cuts but rarely shows up in the spotlight, despite being a powerhouse touring DJ for Joey and Beast Coast. G Perico lays down another steadfast verse (no qualms about putting him on consecutive playlists) and Buddy’s appearance makes me long for that Zoink Gang mixtape.
Dreamville - “Outta Pocket” feat. Bas, Cozz, prod. Girl Talk
I’m not one to get excited about deluxe albums, it’s more of a cash grab and streaming numbers tactic than it is a reward for dedicated fans, and if you really have that much material, just release everything the first time around. Still, I’ll take as much Dreamville III as they can offer. Girl Talk is making me eat crow for that college town trend comment last month; this beat is unreasonably polished, pulling you in off the top with that “Air Force One” callback.
IDK - “Cereal” feat. JID, Kenny Mason
IDK should get credit for being at the forefront of the intellectual, accessible-but-experimental brand of hip hop that he and JPEGMAFIA have been perfecting, even if they’re operating on different wavelengths. Atlanta’s Kenny Mason is rapidly stating his case for an up and comer to watch for the next decade, and that’s not hyperbole. With JID dominating the hook on this banger, I’m Dreamville heavy on this playlist, again, but I’m not making any apologies.
JAHMED - “MAZDA”
Can I interest you in a Miata in these trying times? L.A.’s JAHMED boasts one of the best album titles of the year with THEBOOFMOBILE, but it’s also a refreshing, bass-heavy take on West Coast bangers. I can picture blasting this song driving around L.A. at 3am, most likely speeding under an overpass on 101 near downtown, heading to an afterparty. For the record, his car is actually a ‘97 Protegé.
Ninioh - “Diablo”
UK rappers are still mostly in my blind spot, but this wavy track from Birmingham’s Ninioh is that perfect balance between being simply catchy and having depth beyond first impressions, which is also true of one of his more recent singles “Fodie.” Where can I find more like this? Get at me.
Ghetto Sage - “Häagen Dazs”
Newly formed supergroup Ghetto Sage is a Midwest trio of St Louis’ Smino, along with Saba and Noname, who are both from Chicago and both made their respective breakout appearances on Chance’s Acid Rap in 2013. Let’s take a moment to acknowledge Noname clowning on J. Cole this past summer, fully warranted but quickly squashed, and it feels like it happened two years ago. This song is an absolute barn burner, and I can’t wait to hear the full length release, if that’s even on the way.
Cam’ron - “You Know What’s Up” feat. C.O., Sky-Lyn
Crime Pays might be the best late career Cam’ron project from the Dipset founder, although I did spend a lot of time with Ghetto Heaven Vol 1 in 2013/14. Last year’s Purple Haze II was a welcome addition to the catalog if not understated, maybe a little uninspired. This blatantly NSFW jaunt almost plays like Cam’s own version of Dr. Dre’s “Let’s Get High” on Chronic 2001, but it’s easily more graphic. C.O. crushes the hook while Sky-Lyn offsets the misogyny, and it slides in nicely after Noname’s raunchy verse that closes out “Häagen Dazs”.
A$AP Ferg - “Value”
From one Harlem mainstay to one of the new-school torchbearers. I have some hot takes on how Rocky stacks up against his A$AP Mob brethren, or his apparent absence among the in-fighting in his collective, but regardless, Ferg is the best of the bunch in my book. Floor Seats II is fun and varied, distinctively odd but approachable, and he goes all-out on the features, namely “Marilyn Manson” featuring the rumored rib remover himself. The cover art reminds me of Nispey’s Slauson Boy 2.
J-Diggs - “The Thizzness” feat. Mac Mall, Rydah J. Klyde
Say what you want about the simplicity or overly recycled beats of early-2000s Bay Area rap, it’s hella fun and you can’t convince me otherwise. And let’s not forget that we’re about to have an Oakland native in the White House. I love J-Diggs, but I’m really here for the slow flame verse from Rydah J. Klyde, who I usually associate with one of my favorite Mac Dre guest verses on “Leave Me Alone.” I might have tagged the wrong version of this on the playlist, but that’s showbiz baby.
Kill Nigel - “Attached” feat. Theophilus London
New York’s stylist turned performer Kill Nigel penned this beautifully layered single about his newborn son, and it’s truly memorable, something to be cherished. An extremely relatable quote from an interview last year: “Sometimes I’m so crazy, I can’t even be around people I care about because I’m so into it.” Theophilus London drops a guest verse that rounds out the beat perfectly, and he’s got a new record that’s a little pop-leaning, but there’s a lot to unpack in his approach. He’s not to be confused with Chicago producer Thelonius Martin, which has happened to me before.
Daylyt - “First Breath” feat. willie b
The battle rap king from Watts, Daylyt sports a face tattoo inspired by Spawn -- read the comic book, don’t watch the movie. Here he absolutely obliterates this straightforward beat, incessantly ramping up the intensity with a lyrical prowess that cannot be ignored. The production comes from Digi+Phonics member and longtime TDE collaborator willie b, who shows a deeper range on “Last Breath.” Reading a quoted lyric just doesn’t cut it, so I won’t drop my favorite lines; there are too many to choose from anyways.
O.C. - “Time’s Up”
No long introductions should be necessary for this classic often sampled by Big L (maybe it was only “The Enemy”). O.C. is usually remembered as part of collectives like D.I.T.C. and Crooklyn Dodgers ‘95, so it was necessary to highlight this one from the forgotten 90s pillar Word...Life. “Everybody’s either crime related or sexual,” which unfortunately is a conversation that still comes up from outsiders looking to criticize hip hop.
Mobb Deep - “Hit It From The Back”
Back when there were aux cables at parties, I would occasionally put on Mobb Deep, with something like “Eye For An Eye” or my personal favorite, “Right Back At You.” I was usually asked to leave the party shortly thereafter. Anyways, this forgotten single from Juvenile Hell was written when Havoc and Prodigy were still teenagers, and it’s pretty brutal, even for ‘93.
CRIMEAPPLE - “Camouflage”
Colombian born but hailing from Hackensack, NJ, CRIMEAPPLE has a delivery that’s hard to pin down. Comparisons undersell his raw talent and knack for weaving his flow around a beat, and his latest record If I Don’t See You In Paradise is his best since Aguardiente, although everything in between is also worth exploring on its own. His bilingual command is wielded like a sharp weapon to completely demolish this track, the closing song on the equally impressive 2020 album, Jaguar in Paradise, sitting at that sweet spot of 8 tracks across 24 minutes.
Toldem - “Cold Front” feat. Yung Simmie
Lots of rappers have beats flanked by rain effects, but this one can stand with the best. It looks like I’m early on Toldem, but I stumbled on him via Miami’s former Raider Klan member Yung Simmie, who turned my head with 2017’s phenomenal Big Smokey, even if that “Fire & Fury” sample hasn’t aged particularly well. There’s something about Yung Simmie that I thoroughly enjoy, especially as he’s carved out his stoned, Memphis-leaning niche with a simplified lyrical approach.
ICYTWAT - “Raceway”
Speaking of rainy day beats, this booming, depressing cut is one of my all-time favorites. See my review of $ilkmoney’s latest record for evidence of the beating my car speakers took from the bass of Chicago’s elusive ICYTWAT aka Lil Fendi aka KassperDahmer. He might be polarizing, but it’s hard to knock his omnipresence in SoundCloud rap in 2015, or his long-lasting influence on bedroom producers worldwide.
Gosha Guppy - “A Beautiful Day to Get Robbed”
Having your feet in two worlds simultaneously can often lead to creatively unique viewpoints, as evidenced by the dichotomy of Gosha Guppy, who grew up in East Flatbush but spent his teenage years commuting to a private high school on the Upper West Side. This one-off single released a few years ago is bouncy with a hefty dose of sarcasm, and it’s included on his strong debut project Let’s Talk Love.
Open Mike Eagle - “Death Parade”
Open Mike Eagle’s approach can be cerebral, categorized broadly as ‘art rap,’ although not enough to be considered experimental. This bleak track opens his latest full length, the darkly humorous Anime, Trauma, and Divorce, which is an honest journey through a difficult breakup and the dissolution of his Hellfyre collective, among other struggles. I love the line “it’s October and I’m tired,” but I’m not the first one to notice it.
Smino - “Backstage Pass” feat. Monte Booker, The Drums
In a past life, I listened to a decent amount of The Drums and their surf rock revival sound, and they’re increasingly present in the hip hop sphere -- see the sample found on KYLE’s “YES.” Monte Booker does a phenomenal job reworking the “Money” sample, especially when you get to that slowdown, and Smino puts on a prime showcase of his abilities. You might already know this one from playing Madden 21, but it will still hit you hard once you get to the line: “friend hop in this is a four seater / made it yank, straight out the wood, I’m Derek Jeter.”
Comments