That’s a pretty fast year flew by. From sad girl bops to trap bangers, praiseworthy comebacks to unconventional debuts, this year encapsulated the 2010s while laying the groundwork for the decade ahead.
For those unfamiliar with my roundups, they’re an attempt to highlight projects worthy of carrying into the new year. The lines between mixtapes, albums, EPs, and so on get murkier with each passing year, so length and whichever title is used as a marketing tool is irrelevant. We’re looking purely at a combination of quality and what managed to stay in rotation. As always, check the playlist to sample each project and preemptively ice those burnt fingies — we’re scrolling through some Haught Takes.
These are the projects that defined my 2019 and deserve a place in your 2020.
Deerhunter — Why Hasn’t Everything Already Disappeared?
Released January 18th
You can make a solid argument for how far we’ve fallen, but looking at our highly questionable history, it’s a valid question: why hasn’t everything already disappeared? Bradford Cox and company are able to delve into weighty questions without ever venturing into cheesy political clickbait soundbites or even fully succumbing to pessimism. It’s a record that can sonically explore our peaks and valleys and bravely push forward as the valleys grow deeper.
Selected cuts: “Death in Midsummer,” “No One’s Sleeping,” “Futurism”
James Blake — Assume Form
Released January 18th
James Blake is nothing if not vulnerable. His pensive take on electronica has always worn themes of anxiety and heartbreak on its sleeve, resulting in some of the decade’s most haunting songs. Assume Form finds Blake just as gripping and transparent as ever, while shifting thematically as he dismisses his hopelessness in the face of love. It’s a theme that could come across corny through the pen of a lesser writer. Blake’s honesty, even at its most doting, makes it hard to be a cynic.
Selected cuts: “Mile High (feat. Travis Scott),” “Barefoot in the Park (feat. ROSALÍA),” “I’ll Come Too”
Sharon Van Etten — Remind Me Tomorrow
Released January 18th
It takes serious skill to completely flip your style without alienating your fanbase. Sharon Van Etten’s first album in five years subverted expectations, trading in bare acoustics and folk sensibilities for brooding synthesizers, heavy drums, and earworm hooks. It’s the sort of successful shapeshifting you’d expect from a Bowie or Beck, providing further evidence that fans don’t really know what they want until they have it.
Selected cuts: “No One’s Easy to Love,” “You Shadow,” “Stay”
Toro y Moi — Outer Peace
Released January 18th
Having been a largely influential indie and electronic, quietly vital R&B figure for a decade, Toro y Moi’s latest continues what he does best: juggling it all. Perhaps mistakenly pegged as a dance album, Outer Peace’s downtempo, sobering auto-tuned moments are just as essential as the intoxicating, Daft Punk-inspired synth-pop highs they follow. It’s a club record that paints the full picture — hangover-induced anxiety and all.
Selected cuts: “Ordinary Pleasure,” “Laws of the Universe,” “50-50 (feat. Instupendo)”
Choker — Filling Space
Released January 25th – February 8th
Over the past two years, Choker has been making a name for himself by recontextualizing the most eccentric edges of alt-R&B into odd collages resembling pop songs. There was rarely a true song structure, but they always stuck with you — sometimes disjointed, but rarely a miss. Across the three EP installments of the Filling Space series, he maintains his experimental nature but fully explores an idea before moving along to the next.
Selected cuts: “Petrol Bliss,” “Master P,” “Lucky”
Julia Jacklin — Crushing
Released February 22nd
It’s all about the details. We’ve heard countless breakup albums and are well acquainted with the general themes of loss and regret, but Jacklin draws her focus on the often glossed over aspects. From the anxiety of putting yourself back out there to begrudgingly coming around to that song an ex loved, her sharp pen and powerful voice demonstrate a songwriter in peak form.
Selected cuts: “Body,” “Don’t Know How to Keep Loving You,” “You Were Right”
Westkust — Westkust
Released March 1st
Equal parts shoegaze and 90s punk, Westkust constantly tows a line between the former’s dreamy haze and the latter’s warm, distorted energy. Rather than contrast, the two mesh into that contented, if not a bit drowsy, feeling of the sun setting on an afternoon of day-drinking. It asks for your attention without really commanding it and winds you down without really asking you to stop.
Selected cuts: “Swebeach,” “Rush,” “Cotton Skies”
Karen O & Danger Mouse — Lux Prima
Released March 15th
Danger Mouse tends to operate in two modes: the occasional surprise like Parquet Courts’ Wide Awake! or Michael Kiwanuka’s eponymous album, and his dark, muted, familiar funk. When the latter works, it’s fantastic — at worst, it can be forgettable. Fortunately, his chemistry with Yeah Yeah Yeahs’ frontwoman Karen O allows for an effort a bit closer to the former. Whether a growl or an eerie whisper, Karen’s voice sounds ethereal upon Danger Mouse’s backdrop.
Selected cuts: “Lux Prima,” “Ministry,” “Redeemer”
Rozi Plain — What a Boost
Released April 5th
There’s a cinematic quality to What a Boost. While at times the meandering elements of folk, jazz, and mellow electronica feel grandiose, they retain the feeling of one’s own insular dream sequence. Plain has a knack for playing to both sides of this line. Her lyrics are simple but carry profound weight, while her delivery is plain spoken yet hypnotic. It’s the peaceful, at times confusing feeling of a slow rise in the morning.
Selected cuts: “Inner Circle,” “Swing Shut,” “Old Money”
Anderson .Paak — Ventura
Released April 12th
Fresh off the heels of 2018’s fairly middle of the road Oxnard, it felt like all eyes were on .Paak to release something warranting the hype surrounding him following 2016’s Malibu. Unfair expectations, sure, but the R&B star comes close to matching that sun-soaked, smile-inducing soul that can only be provided by someone claiming to have the “best teef in the game.” It might not be a seminal album, but it provides highlights bound for a future greatest hits.
Selected cuts: “Come Home (feat. André 3000),” “Winners Circle,” “King James”
Pivot Gang — You Can’t Sit With Us
Released April 19th
I said it in July and I’ll say it again: give me all the posse cuts. Saba might be the crew’s breakout star, but by no means is he carrying the team. Joseph Chilliams, MFnMelo, and Frsh Waters all have their moments to shine, plus some instantly memorable cameos from Kari Faux, Smino, and Jean Deaux. The production introduces a trap edge to the established sound of the soulful, new Chicago, providing the perfect setting for a 42 minute barrage of bars.
Selected cuts: “Colbert,” “Mortal Kombat (feat. Kari Faux),” “Edward Scissorhands (feat. Jean Deaux)”
Aldous Harding — Designer
Released April 26th
Between quirky 70s singer-songwriter pop gems and heart-wrenching ballads, Aldous Harding’s abstract lyrics and delivery exist in that ambiguous space where the sweetest dream has an undercurrent of paranoia — a feeling the tide could turn at any moment. “Zoo Eyes” acts as the record’s mission statement, viewing life through a lens that values life’s beauty as much as its confusion.
Selected cuts: “Fixture Picture,” “Zoo Eyes,” “The Barrel”
Big Thief — U.F.O.F.
Released May 3rd
Adding a second “F” onto U.F.O. for “friend,” U.F.O.F. feels about as celestial as a folk record can get. It’s still rooted in the earthy, autumn colors that come with a folk record, but there’s a sense of detached apprehension like you’re being guided through the human experience for the first time. With the listener essentially serving as the U.F.O.F, there’s a fear surrounding the understanding of our daily minutiae, but it’s treated with a curiosity and guiding hand to pull you through.
Selected cuts: “U.F.O.F.,” “Orange,” “Century”
Still Woozy — Lately EP
Released May 3rd
As the DIY-pop scene has become increasingly dominant on streaming platforms, Still Woozy has quickly become a staple of the sub-genre without an album to his name. His plunky brand of indie rock with R&B sensibilities has resulted in undeniably catchy, quirky songs you can’t shake. While time will tell if his sound can successfully transition into a longer format, look for his name to continue to climb the festival billing in years to come.
Selected cuts: “Lava,” “Ipanema (feat. Omar Apollo & Elujay),” “Maybe She”
Vampire Weekend — Father of the Bride
Released May 3rd
The departure of multi-instrumentalist/primary producer Rostam Batmanglij and an ever-increasing gap between albums rightfully raised some concerns regarding the band’s future. Following three highly regarded indie classics, frontman Ezra Koenig seems intent on the band continuing to break new ground while retaining the Hampton Beach vibe that shot them to success. Perhaps guilty of attempting to make up for lost time, the album hangs around a handful of songs too long, but still provides some of the band’s most essential tracks to date.
Selected cuts: “Harmony Hall,” “Sunflower,” “2021”
Ari Lennox — Shea Butter Baby
Released May 7th
Owing just as much to influences like Erykah Badu as she does to contemporaries like SZA, Ari Lennox’s debut is a warm balance of neo-soul and mainstream R&B. While this isn’t anything new, her unique songwriting has its finger on the pulse of being a 20-something in 2019. From the excitement of having her own apartment to disappointments on Tinder, Lennox guides us through her highs in lows with a remarkable confidence in her vulnerability.
Selected cuts: “Chicago Boy,” “Broke (feat. JID),” “I Been”
Jamila Woods — LEGACY! LEGACY!
Released May 10th
LEGACY! LEGACY! could damn near pass for a master’s thesis — she even has a bibliography in the album’s liner notes. Jamila Woods’ sophomore record explores artists of color’s impact by pseudo-stepping into character to express how her blackness informs how she interacts with the world around her. It’s a fascinating listen from a historical standpoint, but her own introspection gives this record a life of its own.
Selected cuts: “ZORA,” “FRIDA,” “BASQUIAT (feat. Saba)”
Slow Pulp — Big Day EP
Released May 15th
Every day is a big day as a child, holding the potential for any first experience. Slow Pulp’s latest EP explores this concept of feeling a feeling for the first time, which is appropriate considering where they are as a band. It’s not the first Slow Pulp release, but it feels like an introduction. This is the first project where frontwoman Emily Massey was involved from start to finish, ultimately redefining what the band’s sound will be. We’re experiencing them as a complete band for the first time — now we wait for them to grow.
Selected cuts: “New Media,” “High,” “Young World”
Tyler, the Creator — IGOR
Released May 17th
IGOR feels like the album Tyler, the Creator was meant to make. It’s the sum of the parts Tyler has presented on previous efforts, but his usual exploratory nature, newfound maturity, and a willingness to not play to the crowd take him to new territory. He knows when to get aggressive, when to opt for lush melodies, and doesn’t even feel the need to rap if the production isn’t asking for it. He’s always demanded respect for his production, and after such a fully formed record, it’s hard to argue against him.
Selected cuts: “IGOR’S THEME,” “EARFQUAKE,” “RUNNING OUT OF TIME”
Cate Le Bon — Reward
Released May 24th
Reward is the most logical fever dream of an album to drop this year. Every off-kilter melody and lyric tap dances on the line between jarring and familiar — something uncomfortable that immediately consoles you. Seeing as Le Bon produced the latest Deerhunter record, it in many ways feels like its mystical, mushroom trip of a sister album. While Deerhunter explores the world around us, Le Bon’s intimate, personal record takes a larger look within.
Selected cuts: “Miami,” “Home to You,” “The Light”
Faye Webster — Atlanta Millionaires Club
Released May 24th
Faye Webster manages to cover an incredible amount of ground on her third album, merging soul, alt-country, indie, and even a rap feature. What’s more impressive is every sound, from the steel guitar to the Father’s verse, compliments each other without ever feeling showy or out of place. From her ability to impeccably arrange a song to her clever lyricism, the 21-year-old singer-songwriter is already forging a lane all her own.
Selected cuts: “Room Temperature,” “Jonny,” “Come to Atlanta”
Flying Lotus — Flamagra
Released May 24th
The idea that a concept album about an eternal flame on a hill inspired by (and resulting in a feature from) David Lynch would result in Flying Lotus’ most accessible album to date is absolutely laughable, but here we are. Rather than chasing the colossal sound of his 2014 magnum opus You’re Dead!, FlyLo tags in his contemporaries and followers for his catchiest work yet. It might not push his creative boundaries as far as expected, but I’ll be damned if it doesn’t bring the funk.
Selected cuts: “Post Requisite,” “More (feat. Anderson .Paak)”, “9 Carrots (feat. Toro y Moi)”
Jai Paul — Leak 04-13 (Bait Ones)
Released June 1st
It might have leaked in 2013, but six years removed from the blog spotlight, the reclusive Jai Paul has finally, officially released what was intended to be his debut album. Electronic music and R&B might seem worlds apart from what they were the last time we heard from him, but Paul’s funk-influenced, synth-heavy sound has remained largely influential on both genres. Who else can say their technically unreleased demos are worthy of inclusion in a “top albums of the decade” debate?
Selected cuts: “Str8 Outta Mumbai,” “All Night – Unfinished,” “BTSTU – Demo”
GoldLink — Diaspora
Released June 12th
An admittedly begrudging inclusion, I wasn’t too stoked to include Link after a backhanded Mac Miller farewell post. Regardless of what a cornball the guy might be off the mic, Diaspora arguably presents him at his most charismatic and likable yet. It teters between being his most versatile and most commercial record, but regardless of his lane, it’s never not a fun listen.
Selected cuts: “Cokewhite (feat. Pusha-T),” “U Say (feat. Tyler, the Creator & Jay Prince),” “Spanish Song (feat. WaveIQ)”
Crumb — Jinx
Released June 14th
Crumb makes the most of your time while they have you. With the majority of tracks clocking in at under three minutes, their debut is just 12 minutes longer than their longest EP. Some instantly memorable melodies and a playful balance of slacker rock and engrossing psychedelia make these songs an easy sell, but shortly after you’ve stepped inside their dimly lit haze, they’re onto their next idea. Perhaps what makes Jinx so relistenable is what makes it equally frustrating. I guess leaving you wanting more is a comparatively good problem to have.
Selected cuts: “Nina,” “Part III,” “Jinx”
Daniel Caesar — CASE STUDY 01
Released June 28th
While elements of gospel will forever be entrenched in his delivery, CASE STUDY 01 attempts to redefine what we expect from a Daniel Caesar record. Warm, adoring piano ballads are largely replaced by darker, sultry, more experimental production. The result can be a mixed bag at times, but never a clear miss, and the reward is high enough to stay tuned for where his studies take him next.
Selected cuts: “ENTROPY,” “CYANIDE,” “TOO DEEP TO TURN BACK”
Freddie Gibbs & Madlib — Bandana
Released June 28th
Piñata was no flash in the pan: Bandana is proof Freddie Gibbs and Madlib were made for this unholy matrimony. Gangsta Gibbs’ gritty tales of coke-slinging, deception, and paranoia are the central narrative of most of his work, but rarely are they as gripping as on a grim, soulful Madlib beat. As much as hip-hop benefits from being so highly collaborative, there’s nothing quite like a duo who know just what to highlight in the other.
Selected cuts: “Crime Pays,” “Palmolive (feat. Pusha-T & Killer Mike),” “Giannis (feat. Anderson .Paak)”
Dreamville — Revenge of the Dreamers III
Released July 5th
Important moments in the digital age come and go faster than ever, but man, these Dreamville sessions were a moment. Social media was abuzz as hip-hop veterans, underground favorites, and brand new upstarts convened in Atlanta to record for J.Cole’s Dreamville Records’ latest offering. While it’s an overall showcase of today’s sharpest talents, Dreamville Records shines the most. JID’s stardom feels imminent, EARTHGANG stake a strong claim for up next, and Cole begins to forge a legacy as a label head with an ear for talent above all else.
Selected cuts: “Under the Sun (feat. J.Cole, Lute, DaBaby, & Kendrick Lamar),” “Down Bad (feat. Young Nudy, JID, Bas, J.Cole, & Olu of EARTHGANG),” “Sacrifices (feat. Olu of EARTHGANG, Smino, Saba, & J.Cole)”
Blood Orange — Angel’s Pulse
Released July 12th
Upon the completion of an album, Dev Hynes of Blood Orange typically sends out unfinished song sketches and ideas to friends and collaborators as sort of an epilogue. Described as a mixtape, this Negro Swan epilogue is one of the few projects in recent years that truly fits that bill. While these songs are beautifully composed, there’s no larger intent here. It’s simply an artist creating to create, pulling back the curtain on his process.
Selected cuts: “Dark & Handsome (feat. Toro y Moi),” “Good for You (feat. Justine Skye),” “Gold Teeth (feat. Project Pat, Gangsta Boo, & Tinashe)”
Maxo Kream — Brandon Banks
Released July 19th
Duality is at the heart of Brandon Banks. Contrasting banging beats with vivid storytelling; barking threats while simultaneously playing the wise oldhead; critiquing his upbringing while giving an abusive, con artist father credit for his current success, Maxo Kream never operates in black and white. He explores every shade of grey, only advising that whatever lane you choose, choose wisely.
Selected cuts: “Meet Again,” “8 Figures,” “Drizzy Draco”
YBN Cordae — The Lost Boy
Released July 26th
You’d be forgiven for questioning the potential of a 21-year-old making viral freestyles. This formula usually sees cringe-worthy praises of “real hip-hop” flooding the comment section, followed by a project with poor beats, all bars, and no trace of genuine songwriting. Cordae breaks the archetype with a surprisingly honed craft on his debut album, striking a balance between bangers and personal tales. He occasionally comes across a bit self-serious, but the livelier moments keep him endearing.
Selected cuts: “Bad Idea (feat. Chance the Rapper),” “Thanksgiving,” “RNP (feat. Anderson .Paak)”
Tyler Childers — Country Squire
Released August 2nd
While he’s originally from Paintsville, KY, a short drive to Huntington, WV would be instrumental in Childers developing his sound, assembling his backing band, and acquiring the status of hometown hero (even if he never actually took up residence there). Seeing someone from my neck of the woods succeed could create some bias, but the songwriting here is unquestionable. Deeply rooted in traditional country, folk, and bluegrass, Childers stands out with fresh storytelling that vividly paints the scene of the contentedness and turmoil of a small Appalachian town.
Selected cuts: “Creeker,” “House Fire,” “All Your’n”
Jay Som — Anak Ko
Released August 23rd
Virtually every 2017 year-end list brought Everybody Works’ bedroom pop to the spotlight. While Anak Ko is a logical next step, Jay Som continues to outgrow those four walls towards something more expansive. Drawing upon anything from R&B to alt-country, incorporating monstrous solos and glitchy synth breakdowns, this one woman band sounds larger than ever without compromising her style’s intimacy.
Selected cuts: “If You Want It,” “Superbike,” “Tenderness”
Boy Scouts — Free Company
Released August 30th
This year had no shortage of breakup records, but as with Julia Jacklin’s Crushing, it’s the attention to the smaller details that makes this one stand out. Anyone can write about a general sense of heartbreak, but when Boy Scouts’ Taylor Vick laments over losing her ex’s friends or rehearsing answers to post-breakup questions, she creates something much more tangible.
Selected cuts: “Get Well Soon,” “Momentary Love,” “Hate Ya 2”
EARTHGANG — Mirrorland
Released September 6th
The OutKast comparisons are a no-brainer. WowGr8 fills Big Boi’s more straight-laced demeanor while Olu chases André’s eccentricities. However, writing the duo off as a rehash devalues not only their talent, but Atlanta’s rise to the defining sound of hip-hop. EARTHGANG is just as indebted to ‘Kast and Organized Noize as they are the Young Thug’s and Mike Will’s of today. Their trippy, kaleidoscope vision of Atlanta’s past and present will undoubtedly play a role in the city’s future.
Selected cuts: “Top Down,” “Bank,” “Swivel”
(Sandy) Alex G — House of Sugar
Released September 13th
You would be hard-pressed to find an artist more difficult to pin down than (Sandy) Alex G. Equal parts somber folk and jarring electronic experimentation, House of Sugar has the creative freedom of an untrained kid asking “what would happen” with the sensibility and talent of someone who finds the right pocket for everything. By chasing disorientingly layered production with heartbreaking, stripped down lullabies, it’s an unsuspecting, emotional one-two punch that lands perfectly each time.
Selected cuts: “Hope,” “Southern Sky,” “Gretel”
JPEGMAFIA — All My Heroes Are Cornballs
Released September 13th
Everything about JPEGMAFIA’s music is extremely online. He’s been making a name for himself for years, mockingly co-opting alt-right lingo over abrasive instrumentals and referring to himself as the “black Ben Carson.” All My Heroes Are Cornballs furthers the themes of last year’s breakout Veteran, taking aim at conservative pundits, professionally outraged Twitter cancelers, and online celebrity worship. The album finds Peggy more interested in sharp, melodic pivots than abrasive bass, but the punk rock spirit lives on.
Selected cuts: “Jesus Forgive Me, I Am A Thot,” “Beta Male Strategies,” “Free the Frail (feat. Helena Deland)”
Brittany Howard — Jaime
Released September 20th
It’s not uncommon for an artist’s solo work to sound like an extension of their band. Jaime retains elements of Alabama Shakes’ bluesy R&B, but across their two albums, the Shakes never experimented in those confines to this level. Playing with unique song structures, odd vocal flexes, and a bit of soundbite sampling for flair, Howard breathes new, strange life into 70s soul revival without ever distracting from the soul-baring she does herself.
Selected cuts: “History Repeats,” “Stay High,” “Goat Head”
Angel Olsen — All Mirrors
Released October 4th
No one could have seen this coming. Angel Olsen is no stranger to shifting styles, but as one of the original, modern “sad girls” of indie rock, the result usually remained much more intimate. All Mirrors instead thrusts the vocal powerhouse into orchestral synth-pop. Even on a slow burn, the album’s production places immense urgency, confidence, and doubt on Olsen’s every note without its grand scale ever crossing into melodrama.
Selected cuts: “All Mirrors,” “New Love Cassette,” “What It Is”
Danny Brown — uknowhatimsayin¿
Released October 4th
Since 2011’s breakthrough project XXX, Danny Brown has consistently been one of the most unique voices in hip-hop, literally and figuratively. His cartoon character delivery, endless torrent of punchlines, and rigid, electronic-influenced production made each album feel like an ecstasy high, jam-packed into one uneasy hour. While this style broke new ground and made Brown a defining voice of the mid 2010s, it’s easy to overlook what a fantastic rapper he actually is. With Q-Tip serving as executive producer, the chaos dials back from 11 to 7 and allows his rhymes to take the forefront.
Selected cuts: “3 Tearz (feat. Run the Jewels),” “Best Life,” “uknowhatimsayin¿ (feat. Obongjayar)”
DIIV — Deceiver
Released October 4th
A journey to sobriety is never quite something you’re “finished” with and Deceiver doesn’t intend on putting a bow on that. While their previous record tries to put a positive spin on frontman Zachary Cole Smith’s recovery, Smith has gone on to admit the album wasn’t an honest look into his head space. Having now committed to recovery, these tracks are neither the agony of an addict, nor the celebration of sobriety. Instead, the band’s established shoegaze sound merges with a newfound punk rock grit for a cathartic journey forward, while keeping a worried eye on the demon trailing behind.
Selected cuts: “Horsehead,” “Skin Game,” “Blankenship”
Big Thief — Two Hands
Released October 11th
It’s hard not to listen to Two Hands without U.F.O.F. being your immediate reference point. Released only five months apart and described as the latter’s “Earth twin,” the records feel like two sides of the same coin. While U.F.O.F. views our existence on a macro level, Two Hands feels much more raw and grounded. Rather than philosophical pondering, it digs through the dirt for answers to the same questions.
Selected cuts: “Forgotten Eyes,” “Not,” “Replaced”
Michael Kiwanuka — Kiwanuka
Released November 1st
While heavily influenced by classic soul, blues, and psychedelia, Kiwanuka never plays like pandering for nostalgia. Producers Danger Mouse and Inflo help the singer-songwriter bring something new to the genre while still paying homage. Whether it’s the album’s composition, his internal struggles, or challenging the political direction of the U.S. and his native U.K, Kiwanuka has something to say and knows just how to give it the weight it deserves.
Selected cuts: “Rolling,” “Piano Joint (This Kind of Love),” “Hero”
Free Nationals — Free Nationals
Released December 13th
A frontman breaking out as a solo star is nothing new, but a backing band marching out on their own is a new one. Anyone who’s been to an Anderson .Paak show knows just how central the Free Nationals are to bringing his sound to life. Their eponymous debut attempts to bring this energy to an all-star cast of collaborators through sensual R&B cuts and stadium-ready funk jams. The .Paak-less formula is still a work in progress, but the chemistry here is undeniable.
Selected cuts: “Beauty & Essex (feat. Daniel Caesar & Unknown Mortal Orchestra),” “On Sight (feat. JID, Kadhja Bonet, & MKINNA),” “Apartment (feat. Benny Sings)”
KAYTRANADA — BUBBA
Released December 13th
For someone such as myself who isn’t initiated in the dance world, KAYTRANADA’s debut 99.9% has been the bar for what a great dance album should be. Highly rhythmic drum programming, dark melodic synths, and impeccable taste in features made it the perfect hip-hop/R&B crossover, and BUBBA checks off the same criteria. While it lacks the immediate standouts his debut offered, it’s a consistently rewarding listen from front to (almost) back.
Selected cuts: “DO IT,” “10% (feat. Kali Uchis),” “Need It (feat. Masego)”