The streaming age has brought a gift and a curse. There’s something new all the time, which sounds great in theory. It also means artists are pressured to keep up with half-baked albums and fans are less likely to revisit something that doesn’t grab them right away. Keeping up with the three plus notable albums that drop weekly is exhausting.
That’s what I dig about year-end lists. I don’t really care about rankings. It’s more about the opportunity to revisit something you brushed off earlier, finding dope drops that went under the radar, and giving Pitchfork hate clicks when my favorites get snubbed, I guess.
As with my 2017 list and 2018 mid-year list, we’re taking a chronological look at my favorite projects I see following me into a new year. Shuffle that playlist at the bottom to compliment these descriptions.
These are the 2018 projects that deserve a place in your 2019.
Khruangbin – Con Todo El Mundo
Released January 26
One word encapsulates Con Todo El Mundo: floating. The Austin-based trio operates as tour guides on a hazy, psychedelic trip as you wash upon the shore. Their Thai funk palette is expanded with elements of cultural music from around the world, plus some crisp hip-hop-influenced drums for good measure. It’s both complex enough to dig into and calming enough to leave on in the background. If you have virtually anything to do, Khruangbin can soundtrack it.
Selected cuts: “Lady and Man,” “Cómo Te Quiero,” “Evan Finds the Third Room”
MGMT – Little Dark Age
Released February 9
After nearly a decade of bucking against their own popularity, MGMT sound at home once again. Each of their previous efforts got increasingly bizarre to mixed results (big shoutout to Congratulations though). Little Dark Age retains their exploratory nature, but with a healthy dose of pop missing since 2007’s Oracular Spectacular. That’s when the duo is at their best: questioning “what the hell is this,” immediately followed by a singalong.
Selected cuts: “Little Dark Age,” “When You Die,” “Hand It Over”
Ravyn Lenae – Crush EP
Released February 9
Ravyn Lenae’s latest EP is the meeting of two of R&B’s most exciting young voices as she finds her counterpoint in The Internet’s guitarist Steve Lacy. As a member of Chicago’s Zero Fatigue collective alongside Smino, Lenae’s production tends to lean on Monte Booker’s futuristic, synth-heavy sound. Crush trades this in for Lacy’s trademark smooth, iPhone-recorded slink. The result is the perfect, seductive sound for its subject matter, capturing the eagerness and anxiousness that follows any crush. Each EP has been a stride forward; now bring on that full-length debut.
Selected cuts: “Sticky,” “Closer (Ode 2 U),” “The Night Song”
tobi lou – tobi lou and the …
Released February 9 / April 27 / August 10
While Tobi Lou’s cartoonish, dreamy production and delivery sound incredibly modern, something about it feels nostalgic. Even when tackling heavier topics like heartbreak and depression, Tobi taps into a simple childlike innocence and an undercurrent of optimism. It’s that bittersweet feeling of summer break coming to an end. Cheesy lines aren’t hard to come by on this EP series, but he has a likeability that almost always sells them. Executive Vice President of A&R at Def Jam and legendary producer No I.D. apparently agrees, as he’ll executively produce Tobi’s debut album Cult Classic.
Selected cuts: “Solange,” “Buff Baby,” “Lavender Town Part 1’”
Various Artists – Black Panther Soundtrack
Released February 9
If you thought I was going to sour on Future’s “King’s Dead” verse, your foolishness knows no bounds. I’ll digress for the time being though to praise the album in general. Six months have passed since my mid-year list, and I still have yet to actually see Black Panther or any other Marvel film, which is a testament to have well this soundtrack stands on its own. Kendrick Lamar takes the backseat on most tracks, but the soundtrack adds another accomplishment to his legacy. His abilities to curate and operate as a tastemaker are on full display.
Selected cuts: “The Ways (feat. Khalid & Swae Lee),” “Bloody Waters (feat. Ab-Soul, Anderson .Paak & James Blake),” “Big Shot (feat. Kendrick Lamar & Travis Scott)”
Soccer Mommy – Clean
Released March 2
Almost snubbed due to the pure uncomfortability of repeatedly typing “mommy,” Soccer Mommy has an ear for melody too strong to ignore. On Nashville native Sophie Allison’s full length debut, she displays an attention to detail behind these lo-fi pop tunes beyond her years. The lyrics occasionally lean a bit much on teenage melodrama, but her emotional honesty coupled with a natural talent for crafting a song shows endless potential moving forward.
Selected cuts: “Cool,” “Your Dog,” “Flaw”
Saba – Care for Me
Released April 5
Saba makes it clear he’s not looking for pity, but you can’t help but feel for the guy. Following the death of cousin and fellow Chicago rapper John Walt, a grief-stricken Saba cut back on the collaborations and crafted the introspective, intimate Care for Me with co-producers Daoud and daedaePIVOT. Grief can become engrossing. From pursuing toxic relationships to social media posturing, Saba explores the full scope of his sorrow, ultimately leading to emotional triumph. Read my review for an in-depth look at why it’s the best hip-hop album this year.
Selected cuts: “Life,” “Logout (feat. Chance the Rapper),” “Grey”
Hinds – I Don’t Run
Released April 6
Drawing from garage influences ranging from the Velvet Underground to The Strokes (and even recruiting a producer from the latter), Hinds’ sophomore album isn’t reinventing anything, but I’ll be damned if it isn’t fun. Warm, fuzzed out guitar tones set the mood for a windows down roadtrip while Carlotta Cosials and Ana Garcia Perrote’s playful back-and-forth beg for drunken singalongs. It instills a feeling of nostalgia for the present and moments yet to come. I Don’t Run is an album that knows what it is and plays to those strengths. Sometimes that’s all you need.
Selected cuts: “Soberland,” “Linda,” “Tester”
Kali Uchis – Isolation
Released April 6
Isolation is certainly an apt title; you won’t find another pop project out there quite like this. While it’s packed with radio-ready hooks and sleek production, critics have noted an OutKast-like weirdo, outsider element to its catchiness. What other pop star has jazz bassist Thundercat producing their album opener? Features and production credits are a “who’s who” of every genre she dips her toes into, but she never spreads herself thin or sounds like a forced attempt at indie cred. She’s a versatile artist who naturally draws her collaborators into her paradox of a retro-futuristic funhouse.
Selected cuts: “Just a Stranger (feat. Steve Lacy),” “After the Storm (feat. Tyler, the Creator & Bootsy Collins),” “Feel Like a Fool”
Unknown Mortal Orchestra – Sex & Food
Released April 6
UMO’s fourth album resides somewhere between previous albums II and Multi-Love, balancing the lofi scuzz of the former with the paranoid synth-funk of the latter. The album finds frontman Ruban Nielson wearing a variety of hats in general, whether he’s leading an apocalyptic campfire song, a blistering garage rocker, or auditioning to be the fourth Bee Gee. Rather than resulting in a disjointed mess, it creates a cohesive, multi-faceted look into the chaos and isolation of America in 2018.
Selected cuts: “Major League Chemicals,” “Hunnybee,” “Everyone Acts Crazy Nowadays”
Beach House – 7
Released May 11
“If it’s not broken, don’t fix it” somehow encapsulates Beach House while doing their discography a huge injustice. Their self-titled debut in 2006 and 2018’s 7 are completely different vibes, but their transitions always gently list rather than taking a sharp left turn. Like anything else, you don’t notice it changing and maturing in real time; it’s only in retrospect that we see how things have grown. Beach House’s latest shift resulted in what might be their most hypnotic, immersive project yet. Their hazy, daydream soundscape sounds larger than ever and shows promise of an even more exciting next chapter.
Selected cuts: “Lemon Glow,” “Dive,” “Lose Your Smile”
Courtney Barnett – Tell Me How You Really Feel
Released May 18
As its title suggests, Courtney Barnett’s second album is entrenched in emotional honesty. Her eccentric storytelling and deadpan delivery, contrasted with grungy melodies, drew me to her music initially. It takes a talented songwriter to dial back these defining traits without losing their magic, and Barnett found a proper balance between her trademarks and something more personal. She still vividly sets a scene, but with her guard down enough for listeners to get to the root of her perspective.
Selected cuts: “Hopefulessness,” “Nameless, Faceless,” “Crippling Self Doubt and a General Lack of Self Confidence”
Pusha-T – DAYTONA
Released May 25
From his high-profile feud with Drake, down to his damn near giddy coke raps, you get the sense that Pusha loves being an instigator. He’s a professional wrestling heel with the crowd in the palm of his hand. Depending on where you stand, he’s the lovable anti-hero or the bad guy you love to hate. Either way, he knows exactly what cards to play to get a reaction. Sixteen years removed from Clipse’s breakthrough debut Lord Willin’, Push provides possibly his most vital verses yet. When you’re still the focal point on an album entirely produced by Kanye West, you’ve got something special.
Selected cuts: “If You Know You Know,” “Come Back Baby,” “Santeria”
Tierra Whack – Whack World
Released May 30
You’d be forgiven for thinking a visual album of one minute Instagram videos is a bit over-the-top gimmicky. Once you press play, you’ll find a batch of surprisingly complete tracks oozing with enough charisma to only need 60 seconds. She ends on high notes in a way George Costanza could only dream, resulting in an exhausted “previous” button before moving on. Shifting from heartbreak to humor at the drop of a hat, Tierra Whack painted a complete portrait of herself for an introduction as arguably the most exciting new artist of 2018 – and she only needed 15 minutes.
Selected cuts: “Hookers,” “Hungry Hippo,” “Silly Sam”
Father John Misty – God’s Favorite Customer
Released June 1
Few artists in the indie world are as polarizing as Father John Misty. Narcissism and ironic detachment are defining elements of Josh Tillman’s stage persona. You’re either understandably turned off by this or find cleverness in his tongue-in-cheek delivery. While all this is entertaining, his music is most rewarding when he strikes a balance between wit and genuine sentimentality. I Love You, Honeybear was a tremendous success for this reason, while Pure Comedy’s dry melodrama floundered. Honeybear was shouting love from the rooftops, while God’s Favorite Customer desperately clings to it. Josh Tillman bears all without losing what makes Father John Misty special.
Selected cuts: “Hangout at the Gallows,” “Mr. Tillman,” “Disappointing Diamonds Are the Rarest of Them All”
Neko Case – Hell-On
Released June 1
From stalkers to losing her home to a fire, it’d be easy for Neko Case to be bitter. Instead of allowing frustration to fester, she hunkered down with producer Björn Yttling, of Peter Björn and John, to hammer out what might be her best album yet. Case is understandably aggravated, but uses the cards she’s dealt as motivation. The result is a beautifully composed contradiction; it’s intimate and larger than life all at once.
Selected cuts: “Hell-On,” “Last Lion of Albion,” “Curse of the I-5 Corridor”
Kids See Ghosts – Kids See Ghosts
Released June 8
A begrudging inclusion. It’s not easy being a Kanye West fan in 2018, so when the drastically undercooked ye dropped, it was much easier to write him off. If I’m being honest with myself though, Kids See Ghosts has to make the list. The project is packed with Ye’s most memorable verses in years, but one reason it works so well is that it essentially plays like a Kid Cudi album featuring Kanye. It finds both giving refreshing insight to their mental health issues, keeps Kanye’s brashness to funny one-liners, and every other questionable opinion stays at bay. The result is the most fully fleshed out project either man has released in years.
Selected cuts: “4th Dimension,” “ReBorn,” “Kids See Ghosts (feat. Mos Def)”
Snail Mail – Lush
Released June 8
Although Lush’s inspiration is young love, growing pains, and the awkward transition into adulthood, Snail Mail’s Lindsey Jordan communicates a universal, ageless uncertainty. There’s a gloomy atmosphere throughout, but Jordan’s doubts are rightfully matched with confidence. Her voice as a songwriter, sense of melody, and general shredding are incredibly developed for a 19 year old with such a small catalog of music. Snail Mail is one to watch moving forward.
Selected cuts: “Pristine,” “Heat Wave,” “Deep Sea”
Jay Rock – Redemption
Released June 15
Career setbacks have hindered Jay Rock’s progress for nearly a decade. From major label disputes to motorcycle accidents, everytime Rock seemed poised to break through, there was always a roadblock. Redemption attempts to make good on its name, resulting in what might be his most cohesive album yet. There’s a few forced radio attempts, but the album succeeds when it sticks to who Rock is: a hungry hip-hop veteran ready to receive his due.
Selected cuts: “Knock It Off,” “OSOM (feat. J. Cole),” “WIN”
Denzel Curry – TA13OO
Released July 27
My taste tends to reside more on the chill side of things, but if it slaps, it slaps. Curry prides himself on being the foundation of “SoundCloud rap,” but TA13OO seems determined to challenge the notion of what that label means. He’s known for his unrestrained aggression on tracks like the viral sensation “Ultimate,” and there’s plenty of that on here. He pushes into new, catchier territory though on the upbeat boom-bap of “Black Balloons” and the synth-heavy funk of “Cash Maniac.” Whether he’s battling his demons, tackling societal issues, or challenging music industry manipulation, Denzel stakes a strong claim against the stigma of his subgenre.
Selected cuts: “Black Balloons (feat. Twelve’len & GoldLink),” “Cash Maniac (feat. Nyyjerya),” “SUMO”
Choker – Honeybloom
Released August 3
In my 2017 wrap-up, I described Choker’s PEAK as a “collage of sounds” that pivoted its direction at any moment. Honeybloom has a bit more structure, but that attribute largely remains in tact. For every song that has proper structure, there’s another three that just follow Choker’s train of thought. Don’t mistake this for shoddy writing; in a song like “Fuji Unlimited,” he goes through at least three instantly memorable ideas that you really hope come back around a second time. His detractors will force Frank Ocean comparisons, and while moments like the rapped verse on “Drift” bear similarity, Honeybloom further establishes his own unique songwriting and sonic palette.
Selected cuts: “Rocket,” “Fuji Unlimited,” “Juno”
Mac Miller – Swimming
Released August 3
Make no mistake: this isn’t an obligatory posthumous inclusion. Mac Miller’s final album immediately stood out as possibly the most well-crafted album in his discography. While previous albums were packed with strong material, they tended to run long with “we still need this kind of song” filler. Swimming keeps it at a tight 13 tracks and even its upbeat moments never sound like they exist to check a box on such a serious album. It thematically exists somewhere between Faces and GO:OD AM — acknowledging his demons, but willing to put up a fight. Its underlying optimism makes the events of the following month that much harder to swallow.
Selected cuts: “What’s the Use?,” “Self Care,” “Small Worlds”
Travis Scott – Astroworld
Released August 3
I’m not going as far as claiming Travis Scott is the new Kanye, but he’s certainly benefited from their time together. Astroworld shows Scott as a skilled collaborator, knowing precisely how to utilize features and a team of producers to craft the grandiose trap album he’s always chased. Collaborators feel less like cash grabs for streaming numbers and more like songs were made with them in mind. It could have benefited by losing a little filler, but Scott’s ambition is largely a success.
Selected cuts: “Sicko Mode (feat. Drake),” “R.I.P. Screw (feat. Swae Lee),” “5% Tint”
Blood Orange – Negro Swan
Released August 24
This one’s still growing on me, but I’m taking a preemptive strike against regretting an exclusion like Moses Sumney’s Aromanticism last year. Dev Hynes echoes Prince’s falsetto and funk but builds his own world around it. Tame Impala-like synths exist beside Project Pat samples and Diddy features, creating some of the most interesting compositions of 2018. Hynes’ focus is on black depression and learning to own your uniqueness. For a downtempo, spacy album, it plays empowering and free.
Selected cuts: “Charcoal Baby,” “Chewing Gum (feat. A$AP Rocky),” “Nappy Wonder”
Joey Purp – QUARTERTHING
Released September 7
Granted I chronically abuse the word “slaps,” take my word that it is applicable here: Joey Purp has the hardest album this year. 2016’s iiiDrops was Purp’s coming out party that showed Chicago is firmly behind him, but QUARTERTHING feels like his own personal tour through the city’s scene. From the soulful “24k Gold/Sanctified,” the house-influenced bounce of “Elastic,” and the mumbling hype of “Fessional/Diamonds Dancing,” he showcases himself as a well-rounded artist and a star in the making.
Selected cuts: “Godbody Pt. 2 (feat. RZA),” “Hallelujah,” “Fessional/Diamonds Dancing (feat. Queen Key)”
Masego – Lady Lady
Released September 8
Masego’s talent has always been evident. Rapping, singing, playing saxophone, self-production; all the ingredients were there. Songwriting always seemed to take a backseat to everything else though, preventing him from hitting that next level. On Lady Lady, Masego finally pieces all these skills together and finds the right pocket for everything. Rather than being a forced display of “look what I can do,” it’s a collection of songs that serve as a showcase without getting too showy.
Selected cuts: “Lavish Lullaby,” “Old Age (feat. SiR),” “Tadow (feat. FKJ)”
Noname – Room 25
Released September 15
Noname is still writing songs of loneliness and injustice, but there’s an added element of self-confidence and sexuality on Room 25. Perhaps the opener “Self” is the best representation of these ideas existing side-by-side, because honestly who else is thinking to rap a line like “my pussy wrote a thesis on colonialism?” Over a lush, jazzy backdrop provided by producer/rapper/singer Phoelix, Noname sets out to wreck any boxes fans try to put her in, aligning conscious hip-hop with playful, explicit content. As she so eloquently puts it, “y’all still thought a bitch couldn’t rap, huh?”
Selected cuts: “Self,” “Regal,” “Ace (feat. Smino & Saba)”
Vince Staples – FM!
Released November 2
This might not be the proper follow-up to Big Fish Theory, but it’s one hell of an appetizer. Vince Staples’ music is synonymous with grimy street tales, and FM! brings it closer to home as an entirely Californian affair. Every feature from Earl Sweatshirt to Tyga adds a piece of the west coast’s influence and diversity. Producers Kenny Beats and Hagler bring Staples a haunting trap backdrop where the threat of Long Beach violence is brought to life. You’ll excitedly rap it word for word, but man, you’ll feel conflicted.
Selected cuts: “Feels Like Summer (feat. Ty Dolla $ign),” “Relay,” “Tweakin’ (feat. Kehlani)”
Smino – NØIR
Released November 8
Much like last year’s blkswn and the blkjptr EP before that, Smino and go-to producer Monte Booker always provide a challenging listen. His unorthodox sing-rap style paired with Booker’s futuristic, quirky synths always start as “I don’t know what the hell is happening but it’s kinda cool.” By your third listen, you’re swearing it’s the smoothest bop you’ve heard all year. Half of what makes a great rapper lies not in what the artist says but how they say it. Smi has the confidence and charisma to sell you on damn near anything.
Selected cuts: “Spinz,” “Z4L (feat. Bari & Jay2),” “MF Groove (feat. Ravyn Lenae)”
J.I.D – DiCaprio 2
Released November 26
Technically gifted enough to appeal to hip-hop purists and entertaining enough to attract mainstream audiences, DiCaprio 2 feels like a major step in J.I.D’s climb in the hip-hop hierarchy. J.I.D unapologetically smashes every track, but he never forgets to craft a complete song. When an artist puts bars or concepts at the forefront, it’s easy to become such a spiritual lyrical miracle that they forget to make the song listenable. This Dreamville signee has a strong grasp on both sides of what makes a strong rap record. He’s poised to be a breakout star in 2019.
Selected cuts: “Slick Talk,” “Off da Zoinkys,” “Workin Out”