Rap artists are never ones to shy away from hyperbole, particularly when talking about themselves, but this year self-adulation hit a few notable highs. Eminem, Jay Z and Kanye West all labelled themselves “gods” on their latest records, while Kendrick Lamar declared himself the new king of both coasts in a combative verse for the Big Sean track Control.
Lamar’s hype currently carries most credence, with none of hip hop’s giants coming close to last year's 'Good Kid, M.A.A.D City'. There were no mainstream efforts that quite reached that artistic level this year, but several up-and-comers dropped releases that suggest the next wave is brimming with potential. A couple of British emcees also make this list, with UK hip hop quietly reconstructing a legacy of its own this year.
1. Joey Bada$$ - Summer Knights
A controversial choice? Perhaps. 'Summer Knights' did not quite receive the acclaim as his debut '1999' mixtape did. But, Joey has simply zoned in on what makes his songs so fresh and enjoyable. The beats are again laid back and evocative, albeit more diverse (see My Yout), but always consistent regardless of his lyrical themes. Joey's songs celebrate youth in a nostalgic, almost photographic manner, whether it’s partying, drinking, smoking, fornicating, whatever, and the old-school jazz samples complement them perfectly. And Joey himself? His lyrics have got sharper, his observations more nuanced and his flow more impeccable. Everything he has released is available for free, so nobody has an excuse to be sleeping on this kid.
2. Chance The Rapper – Acid Rap
Very hyped, yes, but justified. Chance is a young rapper with a vision and a huge dose of passion for what he does, and that is enough to make him stand out in the current crop of half-assed emcees. 'Acid Rap' is stocked with psychedelic imagery, soulful production and eccentric vocals, but in Chance's world this all comes across as natural due to the rambunctious character he plays. If he can hone his musical ambition we might have another Kendrick on our hands.
Legendary emcees Chester P and Farma G are finally back and their return did not disappoint. Task Force are unrelenting in their depictions of forgotten estates, dodgy drug deals and urban decay. Nothing here feels half-baked, hence the reason for the wait, but the fifth in this 'series' still feels like a classic in its own right. Their skills certainly haven't diminished with age.
I'll admit that I've not had time to take all of this one in yet, such is the depth of the wordplay. Killer Mike and EL-P are both highly respected in the scene for a reason – their imparting of imagery and poetic imaginations know no bounds. What makes an album like this really tick is the competitive edge between the two, though. 'Run the Jewels' feels like a contest at times, to see who can out rap the other. The purists will love this one.
If you aren't up on the London crew Triple Darkness, stop sleeping. They are the most underrated hip hop collective in the world today. Cyrus Malachi serves as the leader of the pack, a lyrical beast who spits each syllable with a calculated ferocity that is emphasised even more by his deep tone and trademark "chhh". Hell, the dude sounds like he's snarling as he closes half of his rhymes. With its noir soundscapes and boom bap beats, 'Black Athena' is not anything new but it's another solid addition to the Triple Darkness canon.
The same dreamy 'cloud rap' aesthetic is also a chief feature on 'Indigoism', the debut mixtape from the Underachievers. These guys sum up what is so exciting about the “beast coast” movement emerging in the New York scene at the moment: youthful energy and personality, without sacrificing lyricism. Herb Shuttles might also be the best “weed beat” of the year.
He might be hip hop's whipping boy these days, but upon dissecting 'Nothing Was The Same' you're likely to find braggadocio and confessional lyricism in equal measure. Still, I'll openly admit that this is the first Drake album I've enjoyed. He sounds comfortable but not complacent here, reeling off memorable pop tracks with no gimmicks, amid more languorous production. Even his tribute to Wu-Tang Clan is pretty good. Nice.
Though his occasional diversions into Rage Against the Machine-style rap-metal are ill advised, everything else about 'The Thieves Banquet' is meticulous. Using live instrumentation, Akala successfully articulates the soul and reggae sounds of yesteryear beneath his ferocious lyricism. His thematic concepts are again illuminating, with his political sentiments always well-informed and deep. Akala's technical ability still marks him out though; his flows and sense of cadence are remarkable.
Forget 'Long.Live.A$AP', it was Ferg who delivered the best A$AP album of 2013. While Rocky is certainly the more rounded emcee, his LP lacked the personality that his renowned mixtape did. 'Trap Lord', on the other hand, captures exactly what A$AP Ferg is all about. Tracks like Work, Let It Go and Fergivicious are bangers, and Ferg tramples all over them with authority and also a degree of comedy. Judging by Hood Pope he should never try singing, but if you're looking for a rapper that doesn't take himself too seriously, you could do a lot worse.
It might not quite reach the levels of 'XXX', partly because of the divisive structure and tone, but 'Old' is another outlandish effort from Detroit rapper Danny Brown. Side A practically justifies its inclusion on the list: thoughtfully constructed, vivid lyrically and inventive in the beat department. I'm less convinced by his trap expeditions, but Ferg’s got that covered.
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