Culture
#GIGMAG Favorite Albums of 2018
KRIS RILEY’S REVIEWS HIS FAVORITE ALBUMS OF 2018
End of year lists are always tricky. The concept of picking a few of your favorite things from the last 365 days can be a challenge. It can be fun too. Going back through the last year of music and selecting my 10 favorite albums, I realized one thing. There was a lot of great music released this year. Ranking the best albums always seems like an exercise in futility. So I didn’t do that. Instead of engaging in such an arbitrary and objective exercise, I decided instead to write about my favorites. They may not be your favorites. They probably aren’t. In fact, I’d bet there are a couple on my list you haven’t heard of. Without further ado. These are my 10 favorite albums, starting with the one I believe to be the absolute best.
One quick caveat. Like I said. There was a lot of good music released this year. Naturally, not all of that excellent music can be included on a list like this. There are some omissions that might perturb you. That’s fine. These are my favorites. Enjoy.
Janelle Monáe – Dirty Computer
From the moment the world was introduced to Janelle Monáe with her 2010 single, “Tightrope”, we all knew we were witnessing someone special. That year’s full-length album, The Arch Android and 2013’s Electric Lady continued her aural evolution. In April of 2018, she released her most flawless work yet, with Dirty Computer.
On Dirty Computer, Monáe is more vulnerable than we’ve seen her before, more powerful too. Singles such as “” and “Django Jane” unapologetically depict the confidence of a fierce queer, black woman in today’s turbulent socio-political environment.
Her latest work can be described as an anthem for black womanhood. Celebrating “black girl magic”, Monáe is at her funky finest in the lead single “Make Me Feel”, with a song reminiscent of her late mentor, Prince.
For someone who introduced herself to us through a series of alter-egos, it’s the revealing of herself that makes Dirty Computer so phenomenal. The influence of the aforementioned Prince is evident on this album, along with the influence of Stevie Wonder, Josephine Baker, David Bowie, James Baldwin and Grace Jones. The first time though the album and you feel like you’re getting to know Monáe for the first time. Each subsequent listen is like watching a rose in full bloom for the first time.
Reaching a place of self discovery and being able to display one’s true self so thoroughly through one’s work can seem like an impossible dream for any artist. Janelle Monáe reaches that utopia here and she no longer has any fucks to give. Perhaps the track from Dirty Computer that exemplifies this the most is the Organized Noise produced “I Like That”. It’s a smooth groove over which Monáe sings, “I don’t really give a fuck if I was just the only one” and coolly describes herself as both “the venom and the antidote.” And you know what? She’s absolutely right. She’s the venom to those who want to keep people in a box and restrict self-expression. She’s the antidote for oppressed people who want to live their life out loud. As the songs says, “I Like That.”
Pusha T – Daytona
The first – and, arguably the best – of five albums produced by Kanye West released in five much-discussed weeks this spring, Pusha T brings his unparalleled flow and stark delivery to the forefront on this 7 track, flurry of jabs and haymakers. He sounds brighter and more mischievous than he has in a while and it’s truly a pleasure to listen to. Pusha is arrogant on Daytona, and justifiably so. Nine years after he and his brother No Malice released their last album as Clipse, there’s still no one better at toasting their own successes and talking extravagant shit about their enemies. As a solo artist, Daytona is the crowning jewel on the crown of King Push. It’s a ruthlessly clever performance from a rapper’s rapper. While some might argue that an album with only 7 tracks can’t be one of the top records of the year, I’d argue that the brevity works to his strengths; blunt, cagey lyrics over minimalist production. Whether he’s throwing shots at Drake on “Infrared” or rhyming about “caviar facials” on “The Games We Play,” the 41-year-old rapper sounds in control on every track as a focused Pusha takes aim at the rap game and makes every lyric count.
Travis Scott – Astroworld
The third studio album from this Houston native is easily 2018’s most ambitious rap album. Featuring 17 tracks of bombastic, complex and relentless artwork, Scott makes his hometown proud, honoring its present and past, while showing that he’s the future from “Who put this shit together, I’m the glue,” Scott boldly announces on “Sicko Mode.” And he’s absolutely right. While Astroworld features an eclectic mix of guests – Frank Ocean, Swae Lee, The Weeknd and Tame Impala to name a few – it’s Scott’s mastery that holds it all together. Although the album itself feels chaotic, that’s not a bad thing. Travis $cott and his crew of producers manage to keep their eye on the target and connect the dots while creating a psychedelic masterpiece.
Blood Orange – Negro Swan
Dev Hynes has had a unique career with the kind of growth almost every artist desires. From his roots in the dance-punk band Test Icicles to his first solo joint under the name Lightspeed Champion, he tackles identity as a black man growing up as an outsider in England on his fourth album under the moniker Blood Orange. It’s not an easy issue to tackle, but he does so deftly over exquisite, genre-bending instrumentation. Negro Swan is brilliant both in concept and construction. With diverse samples and catchy saxophone lines, he weaves pop, neo-soul, and hip-hop into a colorful tapestry.
Hynes zeroes in on mental health in the black community, enlisting Diddy and transgender rights activist Janet Mock to chronicle parts of his opus. Although the ride through Negro Swan can be chilling, Hynes makes sure he ends the journey triumphantly, singing, “The Sun comes in, my heart fulfills within” on the album’s final track, “Closer”.
Jean Grae & Quelle Chris – Everything’s Fine
This album is funny. In fact, I’d argue it’s the funniest hip-hop album of the year. Their adlibs about ‘femcees’ on “My Contribution to the Scam” are funny. The album’s intro – reminiscent of De La Soul’s 3 Feet High and Rising game show theme – is funny too. They use spoofs, impressions, and skits as tools of exploration, examining the eternal balancing act of being continuously outraged and okay at the same time in a world that often feels anything but fine.
But this duo’s humor isn’t limited to adlibs and intros. They orchestrate a smorgasbord of lyrical comedy gold with contemptuous one-liners and surprise displays of openness, such as Jean Grae rhyming about feeling out of place as a teen in New York on “Gold Purple Orange”. Everything’s Fine is certainly an evolution for Quelle. Once a grimy Detroit rapper, he transforms into a bonafide indie darling here. While Quelle transformed, Grae maintains her usual blend of excellence and ingenuity that made her one of dopest – and most slept on rappers of her generation. Everything’s Fine is part satire, part therapy, but all brilliant. It’s an artful examination of what we really mean when we say we’re ‘fine’.
**One can argue that these two rap veterans are better together than they’ve ever been as solo artists (kind of like Killer Mike and El-P of Run the Jewels). But I’d urge you to use Everything’s Fine as an entry into their varied solo catalogs.**
Saba – Care for Me
Saba, from the Windy City, is broken. At least he is on Care for Me. But he isn’t alone in his fractured state. His hometown, his friends and “Broken Girls” he attempts to build relationships with and perhaps you, the listener, are broken as well. If you’re not beforehand, maybe you will be after the first listen.
Saba’s voice and delivery are familiar. In the era of hip-hop that’s filled with rap-singers, he certainly fits the genre. But the way his voice glides through angst-filled harmony still feels fresh.
Maybe it’s because he paints depression in a more discerning light. Maybe it’s because he isn’t content to stick to the status quo. On “Life” he raps, “I tell death to keep at a distance, I think he obsessed with me.” He goes into tragic detail as he delves into his views on a racist political system that led to the death of his cousin on “Heaven All Around Me”.
It’s clear that Care For Me is as much therapy as it is art. He takes the agony that infiltrates his existence, the beautiful, painful agony, and creates a soulful, melancholy canvas as he confronts what’s broken him and his city.
Tierra Whack – Whack World
Whack World. Sure, it sounds like the title of a Kris Kross greatest hits album. And the mere idea of a 15 song, 15-minute album may indeed seem whack. But coming from the mind of Philadelphia rapper, Tierra Whack, it works. And it works well.
It’s both artful and original. Two traits that are scarce among the music of today. It’s an easy, fun listen that you can leave on repeat because the fun seems to multiply with each .
It’s an audacious, resourceful endeavor with Tierra Whack at the epicenter of it all. She’s the jubilant, fearless orchestrator of this delightful ride through Whack World and the listeners are her passengers; mesmerized by the scenery she creates. She captivates with her melding of genres and clever manipulation of multiple themes. And quite honestly, it’s a pleasure to be held captive by her sound.
Vince Staples – FM
Picture this. You’re in Los Angeles and you’re fumbling with the FM dial. You meander your way through the country and pop stations, then bam! You suddenly land on a station broadcasting the subconscious of Vince Staples. That’s the theme of the latest effort from the Long Beach emcee.
Like Whack World, this is a concept that could be easily mangled by a lesser artist. Staples is shrewd with the concept though and doesn’t overdue it. There are some interludes with LA radio personality Big Boy and a few commercial snippets. But the bulk of the record features Staples at his finest.
”Run the Bands” features an infectious hook, as does the thundering “Outside”. From start to finish FM is filled with the trademark lyricism and blunt delivery that made Summertime ’06 – his debut LP – such an epiphany.
FM has been described by Staples as “just music”. And he’s right. He delivers harsh realities, but manages to keep it fun. “Summertime in the LB wild / We gon’ party ’til the sun or the guns come out,” he raps on “Feels Like Summer”, the tone-setter for this sprint through the mind of Staples. He’s not alone though. There are a few voices along for the ride like the always colorful E-40 and ridiculously clever Earl Sweatshirt.
The running time for FM is only 22 minutes, but that’s its only flaw (if you want to call that a flaw). Otherwise, it’s a stroke of genius from one of rap’s most dynamic stars.
Nipsey Hussle – Victory Lap
Maybe naming one’s debut album Victory Lap is an arrogant move. I don’t think Nipsey Hussle cares. It’s an earned title from the from the City of Angels.
While this is his first studio album, Nipsey’s voice should sound familiar. He’s made his own way in the world of West Coast rap with a series of mix tapes. Most famous among them is his 2013 delivery, Crenshaw. He sold copies of it at a pop-up shop for $100 a piece and fans clamored to get their hands on a copy.
It was his run of mix tapes that made his studio debut one of most anticipated albums of 2018. He’s still a hustler. He’s still self-made. He’s still concerned about his community.
On Victory Lap, tracks like “Grinding All My Life”’ and “Blue Laces 2” serve as motivation for the listener. The only drawback to the album is the number of guests. But that’s to be expected from a major label debut. And Hussle’s dedication to his craft keep the guest spots from overshadowing the main man himself.
It seems like a foregone conclusion that the story of his life will eventually be made into a film. His heart and dedication to his community are rivaled only by his work ethic as an artist. He represents Crenshaw to the fullest. He’s rightfully proud of the work he’s done in and out of the studio. On Victory Lap he displays the same transparency that attracted fans to his . It’s clear that securing a deal with a label hasn’t changed his hustler’s heart.
The Internet – Hive Mind
Some albums are made to chill out to. Some help you relax. Hive Mind by The Internet is not that kind of record. It seems like it was designed specifically for you to listen to on your busiest day; self-discovery. This might sound like a critique, like there isn’t anything worth delving into. That’s not the case. There’s something deep and satisfying in an album like this. You can play it while working out. You can listen while working your way through a series of errands. You can listen while cleaning your house or detailing your car. There’s a certain practicality to it that fits almost any situation that requires constant motion.
The drums that thump in your chest and the bass that feels like it’s carrying you are just part of what makes this electro-funk crew worth listening to. It can feel like you’re with them in the studio. There’s not really a grandiose narrative to be gleaned or a profound, underlying message to mistake here. Just funky grooves and classic songwriting about…stuff. Everyday stuff that everybody deals with. Which is great because it’s perfect to listen to while doing your everyday things.
Songs like “Come Over” detail the nervous feeling of waiting for the arrival of a love interest. “Mood” deals with the heightened expectancy of contemplating making the first move. Big Rube makes an appearance on “It Gets Better (With Time)”, delivering his customary spoken-word excellence. Hive Mind is the perfect musical accompaniment to your day-to-day and a magical odyssey that will make the day just a little bit brighter.