Hip-hop albums of the year

Our writers, after much thought and deliberation, share the albums that marked hip-hop in 2017. These are their picks for the hip-hop album of the year:

Flower Boy – Tyler, the Creator

Much has been made of what Tyler, the Creator reveals about his sexuality on Flower Boy, but to fixate on this too intensely is to miss the fullness of what he offers on his latest album. When, on the wistful ‘November’, he reflects on how this revelation isolates him from his friends, it is part of a larger identity crisis that is equally influenced by race, fame, and basic loneliness. On the uncertain ‘Foreword’, Tyler manages to smoothly touch on almost all of these themes in minutes; later, on the soul-infused ‘Boredom’, he finds himself overcome by ennui and self-destructive habits, only to ricochet into the off-kilter banger ‘I Ain’t Got Time!’, boasting contrastingly of his solo success streak and packed schedule. Flower Boy is rich with such contradictions that illustrate the kind of person Tyler has grown into; introverted and self-conscious in spite of his accomplishments, and grappling with the conflicting stereotypes forced upon him by his sexuality and his identity as a black man.

The music itself just seals the deal. Flower Boy overflows with luscious instrumental textures, jazzy chord progressions and warm, beautifully-executed bursts of soul and R&B; look no further than the infectious ‘911’. Sugary synths throughout the record appropriately recall the gentle world of Mort Garson’s Plantasia. Yet Tyler is not so obsessed with prettiness that he can resist dropping more abrasive moments into the mix, from ‘I Ain’t Got Time’ to lurching lead single ‘Who Dat Boy’ to his verse on ‘See You Again’, where a blissful crescendo of strings and claps is suddenly rattled by an onslaught of pounding, bassy percussion. Featured artists are keenly utilised, with performances from Frank Ocean, Estelle, and A$AP Rocky (to name a few) slotting elegantly into the mood of their designated tracks.

It is not insignificant that Tyler returns to the subject of cars so often on Flower Boy. He is conscious of what they represent in hip-hop culture, and it feels that as he surrounds himself with them, he only becomes more isolated; undeniably in the driver’s seat, but with nobody he can talk to. The final track, a cheerful instrumental march, is cut off suddenly by the sound of an engine turning off, a car door opening and shutting. Perhaps Tyler is not done figuring himself out and finding the people he belongs with, but maybe he’s learning to stop and smell the roses.

Oliver Maier

Saturation II – Brockhampton

From the first track to the last, it’s a brilliant fusion of West-coast G-funk-inspired sounds, infectious hooks, and superbly crafted songs. The whiny synthesiser sounds of ‘GUMMY’ introduce the album and serve as a backdrop to the wildly different voices of the boyband in question. Many modern hip-hop groups struggle to truly distinguish their members in an exciting way, especially with so many in this case, yet this is where the album shines. Ameer Van provides slow and booming old-school bars, whereas Merlyn Wood is unpredictable and delightfully odd. This is not an unimportant distinction, with each member’s lyrics reflecting these aspects, hence why they are so memorable and interesting.

In hardcore hip-hop especially, and this even extends to popular artists such as Eminem, there is an abundance of exciting and technically brilliant wordplay, but the hooks just aren’t catchy. With artists like Run the Jewels, Danny Brown and Brockhampton, we are reaching a new high where these things need not be mutually exclusive. The brag-heavy and rapid track ‘JUNKY’ becomes just as vital as the catchy pop-rap song ‘SWEET’, which has a hook that is difficult not to sing along to. Despite my comparison to other artists, Brockhampton have truly amazed by releasing three Saturation albums in 2017, all of which are sure to be remembered as some of the best hip-hop albums of all time.

‘JUNKY’ is a real treat for any fan of rap groups, with the members delivering intense and powerful verses that range from Kevin Abstract’s brilliant reflections on homophobia and the idea of rapping about sexuality, to Matt Champion’s aggressive and frantic attack on the mistreatment of women. It is a genuine miracle that Brockhampton have managed to channel this competitive spirit and one-upmanship that made the Wu-Tang Clan so effective. More exciting is the fact that this quality is matched by the singing on the album, and this cements its appeal as a pop album too. Any modern R&B fans are sure to love the album, as well as hardcore hip-hop heads. It is more accessible than the first Saturation album, and I’m still processing the last. It’s just great music.

Joseph Bullock

17 – XXXtentacion

If I were asked the most controversial album of the year, 17, by XXXtentacion would instantly spring to mind. While the album is not bound by controversy in the way that Taylor Swift’s drama-fuelled Reputation is, or Joey Badass’ highly political All-Amerikkkan Bada$$, it is a breathtakingly honest insight into one of the most complex minds and lives in the music industry.

Released on August 25th, 17 is not the typical summer album full-of-hits we’ve come to expect at that time of year. Instead, it is a harrowingly painful album detailing the “collection of nightmares, thoughts and real-life situations” X has experienced, specifically his heartbreak on ‘F**k Love’, the loss of his best friend to suicide on ‘Jocelyn Flores’, and his long-term battle with depression on ‘Save Me’ and ‘Dead Inside (Interlude)’.

From the amateurish crackle of the microphone, portraying X recording alone in his room, to the short song lengths revealing his incomplete thoughts, 17 forces the listener to take a brief glimpse into the world from X’s standpoint; and there is only darkness.  This darkness is never more apparent than when reading the allegations, which X has always vehemently denied and have since been retracted, brought forward by his ex-girlfriend. X is never an easy listen, but in this album he doesn’t ask to be. He doesn’t ask for any apologies or sympathetic gestures, he simply states: “I put my all into this, in hopes it will help cure or at least numb your depression”. This is X trying to make a difference. 17 depicts an artist at his most vulnerable, with all his flaws on display for anyone to see and pick apart as they wish. For this reason alone 17 is a candidate for album of the year. However, what distinguishes it from the rest is the variety of styles that X somehow fuses together into a uniquely elegant sound. Within five minutes of listening to the album, you move from the rapped ‘Jocelyn Flores’ to the Beck-styled instrumentals of ‘Depression & Obsession’. Five more minutes sees the listener travel from Chris Cornell-like grunge to a somber piano piece detailing the turmoil of love. It is easy to see how X draws upon his influences of Nirvana, Tupac and Gorillaz to create such a genre-transcending album. Ultimately, the legacy of 17 is down to the enduring court case against X. Should he be charged guilty, X, and 17, will rightly be as quickly forgotten as his meteoric rise.

James Mason