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40 Best Rap Albums of 2016

Kanye West, Chance the Rapper, Danny Brown and more in the year in rhymes

40 Best Rap Albums

Kanye West, Chance the Rapper and Danny Brown made some of the best rap albums of 2016.

Scott Dudelson/FilmMagic/Getty, Tim Mosenfelder/Getty (2)

The year in rap featured gospel-tinged dispatches from Chicago, new melodies from the South, introspective gangsta music from the West and the return of two legends of New York's Native Tongues posse. Here's the best albums and mixtapes from a year where MCs shouted down the chaos or partied in spite of it.

Travis Scott, 'Birds in the Trap Sing McKnight'
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Travis Scott, ‘Birds in the Trap Sing McKnight’

Who else in 2016 gets a verse from the reclusive Andre 3000, while finding space for 21 Savage, Blac Youngsta, Bryson Tiller, Kendrick Lamar and the Weeknd? Even with his impressive Rolodex, Travis Scott remains the center of his album, telling late night tales of L.A. drugs and parties. He seems to feel no pressure to replicate the success of last year's surprise pop hit "Antidote," instead Birds buries deeper into ominous apocalyptic trap. Scott invites Kid Cudi to sing the hook of "Through the Late Night" then still interpolates his "Day N Night," basically wearing the T-shirt to the show, a meta-moment of that almost reads like he's flaunting the criticism that he bites from his heroes. The Texas native may listen to his critics, but even that won't stop Travis from being Travis. D.T.

You.Know.I.Got.It (The Album) Koran Streets
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Koran Streets, ‘You.Know.I.Got.It (The Album)’

Even among hip-hop heads, Oakland's Koran Streets remains obscure. His hometown knows him as an actor, having appeared in the small, critically respected cult films Licks and Kicks. From his modest metrics, he hasn't connected with much of an online audience either. Yet You.Know.I.Got.It (The Album) – his debut after a string of similarly named mixtapes – is one of 2016's most consistent, affecting releases, an argument for vibrant hip-hop at the commercial and critical margins. The source of the album's power is Koran Streets' disarmingly direct style, one with no wasted motion. He's seldom one for wordplay or showy poetic devices; the most memorable image on the album comes from guest rapper K.I. ("Countin' money, 40 on me while I'm on the shitter"). Yet there's a sincere desperation throughout that gives it both a human spark and a targeted, specific realism. D.D.

Shy Glizzy, 'Young Jefe 2'
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Shy Glizzy, ‘Young Jefe 2’

Shy Glizzy burst on the scene in 2012 after heated beef with Fat Trel and Chief Keef, quickly becoming one of his D.C. hometown's best hopes. The single "Awwsome" found some traction and "Funeral" became a fan favorite, yet 2016's Young Jefe 2 felt like a substantial level-up. From the hypnotic "New Crack" to the haunted "Rounds," it's a project that deepens the colors of his emotional palette, a step up in sophistication. His music remains as pugnacious and disrespectful as ever, but his cleverness ("Every time they think they turned up, we gon' put that shit on mute") is underlined by ditching the spiky, aggressive sounds of his earlier work for an atmospheric nuance that feels both inviting and frigidly vivid. D.D.

Open Mike Eagle, 'Hella Personal Film Festival'
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Open Mike Eagle + Paul White, ‘Hella Personal Film Festival’

If a Wes Anderson movie could be transmuted into a rap album, it might sound something like this. Open Mike Eagle gives us small but odd details – "Woke up without a hangover/That burrito worked," he says offhandedly on "Dang Is Invincible." It all accumulates into neurotic numbers like "Smiling (Quirky Race Doc)," where he bemoans how crowds at his shows are afraid to talk to him ("'cause I'm a black man"), and self-explanatory songs like "Dive Bar Support Group" and "Insecurity." U.K. producer Paul White – who has had a breakout year, thanks to his work on Danny Brown's Atrocity Exhibition – counters the rapper's self-deprecatory vibe with sounds that range from the chirpy and whimsical ("I Went Outside Today") to mock-blues ("A Short About a Guy That Dies Every Night"). The result is both funny and heart-rending, as if Max Fischer of Rushmore had somehow grown into a successful L.A. indie rapper, podcaster and serio-comic personality. M.R.

2 Chainz, 'Daniel Son Necklace Don'
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2 Chainz, ‘Daniel Son; Necklace Don’

Daniel Son; Necklace Don is one of several audacious projects 2 Chainz released this year, as proof that he no longer has to yell his name in every verse to announce himself. He relishes in every detail of his come-up from College Park, Georgia – from how he went from picking up litter in juvie to filling up his mansion as if it was Noah's Ark, how Waffle House meals changed to Southside teppanyaki weddings. Moreover, he reintroduces himself as a trap-rap veteran to be reckoned with, though without the self-serious attitude that legacy artists typically inhabit. If anything, Daniel Son finds him giggling over his good fortune, while flaunting the deft lyricism and R-rated Benny Hill sense of humor that is now his calling card: "Mr. Miyagi/I like my pussy real soggy." C.L.

Swet Shop Boys, 'Cashmere'
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Swet Shop Boys, ‘Cashmere’

Swet Shop Boys are two South Asian rappers dealing with Islamophobia in a Western world, despite their global profiles. Himanshu Suri (Das Racist) and Riz Ahmed (Rogue One: A Star Wars Story) combat casual and not-so-casual racism in a few ways: Via producer Redinho, they reclaim the Bollywood samples that hip-hop has used in the past for flavor, as if to re-imagine if "Big Pimpin'" featured an Indian-American and a British-Pakistani instead. But they also demonstrate how the genre has lent a voice to the underserved globally. Swet Shop Boys commiserate in having few role models who actually looked like them (Tupac, Andre 3000 and Marcus Garvey get name-checked), though with the wry humor that comes with lived experience. "I'm so fly, bitch," Heems repeats, "but I'm on the no-fly list." C.L.

Cupcakke, 'Cum Cake'
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Cupcakke, ‘Cum Cake’

Nineteen-year-old Cupcakke blew through the doors in late 2015 with a single called "Deepthroat," a refreshing burst of bawdy color. Lewd and unapologetic, her persona recalls the in-your-face provocation of hip-hop's Blowfly roots, a 2016 Too $hort whose clever lyrics are as shocking in their unpredictable originality as they are for their up-front sexuality. She's already released two follow-up projects this year – S.T.D., then Audacious – each a further refinement of the persona she pioneered here. But her first time out the gate felt a lifetime in the making, a well-rounded, fully fledged career template that easily proved she's no novelty. From the stark, sophisticated portrait of a failing relationship "Exceptions" to the brutal "Kash Doll Diss" to the shimmering optimism of "Darling," Cum Cake is a portrait of an artist with a strong grasp of both human nature and fellatio jokes. D.D.

D.R.A.M., 'Big Baby D.R.A.M.'
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D.R.A.M., ‘Big Baby D.R.A.M.’

D.R.A.M., the ebullient voice behind 2015's "Cha Cha" and 2016's bubblegum-trap hit "Broccoli" is well aware that it's not what you say, but how you say it. On his debut LP, the Virginia native talks as greasily about flirtation, seduction and sex as any of his hip-hop contemporaries do, but unlike them, his dirty talk is sung and rapped through an audible smile. "You said that you aaare celibate well, let's celebrate the first time youuuu get this pipe," he sings in a jovial timbre on "In a Minute." More than a rap Cheshire Cat, D.R.A.M. is a modern romantic concerned with love, lust and the technology that mediates them. On "Cute" he flirts with an Instagram crush; on the slow jam "WiFi" he duets with Erykah Badu, using a wireless Internet connection as a metaphor for human connection; and on "Password" he's the cheating lover whose infidelity is discovered when his girl gets into his phone. He's a man as conflicted as any other, he just says it with a smile. T.A.

Lil Uzi Vert, 'The Perfect Luv Tape'
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Lil Uzi Vert, ‘The Perfect LUV Tape’

North Philadelphia native Lil Uzi Vert, comes from a different universe than the gritty true-life crime narratives of local heroes like Meek Mill or Beanie Sigel: The preferred topics of the 22-year-old rapper are Goyard bags, how much he loves his girlfriend and thumbing his nose at haters. He dropped three mixtapes in 2016, but The Perfect LUV perfectly encapsulated his reckless, gleeful abandon. Lil Uzi Vert's name was inspired by his lightning-fast rapping style, and "Original Uzi (4 of Us)" and "Money Mitch" proved that even if he's just focused on the size of his bank account; he performs with an agile graciousness. D.T.

Tink, Winter's Diary 4
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Tink, ‘Winter’s Diary 4’

After building a significant fanbase for bars and ballads in her Chicago hometown during the boom years of 2011 to 2013, Tink was quickly pushed through the hype cycle by the press – and by Timbaland, who contended she was Aaliyah's rightful heir. Then, when all eyes were on her, she released songs so out of step with the current moment that it virtually stopped her career in its tracks. Just as the spotlight shifted away, Tink dropped the first project worthy of her multivalent talents with Winter's Diary 4. Confessional yet confident, WD4 is cohesive in sound but comes to life in its careful compositions, and the particulars of Tink's exceptionally tight writing. It's a world-building exercise, a full-length sales pitch for Tink as a versatile, compelling star whose work fans can live with for the long haul. D.D.

Ka, 'Honor Killed the Samurai'
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Ka, ‘Honor Killed the Samurai’

Kaseem Ryan's whisper of a voice is one of the most indelible instruments in rap today. It's remarkable how this one-time Nineties underground rap also-ran turned into a fire chief who makes critically acclaimed albums in his spare time, reducing his rough Brooklyn accent to a quiet murmur as if he were practicing tai chi on a sandy beach. With Honor Killed the Samurai, he continues to reinvigorate New York boom-bap into something more compelling than hidebound tradition. He crafts his beats from Seventies jazz and prog-rock obscurities, and wraps them in vocal cues from samurai movies, resulting in an eerie, foreboding sound that underlines street symphonies like "Mourn at Night," and contradicts meditations on his rejuvenated career like "$." The music is so placid that every verse stands out. But when it gets loud on the harsh synthesized maelstrom of "Ours," he sounds like a hardened O.G. holding court on a wet Brownsville block, no matter how hard it rains. M.R.

21 Savage & Metro Boomin, 'Savage Mode'
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21 Savage & Metro Boomin, ‘Savage Mode’

On Savage Mode, producer Metro Boomin strips away the fun and whimsy that's come to define much of trap music in the post-Migos world. His empty and brittle framework is highlighted by up-and-coming star 21 Savage, whose rapping style rarely moves beyond a low growl; and, with the exception of love song "Feel It," never shows remorse or regret for the crimes he commits on record. "Nihilistic" is an easy worldview to assign to hip-hop music that sees little hope in the world or in one's circumstances, but few artists reach Savage's level of joylessness. When he raps "That AK-47 turn that smile into a frown" on "Mad High," it comes off not as boast or brag, but as a simple fact. D.T.