Editor's Note: The views and opinions expressed in this article do not reflect those of The Collegian.
This year was one of comebacks and debuts from a wide range of hip-hop artists. Industry giants like Young Thug, Lil Wayne, Lil Baby, and Drake lacked the same critical acclaim they’ve received historically, while artists such as Freddie Gibbs and Tyler The Creator delivered well thought-out, well produced records, destined to become fan favorites.
The following list of 2025 albums are ones, which I believe accurately represent the musical diversity of new and old faces within hip-hop releases today:
McKinley Dixon - “Magic, Alive!”
Recommended Tracks: “Run, Run, Run Pt. II,” “Sugar Water,” “We’re Outside, Rejoice!”
McKinley Dixon debuted in 2018 but reached cultural prominence in the early 2020s through his 2023 album “Beloved! Paradise! Jazz!?” Featuring similar jazz-rap elements to his previous record, “Magic, Alive!” displays a noticeable improvement in Dixon’s storytelling, lyricism and jazz influence. The level of intricate jazz production is comparable to Kendrick’s “To Pimp a Butterfly” era. The album contains a large number of featured artists who contribute background vocals, rap verses, and instrumentals. “Sugar Water” alone credits two additional lyricists, a saxophonist, trumpeter, pianist, and nine additional contributors.
JID - “God Does Like Ugly”
Recommended Tracks: “Wholeheartedly,” “VCRs,” “Sk8”
JID’s 2022 critically acclaimed album “The Forever Story” peaked at 12th on the US Billboard 200, setting a high bar for his next release. I believe he more than lived up to expectations on “God Does Like Ugly.” It’s impossible to assign a single subgenre label to this album, as it features influences of trap, conscious rap, melodic rap, and boom-bap hip-hop. “Sk8” takes you on a lyrical tour through Atlanta, referencing street names and neighborhoods, all laced between catchy choruses by Ciara. Just two songs later, the melodic love song “Wholeheartedly” falls back to acoustic production, relying mainly on strings and piano. This record is all over the place musically, in the best way possible.
Clipse - “Let God Sort Em Out”
Recommended Tracks: “Chains & Whips,” “All Things Considered”
After a 15-year long hiatus, Clipse (1994-2010, 2024-present), composed of Virginia Beach brothers Pusha T and Malice, reunited to release “Let God Sort Em Out.” Reaching #1 on Billboard’s Independent Albums chart, this comeback quickly gained commercial and critical acclaim — for good reason. With snappy back-and-forth exchanges between the brothers, aggressive rap flows, and gritty Pharrell Williams production throughout, this record is fun if nothing else. Yes, Clipse sold coke in Virginia in the ‘90s, and yes, they’ll rap about it on every song but it makes for some great verses…
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John Michel & Anthony James - “Egotrip”
Recommended Tracks: “ONEWAY,” “Egotrip,” “NOBODY”
I discovered this album through a Tiktok post by collaborator Anthony James, and I’m so glad I did. “Egotrip” is a hidden jem. Despite the tracks barely reaching a million streams, they showcase a professional level of intricate production. Egotrip reworks the “chipmunk-soul” sampling style mastered by Kanye West 21 years ago, resulting in a conscious blend of vintage jazz textures and contemporary lyricism. “ONEWAY” is the track to spin first, combining chopped-up refrains from The Webs’ 1968 song “It’s so Hard to Break a Habit,” woven between piano risers and piercing guitar riffs. This is James’ debut album as a producer and John Michel’s second, offering plenty of hope for their future careers.
Playboi Carti - “MUSIC”
Recommended Tracks: “PHILLY,” “POP OUT”
The long-awaited follow-up to the polarizing “Whole Lotta Red” has finally arrived. “Whole Lotta Red” defined the Opium label’s style, characterized by its unique electronic beats and gravelly, high-pitched vocals. “MUSIC,” however, feels like a budget continuation of a cult classic — lacking any real improvement or innovation to Carti’s trademark sound. With a 30-song tracklist, this album feels like the epitome of quantity over quality. Tracks like “POP OUT” or “COCAINE NOSE” feature positively abrasive, industrial production, while songs such as “K POP” and “TOXIC” sound as if they were produced in 15 minutes. Great expectations were set by Carti’s involvement with high quality projects alongside artists like Travis Scott, Future, and The Weeknd — expectations that “MUSIC” never lives up to. If you’re looking for recent Playboi Carti tracks worth listening to, check out “BACKR00MS,” “2024,” and “ALL RED.” At the very least, “MUSIC” is energetic, earning it prime real estate on gym playlists and high school party mixes.
Westside Gunn - “HEELS HAVE EYES 2”
Recommended Tracks: “HEEL CENA,” “AMIRA KITCHEN,” “PRICK”
Though he debuted in 2005, Westside Gunn has become one of the most prolific hip-hop artists of the 2020s, with “Heels Have Eyes 2” being the second of three albums he released just this year. This album is hard to differentiate from the rest of his discography. This is an issue that Gunn consistently faces, where his flows and lyrical content is analogous across the majority of tracks on any given project. On “Heels Have Eyes 2” — like the rest of his albums — the best and most popular tracks are ones featuring other artists, since collaborators such as Benny the Butcher and Skyzoo break up the monotone flow that Westside Gunn is recognized for. Despite the criticism, this album does have some positive notes. “HEEL CENA” and “AMIRA KITCHEN” feature excellent boom-bap-style drums combined with modest, melodic piano instrumentals. Overall, this record is a solid continuation of Westside Gunn’s mafioso, trap hip-hop style, though it doesn’t innovate or improve on the sound of his previous catalog.
Armand Hammer & The Alchemist - “Mercy”
Recommended Tracks: “Peshawar,” “Moonbow,” “California Games”
Armand Hammer is a hip-hop duo consisting of Billy Woods and Euclid, known for their experimental and conscious rap style. “Mercy,” produced by acclaimed producer The Alchemist, is a dark and well-arranged spoken-word album set against a backdrop of jazz samples and spooky beats. Billy Woods’ lyrics are sensory-based and politically charged, often sounding like slam poetry performed in front of a small audience. Although the Alchemist is known for his elaborate production for more traditional rap artists like Kendrick Lamar and Freddie Gibbs, he’s able to simplify his sampling and instrumentation to perfectly accommodate Armand Hammer’s non-melodic flow. The piano production on “Peshawar” is reminiscent of the haunting instrumental of “Meet the Grahams” from Kendrick Lamar’s Drake-beef era. The piercing, pitched-up vocal sample on “Moonbow” reminds me a lot of the sampling used on the title track “4:44” by Jay-Z. Definitely an album to appreciate alone and with undivided attention.
Contact contributor Jacob Bennet at jacob.bennett@richmond.edu
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