This year, we promoted albums from artists of all kinds, from career-defining efforts by Grammy winners to essential documents by scene figureheads to auspicious debuts by some of the most exciting young artists in the game. They span the entire hip-hop spectrum, with some R&B and hyperpop thrown in for good measure.
In an age when artists release more albums than ever, we like to believe the cream still rises to the top. And we are here to help any way we can.
Take a listen to our list of albums for the year. Hopefully you find something you love.
In August 2025, Grammy-winning Chicago native Chance The Rapper released his first new album in over 6 years, pouring his heart into the music to ensure his fans understood that it was worth the wait. Inspired by trips to Ghana and Jamaica, as well as time spent at global art fairs, STAR LINE gets its title from Marcus Garvey’s Black Star Line, a shipping route intended to link Black people in America, Africa, and the Caribbean. Through that global and historical lens, Chance dives inward, meditating on his love for his hometown, his perspective on his community, and his growth in his role as an artist, son, father, director, community leader, and cultural architect.
Submitted for GRAMMY consideration in the “Album of the Year” and “Best Rap Album” categories, STAR LINE features some of Chance’s most intricate writing yet, including on the Jamila Woods collaboration “No More Old Men,” which juxtaposes tender memories of his childhood in Chicago with a sobering meditation on the life expectancy for Black men in America, “Drapetomania,” a high-energy liberation anthem featuring Chicago teenager Babychiefdoit, and “The Negro Problem” ft. BJ The Chicago Kid, which tackles topics like the dire racial disparities in modern medicine, poignantly highlighting the higher risks Black mothers face during childbirth.
Produced by DexLvL, with assistance from regular Chance collaborators Nate Fox and Peter CottonTale, and new faces like Rodney “Darkchild” Jerkins, the album welcomes guest spots from collaborators new and old, including Lil Wayne and Smino, who connect for the single “Tree,” Chicago legends Do Or Die, who help Chance transform their local classic “Po Pimp” into “Ride.” Other guest artists include Joey BadA$$, Vic Mensa, Young Thug, TiaCorine, Jay Electronica, Lion Babe, Jazmine Sullivan, and Raachel Robinson.
“This album is a culmination of my travels, my experiences, and my deep dive into the history that connects us all,” said Chance. “It’s about legacy, the resilience of Black people, and the beautiful, complex story of our existence. From Chicago to Accra, this is my art, unfiltered. Star Line is a vessel for that story, and I’m thrilled that everyone can finally get on board.”
When Rio finally had some time to breathe, he decided to make his official debut album an ode to his hometown of Flint, a hardscrabble working-class town that has supported a creative renaissance amidst hard economic times. With F.L.I.N.T. (Feelin’ Like I’m Not Through), Flint’s only Platinum-selling rapper released the essential document of his city’s rap scene, with Rio as the town’s czar, big bro, and court jester, rolled into one. The artist will make you laugh one bar, shock you with violence the next, and then pierce your heart with tender reflections on his ambitions and personal losses.
Packed with kinetic beats by Rio’s frequent collaborators like Wayne616, BEATSBYSAV, and Danny G Beats, the new album allows Rio to test out some truly head-spinning flows, doubling back on his bars to create rewindable punchlines and unexpected moments of poignancy. F.L.I.N.T. is one of Rio’s most focused works to date, spanning 20 tracks of bass-heavy Michigan music including singles like, “Different Music,” “Sneaky B,” and “Big Ben.” Rio welcomes both new and old collaborators, such as fellow Flint rappers YN Jay and RMC Mike, expanding his world to collaborate with young artists who admire him, including Chicago’s Star Bandz, Dallas’s Zillionaire Doe, and Atlanta’s FBLManny.
Later expanded with the deluxe edition, Still F.L.i.N.T., the album earned praise from Pitchfork, who gave it an 8.0 score and said, “It’s hard to pick just one bar to quote when every line feels strong enough to stand on its own, while at the same time building on what’s come before…F.L.I.N.T. winds up showcasing all the technical strengths that originally put Rio and his crew on the map, while also successfully expanding his sound to fit larger stages.”.
Spanning an epic 26 tracks without flagging in energy or quality, Rockstar Junkie immerses listeners in Shimmy’s world, with see-sawing beats, from Florida sound architects like DxnteMadeIt and others, their instrumentals swirling around Shimmy’s croaking melodies in hypnotic fashion. Shimmy welcomes kindred spirits like Luh Tyler and NoCap to the fold, and proves that he can go toe-to-toe with A-Listers like Quavo and Don Toliver. His collaboration with the latter, “3am,” is having a moment, climbing viral charts and just last week, becoming Shimmy’s second Hot 100 hit.
Always aiming to feed his fans, Shimmy plans to release the Rockstar Junkie (Deluxe) in the coming weeks, adding even more color to his world of tropical trysts and top-down rides. Stay tuned.
Home to standouts like “PARIS” and “MISIDENTIFY,” Cortisa’s E.M.O. (Evil Motion Overload) delivered on the potential she displayed in her initial singles, expanding her frayed sonics into widescreen. Ferociously synthesizing genres like rage rap, hyperpop, rave, club music, drill, and more, and adding a blown-out edge, E.M.O. is a bracing but addictive listen, teasing with hooks even as it pummels with distortion.
Throughout the project, Cortisa takes shots at her haters with withering one-liners (“Call me man all you want, cause I’m that f*cking guy!” she shouts on “MISIDENTIFY”) and knocks them down with one-two punches (“They hatin’ from the jump, but I’m just chillin’ smokin’ hella green/They really mad at me for rappin’, b*tch I’m just a f*ckin’ teen,” on “FITS”). Aided by producers like umru, Cortisa stacks her vocals into a corrosive attack, lording over each track like a cruel empress.
If Cortisa’s words didn’t silence her haters, her actions during 2025 did: she earned coverage in publications like DAZED, PAPER Mag, and The FADER, who called Cortisa “rap’s underground supernova.” She established herself as a budding fashion icon, too, walking the runway during Miu Miu’s Fall/Winter 2025 fashion show, earning coverage from Vogue, W Mag, i-D, Wonderland, The Face, and many others.
Still just a teenager, Cortisa has much further to go on her artistic journey. With her posse at her back and the world in her sights, her takeover is fast approaching.
Moving from style to style even as it transitions seamlessly between songs, the album draws inspiration from the likes of Pharrell Williams and Tyler, The Creator, and is similarly packed with sonic detail. “IF WE BEING HONEST” rides a propulsive kick drum as Eem keeps it real in a call-and-response with detuned synths. Songs like “23,” with its tuneful 808s and room-enveloping synth pads, and the cinematic “OUT MIAMI,” featuring Ty Dolla $ign, reward headphone listens. “FIJI,” a collaboration with the R&B group Cruza, slows down the tempo to highlight tinker-toy keys and sirenic synths.
Crafted with assistance from Grammy-winning producer Dahi, along with Matthew Castellanos and Eem’s frequent collaborator Charlie Myles, the album is warm, colorful, and reflects Eem’s playful personality as he attempts to navigate life and love as a rising artist and twenty-something.
With hundreds of millions of streams in the bank and his debut album out now, Eem Triplin is surging into his next chapter with creative momentum, ready to serve up more relatable and melodic anthems for his generation.
Spanning 16 tracks with no outside features, Back In Bidness reignites Geesy and Fenix’s ping-ponging chemistry: they seemingly work as two halves of one brain on their party anthems. The group seamlessly incorporated
Back In Bidness presaged buzzing singles like “HOLLYWOOD” (a collaboration with YG) and the throwback “ROCKIN,” both of which charted on Rhythmic Radio. Later in the year, the duo embarked upon the “Back In Bidness Tour,” selling out several dates before culminating with their first headlining L.A. show in over five years. The show was a massive success, drawing a crowd of 12,000 and special guests including Big Sean, Coi Leray, Ty Dolla $ign, and many more.
In February, Hurricane dropped Perfect Storm, his proper introduction to the wider rap world, featuring welcoming appearances from street heroes like Sleepy Hallow, Raq Baby (on the viral hit “On God”), and Skilla Baby. The 24-year-old rapper recruited Polo G to make the “Giannis” Remix extra special. Several of the most successful tracks on the tape were Hurricane solo tracks, including “Drugs Callin,” which racked up over 40 million streams across platforms. Perfect Storm reached #126 on the Billboard 200 and remained there for two weeks.
After building steam with trending singles like “Powerhouse,” “Anyways,” and “On Stream,” all of which charted on YouTube’s Trending Chart, with “On Stream” reaching the top five, the artist returned with Perfect Storm: Sorry 4 The Rain, a 21-track sequel to the February tape. Sorry 4 The Rain features the “Drugs Callin” Remix, with an appearance from Lil Baby (#1 on YouTube Trending for Music), and new favorites like “Rich Dropout,” performed by Hurricane during his Lyrical Lemonade Lunch Break Freestyle. Sorry 4 The Rain marked Hurricane’s highest peak yet on the Billboard 200, reaching #54 in its debut week.
Hurricane Wisdom made a Category 5 impact on the rap game this year, but he still has further to go. Watch him rise.
From the tape’s first track, “Hate Being Famous,” in which OT opens up about his struggles to reconcile his rising public profile and his need to be his authentic self, the 26-year-old rapper is off to the races, flexing his muscles in the pop-rock (Lil Wayne collaboration “Baby Mad At Me”) and country spaces (“Runnin’,” the poignant closer). But the rapper never strays far from the Texas sound he made his own, teaming up with BigXThaPlug on the fiery “U And Me,” connecting with frequent collaborator Sauce Walka and Bay City day one Hogg Booma for “Guidance,” and Lil Jairmy and OTB Fastlane join the party on “Beat Box.”
An ideal album for late summer, Recess preceded a massive tour by That Mexican OT, in which he traveled to dozens of underserved markets to meet his fans face-to-face. He’ll continue his reign as the Lone Star State’s people’s champ into the new year.
Chase Shakur is Atlanta’s best-kept R&B secret, seducing his legion of fans with his expansive vision of R&B. The 25-year-old singer reached his highest creative heights to date with WONDERLOVE, his 2025 album. Shaped by Chase and a team of producers that includes Isaiah Kaleo, Dahi, Go Grizzly, London Jae, and many more, the immersive WONDERLOVE blends a variety of styles, adding textures to Chase’s delicate brand of R&B.
Populated with swelling synths and subsonic bass, WONDERLOVE is a shape-shifting and atmospheric effort, reflecting the contours of Chase’s mind as he progresses from infatuation to heartbreak and back, all in search of a love to encompass his whole being. At times, like on the string-laden “FOCUS ON ME” and the aching ballad “CAN’T BLOCK THE SUN,” Chase aims to overwhelm the senses like the initial onslaught of lust, while songs like “LIMERENCE” (praised by UPROXX, BET, Rated R&B, and more) and “FAIRYTALES IN MIDTOWN” ft. TyFontaine allow Chase to play the lothario, treating love like it’s a game.
WONDERLOVE established Chase as one of the premier worldbuilders in today’s R&B game, and one with the songwriting and performing talent to make his wildest ideas a reality. We can’t wait to see what he does next.
After establishing himself as a natural spitter who could go off on any beat, 19’s debut mixtape Porch 2 The Pent introduced fans to the person behind the character. Inspired by the high-octane street music he grew up on, including Chief Keef, whose frequent producer Akachi makes many appearances, P2TP is a compelling full-length, documenting 19’s rise from the projects to the top floor. The tape provided a home to many of his viral singles, which helped him rack up over 150 million streams before its release. These included the GOLD-selling “One Take Freestyle” and the Kodak Black-featuring remix, and “Auntie Ain’t Playin’,” a viral collaboration with Philly’s “67” meme progenitor Skrilla. One of the most notable guests is Rickfrmdacreek, one of 19’s closest friends from his hometown of Limestone Creek.
Beyond the high-profile guests, 19’s snappy punchlines are the star of the show. He provides a barrage of head-turning quotables on each song, whether he’s flexing his new Audemar on “Clean N Dirty” or shooting his shot with Taylor Swift on “Way 2 Geeked.” Other songs evoke a more reflective mood, such as the melodic “LMK” and the closing anthem “Never Be The Same,” which mourns lost friends even as it celebrates new victories.
Porch 2 The Pent proved that 19 was more than just a punchline artist, but an artist with legs. XXL agreed, naming the young Floridian to their 2025 XXL Freshman List.
Mozzy has enjoyed life as Sacramento’s street hero, but he is often haunted by the memories of his past life in the trenches. In 2025, the veteran rapper used two full LPs to explain his feelings on the matter, reflecting on how far he’s come, but still fearing that his run could end at any moment.
Released in April, the first INTRUSIVE THOUGHTS was a visceral, but ultimately uplifting document about memories that linger and scars that never fade, couching dense narrative lyricism into heatseeking NorCal bangers. The album was home to gems like the Pitchfork-praised “
August’s INTRUSIVE THOUGHTS 2 was a more-than-worthy follow-up to INTRUSIVE THOUGHTS, discussing similar themes but with refined focus, and even more emotional transparency. While the first project only featured guest stars on 4 of its 18 tracks, the sequel is more collaborative in nature, welcoming heavy-hitters from all regions to share their experiences alongside Mozzy’s. Most notably, Mozzy collaborated with YFN Lucci on the trending hit “23 AND 1.” He also tapped ATL heavy-hitter Hunxho to add melodic pathos to “ALL I GOT,” paves the way for Boosie Badazz to process his pain on “SUPER SOAKER,” and welcomes Nardo Wick to be the devil on his shoulder on the sinister “STUTTER.”
Making up for lost time since spending a year in jail, Mozzy’s two 2025 albums reasserted Mozzy’s position as one of the game’s most realistic and compelling storytellers.
Boldy uses Antt’s instrumentals to elevate his street stories to a fine art, transforming the streets of Detroit into a neon-lit underworld that would befit a Michael Mann film. On “Himothy McVeigh,” Boldy takes flight atop a repeating two-chord motif straight out of a spy movie, taking shots at social media gangsters (“F*ck all those verified socials/Those n****s couldn’t see me with a pair of bifocals”). At the same time, “Street Cred” further beefs up his filmic bona fides with references to Steven Spielberg and Action Jackson. Fellow Detroiters Baby Money and Bandgang Lonnie Bands appear to offer contrasting perspectives–Boldy and Lonnie trade boasts about their ice over dramatic pianos on “Met Me,” while Baby Money makes a seismic impact on “Off The Richter.” Closing track “Dead Flowers” serves as the album’s end credits, as he shouts out his longtime associates and stacks flexes with flair: “Burning high-grade, finna drop a five in the limeade/Tides paid, walkin’ out with pints at the Rite-Aid,” he spits.
Most artists are not able to produce so much music without diluting the quality, but Boldy James is one of one and a genuine Detroit original. Pay homage, or get out of the way.
The follow-up to last September’s SELLOUT EP, the new EP builds upon Jae’s effortless blend of old and new sounds, each brimming with clever turns of phrase and effervescent hooks. SELLOUT II is a showcase for Jae’s melodic inventiveness, as she plays with her cadence to fit as much innuendo and humor as she can. SELLOUT II features standouts like “SMH,” a bouncy and uptempo heater that earned praise from Billboard, Clash, Rated R&B, and more, the sultry ballad “That’s My Baby,” covered by NOTION, Clash, Out Magazine, and the charming, 8-bit banger “Kiss It.” On release day, Jae shared the steamy video for “Afterbody,” an electro-funk-influenced banger that became the first track from either SELLOUT to surpass one million streams on Spotify.
The SELLOUT tapes are good fun, but Jae Stephens is serious about returning the pop feeling to R&B.
“My message is always, just because it’s fun doesn’t mean it’s dumb,” Jae Stephens says. “I want to encourage people to think outside the box with their musical choices, and find ways to have fun and keep the innovation going and keep finding new ways to keep people’s interest throughout the song. I want to be part of this group of Black girls occupying this space where we don’t see ourselves as much. We can be feminine and pop stars without it feeling like we’re corny or we’re selling out. I want us to be global superstars again.”
JayDon – Me My Songs & I
(Zoo/mega/gamma.)