The Best Albums Of 2023 (So Far)

The top half of the year calls for reflective projects that get us scheming, blockbusters that inspire us and fill us with a tinge of envy (as intended), and some that make us feel like it’s summer and 5 p.m. somewhere because, well, it is. It’s anyone’s game when it comes to best albums of the year in June. From smooth R&B projects we can’t help but keep coming back to from the likes of Don Toliver or Daniel Caesar to hard-hitting rap albums like Conway the Machine’s Won’t He Do It or the fresh-off-the-stove UK stunner Split Decision, to a deluxe album that made its way to the top—these are Complex’s picks for the best albums of 2023 so far.

Label: Alamo Records

Released: May 12

In the last year, Harlem’s DD Osama transformed from one of many voices vying for the spotlight in New York’s burgeoning drill scene to a top-of-the-marquee figure. Still just 16, the MC is racking up staggering streaming numbers on his singles, but with his debut album, Here 2 Stay, he establishes himself as a body-of-work artist. The presence of DD’s late brother, Notti, looms large over Here 2 Stay both literally (the cover art itself) and in the subject matter. He’s referenced on songs like “On Hots, Pt. 2” and “4148,” and the loss informs DD’s delivery, whether he’s snarling with his back against the wall or letting us feel his pain and waywardness. The album also sees Osama branch beyond the traditionally grim confines of drill, exploring Jersey club music on the 2rare collaboration “Money Calls” and opting for something more tender on “Upnow” with Coi Leray. As a snapshot of a young artist grappling with grief and sudden stardom, Here 2 Stay is captivating, and as a debut album, it points to a massively bright future for DD Osama, whose writing and scene-setting should only get sharper from here. —Grant Rindner

Label: 300 Entertainment

Released: March 17

As a rule, posthumous projects are a crapshoot—experiments that piece together works that, by design, weren't ready to come out. Released just under a year after his untimely death, Lil Keed's Keed Talk to ’Em 2 doesn't suffer that sense of incompletion. Featuring his shapeshifting, extraterrestrial vocals, the project shows Keed to be his normal, otherworldly self—a pristine fusion of straightforward street raps and quirky melodies. Spitting alongside his blood brother Lil Gotit for "SRT," Keed unleashes a percussive flow laced with menace; his melodic flourishes make it a chant-like affair that can't help but be repeated. Meanwhile, for "Hitman," his fluctuating pitches careen off ominous chords for an implicit death threat, a jarring combination that makes the symbolic hook all the more anthemic. Features from Young Thug and Offset only add familiar color to a tantalizing, tragic snapshot of one of Atlanta's most unique young voices. — Peter A. Berry

Label: Ear Drummer/Interscope

Released: April 7

Lacing quirky trap beats with bursts of melodies and idiosyncratic flows that could be woozy, helium-toned or percussive, Rae Sremmurd helped define mid-2010s hip-hop with their anthemic playboy theme songs. They showcase their command of the style on Sremm 4 Life, their first LP in five years. For the project, Swae Lee and Slim Jxmmi swerve between tempos, textures, cadences, and hook structures that imbue familiar themes with splashes of originality, tackling new sonic territories while they're at it. On "Sexy," they reimagine a Miami bass song with eclectic wordplay and playful confidence. "Not So Bad (Leans Gone Cold)" sees them fuse forlorn keys and insistent hi-hats with a wickedly materialistic interpolation of Dido's "Thank You," a goofy twist that will make you laugh while repeating the chorus. Mixing conventional Sremm tracks with flourishes of experimentation, their latest is proof of a type of chemistry and creativity that lasts 4 Life. —Peter A. Berry

Label: Rimas

Released: March 17

Eladio Carrión’s 2023 album 3MEN2 KBRN serves as a strong statement to the Latin urban scene, declaring that he is here to take over Latin hip-hop and intentionally merge the Spanish and English-language scenes. This album is the epitome of motivational rap lyrics and clever wordplay on top of high quality trap beats in the Latin space, and carries features of hip-hop’s elite such as Lil Wayne, Quavo, Future, and 50 Cent. 3MEN2 KBRN’s top-charting song “Coco Chanel” with Bad Bunny is a nightclub regular while “M3” with Fivio Foreign showcases Eladio’s flavor of New York drill. After a strong showcase at Coachella this year, the Sauce Boyz brand creator has continued his streak of providing his fanbase with enough sauce to last throughout the summer. —Alejandro de Jesus

Label: AWAL

Released: March 24

With jittery flows, kaleidoscopic name-drops and dystopian soundscapes, JPEGMAFIA and Danny Brown's Scaring the Hoes is as jarring as it is engrossing. Produced by JPEGMAFIA, the project features glitchy beats and spurts of randomness that make it feel like you're watching Robot Chicken in fast motion. For "Lean Beef Patty," JPEG sprints over a kinetic instrumental featuring a chipmunk sample of "I Need a Girl Pt. 2," shifting between Twitter complaints, a mean Freddie Gibbs quip and an unexpected Kyle Rittenhouse reference. On "Steppa Pig," they unload a similarly eclectic array of ideas over a swirl of pop, R&B and trap samples that are rendered as abrasively loud as possible, with their differing tones and vocal inflections only enhancing the overwhelming effect. Technically precise, yet all together extremely weird—and online—it all embodies an exercise in inimitable, eccentric style. —Peter A. Berry

Label: Alamo Records

Released: May 26

Lil Durk has lived a long life at the age of 30, having lived through a near-constant stream of hardship and personal loss even as he’s ascended to be one of the most prominent rappers of the 2020s. Almost Healed, as its title suggests, is about regrouping in the wake of trauma, and Durk toes a line of pained vulnerability, callous coping, and nihilism that is consistently captivating. “Before Fajr” is Durk at his best, setting a visceral scene (“Every day lil' bro chase all the opps before the Fajr prayer / His ass skate all around them cars, it look like hockey players”) atop a beat with ominous synths and ticking hi-hats. The propulsive “Put Em On Ice” showcases Durk’s ability to fit a half-dozen hook-worthy melodies into a single verse. Durk’s songs occasionally struggle to retain a singular focus, but on Almost Healed he makes that work for him. Even when he’s venting about a relationship on “At This Point We Stuck” or “Dru Hill,” the pain of loss and the paranoia that came with his Chicago upbringing are in the back of his mind. It’s an honest, bracing way of exploring grief in art, something that Durk does better than most of his peers.“ —Grant Rindner

Label: Columbia Records

Released: May 5

In an interview with Teen Vogue, singer and producer Q Marsden said he’s in his “instrumentation era, my composer era.” That shines through on Soul, PRESENT, the musician’s best work to date; one that sees Q taking a fantastic voyage through the last 50 years of soul, R&B, and funk, all without losing his footing. The lush sounds of Soul, PRESENT, from the pulse-pounding percussion on “LUV (I KNOW I WANT THIS FOR REAL)” to gleaming slow jams like “INCAPABLE HEART” and “UNDERSTAND,” would swallow up a less compelling vocalist like a wave to a novice surfer. Despite his youth, Q has a masterful understanding of how to use his own voice, employing a sleek falsetto on “NOT ALONE” that complements the plunking bass, while employing a kind of post-Parliament interplanetary funkiness on the kaleidoscopic “THE HIDE.” The son of legendary Jamaican producer Steven “Lenky” Marsden has already built an impressive musical identity of his own at just 23. Soul, PRESENT points to Q's future as a progressive artist with a rich connection to the past. —Grant Rindner

Label: Motion Music/Atlantic

Released: March 31

Luh Tyler is the coolest 17-year-old alive, and the Tallahassee rapper injects his effortless flow and rap abilities into his debut album, My Vision. What makes Luh Tyler compelling to listen to is how free-flowing he is on his tracks. He doesn’t sound like he’s trying too hard, and he only raps about the things that most teenagers care about: money, girls, and weed. Songs like “Jayda Wayda” and viral “Back Flippin” are examples of this, with the Florida native gliding over smooth beats with extended syllables. Luh Tyler doesn’t rap about the same things as his inspirations Kodak Black or Trapland Pat, but that’s what makes him authentic. He makes music true to himself, and that’s the true essence of being a cool teenager making even cooler music. —Jordan Rose

Label: Motown and Never Broke Again

Released: May 12

For a guy known for his toughness, YoungBoy Never Broke Again’s greatest gift might be his sensitivity. Exhibit A: his latest effort, Richest Opp. Blending his pained melodies, guttural shouts and bloodthirsty bars, the project sees him collapse the distance between sorrow and aggression, his lyrics spilling out like the most vindictive retaliation. On “Fuck the Industry Pt. 2,” he calls Drake a bitch before throwing darts at J. Cole because neither rapper is willing to jump on a song with him. That vengeance streak surfaces again on tracks like “Bitch Let’s Do It,” and with his tumbling flows and palpable anger, there’s an immediacy you can’t fake. And yet, his vulnerability manifests itself as tenderness on “I Shot Qupid,” a track that supplies a disarming sing-song hook that reminds you there’s a pulsing heart beneath the seething rage—a genuine duality only possible for the most compelling artists. —Peter A. Berry

Label: LVRN and Interscope Records

Released: March 24

Ahead of his album release, 6LACK had a listening party at a meditation center where guests participated in a meditative session followed by an intimate discussion. At the time, this seemed unusual, but when you play his new album Since I Have A Lover, the nature of this listening experience all makes sense. Since I Have A Lover is a smooth and introspective project that serves as a therapeutic release for 6LACK and hopefully listeners. The project is grounded by slick and atmospheric production, but what is most enjoyable about the album is 6LACK’s willingness to be vulnerable and candid. On songs like “Rent Free” and “Fatal Attraction,” the artist delves into complex topics such as love, relationship, and personal growth. Though much of the music on the album is what many would consider “deep,” 6LACK still seems to be having fun. On the album’s title track, along with “preach,” 6LACK flexes his creative muscle, while also getting into a groove. Similar to his listening event, 6LACK’s Since I Have a Lover provides an immersive experience that is hard to forget. How can R&B be dead if 6LACK is here? —Jessica McKinney

Label: Generation Now and Atlantic

Released: April 28

Jack Harlow had a meteoric rise to fame following his viral singles “What’s Poppin,” “Tyler Herro,” and star-studded 2022 album Come Home the Kids Miss You, but on his latest project, Jackman., it sounds like the Louisville product is starting to feel the weight of his giant image. Jackman. is much different from Harlow’s recent albums; it’s only 10 songs, has a run time of 24 minutes, and does not feature any of the radio-friendly bops that Jack has become good at making. Instead, Harlow substitutes melodic hooks for introspective bars as he examines how his life and relationships have changed since he became famous. Songs like “Denver” reflect this, with Jack discussing getting major opportunities but still feeling hollow. “Gang Gang Gang” also covers the serious subject matter of how to confront childhood friends who have done terrible things. Jackman. is built more like a mixtape than an album, but it’s a nice change of pace for Jack who is on the brink of pop stardom. It’s reminiscent of his older albums like Confetti, before Jack’s persona was larger than his bars. —Jordan Rose

Label: Boominati Worldwide and Republic Records

Released: June 2

Many musicians aspire to make something cinematic, but Metro Boomin actually does. From the action epic that was year’s Heroes & Villains to the ‘80s horror menace of Without Warning, Metro is a producer who’s truly working in IMAX proportions. His first official soundtrack, for Spider-Man: Across the Spider-Verse, is polished and slick, but with a core of genuine emotion. Like a great filmmaker, Metro has always paid painstaking attention to transitions, and that commitment is particularly noticeable here. Lots of movie soundtracks will splice in pieces of dialogue, but on Across the Spider-Verse, the lines actually fit into the tracks thematically, and the swirling cosmic synths that accompany them fit with the multiverse idea at the core of the film. The album suffers from some of the classic soundtrack pitfalls—a truly staggering number of Spider-Man mentions are shoehorned into verses by Lil Wayne, Lil Uzi Vert, and ASAP Rocky—but bold collaborations with Coi Leray (“Self Love”) and Don Toliver (“Home”) are proof that the Spider-Verse soundtrack is much more than a superhero cash grab. —Grant Rindner

Label: Neighbourhood/Live Yours

Released: June 4

What happens when two of the best English rappers link up? You get Split Decision from Santan Dave and Central Cee—the perfect mix of lyricism, wordplay, luxurious flexing, and humor, rolled into a concise four-track EP. This isn’t a full length album, but there are enough bars packed into these 16 minutes to last across an LP. It’s abundantly clear that Dave and Central Cee are having a world of fun on this project with bars from Dave such as “I got a ting from D.C. Harley Quinn, I feel like the Joker,” on “Trojan Horse.” Central Cee balances light-hearted bars with menacing wordplay with lines like “if bro let the drumstick beat, then something gone leak, we ain’t playing exclusives” on “Sprinter.” The chemistry between the two is undeniable, with them sounding as if they have rapped together for years. The final product is one of the best rap releases of the year thus far, and a project that leaves you wanting more from the dynamic duo. –Kameron Hay

Label: Backwoodz Studioz

Released: May 5

Blending florid imagery with a bleak sense of humor and a gift for observation, Billy Woods renders melancholy in striking color. He flaunts his gifts once again on Maps, a mosaic of vivid, writerly details and kaleidoscopic jazz from the inimitable Kenny Segal. Floating over a bed of eclectic sounds that oscillate between ambient and exhilarating, Billy threads disparate ideas with unpredictable symbolism. On "Kenwood Speakers," he connects a Game of Thrones reference with themes of gentrification and the type of casual lies told at a neighborly dinner party. For "Soft Landing," he turns a flight into a fraught rumination on frayed romance and other existential troubles, throwing in a purported Joseph Stalin quote and a Toni Morrison reference to tie it all together. In less skillful hands, it could all get convoluted, but he's focused even when he's scattered, circling back to complete nuanced ideas while making adventures out of the mundane. —Peter A. Berry

Label: Field Trip Recordings/Geffen Records

Released: Feb. 24

Yeat does whatever the hell he wants on AftërLyfe, expectations (and long-held rap traditions) be damned. On “Watch,” he feels like whispering the hook. On “Split,” he’s in the mood to repeatedly squawk the words “I want Bentley, I want money” dozens of times. And on “Nun id change,” he decides to make a demonic dance song fit for dimly lit dungeons in faraway lands. So if you were concerned that Yeat would start playing it safe once he got fame and fortune, you have nothing to worry about. He’s just as unpredictable as ever on AftërLyfe, spewing zany ad-libs all over a suite of unorthodox beats and filling each song with as many outlandish one-liners as possible. By the end of the project, he even feels comfortable enough to show a slower, more contemplative side of himself on relatively subdued BNYX-produced songs like “Back homë” and “Mysëlf.” It’s becoming clear that we’ve only seen the beginning of what Yeat has to offer. —Eric Skelton

Label: Warp Records

Released: Feb. 10

While certain forms of Black dance music like house and East Coast club music have permeated the global mainstream, Kelela has no interest in waiting for that kind of conditional approval. Raven, her second studio album and first in nearly six years, is a celebration of the Black and queer people who not only populate these spaces, but actually made them exist in the first place. Always a master of layering and creating textures, Raven moves between the tender and gossamer on “Holier” to the more grounded on tracks like “Happy Ending,” where the thump of UK garage drums conjure the feeling of hips swaying and sweat-soaked human connection as Kelela sings about the intoxicating feeling of being entangled with someone on the dance floor, and the struggle to recreate that in life’s quotidian moments. The tired knock on electronic music is that it’s impersonal and robotic, but brilliant records like Raven are just the opposite—they prove how the club can be a venue for love, connection, and community. Putting those sensations into a studio album is an exceedingly difficult feat, but Kelela manages it, making her sophomore LP well worth the wait. —Grant Rindner

Label: LVRN and Interscope Records

Released: May 19

Summer Walker has the unique ability to make the most difficult aspects of emotional healing sound serene, and on CLEAR 2: SOFT LIFE EP she embodies the project's title by reflecting on past traumas and discussing the revelations she’s made about herself on her journey. Appropriately opening with an “audio hug” with a soothing verse from friend J. Cole, Summer uses the extended play to lay out the demands on her plans to live her “soft life” on her time. She challenges fragile egos on “Mind Yo Mouth,” reclaims her sexual autonomy with “Pull Up,” and wraps the project by talking about the lessons she’s learned through therapy on “Agayu’s Revelation.” CLEAR 2: SOFT LIFE EP resonates because it feels conversational and finds Summer Walker healing in real time over beautiful production, something the singer does best. —Jordan Rose

Label: Drumwork Music Group/EMPIRE

Released: May 5

It sounds like Conway the Machine’s voice gets grittier on every new record, and Won’t He Do It is just the latest installment in the Buffalo rapper's real gangster stories paired with elite J.U.S.T.I.C.E. League production. Calling Conway’s third studio album supervillain music would be an oversimplification, but there is something menacing about the Machine waxing poetic about wanting to “sell cocaine forever” while also having dinners with Jay-Z over piano chords like on “Monogram.” The Buffalo rapper is both reflective and looking to the future on Won’t He Do It as he rides the momentum he created off his last album, God Don’t Make Mistakes. Conway’s delivery and lyrical fortitude allow his listeners to bop their heads to his bars even if they can’t relate to selling a brick or ducking the police. —Jordan Rose

Label: EMI and Geffen Records

Released: March 3

Powered by atmospheric production, diaphanous vocals and metaphysical poetry, Kali Uchis’ Red Moon in Venus is an exercise in shapeshifting. Uchis glides between a lover’s euphoria and begrudging acceptance of dead romance, leaping from genre to genre to distill feelings that transcend right or wrong or time and place. On “Fantasy,” a cut featuring her boyfriend Don Toliver, she surrenders to romantic optimism, bouncing across an Afropop beat with the freedom of someone who’s not afraid to fall in love. She dives into something more earthly on “I Wish You Roses,” a dreamy ballad about letting go even when it’s hard to. The themes are threaded by lush production that hugs her words with sensitivity and an ambience that comes with clarity. As tender as she is diverse, Uchis positions love as a cosmic, engrossing force, which is also a good way to describe Red Moon in Venus. —Peter A. Berry

Label: Republic Records

Released: April 7

A few lines into this project, Daniel Caesar sings, “I was lost ’til you found me here,” which feels almost retrospective. He then sinks his teeth into verses and songs filled with longing and punctured moments of release via songs like “Disilusioned” with serpentwithfeet and “Cool.” Meanwhile, on “Buyer’s Remorse,” he and sonic counterpart Omar Apollo take on the challenge of continuing the magic they found on “Invincible.” After personal challenges and a freshly-signed contract with Republic, Caesar reemerges in a new blue-tinged light, continuing to expand on what it means to feel blue in his body of work whilst acknowledging that “pain is inevitable but misery’s a choice.” His first big boy project, released on the twilight of his 28th birthday, is a smooth listen from start to finish. Cohesive and compelling, it’s a self-aware project that we find ourselves returning to, with standout tracks like “Always,” which are bound to age like wine. —Ecleen Luzmila Caraballo

Label: Cactus Jack and Atlantic Records

Released: Feb. 24

Don Toliver had the game on lock in 2020 with the release of his debut album Heaven or Hell, and though he might have tripped up in the subsequent years after, he is bringing the fire back with his newest project. Love Sick is a cohesive blend of lush, trap-infused production that provides the perfect foundation for Don Toliver’s unique vocal delivery and his hypnotic melodies. As the title suggests, the album explores themes of love and heartbreak, but what also stands out is Don Toliver’s knack for creating catchy hooks like those on “Do It Right” and “Leave This Club.” The album is also stacked with A-list collaborators including Travis Scott, James Black, Lil Durk, and Kali Uchis. Nevertheless, it doesn’t feel too bogged down by the additional names. Instead, each collaborator adds something different to the record, whether it’s Travis Scott’s signature auto-tune on “Embarrassed” or James Blake’s haunting vocal delivery on “Let Her Go.” Love Sick definitely offers an enjoyable and fun listening experience. —Jessica McKinney

Label: PDE/RCA

Released: Feb. 27

Young Nudy once told Complex, “I pick all the beats that motherfuckers hate.” And after listening to the exquisite production on Gumbo, you can’t help but wonder what’s wrong with the taste of all these other rappers. If they’re passing on these beats—produced by the likes of Coupe and Pi’erre Bourne—they need to get their ears checked. Across the tight 13-song tracklist, Nudy tells vivid street tales with an idiosyncratic charm, and he doesn’t just rap over the production; he floats through it, stretching his voice to fit through pockets that most rappers wouldn’t even notice. Thanks to highlights like “Pot Roast,” “Peaches & Eggplants,” and “McChicken,” and standout guest appearances from 21 Savage and Key Glock, Gumbo is as satisfying as a four-course meal. —Eric Skelton

Label: Venice Music

Released: May 19

This project was a sure thing before it even hit streaming platforms. And yes, it really is as good as we predicted. KAYTRAMINÉ marks the first collaborative project between Aminé and KAYTRANADA, it is an happy marriage of Aminé’s undeniable charisma and KAYTRA’s masterful production. KAYTRANADA’s beat selection is vibrant, groovy, and fun, and provides the perfect foundation for Aminé to show off his versatile flows and razor sharp raps. Maybe some of you forgot Aminé is a real spitter, but just listen to songs like “Westside” and “Rebuke,” and you’ll swiftly be reminded. The same energy and quirky spirit that made Aminé an exciting artist to watch is still here as well. Songs like “Who He Iz” and “STFU3” are so infectious and danceable, they are bound to be on repeat at every function this summer. KAYTRAMINÉ is undoubtedly a top contender for the project of the summer, and a testament to what can happen when two artists let fun and creativity lead the way. KAYTRANADA and Aminé prove to be the duo we didn’t know we needed. —Jessica McKinney

Label: Secretly Canadian

Released: April 28

Baby Rose’s debut album Through and Through may be one of the most underrated albums on our mid-year list, but it’s a must-listen. The album is a soulful and beautifully crafted body of work that is led by raw talent and sharp production. Baby Rose’s knack for vulnerable storytelling shines through as she explores topics of love, relationships, and personal experiences. But what stands out most about the project is Baby Rose’s incomparable vocal range. A kindred spirit of Nina Simone, Baby Rose captivates fans with her sultry and hauntingly deep vocals on songs like “Go” and “Dance With Me.” But she also proves that she has more range and creative control, incorporating elements of R&B, gospel, and pop on tracks like “I Won’t Tell” and “Love Bomb.” On Through and Through, Baby Rose is a masterful poet, creating a stunning collection of art that is raw, heartfelt, and soothing. If this is her debut, the possibilities of what she has to offer are limitless. —Jessica McKinney

Label: Empire/ALC Records

Released: March 31

Larry June knows how to make the luxurious sound deceivingly accessible, and his latest album with The Alchemist, The Great Escape, distills the essence of laid-back luxury into a sound and pours it into a chilled glass to drink while driving in a drop-top convertible. That sound goes down smoothly through 15 tracks, with Alchemist showing his versatility as a producer by lacing beats with smooth horns and drums rather than his common gritty production choices, and even showing his chops as a lyricist like on “60 Days.” With waves crashing and birds chirping in the background, Larry and Alc teleport listeners to the sunny Bay area on The Great Escape, one smooth beat and obscure food reference at a time. —Jordan Rose

Label: UMLE - Latino

Released: February 24

As the Latin urban market’s pop princess, Karol G has been a playlist topper since the February release of Mañana Sera Bonito. Karol G is the first Spanish-language woman artist to debut at number one on the Billboard 200. The Colombian star’s fourth studio album allowed her to continue to dominate across Latin America and beyond with a positive, empowering message to her ever-growing fanbase about seeking happiness through heartbreak. Karol has a way of seeing hard times as a place to rise from; her title song “Mañana Será Bonito” is specifically a reminder to love oneself first. Karol’s birthday is on Feb. 14, and she herself has proclaimed to share love in all its forms through this album. Aside from A-list features that include the heavily rotated song by Shakira (“TQG”) and the intimately sexy song by Romeo Santos (“X Si Volvemos”), Karol explored different genres on this project, too, collaborating with Finneas O’Connell, Billie Eilish’s producer brother, on the rock-inspired “Tus Gafitas” as well as a dembow track, “Ojos Ferrari.” Her other hit singles “Gatúbela” and “Cairo” round out the album with fun and danceable sounds for both the club and beach, giving it momentum as a strong summer soundtrack. —Alejandro de Jesus

Label: Paper Route Empire

Released: Feb. 24

On Glockoma 2, Key Glock solidifies himself as one of the most exciting stars to come out of Memphis right now. With just 15 tracks, Key Glock seduces listeners with his infectious injury, paired with gritty bars, and hard-hitting trap production. On the album, Key Glock champions authenticity as he shares his real-life experiences and unapologetic attitude toward his opps. Key Glock is at his best on songs like “Work” and “Chromosomes” when he combines his innate storytelling with braggadocious lyrics and clever wordplay. Glaucoma 2 doesn’t reinvent the trap subgenre, but it is a strong body of work and a memorable addition to his growing catalog that cements Key Glock as a force to be reckoned with. —Jessica McKinney

Label: Quality Control Music/Motown Records

Released: January 27

Let’s Start Here isn’t the album many would expect from Lil Yachty, but when he revealed that he experimented with magic mushrooms during the inception of this project, its sound makes a lot more sense. Let’s Start Here marks a very rustic departure from Yachty’s previous projects, and showcases his versatility and creative vision as an artist. Fusing sounds from experimental pop, psychedelic rock, trap, and R&B, Yachty still manages to create a cohesive body of work. While lyrically, Yachty delves into personal experiences with love and relationships, the music relies heavily on the overall vibe. Standout songs like “drive ME crazy!” “pRETTY,” and “the BLACK seminole” transport listeners to another dimension, taking them on a whimsical ride through Yachty’s twisted imagination. The collaborations on the project, which include Diana Gordon, Foushee, Justine Skye, and more, are subtle but serve as complementary vocals to Yachty’s style and approach. Let’s Start Here may not resonate with all of his fans, especially the ones who remember him as a SoundCloud rapper, but the album demonstrates Lil Yachty’s growth as an artist and proves to be his best project yet. —Jessica McKinney

Label: 10K Projects/Capitol Records

Released: January 20

In New York City, one word can mean several things depending on the voice inflection. “Deadass” can be interpreted as a question, reaction, or statement all in one, and on Ice Spice’s debut EP, Like..?, she captures the limitlessness of the city’s lingo and style in one catchall phrase. After catching fire with her viral hit “Munch” and “Bikini Bottom,” the Bronx rapper fans the flames by delivering even more quotable bars on tracks like “In Ha Mood” and “Princess Diana.” And while Like..? has enough quotables to last two summers, it also demonstrates Ice’s lyrical ability on tracks with other artists from the city including the Lil Tjay-assisted “Gangsta Boo,” and the remix of “Princess Diana” with Nicki Minaj. While Like..? is an EP, it’s made a heavy impact on the New York rap scene since it dropped at the top of 2023. Ice Spice is the moment thanks to her contagious lyrics, free-spirited flow, and ability to capture the attention of anyone who presses play on what she drops. If that doesn’t make Like..? a worthy selection for one of the best rap projects of the year so far, what would, like? —Jordan Rose

Label: Columbia Records

Released: March 31

When Tyler, the Creator, dropped Call Me If You Get Lost in 2021, vision met execution as he took another step in his journey of growth and discovery. Tyler was sitting at the top on his own terms, and now, with eight added tracks via the tail-pinned The Estate Sale deluxe release, he’s home reminiscing on what heaven has meant and what it will mean to him with age, spitting literal unapologetic bars and playing on the wax with fellow LA spitters Vince Staples and YG, as well as New York’s pretty boy Flacko. But it’s in solo moments like the relentlessly blissful “DOGTOOTH” or song of the year contender “SORRY NOT SORRY” that Tyler reminds the listener of his star power with self-made production and spoken raps that effortlessly bounce off the mic. Typically, deluxe releases don't end up on lists like this, but the essence, intentional rollout, and smooth story tie-in of this project (which could have very well been its own album), as well as the repeat power of each of the conjoined tracks, make it the best of the year so far. After all, an "album" is an ever-evolving concept in 2023 with mid- to full-length EPs and deluxes like this one mounting above their peers. Adjacent to the on-brand nature of releasing an album every two years, Tyler dropped The Estate Sale and challenged the norm for himself, and seemingly us. —Ecleen Luzmila Caraballo