Grant JonesYou know you’re getting old when you see Best of 2025 lists and disagree with most of the choices publications are championing. Much of my 2025 was spent wading through a flood of mobster rap and trying to convince myself of its quality. You know the stuff. They all have that warped take on Mexican muralism for the artwork, no doubt influenced by the onslaught of Griselda offerings that I’ve come to outgrow. I also found myself struggling to get into a bunch of the critically acclaimed albums. The likes of Billy Woods and Open Mike Eagle just aren’t rappers I enjoy listening to, but considering how acclaimed they are, I’ll put that down to a matter of taste. A lot of alternative hip-hop now offers little energy, no matter how esoteric or experimental it can be. It’s the “hip” without the “hop”. Mood music, cinematic soundscapes, or more negatively, background music, an accurate reflection of the world’s mood, as we embrace one of three apocalypses (World War 3, AI hellhole, climate crisis). Emcees are whispering on beats, or often just have challenging voices that I simply can’t tolerate for an hour. You could call it ‘weirdo rap’ or ‘alternative hip-hop’, but I think it’s just not for me. As Evidence says on “Seeing Double” – “I need the beat to move me or I stay idle“. I need a bit more energy in my music, and my list below reflects this.
That might be a negative sentiment to start a list of my favourites, but 2025 was still an excellent year for Hip-Hop, even if I didn’t like what everyone else did. But that’s why we do these writer-specific lists, after all. And it wouldn’t be a Top 10 without the obligatory selection of honorary mentions.
Honorary mentions
I will evangelise the rejuvenated Lloyd Banks “Course of the Inevitable” trilogy as much as anyone, but he could do with moving away from sequel-izing his back catalogue. In 2025, we received “All Or Nothing 3: Despite My Mistakes” and “Halloween Havoc VI: The Six of Swords.” I imagine many dismissed these as mixtape entries, but there’s some quality work here that deserves more recognition. The middle of “HHVI” in particular caught a lot of replay from yours truly. Few emcees can blend dense lyricism with catchy hooks, and Banks is still one of the best at it.
Some of the best Hip-Hop of the 2010s came courtesy of Mello Music Group, and a key reason for this was utilizing well-established emcees more effectively by pairing them with a new producer. Detroit’s Paradime has been around for decades, collaborating with plenty of big names, but the EP simply named “L” caught my ear more than anything else he’s done. It reminds me of the excellent, ponderful records of Classified or Dan-e-o, probably because he isn’t afraid to bare all, sing on a hook, and make you feel what he’s saying.
When it came to something a bit more hard-edged, we were well served by permanent anger-merchant Flee Lord. His record with Jansport J, “Halfway There”, was typically vicious and excelled when the beats had equally menacing melodies (the title track is true mean-muggin’ music). Even better was his collaboration with Eto on “RocAmerikkka 3” – these two often have good chemistry, and if you have a fondness for rappers like Ali Vegas or Little Vic, there’s some heat on here. “Cash Conversion” and “Broken Phone Deals”, in particular. Recognize Ali continued to pump out some tough records that I enjoyed but probably couldn’t convince anyone were Top 10 material. And that’s fine! “The Past The Present and the Future” with Tragedy Khadafi was solid as expected, but that “Guerrilla Dynasty 3” is probably the grimiest rap album I’ve heard in the past twelve months. Good Lord. The three-track run of “Smell of Death”, “Legend of My Time” and “Dope Peddling” (with the welcome return of Verbal Kent) kept me returning with a sore neck and a smile. Stu Bangas is one of the few names you can rely upon to get you throwing arms like an angry darts player.
I had no idea who HAAS almahdi was but his contributions to SUBSTANCE810’s “One Inch Punch” EP mean he’s one to check for in 2026. The relentless YouTube channel PakathePlug is a consistent stream of underground Hip-Hop that can be overbearing to sift through, but this is one record that is worth checking out if you’re after some straightforward posturing over hard boom bap. I certainly enjoyed it. For something a bit more lyrical, I liked the albums from Joell Ortiz, Fashawn, Apathy, Huey Briss and Nick Grant, and it feels rude to lump them all together like that, but they all deserve full review coverage to unpick and appreciate their work fully. We’ll get there. Speaking of bars, few were as productive as Che Noir. “The Color Chocolate 2”, “No Validation”, “Seeds in Babylon” and “Desired Crowns” – that’s four albums littered with scathing takedowns, pensive self-doubt, and an unrivalled hunger. I love her voice, but didn’t think any of these projects had the production to quite trouble my Top 10.
There are a group of artists that have been a mainstay since the 1990s who are suitably respected but probably remain underappreciated for just how rich and interesting their discographies have become. Evidence is one of these names, and his “Unlearning Vol. 2” LP offers plenty of beautifully downtrodden, sometimes haunting tracks that see him balancing his history of swinging instrumentals with drumless loops. I’ll always prefer Ev’s earlier LPs when his beats would floor you, turning teenage Grant’s clapped-out Peugeot into a shiny lowrider for the runtime of his earlier solo efforts, but I enjoyed this latest album more than I expected. Cunninlynguists have just dropped the second part of “The Heartstring Theory”, but I’m shouting out the first part on a technicality, as it dropped in 2024 but arrived on streaming in 2025. It’s only four tracks, but it’s such a vibe. Aesop Rock is another regular we take for granted, and he dropped two really good albums in 2025. I often struggled to get into his music but was converted by 2016’s “The Impossible Kid”, which felt a bit more accessible production-wise. “Black Hole Superette” has already been heralded as one of the year’s best, but “I Heard It’s A Mess There Too” might be my preferred record. Ironically, his beats now feel fairly conservative with just how hard they rely on the crashing snares, but I think his recent production choices have enabled me to appreciate Aesop’s rich vocabulary more.
I also really liked Fresh Daily & Parental’s “These Things Take Time”, an easy-listening boom bap record that shows Fresh Daily’s enduring personality separates him from some of the more pedestrian throwback records operating in this lane. A similar offering, and a welcome return, was “Sound of Market” by The High & Mighty. The review of their debut from 24 years ago was one of the first I remember reading on this website, as it had the line “To this day, when people ask me for a good place to start in hip-hop, I direct them to “Home Field Advantage”, on the steady.” It was one of my first forays into the underground, and it remains a valid claim. This newest LP from the duo captures a lot of what made their breakthrough album a great starting point for budding Hip-Hop fans. There’s nothing quite as exceptional as “B Boy Document ’99”, but “Sixers & Squires” with Mad Skillz isn’t far off. You’ve got Large Professor, Tash, Cage, MC Serch, Chubb Rock – the list of legendary names is impressive, and Eon’s voice is one I’d place alongside any of those. Similarly rewarding for the purists is “Rations” by Dillon & Paten Locke, reuniting the duo for some playful, humorous rhymes over some unearthed Paten production. There’s a sombre tone running throughout (Paten Locke passed away in 2019) but Dillon’s affability makes it feel like you’re hearing about a friend you didn’t know, but would have loved to hear more from.
It also pains me to say that the Nas and DJ Premier album “Light-Years” disappointed, even though I do enjoy it. A concept album with more in common sonically to “PRhyme“, “The Kolexxxion” or even the first couple of Gang Starr records, “Light-Years” is aimed at long-term fans and despite its flaws, is already starting to age better than Angela Bassett. This is a concept record recreating the curious experimentation of the late 80s. “Pause Tapes” is cleverly constructed. “Writers” salutes the graffiti writers often overlooked. “Mad Man” mirrors the anger of rappers not being taken seriously in the 1980s. “GiT Ready” with its cryptocurrency bars feels like the lone lyrical misjudgment, not just because it feels weird next to all the throwback themes, but because Nas has misread the room and not learnt from Slick Rick’s mistake earlier in the year. Despite that, it’s a nostalgic love letter to the golden era of Hip-Hop, and I still consider it one of the better Hip-Hop albums of 2025.
I will gratefully grab any chance to declare my love for The Doppelgangaz brand of dope beats and stupid raps, and “Dumpster Dive Vol. 2” is another surefire 8/10 review that I never got around to writing. It’s not as essential as the first volume, but it remains a satisfying selection of cleverly written rap songs that aren’t afraid to get weird.
For anyone craving some West Coast Hip-Hop, CZARnicholas’ “Major Factor” feels like it was lifted from 1998 and never pressed to CD. (That’s a good thing). “I’m choosing B-Legit over B.I.G.” he declares on the thumping “Pay Attention”, which is a take I won’t fully endorse, but I will admire. For something a bit more modern (like The Game’s “Documentary”), “Oceanside” by Dezzy Hollow is where some of the craziest beats of 2025 reside. It’s soaking in its own love for the G-Funk, but it feels increasingly rare to hear this style celebrated and conducted so confidently. The song “Home” is guaranteed to give you the constipation face™.
The UK had a strong year, and it’s hard to deny the heat found on Verbz & Mr Slipz’s “THE WAY FWD”, one of the few rap albums that warranted being written in capitals. Slipz has worked well with Verbz before, but these beats are some of his best yet. For something a bit more lowkey, but no less enjoyable, Meduulla & Ethan Hill’s “Tabula Rasa” is proof of that depth, that there’s more to female rap than Little Simz. Sitting snugly between the tomfoolery of Lady Leshurr and the pensive affability of Simbi, Meduulla has quickly proven she’s no quick-fix reality rap star. She’s got something to say. She’s found production that fits her style like a glove. And it’s delivered with the maturity and conviction of a veteran. If this is Meduulla and Ethan Hill just getting started, it won’t be long before they’re crafting classic Hip-Hop records. Another talent to keep an eye on is Kofi Stone, whose “All The Flowers Have Bloomed” album crept out in November and is one of the best-written rap albums of 2025, no question. His conversational approach means this is an album worth listening to with headphones on.
A couple of projects that feel quintessentially Hip-Hop but are light on the rapping are the wonderfully soulful “Space Cadet” by Carrtoons, and the 35-minute, 24-track mix that is “ZOO CITY SOUND SYSTEM” by SAINT JAMES. I don’t know much about either artist, but the former has Phonte and DJ Jazzy Jeff on it, and the latter has Guilty Simpson and Phil the Agony on it. They are both discoveries I made while scouring 2025’s releases and I’m glad I found them.
Finally, I really rate Yugen Blakrok’s “The Illusion of Being”, a record that elevated from familiar curio to legitimate album of the year contender. It’s not going to be for everyone, but her presence is alluring and manages to blend mysticism with sci-fi without feeling like it was forced, as a lot of this material can. I went into more detail on the review.
10. Little Simz :: Lotus
“understand I’m Lauryn in her prime when you see me”. Can anyone else genuinely make that claim? Little Simz fires out brilliant albums on an almost annual basis and is rightfully heralded as the greatest female rapper of all time, and “Lotus” is further proof of her talents. A bit more diverse than her moodier “NO THANK YOU” record, this album warrants its inclusion thanks to some standout songs. “Thief” is a verbal attack on former collaborator Inflo, “Peace” has words to live by with a mellow earworm, but “Blood” simply makes me well up each time I hear it, talking about a family drifting apart, even if it is a little performative with how it pulls on your heartstrings. She’s just a master at work.
9. Wretch 32 :: HOME?
We all now expect Simz to be dropping greatness each year, but I didn’t think Wretch 32 would bless us with “HOME?”. The Black experience in the US dominates online discourse surrounding Black culture, but the Black British experience is different. “HOME?” is as essential a listen as any rap album, especially the latter half, as Wretch lays out topics like identity, racism and national pride in a country that has been raising flags all year, largely as a response to increased immigration. This all plays out with the diverse influences of Hip-Hop, Dancehall, Afrobeats and Grime – all products of immigration. It’s not just timely, but it’s some of the most powerful rap of 2025.
8. Potatohead People & Slippery Elm :: Emerald Tablet
Slum Village fans rejoice, because there are still albums being made today that operate in that area of Hip-Hop which touches your soul. Potatohead People & Slippery Elm may sound like the name of a YouTube channel your four-year-old watches, but these guys have been around for a minute. I was aware of the former; the Canadian duo (Nick Wisdom and AstroLogical) have worked with Illa J (Dilla’s younger brother), so the style of production here felt familiar, and it’s some of their best work, but Slippery Elm was new to my ears. He’s a Canadian emcee who isn’t doing anything spectacular or memorable, but his presence is playful without any of the abrasive profanity you used to get with SV records. Highly recommended.
7. C-Red & Agent M :: 2nd Call
“2nd Call” is one of my most-played records of 2025, and it’s just what the doctor ordered. Literally. A resident doctor by day, a wordsmith by night (or in her viral videos, on lunchbreaks), C-Red has this whispery delivery that’s careful yet calculated, and if you’re familiar with Bahamadia’s work, this will be right up your alley. It’s got some harder beats, but generally, it’s a showcase of how C-Red can ply her trade over smoother, more reflective instrumentals and also dabble with harmonies. A really strong effort that has put her on the map, for me at least.
6. Slaine & Statik Selektah :: A New State of Grace
This is not just one of Slaine’s most cohesive projects; it’s one of the best rapped albums of the year. Statik Selektah actually cooks up some prime cuts, rather than the serviceable-yet-stale sound he can sometimes fall back on, and it’s easy to dismiss Slaine’s brand of grimy East Coast boom bap as predictable, yet this album really impressed me. The beats pack a punch that match Slaine’s upfront, chewing-a-wasp delivery. If any budding emcee wants to know how to ride a beat, not just the drums, but the flipping hi-hats too, listen to “Coka Grillz”. Study the flow switch on “Cancel Culture”, the stripped back optimism of “It’s All Good”, or the unabashed triumph of three masters having fun on “The Real Sh!t” with O.C. and Masta Ace. Easily one of the most underrated emcees out there.
5. Dave :: The Boy Who Played the Harp
While De La were preparing their first album without Dave, a London emcee simply named Dave fired out one of the best rap albums of the year. Truth be told, “The Boy Who Played the Harp” sounded a bit wanky, a bit la-di-da, but after listening to its 47 minutes of grounded storytelling, I was blown away. Dave’s always had the ability to create greatness – 2019’s “PSYCHODRAMA” is highly regarded in the UK as a bit of a classic – but he’s outdone himself here. Years of pissing about with his pal Central Cee made me forget how good he is at introspective, bar-heavy paranoia. He’s a very different artist, and at only 27, sounds like he’s lived the life of someone twice that age. “My 27th Birthday” is the type of rap that makes the hairs stand up on your neck. “Chapter 16” is a brilliant example of an artist trading bars with their mentor as if it’s a conversation in a restaurant, highlighting the importance of generational transitions, in this case, it’s Kano. The torch has been passed, and Dave is running with it.
4. Clipse :: Let God Sort Em Out
It was always going to appear, wasn’t it? Whisper it carefully, but I thought the latest Clipse album was a bit up and down. Only joking. It does dip a couple of times, but the highs are incredible. Pharrell’s production reminds me of Kanye West’s on “MBDTF”, and songs like “Chains & Whips”, “Ace Trumpets” and “M.T.B.T.T.F.” already feel like classics. “F.I.C.O” has a crazy beat. Pusha T continues to bang on about cocaine, whether metaphorically or directly, which does make some of his verses one-dimensional, but Malice provides a welcome balance, and it’s not surprising he was lavished with praise for his incisive performance after a lengthy hiatus.
3. Mobb Deep :: Infinite
It still feels odd that this Mobb Deep album turned out so well, considering Prodigy is present throughout “Infinite”, often the star of the show. I prefer Alchemist on this tougher, panic-stricken tip that he laces “Gunfire” and “My Era” with, and “Taj Mahal” is probably the best beat of 2025. If rappers still kicked freestyles on radio, they’d be using this beat. But it’s Havoc who is responsible for much of why “Infinite” is so successful, an emcee and producer who is frequently overlooked. Nobody makes grimy thug rap as potent or as rewarding as Hav and P.
2. Intuition & Equalibrum :: Leave A Mark
A bold choice, but seeing the return of Los Angeles emcee Intuition with his production partner Equalibrum was a pleasant surprise and one of the highlights of 2025. It’s been eleven years since their superb self-titled LP became a personal favourite, but “Leave A Mark” has quickly positioned itself alongside it as a phenomenal slice of reality rap aimed at anyone interested in hearing the bleak musings of a man contemplating his legacy and how he fits into this world. “Late Bloomers” is an anthem for anyone questioning a misspent youth, “Dying Every Day” documents grief everyone can expect to experience, and “Shameless” is a valid attack on influencers with an admirable level of jealousy. 2025 was a crap year for many, but hearing pain transformed into killer verses put a smile on my face.
1. De La Soul :: Cabin in the Sky
We still haven’t covered this album yet, because it’s of such magnitude to the writers here that it needs to be tackled in the right mindset. Was an album without Dave the correct decision? Was it still going to be De La? It turns out that “Cabin in the Sky” was just as carefully handled as the Mobb Deep album, and even if you don’t have the decades of emotional attachment to the trio, “Cabin in the Sky” is a classy Hip-Hop album. But if you are a De La fan, it sure packs a punch when you’re expecting to hear Dave interject on verses, or when you realise many of the guests have also lost their group members (Black Thought, DJ Premier, Q-Tip). An album that will age really well; bittersweet, but beautifully delivered.