The 25 Best Rap Albums of 2025

With Mercy, billy woods and E L U C I D revive their tag-team efforts as the duo Armand Hammer. Over smoldering beats provided by hip-hop's go-to gun for hire, The Alchemist, the pair dissects the state of the world. From the ongoing injustices enacted against Black Americans ("Scandinavia") to the harrowing genocides taking place across the planet ("u know my body") to the meteoric rise of AI ("Peshawar"), woods and E L U C I D masterfully deconstruct the ills perpetually plaguing humanity. Down to its title, Mercy represents the capacity of compassion we must hold to breathe, live, and move forward, even as our circumstances march us in the opposite direction. — K. Fitzgerald

HYPERYOUTH finds CoSigned act Joey Valence & Brae advancing significantly from their Beastie Boys and Tribe-indebted sound, so much so that the record could easily be classified as an electronic or straight-up pop album. But don't let the neon-soaked nostalgia minimize the size of their ideas; a lot like great 2025 records from Ninajirachi, 2hollis, and Frost Children, Joey Valence & Brae are using the framework of late 2000s and early 2010s pop and EDM to assemble a rough sketch of adolescence set against the tensions of adulthood and the shame attached to creative expression. So, JVB ask us to let loose and to stop pretending like we're too cool to have fun. Sure, there's a lot of "heal your inner child" going on — but in JVB's universe, seeing a past reflection has never felt so liberating. — Paolo Ragusa

Zambian-Canadian rapper and producer Ashanti Mutinta ushers in a new era with Only Dust Remains. On the follow-up to her acclaimed trilogy, Backxwash scales back the noise, allowing her vocals to convey greater emotional depth. The album showcases some of her most innovative production yet, with tracks such as “History of Violence” that are simultaneously cathartic and haunting. Backxwash faces darkness with raw vulnerability but never loses sight of the light at the end of the tunnel, delivering a striking and deeply compelling addition to her discography. — Sun Noor

Brooklyn-based rapper Niontay’s debut album and first project of 2025, Fada<3of$, loosely pays homage to his late friend, finding resonance in the simultaneous presence of celebration and grief. Across 19 tracks, he mixes bangers with fun, lighthearted moments, tied together by a handful of interludes. Featuring standout guest appearances from MAVI, Sideshow, and El Cousteau, among others, the project flows effortlessly from start to finish thanks to its thoughtful sequencing. — S. Noor

In 2025, the phrase "posthumous release" seems damn near synonymous with "cash-grab the artist would have never signed off on." And yet, Balloonerism, the Mac Miller album that was recorded back in 2014 and released almost seven years after his death, is a genuine, emotional gem. A snapshot of Miller at that time which also hints at the direction he would ultimately take on future recordings, the project is far from one that only appeals to hardcore, completionist fans. Unlike many of the vault-robbed releases we've seen in recent years, Balloonerism rightfully deserves its spot in the Mac Miller canon. — Jonah Krueger

Following three great, high-concept releases (2016’s space opera Splendor & Misery and the horror-themed sister albums There Existed an Addiction to Blood and Visions of Bodies Being Burned), industrial hip-hop trio clipping. return with yet another stylistic and thematic left-turn. On Dead Channel Sky, producers William Hutson and Jonathan Snipes apply their noisy, unconventional beatmaking to create club-ready energy and electronic aesthetics. Meanwhile, rapper Daveed Diggs spins stories of alternate histories and hip-hop lore. The result is a little bit cyberpunk, a little bit Blade blood-rave, and — in typical clipping. fashion — wholly unique. — J. Krueger

Navy Blue has a lot on his mind; lucky for us, he's willing to share it all. The Los Angeles-born, New York-based wordsmith uses his latest album, The Sword & The Soaring, to lay bare his many thoughts, emotions, hopes, and expectations. His revelatory takes are to be expected, as the MC has been increasingly vulnerable on his recent releases. Since being signed to and then dropped from Def Jam, Navy Blue has embraced independence, which in turn has pushed him toward an unabashed openness. The album pulsates with themes of faith and forgiveness ("Guardadas," "If Only..."), expansion and evolution ("God's Kingdom," "The Phoenix"), as Navy Blue flips carefully through his Rolodex of memories and prayers. — K. Fitzgerald

After having surgery on her vocal cords in 2023, TiaCorine literally couldn't speak for two months. That healing process, where she learned how to articulate her ideas with as few words as possible, was a profound period for the Winston-Salem rapper, and it undoubtedly shaped the confident and fearless tenor of her second album, CORINIAN. Sweet and sour in equal measure, Tia brings detail, charisma, and a newfound vocal elasticity to the project, crooning through R&B hooks and landing fierce, full-throated bars whenever necessary. The production may not be as ambitious as prior Tia tracks, but it sure is smooth. In addition to the great Flo Milli collab "Lotion," the standout Saweetie-assisted opener "Pretty" is as lush and lovable as TiaCorine gets. — P. Ragusa

On BLACK’!ANTIQUE, Pink Siifu leans into his gritty, punk ethos while staying true to his Southern roots. Embracing his trademark organized chaos, the rapper delivers a boundary-pushing release that doubles as a subtle homage to Black icons. An eclectic cast of collaborators, including Ho99o9, 454, bbymutha, Liv.e, Kal Banx, and Vayda add standout verses to a genre-defying masterpiece that commands attention from start to finish. — S. Noor

When Alfredo dropped in 2020, Freddie Gibbs and The Alchemist revealed themselves to be perfect creative matches. Half a decade later, Alfredo 2 arrived carrying the weight of massive expectations. Through polished raps and groovy instrumentals evident on standout tracks like “Lemon Pepper Steppers,” the duo delivers a goosebumps-generating package that lives up to the hype. From the flow switch-ups on that track to Freddie's willingness to call out bullshit as he sees it on Curren$y diss "Gas Station Sushi," the album is an unrelenting experience fueled by a perfect mix of experimentation and “don’t give a fuck” attitude. The novelty of the partnership may have worn off, but their boldness hasn't, confirming the sum is still far greater than its already excellent parts. — Trey Alston

KenTheMan's Kinda Famous is a breakthrough hand-delivered with the overflowing confidence and sly bite that can only come from a proud Houstonian. Across the album's unapologetic tracklist (and its expanded deluxe), Ken powers through years of false starts with her most incisive writing yet. Songs like the attitude-infused "Cocky," the trunk-rattling "Feelin You," and the Kaliii-assisted "I Got Questions" vibrantly illustrate the MC's control of her craft. Kinda Famous is an emphatic declaration that KenTheMan isn't rising anymore — she has officially arrived, and she's ready to dominate. — K. Fitzgerald

On Open Mike Eagle's latest, the wonderful Neighborhood Gods Unlimited, one of underground hip-hop's most engaging figures once again showcases what makes him so unique. Over an array of woozy, jazz-tinged, and sometimes low-fi beats, the rapper reaches back into his toolkit of melodic flows and absurdist, abstracted bars that might elicit a chuckle or provoke deep existential thought (oftentimes in the same breath). To that point, there are tracks called “me and aquil stealing stuff from work” and “wide leg michael jordan generation x jeans," which are legitimately some of the most thoughtfully written songs of the year. Now, that is the Open Mike Eagle experience. — J. Krueger

Cardi B has rarely taken the high road — and that's exactly why we listen. Her long-awaited sophomore effort, Am I the Drama?, is an arrogant, messy, and deeply entertaining reminder of the Bronx superstar's values. She leans into confrontation ("Dead," "Pretty & Petty"), picks apart her marriage to Offset ("Man of Your Word," "Shower Tears"), gushes over new love ("Safe," "Nice Guy"), and flexes her versatility across regional rap, club music, drill, and pop. While Am I the Drama? is sprawling, it's also packed with some of Cardi's most piercing bars yet, showcasing the rapper's penchant for thriving in the storms she creates. — K. Fitzgerald

On De La Soul's first album since the passing of founding member Trugoy the Dove, Posdnuos and Maseo don't attempt to fill the void with previously unreleased vocals. Instead, they sprinkle in their fallen friend's voice while celebrating his impact on the community through collaborations with artists such as Killer Mike, Nas, Q-Tip, Black Thought, Common, and Slick Rick. Giancarlo Esposito's roll call of these guests and more highlights Trugoy's absence and sets the tone for an album that celebrates his life and moves forward while retaining the group's signature playfulness. — E. Fu

Have you ever imagined your own funeral? Monaleo has, and on Who Did the Body, she both wrestles with mortality and shrugs it off: "And even when I'm under bitch, I'm still on top," she boasts on opener "Life After Death." While the Houston rapper deepens her reflections on death and her Southern upbringing, she doesn't lose her sense of humor, joking that she would have "skinned that snake" if she were Eve. The album peaks with "Dignified," one of our top songs of the year, the fictional story of a fatal crash that examines her legacy. She may be preoccupied with death, but Monaleo is as alive as ever. — P. Ragusa

Shit, man. Danny Brown really can rap over just about anything. On Stardust, the underground icon doubles down on his public love for artists like Underscores and comes through with 14 tracks of glitchy electronics, genre explosions, and hyperpop stylings. Overtop unpredictable beats that center around unique timbres and off-kilter rhythms, he is liable to either get vulnerable about his path to sobriety or drop all-time Brown-esque lines like "My bitch be thick like Mewtwo/ On everyone phone like U2." Ultimately, Stardust keeps things remarkably fresh and provides Brown an outlet to explore yet another new set of sounds. It's weird, innovative, and matches his energy — and really, what else should we expect from him at this point? — J. Krueger

Inspired by friends who were too afraid to dance in public for fear of being filmed, Don't Tap the Glass sees Tyler, the Creator condemning a culture of constant surveillance and curated self-image. The album urges us to drop the performance and move our bodies — no phones, no judging, no overthinking. Sonically, Tyler offers a kinetic blend of Cherry Bomb-esque chaos, golden-era rap flexing, and unexpected tenderness. Tracks like "Big Poe," "Sucka Free," and "Stop Playing with Me" balance paranoia with humor, while the closing run reveals the soft-centered Tyler still wrestling with connection ("Don't You Worry Baby," "I'll Take Care of You"). Ultimately, Don't Tap the Glass exists to push us toward a freer, less self-conscious era. It's a necessary reminder to live like no one's watching (even if they really are). — K. Fitzgerald

At one point, MIKE looked like the heir to MF DOOM, but these days the 27-year-old is doing things in hip-hop that defy comparison. Showbiz! might have taken inspiration from the old show biz saying, “Leave them wanting more.” The 27 tracks unspool over a breezy 48 minutes, most songs ending well before the two-minute mark. Almost as soon as he introduce a sticky flow, the track fades away, only to be replaced by another indelible idea. The beats are an intoxicating mix of nostalgic and fresh, and mostly come courtesy of MIKE himself under his DJ Blackpower alias. Showbiz! has a bounty of good ideas, and none of them overstay their time in the spotlight. — Wren Graves

Coming off the dissolution of her working relationship with longtime collaborator Inflo, Little Simz gets a lot off her chest on Lotus. Songs like "Thief" and "Hollow" detail his financial betrayal but don't distract from the album entirely, as she finds strength and power in perseverance following a creative breakup. On "Lion" and "Lotus," Simz spits flames while recalling all that she's already overcome, resolving to use pain as a catalyst for metamorphosis into the extraordinary. — E. Fu

The best rapper on Dreamville (don’t @ me, that’s the stone Cole truth), JID’s fourth album might be his strongest yet. Tackling everything from heaven to hell, Black Lives Matter to skate culture to gentrification (“I’ll put a bullet in Bob the fucking Builder/ Before they try to kick us out the building,“) God Does Like Ugly is so specific it becomes all-encompassing. If you detect more maturity alongside a few more references to children’s programming, JID explains why on “For Keeps,” which ends the album with the reveal that he has become a father. He’s still growing as a person, and that growth shines through God Does Like Ugly with an unmistakable beauty. — W. Graves

Since earning a CoSign in 2021, McKinley Dixon has continued to level up with every album. On Magic, Alive!, the Chicago-based rapper dives into the heavy subject of death while telling the story of three young kids who grapple with the loss of their best friend and contemplate bringing him back from the dead. In an already unjust society, the group can hardly be blamed for desperately wanting to venture into the supernatural.

The chaotic, live instrumentation of producers Sam Yamaha and Sam Koff's jazz-tinged beats amplifies Dixon's vision, as his lyrical journey continues to pay tribute to Toni Morrison while nodding toward auteurs like Erykah Badu and turning to fabled stories like the tale of Icarus. — E. Fu

Scary times call for scary music. Enter billy woods — one of today's most consistent underground rappers — and his horrorcore-inspired album GOLLIWOG. I mean, the opening cut is literally titled "Jumpscare" and features a beat made up of rustling ambiance and eerie music box notes. Though he retains his signature brand of humor, the vibes don't get much cheerier as the record goes on, as woods presents surreal fables, real-world horrors, and historical injustices. At points, it can make for a legitimately unsettling listen, but that only makes GOLLIWOG all the more rewarding, impressive, and impossible to turn off. — J. Krueger

Like jalapeño and pineapple, Saba and No ID are the combination you didn’t know you needed. Our March cover stars collaborated on an album that sounds like sunshine in the city, with lyrics that plunge into some of the darker alleys of Saba’s past. No ID created original sounds that evoke the feelings of old-school samples, while Saba slipped his chameleonic flows into unexpected pockets of the beat. It’s a Chicago album, a Los Angeles album, an album for good times and bad. The Private Collection of Saba and No ID comes from one bona fide legend and one legend-in-the-making, and the collaboration cannot be missed. — W. Graves

On Let God Sort Em Out, the brothers Thornton's first album in more than 15 years, Pusha T and Malice exceed expectations, demonstrating their evolution beginning with the opening track, "Birds Don't Sing." Paying tribute to their late parents, the emotional song sets the tone by establishing our Artists of the Year’s growth since their hiatus. But while the album isn't the same old Clipse, it's not a complete departure from the duo's sound and defiant attitude, either.

On "Chains & Whips" and "So Be It," the snarling Pusha T disses Jim Jones and Travis Scott, respectively. The standout track "F.I.C.O." is a throwback to their drug-dealing days, a meditation on how far the brothers have come since their late nights in "pissy hallways." The project balances Pusha T and Malice's street tales with the wisdom they've acquired along the way, showcasing the progression that came from trusting Pharrell's instincts more than ever. — E. Fu