I previously witnessed the power of Teezo's presence during the CMIYGL tour,
and it's no wonder mainstream artists recruit him for features or opening shows.
Still, his lack of a discography leading up to this debut album made me skeptical.
Teezo's deep, comprehensive demonstration is both inspiring and entertaining,
as he explores rap, rock, r&b, and whatever else he feels like, just because he can.

Ranging from hypnotic to manic, the eclectic Amaarae is in their element this year.
Known for "SAD GIRLZ LUV MONEY" from their debut album over quarantine,
many anticipated a breakout album to show they're far more than one viral single.
Astrology, religion, meditation, and internet culture are of the many inspirations.
However, their hypersexual lyricism and upped pitch are in high demand lately,
making this album a prime example of the trends sparked by pandemic pop music.

The genre-bending vocalist took time to develop her award-winning debut album,
and this ideology clearly hasn't changed, now releasing her 2nd only 5 years later.
With sixteen diverse tracks, she luckily did not short change her expecting fans.
A heartfelt singer like her sets a high bar for lyricists, arrangers, and engineers,
and rather than crumbling under pressure, she inspires the best work every time.
The album is equal parts fun, suspenseful, thoughtful, joyous, angry, and defiant.

Only the 3rd album of his career, Hozier takes his time to ensure great releases.
The hype was overwhelming, but in the aftermath, the album clearly holds up.
"Damage Gets Done" is a powerful duet with Brandi Carlisle, the sole feature.
"Son of Nyx" is reminiscent of a blockbuster Fantasy/Adventure film score.
"All Things End" is a lyrical heartbreak with bright synths and a choir section.
Hozier checks all the boxes in this album. His fans can feast for four more years.

The "internet rap" wordsmith got a production boost in this high-concept album,
proving her compelling artistry can translate to the next level of record-making.
While much is credited to Phoelix, the multidisciplinary up-and-comer himself,
Kari makes great strides without toning down any of the token, southern swagger.
Flamboyant and spellbinding, it's a funkadelic rap odyssey that's first of its kind.
From "H-TOWN" to "BORROWED TIME", it's a masterpiece in tonal switch-ups.

Putting afrobeats at the forefront of mainstream media, controversially or not,
Damini has slowly garnered fans and industry co-signs over a 10+ year career.
His genre-bending style and infectious flow led to his "king of afro-fusion" status.
While he takes a more commercial approach with this album compared to the last,
he still sprinkles in more typical afrobeats tracks like "City Boys" to great avail.
With Wu-Tang Clan, 21 Savage, and J. Cole, he defends his throne extravagantly.

The electronic producer duo perfected a model for consistency in this album.
While they've had countless singles go viral, Volcano itself is a non-stop joyride.
Nu-disco typically incorporates vocals more for melody than as lyrical devices,
but Jungle's hooks have you chanting as much as their beats have you dancing.
Also, their increased lineup of features successfully switches it up when needed.
"Candle Flame", "I've Been In Love", and "Good At Breaking Hearts" do this best.

One of my favorite finds of the year, this band is an indie pop dream come true.
Much like last year's MUNA and The 1975, with hints of old HAIM and The Beths,
the album is confident and self-assured, each song not straying far from the last.
"Suburban Blues" is a tribute to every queer kid in a conservative, religious town.
"Always Get This Way" is a catchy, mesmerizing single about panic attacks.
An album rooted in pain and processing, but ultimately, it blooms with pride.

The British phenom and Mercury Prize winner has more melodic poetry to share.
Said to be "deeply personal" and "more collaborative", Arlo unpacks her twenties,
and while she's only 23 years old, her reminiscent tone is beautifully misleading.
With producers behind the best work of Adele, Frank Ocean, and Brockhampton,
Arlo's reach widens with each collaborator unlocking a new dimension of her.
Her most versatile display of musicality yet, reaching new depths lyrically as well.

Perhaps no debut album was supported better by a single than PinkPantheress',
as the viral Ice Spice collaboration, "Boy's a liar Pt. 2", closes out this collection.
Unlike her breakout mixtape, a total of 4 features help expand her distinct sound.
With drum and bass rhythm, hyperpop vocals, and UK garage / jungle samples,
PinkPantheress has mastered a blend of genres that few have managed to copy.
Early discography vibes with more polish than ever before. She's truly arrived.

Another indie act that debuted over quarantine, they doubled down after Moveys.
The moody americana / pop-punk concoction never disappoints; a perfect sequel.
"Doubt" and "Slugs" are their prototypical upbeat sing-alongs to open concerts,
as "Carina Phone 1000" moves crowds to tears with a woeful, mantra-like chorus.
Near the end, we get a taste of them with higher production value in "Broadview",
their only track with additional musicians, perfecting the folky, country aesthetic.

At only 7 tracks, it leaves you wanting more, but maybe that's the beauty of it.
Tinashe's 6th album is a highly concentrated, no-skips, rollercoaster of emotions.
Her high-octane performance on "Treason" feels somewhat misleading to start,
as the other tracks are slow and steady, with "Uh Huh" being meditative and fluid.
Don't confuse that with simple or feel-good, Tinashe's music typically never is,
as complex feelings battle each other through lyricism and raw vocal presence. 

5 years removed from, ASTROWORLD, the album that shook the entire industry,
the expectations couldn't be higher for an artist, and the release was very shaky.
Once marketed as a rock album, Travis took many creative risks that isolated fans,
but it's masterfully engineered, and the features read like an award show lineup.
To his credit, Travis shines alone on "HYAENA", "SIRENS", and clearly "I KNOW ?".
It may not be a no-skip album for some fans, but it still has plenty for every fan.

This up-and-coming indie rocker drifts more into folk pop for their second album.
Haley's emphasized, cleaner vocals subtly indicate this, and it's warmly welcomed.
"Matchmaker", like much of the album, is instrumentally simple yet sophisticated.
"The Cabin" toys with dynamics, cycling through ambience, distortion, and bliss.
"Baby Teeth" is a tale of big dreams, regrets, and growing up; a melancholic apex.
Not afraid to get dark and sad, but nothing will leave you smiling like the finale.

Bursting onto the scene with the hit, "Big Wheel" from her debut album, The Baby,
Samia has succeeded using a complex dichotomy of joy and gloom in her music.
This album explores Samia's abundant optimism, saying it "is the saddest thing".
Erupting in angst on "Mad At Me", then soon reminiscing fondly on "To Me It Was",
an internal battle of emotions is projected for all to hear; a feat of vulnerability.
The progressing melodies in the back half of the listen show a musical genius too.

One of my favorite finds from last year, Laufey was quick to follow up her debut,
this one just as dazzling and romantic, but perhaps more polished and nostalgic.
Her vocal ballad, "Must Be Love", is only subtly backed by some easy-going strings,
but then the arrangements immediately escalate on "While You Were Sleeping".
Her jazz-pop singing competes for most grandeur with the classical orchestration,
fabricating a familiarity with the listener, but is as unequaled as any album can be.

I've grouped them because it's just unfair, especially after listing KD III last year.
They're snappy, flashy, and ultimately the peak of the famed rapper-producer duo.
This concludes their three year rampage of dropping six award-winning albums,
cementing their place in the conversation for greatest music collaboration ever.
While Nas' lyricism and vulnerability was a highlight of the King's Disease trilogy,
Hit-Boy's best work has been on these albums, with "Black Magic" being just that. 

The 3 musicians that make up boygenius have all gone mainstream as solo artists,
a long way since their debut 2018 EP, when they were still gate-kept rising stars.
This record, a culmination of their growth, is grounded in what got them here,
with a majority of the tracks feeling like reproduced iterations of their old work.
However, many songs prove there's newfound inspiration that led to the reunion,
such as "Not Strong Enough", an anthem that's like gospel for fans old and new.

*Released as a mixtape, but there's simply no way I'm omitting this on technicality.
Coming off his 2nd album, WASTELAND, which also appeared on last year's list,
Brent just couldn't wait to unveil a fresh batch of creative melodies and hooks.
Every track is worthy of being extended and given single / music video treatment.
The array of features follow up a very noteworthy ensemble from his last album,
joined by the likes of Missy Elliot, Coco Jones, Babyface Ray, and the A$AP Mob

His last album, WE ARE, shocked all fandoms by taking the GRAMMY's top prize,
and as deserved as it was, Jon still has a point to prove with this boisterous album.
Featuring JID, Camilo, Lil Wayne, NewJeans, Jon Bellion, Lana Del Rey, and more,
this album is based on collaboration, diversity, and Jon flexing his wide versatility.
Starting upbeat and jovial with "Be Who You Are", "Worship" and "Drink Water",
it transitions into relaxed and conscious, unleashing his instrumental prowess.

After a six year hiatus to explore their solo endeavors (much appreciated by me),
Paramore has returned with answers, epiphanies, and a lot of shade to throw.
Sonically, this is not the Paramore of old, but the post-punk confidence is intact.
The ranging dynamics of "Crave" is exemplary of the band's jittery resurgence.
"Big Man, Little Dignity" and "Figure 8" stand out for their instrumentals alone,
as Hayley shines brightest on "The News", "You First" and "Running Out Of Time".

After two widely successful debut albums, and an entire quarantine to reflect,
Daniel embraces experimentation and imperfections sonically and thematically.
The R&B genre has produced many acts that come off as charming soothsayers,
but in this album Daniel is admittedly flawed, and at times messy, in his lyrics.
Already a proven singer, he layers and distorts his usually clean vocals for effect.
Overall, the album is thorough, expansive, redeeming, and most importantly; fun.

The album recently earned a GRAMMY nomination for Best Engineered Album,
marking Polachek's first from her discography (the other is from Beyoncè in 2014).
With enhanced production, she honored her pop roots and wild, wayward lyrics.
Furthermore, Polachek's worldbuilding and vocal versatility reaches new heights,
with "Welcome To My Island" and "I Believe" being two of her most impressive.

In the Life of a DON blurb from the 2021 list, I described Toliver as "an ideal blend".
Whether it's through samples, song structure,  melodies, or enlisted features,
Toliver manages to traverse all genres yet maintain a distinct sound of his own.
Characterizing himself as "melodic" above all else, he aimed to prove that here.
On his romantic, fourth album, he serenades, swoons, and even seethes with love.
By the end, you might be sick of love, but you surely won't get it out of your head.

After finally breaking into the Hot 100 with "telepatía" (thank you, TikTok),
Kali Uchis followed up with a luscious 4th album for her English-speaking fans.
"Fantasy" is a flirtatious duet with her new flame, Don Toliver. Harmonic heaven.
"Deserve Me" reminisces failed formers with a strong verse from Summer Walker.
Don't let these exciting features distract from the true champion of this year,
as Kali brings us into her world with her strongest vocal performances yet.