There’s a reason people love mixtapes. They’re fast and lose, and often bursting with the creative energy of an aspiring and hungry guest list. Noname’s record harkens back to the brilliance of the early Chance the Rapper mixtapes, and to a certain extent, Kanye West’s early records.

Despite that, there’s a clear difference here: Noname’s gender is an obvious differentiator. There’s a dearth of women in hip hop. It’s a stain on a genre that needs to be spending more time celebrating its diversity.

As a result, Telefone is a massive breath of fresh air. Noname is an excellent rapper, and her voice is easy to listen to.

There are so many standout tracks on the record. It would be shockingly easy to write something positive about every track. “Yesterday”’s breezy piano is charming. “Sunny Duet” is melodically stunning; “sunny” is a perfect descriptor.

For my money, though, “Diddy Bop” is the earliest standout track that might buy Noname more of an audience. The guest spot from Raury (who’s one of my favourite up-and-coming rappers) is great. The two of them have a similar style; their beats often feel like they straddle the sometimes-thin line between hip hop and R&B.

They both also share another important vocal quality. Noname, not unlike Raury (or Chance the Rapper), floats over her beats. Even when she’s being more rhythmic with her intonations, like on “Reality Check” (which features the sensational Eryn Allen Kane), it sounds easy and natural.

Like many Chicagoans before her, Noname is naturally proud of her city. But it feels like she’s more aware of its darker side, perhaps because she’s a woman. “Casket Pretty” is a heavy song about how many of her friends end up in caskets, and how “nobody’s safe in her happy city.”

That ironic twist is both a clever and sad line. The song is a telling moment for Noname: she’s not just incredibly skilled, but also self-aware in ways that some of her peers aren’t.

I would be remiss not to mention the mixtape’s closer, “Shadow Man”. I don’t have words to describe my affection for this piece. It’s the longest, most fulfilling track on the record. There’s a beautiful moment on the record that’s heavenly, and Noname never feels more on beat.

There’s a remarkable amount of restraint on Telefone. Noname saves the best track for last. But she also raps at the right times, and somehow “floats” when it’s appropriate. She opens the doors to collaborate with peers, and isn’t afraid to give them the space to do their own thing.

Noname is the most exciting rapper since Raury and Chance the Rapper. Telefone is sensational. It’s unfair to say this so early in her career, so I want to make it clear that I mean this to be encouraging and hopeful — but I desperately want to see Fatimah become the female role model in hip hop.

She could actually do it.

The post Noname: Telefone appeared first on Unsung Sundays.

But an incredible amount of artists did have something new to say. Some of them challenged us. Some of them broke our hearts. Some of them made us feel good. The best of them are gathered here for your perusal. Cheers to 2015, and here’s to the year to come.

Leon Bridges

Coming Home

Coming Home is a record that should have existed in the 1960s. Leon Bridges is performing music that intersects perfectly with soul and R&B and gospel music. Who knew that this nostalgic sound could be so formidable in 2015?

What Bridges lacks in originality — even Bridges would say he owes Sam Cooke a beer — it makes up for with songwriting and smooth style. Leon Bridges’ debut is a comeback record for 1960s R&B/soul, but it’s also a hugely compelling charmer that makes Bridges feel like one of the most exciting soul performers of his generation — despite his retro leanings.

Read our review | Listen: Amazon / Apple Music / iTunes / Spotify

Girlpool

Before the World Was Big

Girlpool’s charming folk-influenced pop music feels startlingly original while remaining clearly influenced by greats like Velvet Underground. At just twenty-five minutes, Before the World Was Big feels like a giant tease, as if the band is still warming up to something bigger.

But they never break free of their simple guitar riffs and dual harmonies. In spite of that, the record holds some sort of mysterious raw power and energy to it: when Cleo Tucker and Harmony Tividad sing together, it doesn’t matter whether they’re intentionally ironically stripping away both folk and punk at the same time. The two of them have the emotional weight of an eighteen-wheeler. The rest of it is just candy.

Read our review | Listen: Amazon / Apple Music / iTunes / Spotify

HOLYCHILD

The Shape of Brat Pop to Come

HOLYCHILD came out of nowhere and claimed to invent a new genre of pop music. While that’s not necessarily the case, the band sounds amazing and has a ton of momentum going for them. This duo is politically aware and socially conscious, with lyrics that read more like scathing indictments of the genre than they do pop songs.

Almost every track on Brat Pop is insanely catchy, and the biting tone — one that is both sarcastic and glaringly truthful — doesn’t spare anybody in its path. HOLYCHILD’s debut was glossed over by mainstream publications last year, but it’s a record you shouldn’t miss.

Read our review | Listen: Amazon / Apple Music / iTunes / Spotify

Petite Noir

La Vie Est Belle / Life Is Beautiful

South African Yannick Ilunga doesn’t care about your conception of pop music. His experimental electronic pop dares to be completely different and sounds entirely new. While he’s not necessarily have writing tracks you can dance to, his 80s-influenced, genre-mashing take on the genre feels like something straight out of the future and completely ahead of its time.

La Vie Est Belle (Life Is Beautiful) feels like a near-perfect record that dares to dream. It’s music that doesn’t believe in the boundaries of genre, and in the process of defying convention while remaining deeply rooted in what’s come before, Petite Noir’s debut earns respect and commands attention.

Read our review | Listen: Amazon / Apple Music / iTunes / Spotify

Kamasi Washington

The Epic

The Epic is authentic jazz. For a brief moment in time, Kamasi Washington was “that guy who played on Kendrick’s new record”. Immediately after The Epic dropped, he became the jazz aficionado who appeared out of nowhere, dropping what may be one of the genre’s masterpieces as a debut.

The Epic is remarkably unhinged. Just shy of three hours long, Washington somehow keeps his jazz music accessible despite his monolithic-sized ideas. It’s the product of a virtuoso clearly obsessed with defying expectations of critics and the culture surrounding jazz, and it’s hard to say that any other record in the genre has commanded as much attention in the past year.

Read our review | Listen: Amazon / Apple Music / iTunes / Spotify

Raury

All We Need

All We Need establishes nineteen-year-old Raury Tullis as a voice to be reckoned with in modern hip hop music. With influences that range from Kid Cudi and Kanye West to Marvin Gaye, Father John Misty, and Bon Iver, he’s also got an incredibly compelling and eclectic sound that separates him from many of his peers.

This sound feels nearly perfectly-honed on All We Need, an immense debut that surprises — particularly because of his age. The genre-jumping album is comfortable with melancholy, comfortable with doling out wisdom, and dealing with doling out the unexpected. He’s the opposite of cynical, and that makes his record one of hip hop’s best in a very strong year.

Read our review | Listen: Amazon / Apple Music / iTunes / Spotify

Alabama Shakes

Sound & Color

Sound & Color feels more varied than its predecessor, with Alabama Shakes spreading their wings on their sophomore effort and beginning to welcome their inner weird. While their first album was incredibly strong, Sound & Color reveals that the band has much more to say. Sound & Color is, as the title alludes, as much about texture as it is about the album’s pure unhinged sonic qualities.

Most importantly, though, Alabama Shakes avoids the sophomore slump with their expanded palette and collection of new sounds. With some of the most beautiful songs put on record in 2015, and a smattering of fantastic singles, Sound & Color makes a strong statement that Alabama Shakes is at the top of their game.

Listen: Amazon / Apple Music / iTunes / Spotify

Sleater-Kinney

No Cities to Love

Sleater-Kinney’s first record in ten years is one of 2015’s best. The rock band’s comeback is more a statement that urges and commands our attention, nearly staccato with intensely brief three-minute tracks that sound more punk than they do rock ’n roll.

It’s easy to forget that the women in Sleater-Kinney are some of rock’s elder states-women when it sounds like the band still has so much to say. As political as ever, No Cities to Love carries a sense of urgency in its riffs that would make Dave Grohl jealous. While the trio was nothing to scoff at before, their new album is undoubtedly their best work: an absolute celebration of a band aging well and perhaps finally at their best.

Read our review | Listen: Amazon / Apple Music / iTunes / Spotify

Grimes

Art Angels

Claire Boucher said she wrote hundreds of songs for Art Angels, but ended up scrapping most of them. What’s left behind are fourteen perfectly-polished alt-pop tracks that are somehow radio-friendly without ever pandering to her audience. As Grimes, Boucher grabs the pop wheel and — instead of re-inventing things that are never broken — just takes the whole convertible off-roading.

Art Angels is fearless and incredibly ambitious as a result, broad and friendly while remaining singularly weird and individual. Refusing to be white-washed into everybody else’s definition of pop songwriting, Claire Boucher instead made a visionary and uncompromising pop record that the genres’ fans and detractors can listen to with pride.

Read our review | Listen: Amazon / Apple Music / iTunes / Spotify

Sufjan Stevens

Carrie & Lowell

Sufjan Stevens isn’t know for his predictability. He’s leaped from one genre to the next, even making multiple Christmas albums, but Carrie & Lowell feels like a return to his original form as a lo-fi singer/songwriter. As Sufjan charts the life and death of his mother, as well as reflect on his own complicated feelings about her, it strikes not with grand musical statements, but with a series of small, gut-wrenching emotional moments.

Carrie & Lowell is perhaps the epitome of Sufjan Stevens’ sound, stripped back to its most basic and essential. As a result, in a career with seemingly one golden album after another, it could be the best record he’s ever made.

Listen: Amazon / Apple Music / iTunes / Spotify

Father John Misty

I Love You, Honeybear

Josh Tillman’s sophomore effort as Father John Misty, he continues to demonstrate his outstanding songwriting ability. Better than his solo debut by any reviewer’s metric, I Love You, Honeybear feels challenging and rewarding without losing any of its approachability. Lush and complex soundscapes are perfectly produced, revealing the mastery Tillman has over his genre at this point in his career.

There’s a lot to take apart with the album, but it’s Tillman’s lyrical approach that truly sets it apart. Most of the album explores the relationship he has with his wife, and he’s at turns loving and cynical about their time together and their future. The fascination of I Love You, Honeybear is trying to decode the way Tillman sings about his wife and their life together into something understandable and comfortable — because the staggering openness that Tillman presents as Father John Misty feels nearly voyeuristic.

Read our review | Listen: Amazon / Apple Music / iTunes / Spotify

Kendrick Lamar

To Pimp a Butterfly

It wasn’t surprising that Kendrick’s latest record was good; it was largely expected to be an excellent record from one of hip hop’s brightest stars. But the level of intelligence and thought surrounding the album, the provocative way that Lamar literally takes it to the White House, took us all by surprise.

To Pimp a Butterfly is an album that shines because of Lamar’s singular skill as a lyricist and a storyteller. Music aside — and the backing music on TPAB is worth deeper discussion in and of itself — the record shines because Kendrick shines behind the mic. More than the best record of the year, it feels like an important moment in pop culture.

Read our review | Listen: Amazon / Apple Music / iTunes / Spotify

The post The Best Albums of 2015 appeared first on Unsung Sundays.

His album has been described as a merger of folk and hip hop, and while I’m not sure that’s the best description, it might be as close as you can get. Beats and acoustic guitars intermingle, people sing in a chorus arrangement, and then Raury begins rapping. It’s like Fleet Foxes or Boy & Bear adding hip hop to their repertoire, and it works way better than you’d imagine.

The best of the bunch, from a songwriting perspective, is Love Is Not A Four Letter Word. He pairs slamming an ex-girlfriend with a vocal background soothingly singing “I miss you” on repeat in a choral arrangement. It’s truly stunning, and revealing of an emotional capacity well beyond his own years.

When Raury gets popular — if he’s not there already — I think there will be people who compare his production skills to Kanye West, thanks to his unique ability to surprise and entertain with what sounds like obvious connections between un-obvious sounds. But he’s really more like Common: he’s coming in with a unique perspective on the sound and the scene, and he’s rapping about things that are a little counter-cultural to the hip hop scene. If you ask me, rappers like him are the future of this genre. Check out Woodcrest Manor II for a taste of where this music is going.

The post Raury: All We Need appeared first on Unsung Sundays.