Over the next five days, I’ll be listing out my top 50 albums of 2016. There’s inevitably going to be quite a bit of bias involved, and a lot of incredible albums didn’t make the top 50. Feel free to disagree with me in the comment section.

A quick note on my choices: to keep things simple, this list is delegated pretty much to R&B and hip hop releases, and as such, some of the year’s best albums didn’t show up. David Bowie’s Blackstar, Car Seat Headrest’s Teens of Denial, Angel Olsen’s My Woman, Mitski’s Puberty 2, and Nick Cave’s Skeleton Tree were all incredible projects, but unfortunately, rock, pop, and alternative releases aren’t going to be represented due to the fact that a) I simply didn’t listen to other genres all that much this year, and b) it’s very difficult, and a little unfair, to compare across such diverse genres. Next year, however, I may start incorporating other genres into the music I cover on Audio Plug. So we’ll see what 2017 holds.

All that aside, here’s part one of my top 50 albums of 2016.

50. Spark Master Tape – Silhouette of a Sunkken City

The closest thing we’ve had to a decent rap supervillain since MF DOOM disappeared to his secret island retreat, Spark Master Tape returned after a three-year break between albums to drop Silhouette of a Sunkken City. The anonymous rapper pitches his voice down to hide his identity, contributing to the menacing tone of his music, and delivers remarkably proficient bars on topics ranging from drug dealing and murder to selling out and the death of his brother. Unfortunately, the whole gimmicky nature of Spark Master Tape turns off a lot of potential fans, but Spark has only proved himself again and again as a very talented rapper, with complex lyricism and a variety of impressive flows. Production collaborator Paper Platoon has never been better, sampling everything from viral youtube videos (“SWOUP in the Whip”) to obscure 70s soul hits (“Sigelli”), and peppering every song liberally with gunshots, maniacal laughter, and blaring airhorns. Silhouette is Spark’s strongest work to date, and it’s been earning him due acclaim: “Tenkkeys” was featured on the Ballers soundtrack, and next year, Spark Master Tape embark on their first tour in support of Run the Jewels. Here’s hoping his talent can continue to outshine his gimmick in the future.

49. Malcolm London – Opia

Chicago poet/activist Malcolm London has been making plenty of headlines lately, from speaking before the United Nations, to getting arrested for protesting the death of Laquan McDonald, to running the hugely influential Chicago Open Mike nights with Chance the Rapper. London has been sticking to the sidelines of music for a while, making occasional appearances on tracks by Frank Leone and Dally Auston, and dropping the occasional loosie on Soundcloud, but Opia, his first full album, is a stunning debut. His poetic flow, rampant with metaphors and pop culture references, fits perfectly over the neo-soul production, and contributors Vic Mensa, How to Dress Well, Cam O’bi, Donnie Trumpet, and Jamila Woods helped make this one of the year’s brightest albums. London tackles both the demons in his head and the demons in his city with equal fervor, fitting well in the typical Chicago traditions while still blazing his own trail. Opia is a spiritual and introspective project from somebody who alread proved himself as one of his city’s strongest voices before he ever stepped in the booth.

48. 21 Savage & Metro Boomin – Savage Mode

21 Savage showed up out of nowhere, with a menacing monotone flow that just drips with apathy, and his collaboration with Atlanta super-producer Metro Boomin proves that he’s here to stay. Savage Mode doesn’t offer a lot of variation, as 21 speaks his mind frankly over muddy trap production without every really changing his pitch or tombre, but he doesn’t really need to. The XXL freshman has a straightforward approach that makes him all the more terrifying and believable, with a simple honesty and ambivalence to crime that’s reminiscent of a young Freddie Gibbs. Tracks “X” and “No Heart” have been steadily climbing the charts, but 21’s abilities really stands out on tracks like “Ocean Drive”, which discusses his remarkably tumultuous childhood. 21’s later feature verses may have shown his lyrical proficiency better, but Savage Mode is a project that creates a sinister mood, and it’s an impressive release from an artist barely out of his teens.

47. 2 Chainz & Lil Wayne – Collegrove

This album has been a long time coming. 2 Chainz and Lil Wayne have been close friends since releasing “Duffle Bag Boy” in 2007, and talks of a joint album have circulated for year. Amidst the legal battles Wayne has been trapped in for the past several years with his label, no one expected this album to actually happen, but the duo managed to subvert his contract by releasing Collegrove as a 2 Chainz album, with Lil Wayne featured on nearly every track (most of the few solo 2 Chainz tracks appeared on earlier projects). Opening with the track “Dedication”, a reference to Wayne’s Gangster Grillz mixtape series and a touching ode to the New Orleans rapper (that reportedly made Wayne cry), Chainz and Wayne trade bars back and forth on club-ready tracks like “Gotta Lotta”, “Bounce”, and “Bentley Truck”. The two rappers push each other to the best of their ability, in a sort of friendly competition that brings out the best of both of them. It’s a triumphant statement from Lil Wayne during a time when his artistry is being so heavily controlled, and a chance to hear two close friends and frequent collaborators share some of their best work in years.

46. Brockhampton – All American Trash

While Kevin Absract has managed to blow up considerably since dropping mtv_1987 in 2014, the rest of his crew has continued to try and build a name for themselves. The first three tracks from the Brockhampton collective (described by Brockhampton themselves as more of a boy band than a rap group) were posse cuts “Dirt”, “Bet I”, and “Hero”, but with All American Trash each artist was afforded a personal opportunity to shine. Many of the artists in Brockhampton, especially Matt Champion, follow Abstract’s style of blurring the line between singing and rapping. Ameer Vann flexes his gravelly vocals and songwriting profficiency on tracks “Ben Carson” and “Breakfast”, Merlyn Woods continues to spazz out with brief glimpses into a tumultuous mind, and Dom McLennon shows significant progress since his early albums Sandy Shore Motel and Thesis with his standout track “Cotton Hollow”. Singers Joba and Bearface round out the ragtag crew of disenfranchised youths. All American Trash arrived with the promise of another project in the near future, and it’s going to be exciting to watch this phenomenally talented group of artists grow.

45. The Weeknd – Starboy

Following up the commercially succesful but artistically lacking Beauty Behind the Madness, Abel Tesfaye returned a year later with Starboy, cutting his trademark haircut and donning a new persona. The Starboy character was introduced in the video for the Daft Punk-produced title track as he used a giant neon cross to destroy the awards he won for his past work. Starboy isn’t necessarily the total change in direction that the video claimed, but it refined his new sound: the pop sensibilities of Beauty were countered with the musical prowess and moodiness of his early Trilogy mixtapes. “Reminder” is one of the best Weeknd tracks in years, Kendrick comes through with a killer verse on the self-affirming “Sidewalks”, and Future and the Weeknd reconnected to rehash their winning collaborative formula for “Six Feet Under” and “All I Know”. It’s not a return to House of Balloons Weeknd, but it’s certainly the best release he’s put out since his sonic shift into pop superstardom.

44. Kid Cudi – Passion, Pain & Demon Slayin’

Coming off the resounding commercial failure that was Speeding Bullet 2 Heaven, Kid Cudi decided to revisit his old work for his sixth album. The sounds for his latest project are reminiscent of The Legend of Mr. Rager and the better parts of Indicud, as Cudi uses his subdued sing-rap style and killer hums instead of overwhelming guitars and slapshod production. The title of Passion, Pain & Demon Slayin’ pretty much sums up the lyrical content of the album, as Cudi takes his typically introspective journey into his own head to expose all of the demons that caused him to check himself into rehab earlier this year, citing depression and suicidal tendencies as the reason. While Speeding Bullet was essentially an album-length opportunity to complain about about his problems, Cudi uses Passion to work past his issues and progress. André 3000 makes not one, but two incredible appearances (most notably on “By Design”, one of the year’s best tracks), Pharrell Williams lends his production chops to tracks like the valiant closer “Surfin'”, and Willow Smith absolutley shines on “Rose Golden”. Cudi’s long past his starmaking The End of Day era, but this album proves he’s still capable of making emotional, heartwrenching tracks for the scared and lonely.

43. D.R.A.M. – Big Baby D.R.A.M.

D.R.A.M. has a strange introduction into mainstream consciousness, after Drake jacked his beat for “Hotling Bling”, but the perpetually smiling, dreadlocked Virginia native turned that media attention into a quickly growing music career. “Broccoli”, his sugary collaboration with Lil Yachty, turned into one of the year’s biggest singles. “Misunderstood” (with Young Thug) and “Cash Machine” have been steadily climbing the charts, and with good reason: D.R.A.M. has a kind of humble-brag honesty that’s so undeniably charming. His positivity and prowess as a singer/songwriter has been turning a lot of heads, most notably from Erykah Badu (the two collaborated on “WiFi” and reportedly have an EP in the works), who compared him to George Clinton, Ol’ Dirty Bastard, and D’Angelo. Big Baby D.R.A.M. is, by far, his best project to date, using tons of piano and percussion to accentuate his unique, throwback sound and natural abilities.

42. Gucci Mane – Everybody Looking

When Gucci Mane went to jail in May 2014, the loss of one of rap’s biggest heroes left a significant void in the Atlanta trap scene. While he maintained his incredible music output behind bars by steadily dropping project full of old verses and fresh collaborators, the last few records were noticeably scraping the barrel. Since getting out this May, two years later, Gucci emerged skinnier, healthier, and hungrier than ever. Everybody Looking is his best project in years, featuring some of his best songwriting on tracks like “No Sleep” and “Back on Road”. Young Thug provided his raucous wails to the triumphant “Guwop Home”, and Kanye West even made an unexpected appearance for “Pussy Print”. Gucci detailed his issues with addiction, his years spent behind bars, and refused to mince words for those who abandoned him during his incarceration. Everybody Looking is reminiscent of the Trap House/Trap Lord series and The State vs. Radric Davis for portraying the best of this massively influential, trap pioneering rapper.

41. Jazz Cartier – Hotel Paranoia

The Toronto rap scene is mostly known for it’s Drake-esque, R&B inspired mood music, but there’s another side to the city, and Jazz Cartier is bringing it to the forefront. Working once again with producer Lantz, Cartier’s third album (after 2011’s Losing Elizabeth and last year’s critically acclaimed Marauding in Paradise) took a much darker tone than his previous work. Hotel Paranoia is a frightened, cinematic project that flips between sounding like a horror soundtrack and sounding like a club night in Hell. “Red Alert” and “How We Do It” should have already far outshone his biggest single, last year’s “Dead or Alive”; “Black & Misguided” portrays a previously-unheard political side to Cartier; and “Better When You Lie” takes on many of the complicated relationship issues tackled on Marauding in Paradise. As Lantz and Cartier continue to experiment, they seem to have carved a lane all of their own in the growing Canadian rap scene, and Hotel Paranoia is united in its cohesive theme and accomplished artistry. It’s their strongest full project to date, and points to exciting things with next year’s upcoming Fleurever album.

Check back tomorrow for 40-31.