Booty Bangers & Cerebral Art-rap: OG Flavas' Favourite Releases Of 2019 So Far

This year has already seen a wave of zeitgeist R&B and hip hop releases – many coming out of left field or from emerging acts rather than superstars. Indeed, there's no sign of Rihanna's next 'event' album. But pop does have a new icon in Lizzo. The Brit post-dubstep balladeer James Blake – a cult figure in R&B and hip hop – delivered an optimistic, sensual and uptempo outing in Assume Form, working communally with Travis Scott, Moses Sumney, ROSALIA, Andre 3000 and the trap auteur Metro Boomin. Plausibly, he has invented nightbus doo-wop. California's Billie Eilish has ushered in a cloud 'n' B pop with When We All Fall Asleep, Where Do We Go?.

The trend for concept albums is surging, with Solange Knowles' absorbing When I Get Home a pinnacle (even Madonna's Madame X is indebted to the art rap or R&B opus). Meanwhile, Solange's older sister, Beyonce, has revived the concert recording with Homecoming: The Live Album. Then a fresh generation of artists like Ari Lennox, Jamila Woods and The Internet's Steve Lacy are making neo-soul with a latent electronic sensibility. Last month Stormzy blitzed Glastonbury as headliner – and the UK urban scene is producing some of the year's most notable music. Mid-2019, we've had solid albums by AJ Tracey, Giggs, Little Simz, Dave, slowthai and Skepta. Nevertheless, 2019 may yet belong to Lil Nas X, that country-trap cowboy. Here OG Flavas presents 12 must-hear releases from 2019 so far.

1. Solange, When I Get Home

Solange Knowles presaged the avant 'n' B movement back in 2008 with Sol-Angel And The Hadley St Dreams. But she garnered a new level of acclaim with 2016's A Seat At The Table (ASATT) – her testimonial as a black woman. Another 'surprise' multimedia project, When I Get Home (WIGH), diverges from its predecessor – being less expository than instinctive in all of its compact 40 minutes. Knowles reminisces about her Houston, Texas hometown, where she grew up in the Black Third Ward neighbourhood. 

In many ways, WIGH represents Knowles' homecoming. She contemplates the significance of roots, heritage and memory. In fact, locality has always been integral to hip hop, but Knowles intellectualises it. She brings a low-slung, Southern hip hop influence into deeply jazzy neo-soul jams. WIGH is vibey, fluid and mesmeric with exquisite melodies, vocal harmonies and Knowles' oft-repeated lines layered over textural grooves – occasionally evoking Houston's chopped and screwed genre. There are myriad references to H-Town in the LP's titles, samples and cameos.

As with ASATT, WIGH is impeccably curated and directed by Knowles. It has discreet studio input from Pharrell Williams (the synthy Sound Of Rain), Tyler, The Creator, and Animal Collective's Panda Bear. Plus Knowles is accompanied by rappers Playboi Carti, Gucci Mane and, narratively, Scarface. Ultimately, for Knowles, WIGH is restorative. On the hazy Almeda, titled for an area outside Houston, she intones, "Black skin, black braids/Black waves, black days/Black baes, black days/These are black-owned things/Black faith still can't be washed away."

2. Jamila Woods, Legacy! Legacy!

The esteemed Chicago poet, singer, songwriter, mentor and activist Jamila Woods moves in the same circles as Chance The Rapper, even materialising on Coloring Book. In 2016, she debuted with Heavn (touring Australia last year). Now Woods has fulfilled an imaginative songbook in Legacy! Legacy!. She's empathetically penned numbers about iconic creatives of colour such as Frida Kahlo, Eartha Kitt and James Baldwin. Yet, in celebrating these individuals' accomplishments, Woods also analyses their personal and collective struggles with white supremacy and patriarchy. Remarkably, the album's concept never veils its musicality – Woods' expressive vocalising complemented by eclectic instrumentals. Giovanni (a tribute to the poet Nikki Giovanni) broaches dub but, aptly, Sun Ra is cosmic jazz. The slinky Betty centres on the funk star Betty Davis, a self-proclaimed "nasty gal" censured for her sexual confidence. Woods sashays, "I am not your typical girl/Throw away that picture in your head." In Muddy, with heavy rock guitar, she manifests Chicago bluesman Muddy Waters – his style notoriously co-opted by The Rolling Stones. The jazz-hop excursion Basquiat (featuring SABA) conveys painter Jean-Michel Basquiat's resistance to an exploitative media agenda. Woods herself may well be Nina Simone's successor.

3. Tyler, The Creator, Igor

California's Tyler, The Creator has journeyed far since his early days as hip hop's enfant terrible. In his horrorcore phase, he was accused of misogyny and homophobia. But Tyler's soulfully bohemian Flower Boy of 2017 was lauded as a coming out album. However, Igor is surely his defining queer-pop LP. Tyler chronicles an ill-fated romantic union with emotional nuance, whimsy and, unexpectedly, sentimentality. Still, only Tyler could write the sardonically despondent A Boy Is A Gun*. In transcending 'alt-rap', Tyler establishes himself as a polymath, producing Igor in its entirety and primarily singing. Sonically, Igor is lush, with jazz, psych, soul, synthwave and broken beat. Tyler is supported by Solange, Kanye West (the plaintive Puppet) and, on backing vocals, La Roux. Curiously, he's disclosed that the dream-pop single Earfquake (with Playboi Carti) was rejected by both Justin Bieber and Rihanna. Like Solange, Tyler recognises the value of presenting an album narrative and aesthetic in a fractured digital milieu. 

4. Little Simz, Grey Area

The UK's Little Simz (aka Simbiatu "Simbi" Ajikawo) has long been admired for her cerebral art-rap, debuting officially with 2015's A Curious Tale Of Trials + Persons. But Grey Area, Ajikawo's third album, is her most direct, revelatory and impactful. She shares her professional and personal challenges while offering astute socio-political insights, with consistently clever wordplay. And she's experimenting musically, perhaps buoyed by her exchanges with Gorillaz. Ajikawo largely recorded Grey Area with Alex "Inflo" Baranowski – who, in addition to producing The Kooks, has scored films. The defiant lead single, Offence, is industrial electro – like The Human League's Being Boiled but badder. In contrast, Selfish, a paean to self-care, is piano-led neo-soul – elevated by mellow singer Cleo Sol. The raw, Morricone-esque Wounds (with Chronixx) laments the communal fall-out from intergenerational racism. Grey Area's closer, Flowers, is Ajikawo's symphonic duet with Michael Kiwanuka about the perils of success. Ajikawo will hit Splendour In The Grass with band. Don't sleep.

5. Lizzo, Cuz I Love You

The glamourous Lizzo (Melissa Jefferson) – rapper, diva and flautist – was justifiably cited as one of the year's key predictions in January. In 2013, Jefferson – then residing in Prince's dominion of Minneapolis – issued her solo debut, Lizzobangers, independently. Today, she's signed to Atlantic via Ricky Reed's Nice Life Recording Company. Following 2016's Coconut Oil EP, the splashy Cuz I Love You (CILY) is Jefferson's major label statement. It crucially finds her singing more. Jefferson has also liaised with big pop and R&B producers in Reed (Kesha) and Warren "Oak" Felder (Miguel, Kehlani), plus the rock band X Ambassadors who supervise the title-track – brash vintage soul. 

While much contemporary urban music is subliminal, atmospheric and insular, Lizzo re-embraces glittery dance-pop with affirming messages of body positivity, empowerment and actualisation – very Janelle Monae. Jefferson cameo-ed on Prince's 2014 Plectrumelectrum with his band 3rdEyeGirl – and obviously she's enamoured of a classic MPLS sound. CILY radiates the funky verve of Prince's '80s proteges Vanity 6, but with the street sass of Destiny's Child. The single Juice, helmed by Reed, is mirrorball funk. Jefferson indulges a deliciously snarky side on the slo' jam Jerome. Best is Tempo, a booty shaker with Missy Elliott, guitar riffs and trap beats. 

6. Dave, Psychodrama

The UK media is currently preoccupied with Brexit and Boris Johnson's leadership machinations. But the London post-grime rapper/producer/pianist Dave Omoregie, known mononymously, tells a different story on his commanding debut, Psychodrama – a story of a post-colonial Britain besieged by structural racism, inequality and savage austerity. 

Last year, Omoregie topped the UK charts with his flossy Funky Friday (featuring Fredo). Yet the MC really shows his lyrical prowess on Psychodrama, a conscious, introspective and literary work. The album unfolds as a series of therapy sessions, with Omoregie opening up about his inner-life, family, relationships, success and environment. Omoregie has united with Fraser T Smith (who orchestrated Stormzy's Gang Signs & Prayer) to create abstract, almost ambient, beatscapes – the piano to the fore. Black is a poetic rumination on identity worthy of Gil Scott-Heron, launching with the lines, "Look black is beautiful, black is excellent/Black is pain, black is joy, black is evident." In Lesley, Omoregie sensitively relates a chance encounter with a woman experiencing domestic violence. He directs the hymnal Drama to his brother Christopher, in jail on a life sentence. Psychodrama's guests include the Nigerian star Burna Boy, grime MC J Hus, and American Ruelle (best known for singing the Shadowhunters TV theme). Critically praised, Psychodrama reached UK #1. Omoregie, previously here for Falls Festival, will appear at Splendour fresh from Glasto. He's also on Ed Sheeran's No 6 Collaborations Project.

7. Homeward Bound, Whatever You Do, Don't Panic

The Adelaide-based Jimblah (James Alberts) is a contender for the mantle of 'most versatile player in Australian hip hop' – being a rapper, singer and producer. But, after airing his 2013 album Phoenix via Elefant Traks, he retreated – overwhelmed by the expectations and limitations imposed by the scene. Alberts eventually formed Homeward Bound with singer Goji (Georgia Humphreys), the pair reconfiguring hip hop, soul and electronica. As far as Elefant Traks releases, Whatever You Do, Don't Panic is closer to Hermitude than The Herd – albeit with elements of acoustica, gospel and dancehall. Homeward Bound introduced their unique sound last year with the single Island – glitchy trop. Homegrown dance music is often escapist, but Whatever… is experimental and experiential – The City an effective opener with spectral sax. The string-laden Red Dust Plain, about Indigenous trauma, is haunting.

8. Wicca Phase Springs Eternal, Suffer On

In 2019 Wicca Phase Springs Eternal (aka Adam McIlwee) – from the fringe Scranton, Pennsylvania – is a strangely underrated, and amorphous, artist. He occupies the space between James Blake, Lana Del Rey and Billie Eilish. For McIlwee, 'sadness' is not only an existentialist trope, but also a genre and an aesthetic. 

On quitting the indie band Tigers Jaw, McIlwee threw himself into cutting electronica and hip hop. He initiated the cyber collective GOTHBOICLIQUE – among its members Lil Tracy and the late Lil Peep. McIlwee softly issued Secret Boy three years ago. He's now aligned with Run For Cover, Tigers Jaw's former label. Though Lil Peep was identified as emo-rap's poster boi, McIlwee has pushed the music subculture in ever new directions – with Suffer On synthesising folk, grunge, trance, witch house and cloud rap. The single Just One Thing is trap balladry, McIlwee expressing estrangement in a visceral drone. In 2015 McIlwee stealthily subverted EDM with Castles Eternal, sampling Ian van Dahl's Euro-dance Castles In The Sky. Here, Put Me In Graves has a similar anti-club vibe. Seek it out.

9. Anderson .Paak, Ventura

Last November, the Californian prodigy (and Australian tour fave) Anderson .Paak finally premiered on Dr Dre's Aftermath Entertainment – with Oxnard, encompassing the single Bubblin; swaggering hip hop. Recorded in tandem, Ventura is a credible companion piece, orientated towards live-sounding West Coast R&B, soul and funk. Together, the LPs allow .Paak to explore his duality, as he explains in a presser: "Growing up in Oxnard gave me the grit and the church to find this voice of mine. One town over, I went further and found my depth."

The maximalist Ventura recalls .Paak's breakthrough album, Malibu, but it's also a refined alternative to Childish Gambino's psych-soul outing, Awaken, My Love!. .Paak reformulates classic soul for now – soliciting cool guests like Andre 3000 (the extravagant Come Home), Jazmine Sullivan and Brandy. The gorgeous throwback ballad Make It Better, which The Alchemist co-produced, is graced by Motown legend (and quiet storm innovator) Smokey Robinson. .Paak veers into house, too – with Reachin' 2 Much, a loungey suite spotlighting Lalah Hathaway, more King Britt than Kaytranada. .Paak takes his cue from Kendrick Lamar for the nu-jazz King James, which, in allegorising basketball hero LeBron James, protests racism. The closer What Can We Do? is a poignant duet with the late Nate Dogg, once omnipresent in G-Funk – .Paak apparently salvaging old demos. 

10. Lil Nas X, 7 EP

Some pundits dismissed Atlanta rapper, social media disrupter, and cowboy aesthete Lil Nas X (Montero Hill) as a novelty when he went viral with the country-trap Old Town Road – since remixed with Billy Ray Cyrus. Happily, this King of Stats is proving the haters wrong. His major label 7 EP is brimming with eccentric bops. 

Famously, for Old Town Road, Hill purchased a beat online from the Dutch YoungKio. But, with 7, the Columbia signing has sought 'name' producers, including Ryan Tedder. The trap anthem Panini – guided by Take A Daytrip – is already another (meme) mega-hit. Hill even whistles in it. He pulls off punk-rockabilly on F9mily (You & Me), made with Blink-182 drummer Travis Barker. Hill is again on-brand with the country-trap Rodeo, featuring Cardi B (admittedly an ironic association for a Nicki Minaj stan). Regardless, 7's most personal cut is the Boi-1da-stamped C7osure (You Like), which Hill has indicated on Twitter is his coming-out track. 'Lil Nas X' is all about irony, camp, and being carefree – counterpointing the nihilism of cloud rap. Indeed, he's actually doing Lil Yachty better than Lil Yachty.

11. Megan Thee Stallion, Fever

The Queen of Pop, Madonna is hailed for leading a corporeal feminism in the '80s, but the trailblazing black female artists Betty Davis and Millie Jackson were espousing sex positivity a decade prior. Houston's Megan Thee Stallion (aka health admin college student Megan Pete) is continuing the tradition of Lil' Kim, Foxy Brown and Trina, her dirty rap steeped in girl bo$$ materialism and braggadocio. She's also staking a claim for women in the male-dominated realm of southern hip hop. In late 2018 Pete, a fierce freestyler, generated heat with the EP Tina Snow, revealing an alter-ego inspired by the late UGK rapper Pimp C and his Tony Snow guise. This year, she showed on a remix of Khalid's Talk alongside Yo Gotti. But Pete has truly arrived with her trap-loaded mixtape Fever – Juicy J among its producers. "Hot Girl Meg" serves booty bangers like Realer, Ratchet and Sex Talk. The freaky Pimpin is her answer to Khia's 2000s X-rated Miami bass classic, My Neck, My Back (Lick It). 

12. GoldLink, Diaspora

The Washington DC rapper GoldLink (D'Anthony Carlos) has been on the brink for ages – at one stage attracting Rick Rubin's attention. In late 2016 he savoured his biggest hit with Crew (featuring Brent Faiyaz and Shy Glizzy). Popular in Australia, Carlos recently jumped on a remix of Ruel's Not Thinkin' Bout You. In 2019, Carlos has declared Diaspora his official debut album – retrospectively designating 2017's At What Cost a mixtape. Alas, it's been slept-on due to a lowkey roll-out. (Oddly, the LP was announced by Hollywood offspring Hailey Bieber, nee Baldwin, who additionally snapped the cover image of singer Justine Skye.) 

On Diaspora, Carlos – who originally described his own sound as "future bounce" – experiments as never before. The MC again draws on the urban music of the DMV (Washington DC, Maryland and Virginia) triangle – like go-go. He also traverses other genres from the global African diaspora, such as dancehall, tropical and Afrobeats – as Drake did with More Life. The Afro-house single Zulu Screams is the album's template, with Maleek Berry and rising singer Bibi Bourelly along for the ride. The liquid Days Like This with Khalid is better than anything on Free Spirit. Harder is Cokewhite, a beat switcher with the eternal hustler Pusha T. Carlos likewise has curated contributions from London MC Jay Prince (joining Tyler, The Creator on U Say), West London collective WSTRN, and Nigeria's Wizkid (of One Dance fame). Intriguingly, Tiff Freestyle is steered by groundbreaking Kenyan DJ/producer Blinky Bill, with piano. Diaspora is a mood and a moment.