In No Ranking Order: The Most Slept-On Albums of 2016

We've waxed thoroughly on the year's best albums, but if anything was proven by our reader's poll, it's that no list can truly capture the full brunt of 2016's musical output. It's been tough keeping up. A fantastic problem to have, really. Well, more for you than us. But now that the tide has settled a bit and we've all had a moment to brush up on what a magical year in music it's been, there's still that bundle of choice projects that got lost in the sauce.

And so, it's time to give those records a little shine. From Frank Ocean's wistful warm-up to Jon Bap's funky free jazz storm to a blazing sophomore album from Jessy Lanza, the year was ripe with rich debuts and long-awaited awakenings.Archy Marshall's cold trap tremors and clipping's interplanetary hip-hop opus stretched the genre in opposing directions proving just how malleable it can be. And that's just the shortlist. Below you'll find some of the year's most overlooked projects from heavyweights and newcomers alike. We implore you to get acquainted if you haven't already. — Zo

Frank Ocean - Endless

Never forget: Frank Ocean made us literally watch paint dry before releasing this memorable blur. Endless, the contract-capping visual album that preceded the Blonde behemoth, was not exactly eye candy. In fact, bless you heart if you actually watched it through (like this guy,) even with the instrumental teases and the painfully-dull week-long reveal. But then that Friday night rolled up and the tape flipped and Wolfgang Tillmans' ominous intro hits and we realized this was not going to be the rick-roll of the century after all. Instead, Endless, though overlooked as a warm-up for Blonde, is an equally entrancing project anchored in Ocean's most visceral writing to date. There's the luscious cover-on-cover "You Are Love," where Ocean splits the difference between Baby Girl and Ron Isley, delicate and hypnotic; the criminally-short "Comme des Garçons," where high-fashion woes get aired out over forlorn trap-spiked frequencies; and of course, the heart-crusher: "Wither," the year's most beautiful haunt. Where Blonde is indie-by design, Endless is the infinitely-looped clap-back; part one in a stunning transformation from gentle genius to bar-blazing dynamo. Hear his verse on "U.N.I.T.Y." to square away any doubts.  - Zo 

Jessy Lanza - Oh No

Lanza's sophomore stunner sounds like an era removed, like it was recorded in 1983 at the helm of Jimmy Jam and Terry Lewis in a hyperbolic chamber of boogie and electro-funk. The Canadian singer's pop pedigree is on full-display, a sturdy command that confidently bends and explores the outer limits of r&b, leaning on melodies that instantly recall the slinky riffs of Cherrelle, SOS Band and the gamut of eighties r&b luminaries. Oh No is also furnished with one the year's best songs that you probably didn't hear: "VV Violence," a playful, purple-crushed gem that could have squeezed through the cracks of the mythical Paisley Park vault. - Zo 

Archy Marshall - A New Place 2 Drown

Though released at the tail end of 2015, Archy Marshall’s A New Place to Drown, I feel, is an important album, one that was forgotten by the time 2016 rolled around. Also known as King Krule, A New Place to Drown is more hip-hop influenced than other projects from Marshall. A fluttering record that tweaks and crackles Marshall’s lyrics, reverb heavy and ghostly, haunt. It is the embodiment of youth born into late capitalism, of jobs leaving, unemployment high, of an apocalyptic postmodern landscape. It is dark and discomforting and uneasy and magnificent and poetic. A New Place to Drown is another remarkable album from an amazing artist. - Abel 

Moses Sumney - Lamentations

Lamentation ends just as abruptly as it begins. The five song EP soars to a resonate high, Sumney's voice functioning as its own instrument. Underneath the synthetic sounds that disguise Sumney's vocal delivery, are lyrics that provide a depth and insight that are executed so well. "You accept all I do / But I don't know if that is wise," Sumney states on "Worth It." Experimenting with his voice through a vocoder the artist's supernatural take on love compliments the foreignness of the experience — especially one's first interaction with it all. Lamentation will tide listeners over until Sumney releases a full length album. It's five tracks worthy of multiple revisits. - Elijah Watson

dvsn - Sept 5th.

Any discussion of the year in r&b is simply incomplete without mention of dvsn's seductively-minimalistic debut, Sept. 5th. Released at the tail-end of March, the record was more than just a placeholder for Frank's then M.I.A. mixed media onslaught, more than just OVO's attempt to build another powerhouse, though their perennial hit-maker, Nineteen85, is in the hot-seat as principle production force (with contributions from Timbaland and Majid Jordan.) Sept. 5th is a potent blend of sex, sweat and spirit, treading the line between secular and sacred with rapturous church choirs and the lovelorn laments of singer Daniel Daley, who makes a damn-good case for being r&b's next sensation. "Too Deep" might also just be the year's most devilishly-enticing in-between-the-sheets ballad. - Zo 

DJ Quik & Problem - Rosecrans

If you know anything about DJ Quik and Problem it is that neither one comes lazy on the mic or without heavy amounts of groove. The latter, who has worked with Tha Dogg Pound, Snoop Dogg and Terrace Martin, brought his A-game to this must-hear album. The six-song EP is California to a tee, as it stretches from smooth sounds ("Rosecrans") to magic-inducing ("A New Nite / Rosecrans Grove") to G-Funk classic grooves ("Straight to the City With It"). With appearances from West Coast staples such as The Game, Bad Lucc and Buddy ("This Is Your Moment") — Rosecrans proves that the game needs to stop sleeping on Problem and that Quik is still just as funky as anyone else around. Together, they make that unforgettable music that reminds all how dope musicians from Compton are. - Kevito

clipping - Splendor & Misery

2016 was full of boundary-pushing moments in music. But one of the most surprisingly far-reaching sonic odysseys was launched by clipping; a union of producers, Jonathan Snipes and William Hutson, with Hamilton star, Daveed Diggs. With Diggs serving as narrator, the LA trio tells the tale of an intergalactic slave revolt with jagged, metallic suites laced with icy synthesizers. And while the musical component isn't the sole driving force of the record, Diggs' razor-sharp delivery and the planet-jumping hip-hop epic that unfolds makes Splendor & Misery a not-to-be-missed outing for anyone that likes their science fiction with a side of bars, or vice versa. - Zo 

Kari Faux - Lost En Los Angeles

To move from a rural and smaller city to somewhere such as Los Angeles in hopes of furthering one's career, often comes with a romanticized viewing of the latter. Lost En Los Angeles flips that on its head, with Kari Faux declaring how she feels from the very beginning: "I'm not supposed to be here right now, but I am." From there the 11 track debut album finds Faux exploring LA, as she looks for worthwhile experiences while having to immerse herself in a world that she's unfamiliar with. But there are also moments of longing that only emphasize the alienation present throughout Lost En Los Angeles, most notably "Fantasy." Accompanied by upright bass and other jazz instrumentation, Faux expresses her frustrations with not fitting into the mold of the "fantasy" woman, offering a detached and emotionless delivery that is summarized in the song's final four words: "because I've given up." Lost En Los Angeles offers an honesty that will hopefully present itself in future Faux projects. But until then, this is an enjoyable start. - Elijah Watson

Elzhi - Lead Poison

Since he emerged as a member of Slum Village, Detroit’s Elzhi has always been respected as one of the best rappers around with his punchlines, multisyllabic rhymes and creative concepts. But on his new album Lead Poison, he taps into emotion better than he ever has before. Elzhi revealed that the Kickstarter-funded record was delayed for more than a year because of depression, and much of the album channels themes of dreariness, isolation and pain. He eventually finds writing rhymes as his reprieve, which makes even the battle raps feel more powerful. - William E. Ketchum III

Oddisee - AlWasta

Titled after an Arabic colloquial term that means "the plug," Washington, D.C.'s own Oddisee gave audio lovers a rich and deep effort that was full of live instrumentation and vibes. No stranger to head-knocking beats, Odd gets extra busy on the lyrics especially on songs such as "No Reservations" ("I ain't make the laws, but I am trying to break them / And not get caught by the criminals that make them.") and "Catching Vibes". If you're spotting a theme then it is not too late to wrap your ears around this dope seven-track album, as AlWasta aims to connect you to the richness of Oddisee's style and production. - Kevito 

Jon Bap - What Now?

A lot happens in What Now? Jon Bap's first full length project. The title almost comes across as self aware, considering the album's conscious effort to test the patience of its listener. After the near 10 minute long introduction of "Guided Meditation," you may actually find yourself asking "What now," only to be greeted by some of the most unfiltered contemporary and lo-fi free jazz to appear this year. The pummeling drums of Mike Mitchell provides the pulse of most of the album, the jazz drummer treading a line between Chris Dave and Zach Hill. But if you can accept the unconventional structure of Bap's music, you're rewarded with some great moments: the upbeat guitar strums of "Gotta Be Your Lover"; the psychedelic funk of "Intuition"; and the slow, love ballad of "Don't Run Into The Dark So Quick." "Coda: Let It Happen," which comes from Bap's Let It Happen EP, ends the album, serving as the calm after the storm. And trust me, going through the album makes the calm that much better. - Elijah Watson

Domo Genesis - Genesis

Odd Future’s Domo Genesis had one of the biggest surprises of the year with his debut solo album Genesis. The weed-smoking funnyman takes some time away from the jokes to reflect self-doubt, family, a tough childhood, and his relationship with his music. Some of the best production of the year makes the album flow smoothly for a complete listen. It’s a thoughtful, gradual journey of self-discovery that doesn’t only carve a voice distinct from his Odd Future counterparts, but from the rest of rap as a whole. - William E. Ketchum III

JMSN - It Is

JMSN’s It Is, Christian Berishaj's third album, is a gorgeous kaleidoscope of vintage yet modern r&b, soul, pop, and jazz. JMSN (pronounced Jameson) floats throughout the record, his vocals soaring and seared with emotive inflections. It Is features JMSN crooning and melodically bellowing about relationships, love, and life over dazzling compositions. You can hear Berishaj battle his demons in real time on the record. It’s raw and painfully introspective. It’s honest and human. It’s a striking album that sticks. - Abel 

Saba - Bucket List Project

The music scene in Chicago has bloomed and blossomed and bloomed again. Pivot Gang’s Saba has helped make this a reality. Saba’s debut studio album Bucket List, which was released in October, is powerful. Saba impressively flaunts his lyrical prowess throughout the album’s tracks, packing in heavy and dense bars effortlessly and lightly. Bucket List is a testament to the fragility of black life in a hateful and white supremacist, one that sees a young 22-year-old name his debut album Bucket List. Death, waits, stalks, patiently around the corner. The album boasts features from NoName, Smino, Twista, Cam O’bi, Mathew Santos, Jean Deaux, and more. On Bucket List, Saba meticulously paints a dire portrait of black life, in Chicago and beyond, one that still maintains optimism and hope for justice. - Abel 

Royce Da 5’9 - Layers

Royce Da 5’9” is widely regarded as one of the best lyricists in rap history, but he’s also constantly connected with two rap legends: friend/Bad Meets Evil-groupmate Eminem, and GOAT producer/PRhyme groupmate DJ Premier. Layers is Royce’s first solo album to top the rap charts, and for good reason. A newly-sober Nickel Nine brings the same irreverent humor and recklessness that built his career, while adding a newfound clarity that comes from kicking his habit of alcoholism. He crafts an origin story about his grandmother’s death, his son’s birth, and his meeting with Eminem on “Tabernacle,” and other songs see him speaking about his son’s autism and his own childhood infatuation of fly gear and rap. Nearly 20 years into his career, Royce Da 5’9” is still covering new ground. - William E. Ketchum III

Homeboy Sandman - Kindness for Weakness

Stones Throw's own Homeboy Sandman is a favorite of ours here at Okayplayer, but admittedly we didn't do enough to get the word out about his latest project. Kindness for Weakness, which is his sixth (!!!) studio album, finds the verbose Queens MC trading in his brand of energetic rhetoric for a more tranquil storyline. On songs like "Heart Sings" and "Seam by Seam," where the Boy Sand still captivates with his command of lyrics, he has placed the style he exhibited on "Whatchu Want From Me" on the shelf it seems. No longer bogged down by issues he can't control, Kindness for Weakness proves that Homeboy Sandman is still adamantium-tough and precise, growing into an MC that has found comfort within his abilities and the game around him. - Kevito