More Del tha Funkee Homosapien. Uneerground makes it hard to be sure who she'll bring on any given track, but Rico's core identity — a boundary-pushing, oftentimes brash dissenter — shines through each time, whether it's via the pop sneer of Tacobella or the brazen trap of her primary pseudonym. And, if his Rich Forever contract and "Atlanta" FX placement are any indication, the crest will be big. As on their last collab, Big Ghost Best rap underground us blesses Conway with some of the most ominous production he's ever best rap underground us over, while also finding plenty of time for the kinds of warm, soul sample-fueled beats that exist right at the center of Conway's comfort zone. It's a bolder, richer, more modern-sounding album than Ironmanand it rxp the Wu come undwrground the new decade swinging. Dre shows up again on "That's What It Is," which goes as hard as any of the Dre-produced hits of the era.

The formation of Voltron. Albums like 3rd Eye Vision —the first full length to assemble all the members of the expansive Hieroglyphics crew: Del tha Funkee Homosapien, Souls of Mischief, Casual, Pep Love, and Domino—usually crumble under the weight of egos, disparate styles, and unfettered ambition.

Kool Keith, donning the alias of the titular Dr. Octagon, played the role of interstellar gynecologist, rhyming about lazer pistols, the year , being born on Jupiter, and, most famously, blue flowers. Automator served up a series of ceaselessly inventive productions, fusing Hip-Hop, house, classical, jazz, and any sample not tied down into cohesively dark stew to complement the buffet of unconventional rhymes.

Though countless bizarre visions have populated iTunes playlists since Dr. Octagonecologyst hit shelves over 15 years ago, few artists have ever done weird with as much gusto and dedication as Keith and Automator. We probably have them to thank for Lil B.

With so many rap crews trying so hard to be something, sound a certain way, or jump on some new wave, Dilated Peoples always just made hip-hop. With two legendary underground producers splitting duties on both the boards and the mic, it would be easy to expect a product that fails to live up to lofty expectations.

In Champion Sound , maestros Dilla and Madlib stuck to their strengths and crafted 19 tracks of dusty, dirty headbangers that strove for nothing higher than sheer bump. This slept-on Chicago trio had something special with their debut. Denizen Kane and Qwazaar both held their own and stole the show at points, but it was Qwel who really provided the spark that made this album next level. The album is laced with jazzy production from DJ Natural and an always sharp and poetic take on the backpacks, graf, train rides, cyphers, and everything that this underground crew lived and loved.

Unlike some group albums that sound like three separate artists pasting verses together, these guys seemed to all be on the same exact page. On their second album, Jedi Mind Tricks laid out the blueprint that would for better or for worse define the rest of their career to date and carve out a path for a coterie of likeminded emcees to follow.

Though they would achieve greater levels of polish on later albums, JMT never again reached the rush of blood to the head exhilaration that Violent By Design provided on each listen.

God Loves Ugly is a clear turning point for Atmosphere. Instead of the raw, unrefined sound of their earlier work, the duo started to sound like professionals.

In a lot of cases, this is the falling off point—the point when old fans get bitter and that magic touch of your favorite independent artist gets lost. Instead, they kept all the things fans loved about their first two albums and shined them up. The sound of the bitter, intelligent underground. Sharply written, expertly delivered rhymes, and dizzying multisyllabic displays were spread across 24 tracks that of no-frills, jazz inflected beats.

Featuring dense, caustic rhymes and bristling, cacophonous production to match, Fantastic Damage articulated a vision of NY old and new, bemoaning the lost morals of a bygone era while succumbing to the paranoia of the new age. It is an album both intensely political and deeply personal, revealing further layers on each listen—reasons it endures 10 years on. As Rawkus rode a series of singles and the aforementioned full length debut of Company Flow to indie prominence, an intrepid duo of young Brooklynite emcees united to record an album that set the table for conscious rap that followed years later.

With jazzy production reminiscent of their progenitors the Native Tongues and rhymes fully grounded in the present, Mos Def and Talib Kweli crafted an album that is often as beautiful and poignant as it is head nod inducing. Mos and Talib at their earliest were also at their most focused, brutally lucid and focused in ways that would escape the former as time passed and would box the latter into an image that he has alternated between embracing and rejecting.

Black Star never preaches, never overstays its welcome, and delivers a concentrated mission statement for two developing artists and an entire segment of Hip-Hop. As a solo artist and as a part of the storied Hieroglyphics crew, Del the Funky Homosapien had developed a name and a strong following for himself throughout the first decade of his career. Its seldom a fun listen, but it is crucial to contributing any sense of history to the majority of the selections on this list.

It's a savvy move, one that rappers like DaBaby and Megan Thee Stallion have already had a lot of success with. Like both of them, Duke Deuce clearly loves Y2K-era rap, and he's finding ways to introduce that stuff back into today's rap mainstream, rather than being full-on retro or full-on catering to modern radio.

Sometimes he lets himself get a little too sucked in to generic trap-pop the best songs are definitely the most in-your-face, abrasive ones , but if this album proves to be a breakthrough for Duke Deuce, it'll be a much-deserved one. As on their last collab, Big Ghost Ltd blesses Conway with some of the most ominous production he's ever rapped over, while also finding plenty of time for the kinds of warm, soul sample-fueled beats that exist right at the center of Conway's comfort zone.

UK rapper Ghetts has been a staple of grime since the genre's initial mid s boom, and as UK rap continues to evolve and morph with other sounds from all around the world, so does Ghetts.

His latest album and Warner debut barely qualifies as grime and if you didn't know any better, you might mistake it for a new artist just going by how hungry and fresh Ghetts sounds on it. Even when Ed Sheeran shows up on "10, Tears," the album resists catering to the mainstream. It's long, but it's also an album you can't judge from just one or two songs.

Even all the pre-release singles couldn't quite prepare you for the album's lyrical and musical depth. The two rappers are still taking cues from the same era on this one, and it's still largely produced by Tha God Fahim, who handled all of Tha Wolf On Wall St 's beats plus it has some production by Quelle Chris, Preservation, Nottz, and more , but it's a noticeably different album.

Its predecessor was dark, somber, and deadly; in comparison, this one feels brighter, louder, and more lively. It makes sense that this album has artwork and song titles that are full of basketball references, and its predecessor was named after a Scorcese film full of crime, corruption, hard drugs, and extravagance. These new songs have the same energy as a buzzer shot. The long gap between albums has left the duo sounding totally refreshed, and if you're unfamiliar with DTS, the cast of guests on this album should give you a good idea of what to expect.

Ferreira's current version of left-of-the-dial rap music, and it's no surprise that both of those greats fit Best Rap Underground Zip in perfectly here. Read more about the album here. Muggs who also has an instrumental album coming in March via Sacred Bones provides Rome with the kind of sinister production he's been honing for decades, and Rome proves to be a worthy collaborator, with a deadly delivery that's up to par with the hometown heroes that paved the way for him.

She told Hip-HopVibe. The music's as Gen Z-friendly as you'd expect from a year-old rapper who first found fame on TikTok, but Stunna Girl clearly takes influence from hip hop's past. Like Megan Thee Stallion and DaBaby, she has a knack for bringing a Y2K-era rap influence into today's radio rap world, but she doesn't necessarily sound like them. She has her own vibe. Fat Ray has been a staple of underground Detroit rap since his mid s days as a frequent collaborator of Black Milk, but for such a long-running rapper, he doesn't have a very vast discography to show for it -- he's done tons of guest verses over the years, but only put out a few of his own projects.

S' album , he's returned with Santa Barbara , and it hits as hard as the stuff he was doing over a decade ago. Danny and Black Milk both show up on "Dopeman Heaven" the former raps on it, the latter produced it , so that song quickly emerged as a standout, but the bulk of the album was produced by Bruiser Brigade affiliate Raphy, who suits Ray's bold, bassy rhymes as well as Black Milk did when Ray was breaking through. He left behind unreleased music, at least some of which has now resulted in the new posthumous album Ascension , and it reminds you that Fred was at the peak of his creative powers when he was taken from us.

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