THREE UNDERRATED HIP-HOP ALBUMS OF 2026
Ezcodylee, By Storm, and Deante’ Hitchcock Are Making Some of 2026’s Best Hip-Hop
It’s no secret that hip-hop’s mainstream has been lacking in 2026. While major names like J. Cole, Future, and Drake have dominated the conversation, some of the year's most compelling projects have come from outside the traditional mainstream. These three albums, all released in 2026, are some of the highest-quality projects of the year – and they aren’t getting the attention they deserve.
STUNT 4 LIFE - EZCODYLEE
If you’ve ever wondered what a fusion of Playboi Carti’s brand of trap and Turnstile would sound like, California rapper ezcodylee’s latest album, STUNT 4 LIFE, is exactly what you need to hear.
On STUNT 4 LIFE, ezcodylee utilizes aggressive 808s, seamlessly produced transitions, electric guitars, hyper-synths, and a myriad of punk-related interludes to create a chaotic atmosphere.
My standouts from this album include “ALBUM OF THE YEAR !” which sets the tone for lyricism early on, praising his fans, shouting out his granny, and most notably, his admiration for his specific blend of rap, punk, metal, rage, and rock sounds: “Uh, stunt rock, where thе f*ck my Grammy?”
“WHO GOT A PROBLEM !” stands out even if the pacing feels rushed in the first half; the assertive, confident braggadocio of the back half is memorable. “MOSHPIT !” is my personal favorite and by far the strongest lyrical performance on the record. “DON’T BE SCARED !” keeps the energy high before an exceptional transition into the electric guitar solo that begins “TOUR !” a love song about how ezcodylee’s heart is “always on tour.” The track feels like a complete change of pace, and its vocal performance is the best on the project, reminding me of Juice WRLD’s “Legends Never Die” era.
After this opening run, the quality of the production stays consistent even if the rapping performances start to waver in quality. “SHUT UP !," "FEEL ALIVE !,” and “DIEHARD !” are major highlights on the second half of the album, but outside of that, several tracks are forgettable.
STUNT 4 LIFE won’t appeal to every hip-hop fan, but the energy, unique genre-bending, lyrical ambition, and masterful production make it hard to ignore.
RATING: 8.5/10
MY GHOSTS GO GHOST - BY STORM
My Ghosts Go Ghost is the debut album from By Storm, an experimental hip-hop duo from Tempe, Arizona, consisting of vocalist RiTchie and producer Parker Corey. The two previously released music under the name Injury Reserve as a trio that included the late Stepa J. Groggs. After Groggs' passing, RiTchie and Parker Corey reformed as By Storm. This album is a dark, mature, emotional roller coaster of a record that finds the duo establishing its identity while honoring the legacy that was built by Injury Reserve.
“Can I Have You For Myself?” is a slow, raw, and daunting listen, exploring the impacts of parenthood on relationships. The scattered, eerie instrumental is illustrative of the fears RiTchie describes. This fragmented approach is a staple of the album, lyrically and in its samples, instrumentals, and influences used throughout.
The linear progression of “Grapefruit” over a consistent drum pattern makes it one of the strongest tracks on My Ghosts Go Ghost. Lyrically, the song is uniquely oppressive, using the idea of tearing into the inner guts of a grapefruit as a metaphor for RiTichie’s musical journey – tearing himself apart to agonizingly pursue a creative peak.
“In My Town” continues the intensity, focusing heavily on angular repetition and disembodied vocals. RiTchie creates a Goliath of a track, intensely describing the stress of being an underground artist. Parker Corey’s production really shines, giving the track a floating, translucent glow.
Other highlights include “Zig Zag,” focusing on how RiTchie and the group have overcome change at life's hardest points. Underground hip-hop titan, billy woods, appears on “Best Interest.”
“Double Trio 2” is a spiritual successor to Injury Reserve’s 2019 track “Three Man Weave.” It closes the album with roaring jazz-rap, stepping in as a victory lap on such an emotionally crushing project.
My Ghosts Go Ghost shows that By Storm can not only confront grief, but build upon it. The album is heavy with emotionally charged lyricism; it’s dark and crushingly grandiose, but RiTchie makes sure he conveys how much those beautifully grueling moments make him the man he is today.
RATING: 9/10
JUNKIE IN THE SUN - DEANTE’ HITCHCOCK
In an era of booming 808s, occasionally painfully autotuned vocals, and fast-paced club anthems, jazz rap remains a breath of fresh air in the modern hip-hop landscape. Deante’ Hitchcock combines soothing hooks with intimate storytelling to create one of my favorite hip-hop projects of the year (so far) on Junkie In The Sun.
The title track stands out: Hitchcock allows Brandon Phillips-Taylor’s vocals the spotlight before delivering a soothing verse about his little brother and the expectations the world has unfairly placed upon him:
“I mean we even went and bought him a car / Hell nah, we ain't asked if he wanted it / Just assumed he want one to go far / Far away from all our expectations / Far away from all the moments we wasted / Maybe he been here before on the low / And this go around, he just tired of chasin'.”
This sets a consistent theme for the album, as Hitchcock focuses on his desire to see the people in his life at their happiest while using art to find that for himself.
The flow on “Gotta Be More” reminds me of Big Sean. “Funny Thing,” and “U-N-I” are also highlights, and guest artist Samara Cyn delivers an impressive verse on “Mr. Green Eyes.” Outside of these songs, the quality is continuously high, making for an amazing listening experience.
By far my favorite track is “Almost There,” where Hitchcock focuses on the struggles of pursuing a career in hip-hop, falling behind on bills, hiding his kids from the struggle, and the ultimate belief that he is close to finding greatness.
My biggest criticism is how the songs tend to blend together. While I enjoyed the short intros to each track, and the overall quality was extremely high, the stylistic changes lack the variety to give each track its own identity.
Hitchcock’s punchy flow and writing style are similar to Isaiah Rashad’s on his latest album, It’s Been Awful, and his use of gospel background singers reminds me of JID’s 2022 project, The Forever Story.
Hitchcock’s vivid storytelling is what makes him stand out when compared to similar rappers. This project is a statement piece, earning a spot alongside many other great hip-hop projects of the year.
