There hasn’t been much room for A$AP to slip into the very vivid, colorful definition of black music happening on this side of 2010. Even before these, there was The Weeknd’s ecstasy-laced nights at the club, Shabazz Palaces’ futuristic interpretations of hip-hop, news of the return of D’Angelo’s unique variety of funk and soul, not to mention the royal family of Beyonce and Jay-Z with that one unwieldy friend of theirs always running his mouth. Kendrick Lamar redefined gangsta rap and proved himself a precocious artiste, Frank Ocean one-upped his peers claiming to lead the current refinement of R&B, and my personal critical darling, Willis Earl Beal gave us a history lesson in lo-fi. Considering the incredible obscurity given black artists on Pitchfork’s People’s List (which obviously I don’t care about in an objective sense, but consider it a broad study of the indie music sphere at large), 2012 was an incredible year for black music.
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