The rapper/producer record is a powerful one: after all, what are some of the greatest hip-hop records of all time if not a combination of poignant lyrical themes and precise delivery on the mic, all set over timeless soul samples? John Michel and Anthony James are both relatively unknown names, but their newest collaborative project has been making waves for one reason alone— ‘Egotrip’ cuts right to the heart of all things hip-hop, delivering many of the most instantly enjoyable songs of the year so far.

Perhaps the most striking element of the record is its lush, immersive production— James makes quite a case to be known as ‘chop up the soul’ Anthony here, layering smooth percussion and wistful instrumental parts together like its a 2000s Kanye album. ‘Egotrip’ rarely attempts to truly push the envelope as far as sound choices go: rather, James carefully curates a number of exquisite, digestible beats across the LP, paying homage to countless producers before him. Opener ‘Don’t Save Me’ kicks the project off with a collection of whimsical guitar leads, sultry electric piano chords and reverb-heavy vocal chops, and it’s these nostalgic tones that often define the heart of ‘Egotrip’— the album succeeds not because of some bold reinvention of the genre, but simply because the ideas present here are being executed upon so flawlessly.

The record doesn’t have the most varied beat selection in the world, admittedly, but it’s a welcome sacrifice to make ‘Egotrip’ one of the most consistent and holistic releases in modern hip-hop— nonetheless, there are a number of standout choices that make these songs jump off the speakers. The hazy gospel chants on ‘PREACHER!’ are an inspired touch, standing alongside dusty guitar samples in a way that elevates this explosive cut— James is clearly having a blast indulging in the roaring electric guitars of ‘world’s end’ as well, soaking the track in well-earned nostalgia. As its title might imply, the album is often quite boisterous and confident with its ideas, pushing the serene sounds of its title track or ‘NOBODY’ to be bigger and brighter than ever before. It’s an impressive collection of tunes, even in its quieter moments— the gentler dynamics of ‘Confrontation’ make for a much-needed breather in the middle of the record, while closer ‘Sunday Morning, Genesis.’ rounds things out on a more thoughtful note.

Michel and James aren’t content to simply ride on the back of these soul samples though— a great many of the more definitive melodies throughout the record come custom built for ‘Egotrip,’ and often stand as its most memorable, and wonderful, moments. Chief among these are the choruses Kennadi Rose brings to the table on ‘Don’t Save Me’ and ‘NOBODY,’ which both stand as some of the most seamless and outstanding hooks in recent memory— Rose soars on the top of beats as luscious as these, injecting yet more life into the project. Even when Michel goes it along though, ‘Egotrip’ exudes energy: the chorus on ‘TAKE NO MORE’ may not be quite so melodically intricate, but rather has a boyish whimsy to it that keeps the track feeling endearing.

These beats serve a thrilling collection of hip-hop songs: John Michel displays a hunger to make something of himself across the record, standing out in a similarly exciting manner to Joey Bada$$’ ‘1999.’  He’s a likeable narrator through-and-through, bringing a swagger to the project that goes a long way— even if all else failed, Michel’s delivery could save tunes much weaker than these. The rapper expertly flows over each beat, varying his delivery between the rambunctious bravado of ‘TAKE NO MORE’ and the more withdrawn musings of ‘ONEWAY’ while never letting the underlying energy drop: once again, the duo make no attempt to reinvent the wheel, instead boiling hip-hop down to its most essential and enjoyable elements. Take the various guest features across the album: there are no huge stars here, no headline makers. Instead, ‘Egotrip’ is home to a variety of characterful offerings— the Danny Brown-esque ramblings of colin! and aggressive spitting of 8ig 8, among others, signal that talent can come from anywhere, and the best music can often be found outside the limelight.

For all the confidence the album exudes though, ‘Egotrip’ doesn’t show much in the way of vanity— rather, Michel uses the record as a platform to detail struggles of perseverance in the face of adversity. There’s a stoicism that runs throughout the LP’s lyrical themes, from the refrains of ‘Don’t Save Me’ to the meditations on religion that close out the record: ‘Egotrip’ is about finding solace in work and in music, about forging one’s own path, about Michel standing on his own two feet.

“Forget the meaning and the signs in the lines

I′m talkin’ to myself, to God, and my family in rhymes

In due time I'll give my brother maybe kids all the dimes

I been stacking for a minute before I'm crossing the line”

Religion plays a key role throughout the album— Michel even likens himself to Jesus at times, declaring that he will “arise again on Sunday.” These literary devices aren’t particularly boundary-pushing as far as the modern conscious rap scene goes, mind you, but they serve to round out a well-considered, well-structured journey of self-discovery anyway: when the ideas are as strong as these, why wouldn’t John Michel use them to his own benefit?

“Yeah, set my shoulders back and get my tone straight

That devil in my life had led me on the wrong way

A new path, I ain’t ever going back

Hm, and word is power so I made it that's a fact”

‘Egotrip’ is so good, even its two interludes are good— that is, quite frankly, a miracle unto itself. What the record lacks in originality, it makes up for in spades: Michel and James are something of a dream team, combining some of the most immersive production choices and furious rapping on offer right now. Though it’s hard to say how long the album will continue to stick with you after listening, it is safe to say that ‘Egotrip’ is, frankly, brilliant, and comfortably sits as one of the best hip-hop records of the year.