There's just no contemporary precedent for music like this. And that might just be the best sign of all.

It feels like Wiz is mostly coasting through this album, giving his already loyal fans exactly what they'd expect from him and not much else.

Listeners may be able to follow Rock home and live vicariously through him, but for thousands that is their home. There's no leaving, and those are the people who Follow Me Home was truly made for.

How Do You Do is a great listen, but...there's just no getting around the fact that Mayer Hawthorne isn't an especially strong singer.

It may have its moments of aggression, but ultimately Habits & Contradictions is often a more quiet and thoughtful album.

We can safely assume that Dreams and Nightmares is the best Meek can possibly muster. And if this is indeed Meek's best, Meek's best is pretty good.

The "album" feels like a bunch of random songs, some quality songs mind you, but still just a bunch of songs that don't add up to anything larger.

The album might not be nearly good enough to launch him into any "classic" conversation, but it also not nearly bad enough to be viewed as a sign of his impending demise.

The truth is in the eye of the beholder, and with easily accessible albums like Fortune, there will continue to be a lot of eyes on Chris Brown.

Overall, Kiss Land is a decent first full-length, but for the hype that The Weeknd had built up leading to this release, some (if not most) will say that it failed to meet expectations, especially compared to the incredible hype that surrounded his 2011 debut.

Jesus Piece certainly isn't his best album, but if it ends up being his worst, then Jayceon's doing pretty damn good for himself.

Absolutely none of the album is bad, but it's enough like Drake to make me feel like I might as well be listening to Drake, enough like The Weeknd to make me feel like I might as well be listening to Weeknd, etc. etc. etc.

The simple truth is this is the kind of music you're best off not thinking too much about.

Most of Fear of God feels like detached, competent, common-denominator, major-label hip-hop, which would be fine if we weren't already aware what he's capable of.

Unapologetic is by no means a bad album, it'd be nearly impossible to combine the music industry's best songwriters, producers and Rihanna's charismatic delivery and not create quality music, but as an album Unapologetic has no real core, no real theme; unless you count "making hits" as a theme.

Based on a T.R.U. Story isn't a great album, but was anyone expecting a great album from 2 Chainz?

The rapping isn’t the problem, it’s his singing and eccentric sounds that leaves me with Van Gogh thoughts.

Her talent and voice makes up for the fact that Lioness isn't really an album, but more like a collection of unfinished business.

He’s obviously still capable of moments of greatness, but right now those moments are so dulled by surrounding mediocrity they’re becoming lost.

Influenced by what The Pharcyde did two decades ago, what Drake perfected a few years ago, and what many others have attempted since, Ink’s melodic tastes and rhyming style draws from all of these influencers. The problem is, he can’t quite charm like Wiz Khalifa, rhyme like Big Sean, or create art like Drake. Yet.

There is very little to write home about here, and for the most part it feels very hastily made.

At its best, the California singer offers sweet but forgettable elevator music.

It has to be said though that the places where WZRD struggles most are the places where Dot and Cudi leave their hybrid sweet spot and try to go straight rock.

Nothing on par with the classics but he has plenty of moments where his strengths are showcased.

At 12 tracks long, Evolution may lack any real oomph or spectacle, but it also contains little filler, which is an achievement in today’s singles dominated, bloated albums.

This album is about keeping Brown relevant and making the musical man child marketable again, and on that level it's a moderate success. He's still got a long way to go before he regains his previous stature.

The tracks do not really flow into each other or sound good in sequence, but individually some records do shine.

Maybe he's burnt out, maybe he just doesn't care as much anymore, but whatever the reason, Tha Carter IV just doesn't feel like one of the biggest albums of the year – at all.