Khaled goes through his hip-hop Rolodex yet again and compiles a strong collection of MCs and producers to add some shine to his latest musical collage.

Green's harder edge and presence as a musician can be heard lyrically, although her soft vocals fall flat, shrouded by a sea of synthesized blips and bleeps from the ubiquitous drum sounds.

Though his skill is absolutely unmatched, homophobic references and overly misogynistic bars in 2018 do feel excessively out of touch. It's not his best or his worst--but, it's definitely what fans deserved eight months ago.

WALLS sounds safe and comfortable. The songs coast along with a mellow fluidity that serves to establish a decidedly mature, if complacent, sound.

Though it features no straightforward pop songs, MGMT finds VanWyngarden and Goldwasser having a great deal of fun creating exactly the kind of eclectic, weird music they want to.

While there's room to reflect on things like dynamics and vocal mixing (Perry's ancient cackle sometimes gets blurred, patios aside), and while Perry is one of the best mixologists in history, Must Be Free is not his best.

Spread over 12 songs, Del Rey becomes so ordinary, even bland, that no amount of little girl vocals or pouting can save her.

The entire premise of the album is entirely playful, defined by its because-I-can nature, and while this might not result in a unified feel, it's nonetheless an enjoyable and eclectic experience.

All is Illusory sounds like the band are finally settling down.

This new record still finds them wavering. By not taking a side, they fall flat in the middle.

While this album isn't likely to draw in a lot of new listeners, it's a well-crafted record that provides a fresh soundtrack of ultra heavy, doom-based brutality.

Versing have an aptitude for taking the familiar sounds of earlier genres and developing them into something fresh. 10000 is bold and jarring when it needs to be, filling space with ubiquitous noise and melody.

There's an overemphasis on influences here that makes Stranger Things more recognizably likeable than imaginative.

Although Bieber created a decent body of work, it's hard to get past that the sentiments of the overall message is skewed by the lack of effort towards creating music that addresses any sort of justice or lack thereof.

Haiku From Zero is another strong effort by a band that continue to celebrate the power of dance music, but as closer "Tied to the Weather" demonstrates, they aren't opposed to feeling the comedown effects, either.

While Funeral isn't necessarily a flop, the album would have ranked higher in Lil Wayne's discography had he cut the tracklist in half and opted for quality over quantity. Overall, Funeral lacks replay value compared to the multiple "best of the year" albums that Wayne has proven capable of creating.

Too many bearded men in isolation have sapped such joy from the genre, but Here brings it back in full.

There are moments here where he manages both [his popstar ambitions and his affinity for paving his own sonic path] in one fell swoop, but on his third time out, he can't sustain the momentum for an entire album.

In the Lonely Hour is a mostly fantastic debut that is more than deserving of a double dip.

Although it may not be essential listening for Mogwai fans, A Wrenched Virile Lore's recontextualized tracks certainly allow for greater appreciation of one of the band's best albums in years.

While Her Loss houses no immediate street bangers or Billboard hits, it's the sum of it all that makes it Drake's best record this decade. From the comical fake promos during its rollout to the memorable one-liners and aggressive diss verses or the TikTok memes it will generate for months to come, Her Loss has a lot of meat on its bones.

It may have taken a few years, a couple of misfires and a different stylistic approach, but Joss Stone has re-asserted herself with this fine effort.

It's a sound we've come to know DaBaby handle on his own, but he invites industry peers like Quavo ("Pick Up"), Future ("Lightskin Shit"), YoungBoy Never Broke Again ("Jump") for the ride.

With its jarring synthetic brass--which is neither as charming or amusingly ironic as its creators seem to think it is--Someday World starts off on the wrong foot from the very first bars.

Most of the material just hovers around the same tempo, tone, lyrical style and sound dynamics, robbing the listener of any sort of emotional peaks or valleys that are so important when floating a double album. It's simply a shame that the execution of Cyr fails to match the naked ambition Corgan's concepts promised.

In his quest for comedic and artistic transcendence, Kaufman's intense pursuit of the "real" was, at the very least, unwittingly timeless.

Lysandre, while far from being reviled, received only a moderately positive response, one that was tainted with apprehension and frustration at its lack of ambition. A New Testament is even less ambitious, yet still enjoyable.

Encyclopedia finds the Drums throwing everything at the wall, seeing what sticks, and then releasing the results as an album.