Noname overwhelmingly succeeds in telling her coming-of-age story where she removes all emotional layers to explore everything from comical socio-political ideology to sexuality minus self-serving preachiness.

As a highly experimental album, the occasional misfire is a guarantee. Ultimately, Iridescence is an exciting way to start a new trilogy and is a testament to Brockhampton’s perseverance.

Curry has constructed a project that plays to the sonic structures of the era without sacrificing meaningful content in doing so. TA13OO is the culmination of his promise and talent, resulting in Curry’s magnum opus.

In an era where artists hype up projects that turn out to be nothing but half-baked playlists, 6LACK’s thoughtful embrace of the album format is refreshing. East Atlanta Love Letter is a moody masterpiece that may very well take the artist’s career to new heights.

Fans clamoring for the old Marshall Mathers should stream the old album or hell, rent it from the library or something. After being faced with nothing to prove as the highest-selling rapper of all-time, Eminem’s found another challenge in perfecting the new style he’s put on display.

At the end of the day, Slime Language suffers from being predictable, which is the last thing you’d ever want or expect from a Young Thug-affiliated project. The lesser-known artists don’t make much of a mark, the more notorious features are the clear highlights, and the project, as a whole, offers nothing to compete with the highs of Beautiful Thugger Girls--let alone the hallucinatory string of releases from 2015.

There are no deep layers to be uncovered on Queen. No methodical analysis responding to her critics for her reliance on sexual ploys. Nary a mention of any mental anguish the grave allegations her brother faces.

Where his debut was concerned with building on his formative years, this incubated follow-up hatches a newly minted worldview from the embattled singer.

A conscionable affair from start to finish, it’s a reminder of Future’s effortless ability to release solid tracks within his wheelhouse.

Stay Dangerous could have benefitted greatly with more personal touches as opposed to the conventional gangsterisms that bulk up the album.

Travis manages to create a substantial body of work that begs to be served as a whole, rather than just bite-sized pieces.

One of the best R&B/soul albums of 2018.

It may take more than one sitting to get through it, but anyone who dives in as fan will discover there are plenty of contact highs to be had.

Buddy’s self-acceptance ensures his future in Hip Hop is bright and shines through on Harlan & Alonda. The pursuit of his goals has finally paid off with this grand debut.

With Jp3, Junglepussy has successfully pushed her artistry forward without sacrificing the personality that established her as a dynamic force. Although her crass content isn’t meant for everyone and she has yet to have a proper crossover moment, the sophistication of this project demonstrates her underrated status is just moments from being erased.

Scorpion solidifies his universal relatability while yet again supplying fans with an overload of tracks to willingly keep or ditch.

Gangsta Gibbs has enough fire here to remind fans that he’s able to compete in an era that has continuously boats of some insane releases.

Redemption shines brightest when the music itself matches Rock’s dynamic performance and infuses enough energy for him to seize the moment.

When you factor in all its dexterity, randomness and overall generality, it’s hard to truly believe NASIR was the album he had been cerebrally building these past six years. No, this isn’t “grown man Hip Hop” to bring balance back to whatever the younger generation of mainstream rappers are doing at the moment; nor will it ever reside in the upper echelon of the living legend’s catalog. It is, however, imperfect fine art.

Sonically speaking, EVERYTHING IS LOVE benefits from the sophisticated palates of two superstars and integrates reggae, soul, R&B and boom bap throughout but in a way that’s entirely seamless. Trustworthy studio gurus including Pharrell, Vinylz, !llmind and Mike Dean all pitch in for instrumentals that are both opulent and demure in their presentation.

Black Thought is rightfully held as a model for what Hip Hop fans could (and should) expect from MCs demanding to be held in high regard. The project’s only fault is its length prevents the five nearly flawless records truly getting off the ground.

It’s a well-calculated offering from a living legend whose abilities are still very much intact.

With Cudi playing the role once occupied by his own ego, Kanye’s music sounds freer than ever before. Together, these two studio wzrds have managed to produce something that is equal parts raw, honest, touching, spooky and ethereal. We’re going to need more than seven tracks next time.

Book Of Ryan continues a four-year, six-album streak of top-tier lyricism, with noted personal and artistic growth in the process. His 2018 output will not only earn him noted respect as one of the best lyricists of the year but in rap as a whole.

Sure the heavenly feel of “No Mistakes” harkens back to his gospel soul days, 070 Shake’s passionate cameo on “Ghost Town” unveils a star-in-the-making and honest thoughts about raising North and Chicago on the serene album anchor “Violent Crimes” make for a alluring sonic experience. But ye merely excels in surface-scratching instead of the transcendent territories that spawned the Kanye everyone loved. Sometimes less does not equate to more.

The seven-track album goes the distance to add further refinement and distillation to the steely, luxurious drug raps that earned him rap relevance. ... The album is only seven songs and 21 minutes long, but Kanye covers a lot of ground sonically without getting scatterbrained.

Instead of creating a new wave, A$AP Rocky has drowned himself in his own ambitions and lost his identity along the way.

Through a more respectable body of work--is unlikely to win over any naysayers.

Dirty Computer falters along the way with a few weak hooks and some questionable lyrics but at least she was able to wipe out the old Monáe and reboot who she’s truly meant to be--both artistically and personally.

Although Everything’s Fine is well-crafted from front to back, there are a few hiccups.

Vacation in Hell is a worthy effort that showcases the individual strengths of each Zombie member, from Arc Elliott’s compelling concoctions to Meechy’s raspy, full-throated raps and Zombie Juice’s sing-songy hooks and spiritual-political leanings.

J. Cole has a gift in turning tears into teaching tools and KOD is a concise, leather-bound audiobook of invaluable life direction goals.

With Care For Me, Saba accomplished his objective by making an album that can endure for years to come.

Keith has built an entire career on his abstract, stream-of-consciousness rhymes, which scream loudly throughout the 11-track project. ... An undeniably intriguing affair.

Equipped with drowsy articulation tinged with a melodic pinch of raspiness, Xan is far from an astute lyricist but isn’t actually a slouch on the mic in terms of flow and rhyme schemes.

The few times she steps out her killzone results in messy break-up anthems such as the languid “Be Careful,” a pop chart over-reach where strained vocals and vulnerability make for a mismatch. To her credit, Cardi is fully capable of spitting bars with brazen energy.

Yes, it’s true the mini-album doesn’t break any new ground, and--as he’s done in the past — revisits elements of previous projects. However, without the bloated tracklist of Starboy, and any attempt to please an audience outside of his core, the lack of innovation doesn’t seem take away from the concise, focused, conceptual nature of this well-produced R&B gem (thanks to Frank Dukes, Mike Will Made It and several other notables).

This isn’t a simple listen. The lyrical punches fly faster than a speeding bullet, making it impossible to digest the staggering amount of content in a single sitting. It requires an acute attention to detail and several run-throughs to truly capture the brilliance of the project.

Lil Boat 2 is a simply a weird musical vacation that sets sail into the strange mind of the impactful red-haired youngster.

Minor potholes aside, Victory Lap not only boosts Nipsey’s stock but it raises expectations for the next time he eyes a checkered flag. The benchmark for quality has been set and the race to officially hit the championship podium is only getting revved up.

Genre inconsistencies aside, Effected is a clear statement Cozz doesn’t just want to be the conversation with the best rappers.

There is by no means dazzling wordplay, vivid storytelling or smash hits to be indulged through Amen but there are some strong beats courtesy of the man himself.

Sitting at 11 tracks and clocking in at a relatively short 40 minutes, the project is an exciting blend of vibes. The project’s sound is diverse, traversing a lo-fi, basement aesthetic, A$AP-level soundbeds and Yeezy-esque ambient experimentation. The glue is the careful curation of the listening experience and--without question--his lyrics.

While the bulk of the songs can’t disguise their rush-job origins, tinges of Trap Boy Magic do spring up from time to time.

It’s the stellar storytelling that elevates East’s themes above standard thuggery and stamps P2 a memorable affair.

While he may not be at the level of Compton’s Most Wanted’s 1992 classic Music To Driveby or DJ Quik’s 1995 magnum opus Safe + Sound, Perico is making a valiant effort to get there. To his credit, he’s reignited an interest in G-Funk during a time when trap music and one-hit wonders rule the airwave.

Huncho Jack, Jack Huncho conveys exactly what fans might expect from two of the hottest trap rappers out. Soaring, robo-rhythmic tunes? Check. Endless braggadocio? Check. A seamless blend of vocoder-tinged singing and cocky flows? Check, check, Nike Swoosh. But don’t expect a structured, meticulous project. Rather, it feels as if La Flame and the Migos leader went into the studio, indulged in the ganja, and all grooviness broke loose.

Super Slimey falls tragically short of being considered a strong joint project and it’s inherently clear that they still shine brightest as individuals.

Woods brings a lot of strong vocal performances to this project that get mixed smoothly with the production staff’s downtempo rhythms. Those seeking more upbeat output from Woods will appreciate the few times there are bustling bumps in the baseline but at its core it’s the type of hour-long album that makes for a perfect rainy-day playlist.

Pressure will appease fans looking for mindless tunes to cruise or smoke to but Snowman’s reluctance to push the envelope at the risk of alienating his longtime congregation is simply frustrating.

Established formulas of pandering singles and assembly line choruses aside, The Beautiful & Damned possesses enough serious assertiveness and classic Bay area slick talk to get burn well into 2018.

While Rubba Band Business: The Album is far from the iconic and groundbreaking material this man has created over his storied career, Juicy still champions a project fans of the Memphis rap legend can still find appetizing in a few morsels.

The work and musical experiments Brockhampton has proven to be a successful one. Tradition means nothing to a project like Saturation III, as constant themes of vulnerability poverty, violence, sexuality gives listeners nothing but honest perspectives.

While Em’s bullheaded decision to experiment with the flow should be heartily respected, it doesn’t shroud the fact that he’s not charting any new territory, at least topically. But it’s largely the retreads of past glory where he hits stride the hardest.

While it would be easy to get lost in the eclecticism of the album, that’s frankly what makes N.E.R.D the group they are.

It’s disappointing no standalone soundbed reaches the hypnotic levels of Sean’s “Bounce Back” instant classic, but there’s still a tremendous amount of experimentation worth noting throughout the 10-song ultimate misfire. ... Sean spends a ridiculous amount of time skeeting on tracks with no filter on the filler.

Not surprisingly, Kweli truly shines on the politically motivated tracks when he’s able to rap about things he’s passionate about.

A lot of the otherworldly iterations might make it difficult for some of his peers to grasp, especially if you don’t have the time to properly digest it. SYRE requires patience, a thorough listen and acute attention to detail otherwise it’s just going to sound like a strange pontification on existentialism that the casual listener simply doesn’t have the time to decipher.

Like most projects that get recorded without the guise of a meticulous A&R, Without Warning’s billing never exceeds the expectations of any artist--rapper or producer--let alone offer a glimpse of what allows these individuals to rank amongst 2017 Hip Hop’s most popular figures.

Even with nothing to truly prove, Ty Dolla $ign managed to once again assert dominance in an overcrowded lane of crooners who get likened to rappers.

It does highlight Justin Scott and Big K.R.I.T. in their truest essence; spiritual, witty, and loyal to Mississippi, with overly soulful, southern production. Thanks to 4eva Is a Mighty Long Time, Justin Scott has once and for all ensured that his musical legacy is worth remembering.

Rapsody evolves on this latest album--increasingly comfortable revealing a wide range of personal facets while developing into an apt storyteller.

The album doesn’t move the needle for Guwop’s creative progression forward and at times sounds as if it doesn’t even aspire to. In a nutshell, Mr. Davis is simply a party celebrating Gucci’s personal growth alongside his star-studded friends.

The Saga Continues is not the home run that Wu-Tang Clan fans have been waiting for, but to keep the baseball analogy, it’s an RBI double. Mathematics does some much-needed course correction.

When Macklemore deviates from his familiar sound, he gets mixed results.

Luv Is Rage 2 is proof that Lil Uzi Vert is simply an artist who succeeds in makes music he loves, for people that hold tightly to his carpe-diem attitude.

While Vol. 2 provides instrumentation that commands each track. Most of the beats consist of rattling snares and melodic 808 drums that drive a uniform basis without sounding totally identical.

This is an impressive showcase for his fans.

It’s unabashedly fun and a refreshing celebration of sample-based beats in a genre largely moving away from them. There’s no deep thinking or worldly insight here, but Bronson has never tried to be that artist. He sticks to what he does best and succeeds in doing so.

Still Striving is yet another noticeable notch in his growing catalog that might just make his fellow Mob members, specifically Rocky, understand it’s time to really start putting in work.

This debut shines so brightly in comparison to what Aminé’s contemporaries are passing off that it may be easy to forget that it is not exactly a groundbreaking album. Regardless, the rookie should be commended for crafting an honest, entertaining and revealing album.

Sounds Of Crenshaw Vol. 1 feels like the ideal soundtrack to the iconic 23-mile street named after the real estate banker George Lafayette Crenshaw. It won’t transcend to other hoods but Martin and crew win by developing a project that’s sonically ambitious from beginning to end.

Clocking in at 47 minutes, the album is both Tyler, The Creator’s shortest and most cohesive album to date and is full of introspective admissions that logically line up with his public character.

What hampers Montana the most on Jungle Rules are the album’s most compelling features--the actual features. While his ear for strong cameos remains a key ingredient to his success, it’s also taking away from his artistry. Montana can certainly make a song but guest stars shouldn’t be constantly stealing the shine from the headline act.

The budding star easily could have played it safe and stuck to a winning formula, which remains a strong suit (i.e. Issa’s “Bank Account” and “Close My Eyes”). Instead, he challenged himself to be more musically ambitious. While his experiments didn’t produce dynamic results, the positives overshadow the negatives.

Celebrating their 30th anniversary, there’s still plenty of life in the elder statesmen who once started a musical revolution.

Admiringly, it’s taken him his entire career to get to this point and a project like this finds him breaking out of the box he’s occupied since arriving on the scene.

There are several JAY-Z albums that are superior in terms of musical creativity, but never has the man behind the Roc chain been more prolific in thought. It’s catharsis on steroids, walking the tightrope between FYI and TMI.

The first half of the album, Khaled showed precise execution, stacking banger after banger. Had he sliced the album down to 15 or 16 tracks, he could have secured a very special project.

While Vince sticks with his most familiar narrative examining stardom’s futility despite it providing escape from former life’s struggles, his calling lies in finding provocative, edgy and unconventional ways to tell his story. Luckily, Staples’ choice to walk the road less traveled placing innovation at a premium over fame shouldn’t prevent his well deserved shine from gaining continual momentum.

While there are moments on Boomiverse that reminds you of who you’re listening to, the lows are painful and distracting, to say the least. Weak production and terrible hooks drown out the enjoyable moments of the supposed intergalactic trip.

Despite the lack of range, Pretty Girls Like Trap Music goes down as 2 Chainz’ strongest LP to date and will become a reference point for anyone curious about how the towering rap star can service their turn-up needs.

His penchant for memorable music makes up for a lack of dexterity and gives DropTopWop a strong sense of unique artistry.

Altogether a worthwhile concept that once deserved to see the light of day, excessive filler and intermissions dull the shine of a release should have been actualized while the public demand for Frank White vocals was greater.

Hip Hop’s gatekeepers will say that timing and the repetitive nature of Logic’s lyrics hurts Everybody but for Logic’s younger core fan base, especially those going through struggles of their own, his latest work will be the catharsis to keep them from plunging off the deep end.

Urgent and impactful as always, his heartfelt music succeeds at balancing out traditional drum programming with original music composition.

Pain is practically synonymous with art, so it’s not surprising Blige has delivered another round of raw, gritty and emotionally transparent songwriting.

There’s not much range here, just an excess of swag, but it’s worth a listen solely for the moments where Carti seems to accidentally stumble upon a wild flow (“Dothatshit!”), or an irresistible infection (“Half & Half”)

Whether it’s a future classic or impenetrable catalog builder remains to be seen, but once more, King Kendrick has proved through linear vision he’s naturally able to outshine the rest of the mainstream while still working to figure out the world around him.

Each of the eight songs on You Only Live 2wice can be taken as different scenes from a movie, with the one-trick pony effect dulling brighter moments such as “Homesick.”

Where GoldLink hardly breaks new ground thematically waving the flag for tortured souls aiming to survive ghetto violence, he has continually achieved sonic innovation having coined his own sub-genre “future bounce.”

ALL-AMERIKKKAN BADA$$ shows an ample amount of growth for a socially aware rapper discussing heavy issues.

With The Wild, Raekwon firmly grabs another trophy for the squad while continuing to pad his own hall of fame legacy in the process.

In an increasingly-predictable rap universe top-heavy with trolling mumble-rappers and formulaic pop-trap beats, Rosebudd’s Revenge’s quiet-storm menace makes for a surreptitiously potent punch of heavyweight Hip Hop.

Neither timeless nor immediately disposable, Rather You Than Me is an above average outing that displays why he’s steadily remained within the public eye without having a long line of record-breaking hits.

Other than the Yeezy collab “Glow” being a bit lackluster, primarily for being slow and sonically off-putting, More Life has very few stumbles and a plethora of exciting moments that will ensure this project’s shelf life.

While it may be a bit disjointed at times, Captain California reels in his superhero status as a gifted storyteller and proficient rhyme executor, making his home at Strange Music the idyllic place.

Packs is a noteworthy set loaded with supremely smart twists that capture the continuing evolution of a ferociously talented MC.