H.E.R. doesn’t push the genre or her artistry forward with this debut, but she more than proves herself a worthy torchbearer for the art of R&B balladry.

Skepta manages to craft his best yet with Konnichiwa. A concise project that focuses on taking him past his south London ends and into Hip Hop’s mainstream. ... But if he really wants his career to truly win over the Yanks, some of those subpar lines need to be cleaned up.

Fighting Demons embodies Juice WRLD in that way: a flawed project with moments of brilliance that feels uncomfortable to listen to but isn’t ashamed of its naked humanity. And in that aspect, it becomes a balancing act of the man and the artist, melding the two to create a project that’s earnest and authentic — just like Juice WRLD.

On The WZRD, he spends most his time refining his formula or simply being lazy. Either way, it’s clear that Future is way too comfortable.

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.

Once again Drizzy has found a way to craft songs that will deeply resonate with some and less with others, continuing to get listeners to press play — quality be damned. Even with its faults, Dark Lane Demo Tapes has already built anticipation for his next album scheduled for this summer.

Subversion is what distinguishes Never Enough from his previous efforts. Instead of sprinkling female voices across the album as he did on Freudian, this record exclusively focuses on the male perspective — save for a handful of background harmonies from women and a Summer Walker remix on the deluxe.

On GRIP, the singer-songwriter has a voracious appetite to be loved, but equally apparent is his capacity to give love, too. This is an album of romance and sexuality, but in these general terms is a symphony of emotions and feelings.

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.

Other than polished vocals and drastically better mixing, Lil Pump sounds the exact same as he did when he dropped Lil Pump; zooted on Xans, lean, and without a care in the world. The rapping is simple, the concepts are easy to grasp as he pretty much gets straight to the point on all 16 tracks (said point being the drugs and money he bathes in excessively).

As a follow up to the massive success of her self titled – and only her second full length feature, Heart on My Sleeve does what needs to be done to secure Mai a path to longevity.

There’s plenty of substance peppered in, but listeners will have to skip around to find it.

udas and the Black Messiah: The Inspired Album could’ve benefited from more carefully curated content (like Polo G’s surprisingly poignant take on the plight of Black men on “Last Man Standing”) instead of some of the tone-deaf material that wound up on the project.

It, like so many mainstream rap records, could be five songs shorter, and would be more successful if some of this fat was trimmed. Even though some of the material sounds like it was left over for solo work pre-tragedy, or supposed to be on the second Unc & Phew tape, it holds back an album that could have been in the best of the year conversation.

It's isn't exactly a new album or even an entirely new mixtape, but taken at face value, Fear of God II is a solid collection of tracks.

Short but sweet, Disrupted Ads chalks up another win towards Oh No's already prolific legacy as one of the present underground's consistently effective studio rats.

Despite losing the laser-like focus of their earlier mixtapes, When Fish Ride Bicycles is a fun, well-made album that brings several welcome additions to their catalogue

Every Hero Needs a Villain is simply an enjoyable listening experience that any longtime Hip Hop fan is sure to appreciate.

For better or worse, at an overwhelming 23 tracks, It’s Only Me is more of a playlist experience than a concise and focused album, an endless stream with occasional stylistic flourishes but a mostly consistent energy.

While Shaolin vs. Wu-Tang at face value might not be the most agreeable title for Raekwon's album, a closer look would prove it's actually perfect.

Together/Apart is musical therapy for those who find themselves caught under the pressures of life.

While SremmLife is thin on substance, it’s built for clubs and late night adventures. Perfect for the time where sunglasses and Advil are eventually needed.

While Ghost can tell a story and his skills are sharp (despite Action Bronson’s recent claims to the contrary), he’s sounded far more at home on this past winter’s Sour Soul LP with Hip Hop jazz band BadBadNotGood.

Overall, The Buffet is a satisfying dish.

Side B is a 16-track expansion that delivers familiar territory with some pops of Em at his sharpest.

Ronson and company created an album that’s accessible by all, a little bit of everything that everyone wants to hear.

For now, MHz Legacy fits the group's journey quite well with strong highlights and a few struggles along the way.

Rodeo's back end after “Antidote” begin to mesh together and gets repetitive.... Nonetheless, the originality of Scott’s sound within this new movement provides for a strong rookie effort leaving the listener excited for a career that is just getting started.

Eat Pray Thug is a remarkably moving opus condemning ethnocentricity and wallowing in relational grief.

It's another solid collection, complete with radio hits, club bangers, and introspective ballads on her favorite subjects: love and sex.

Moody and downbeat with lots of anger and frustration, yet still rousing and conceptual, Copper Gone is just open and honest enough for fans to really feel for Sage, yet guarded enough to contribute to a real sense of mystery.

Given TDE’s ever-increasing appeal, Oxymoron isn’t quite an elite offering, but it meets the difficult task of attracting casual fans without straying too far from the formula that attracted ScHoolboy Q’s core audience.

For anybody who's ever considered Rap cliche or walked away believing all has possibly been said, this is one emcee whose writing and candor is trailblazing the conversation.

Dreams Worth More Than Money is a slight misfire for Meek Mill, but enough is there the we think he can eventually achieve in his music the high he’s achieved in his personal life.

While not DS2 nor What A Time To Be Alive, Purple Reign is an important Future release because it shows an artist continuing the work of discovering his best talents while also staying well within his own, now well-defined zone.

Port Of Miami is just better than Port Of Miami 2. ... This album is solid, not spectacular. ... This album’s in the middle. It’s something that shouldn’t be regarded as offensive to ears or must listen. It’s satisfactory. It’s great if you need another fix of Ross. It’s completely fine to skip if you don’t.

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

All in all, the Wu remains palatable. They each have their own skillset they bring to the table, and all of them do so with varying degrees of grit on the album.

Even though the first half of the album skates by simply on its beats (“Boomin’” pairs a light, airy set of electronic chimes with an ominous set of horns in the background; “What It Be Like” featuring Nipsey Hussle is luminously jazzy for Stalley, much like the later track “Free”), Ohio’s second half is much closer to vintage Stalley.

Frankly, it’s a listen that’s pretty enjoyable and well rounded. It could just stand to be a more tightly knit as a body of work.

Though their formula is simple, the pair takes precisely measured efforts to make sure each song remains true to their refined essence.

Dom Kennedy once again makes another solid effort that’s perfect for the mid-summer kick-back.

Aside from the lack of significant risk-taking, Teyana Taylor generated a debut album that is honest and well produced. And while she takes absolutely no risks on the album, and her vocal range is limited, she never strays from what she does well.

Numbers can be applauded as the mature nature and notably impressive songwriting displays progression from MellowHype's older riotous material.

While other artists are constantly on the prowl for the latest trend that will keep their names relevant, Spitta never ventures out of his own lane, and yet, his latest material never seems to spoil.

Blade of the Ronin is a dense collection of music. Fans of lyricism will appreciate the wordplay, as well as the contributions from artists like Elzhi and DOOM, among many others.

As with so many projects with Prince Paul at the helm, it’s a genuinely intriguing sonic excursion.

Although it is still to be determined if Thugger can step it up a couple of notches for an album that will be touted as an official release, I’m Up doesn’t offer up any reason to doubt him.

Though not the blow away success that meets the considerable hype surrounding its debut, What A Time To Be Alive certainly features 2015’s top-selling rap superstar duo turning up and having a helluva lot of fun.

While it is impressive how much Albarn squeezes out of a piece of equipment that most would assume isn't up for the task, this is ultimately a tour-bus album--several songs are even named after the cities in which they were likely conceived.

Challenging listeners on Cellar Door, their next level aesthetic is a double-edged sword since the strong flows that help them stand out require great effort to process.

When Love Story is great, it’s when the unique pieces of Yelawolf’s life discover similarly off-kilter spaces in which to manifest a new voice.

If Welcome to JFK is meant to take Chinx Drugs to a national level, the song structures may be right, but the content shows Chinx was still in transition of fully realizing this aspiration.

Blue Slide Park doesn't do anything to damage Mac's current status in the game, but it also doesn't do much to raise it.

While not setting the world on fire, it nestles its way warmly into your heart, soul and dancing feet.

Moreover, this work shows his place in Doomtree, but provides him a greater unique identity against his sister and brothers. Bad Time Zoo definitely raises the question of where the cages and bars are in 2011.

Ultimately, Blackenedwhite is conflicted, but quality music.

In an artist exploring her brand new self pairing with a producer doing his best to pair up beats with her wild new imagery, this one never quite meshes, but is yet still impressive enough to sit back and marvel at the emotive and lyrical force that Angel Haze is evolving into.

With a sound that’s one-third punk, one-third underground and one-third Yeezus, Doomtree’s All Hands is a work of lyrical importance covered up by synth notes and drum crashes, its messages left to be decoded by their fans.

Fishing Blues may not be your bag due to its pacing and down-trodden tempo but in between the suburban man bars should lay some appreciation for storytelling.

Less of a happy medium and more of a hard reset, RetroHash is the beginning of what may shape up to be the rebirth of Roth’s career.

Napalm finds X fluctuating between trying to recapture the sound he perfected when he was cavorting with the Aftermath staff, and exploring elder statesmanship a la "Thank You" from 2006's Full Circle. When he goes too far in pursuit of either extreme, Napalm falters.

The tension that fuels this album is exciting, dynamic, and worth examining. It’s when 21 sits back and coasts or tries to land a radio hit that this record comes up short.

With points rewarded for originality and innovation the composer's greatest strengths are also his faults, as this effort lacks cohesion and sensible sequencing making for an exercise in patience that only biased fans would process as a sign of genius.

Childish Gambino still manages to mostly hold our attention, though, because he concerns himself instead with his own terms.

Back In Black certainly sounds like the core duo is having more fun making music than in years past. The album features some of the best music the group has made in years but doesn’t stack up to their trailblazing efforts of the ’90s.

This album won’t go down as a modern day classic, nor will it slingshot NLE to the top of the charts, but it will give listeners a battery in their back for their next big gym session or block party.

The triumph of Rap Album One is that Wayne manages to experiment sonically while his rhymes maintain an undeniable true school appeal.

At this point listeners are either down with his movement or they aren't, and while We The Best Forever is a solid piece, it's not different enough from his previous work to change any minds about him.

While some may be upset that Murs isn’t the unruly rapper he once was, he’s managed to craft a project that remains true while growing up enough to talk about life in a radiant, maturity tinged glow.

Detroit 2 shows when Big Sean opens up and tells his story he’s an artist worthy of being in the conversation of the best of his era. He just needs to come back stronger with more airtight songs and not attempt to attract every audience that’s out there.

By Any Means is a lean 56 minutes, though Gates still finds room to entertain his schizophrenic tendencies.

Attractive Sin, an album that is sure to add to his discography as another solid effort from Sir DZL.

Give the Drummer Some finally officially opens the door for Barker to enter to world of Hip Hop he's always said he wanted to walk through.

Although those untargeted croons and messy arrangements don’t allow ! to be a perfect album nor Trippie’s best work, the album is definitely worth a stream for listeners already sold on today’s genre-bending landscape.

Because of QC’s careful curation of minimal features per track, the 36-song project feels more like Quality Control on shuffle than a compilation — which is a good thing but misses the mark on creating an album in the purest sense.

Azealia Banks has an endearing charm, magnetic glow, and aggressively attitudinal confidence that come together as 1991's short collection is equally catchy and unique rendering her one to continue watching.

36 Seasons may not be Ghostface’s greatest project, but it is another notable addition to his extensive body of work. Rapping alongside Kool G Rap and AZ for the bulk of the album is certainly a treat, and the two have their own moments of glory. Production, on the other hand, simply does not hold on to the lyrical dynamism present between Ghost, Pharoahe Monch, AZ and G.

The songwriting is so intentionally simple and evocative that you’re as much sucked into wondering just what she’s going to say next as much as you just want to hear a high-quality song.

No Mercy takes T.I.'s recent experiences and frustrations, and effectively bottles them up into a potent and complete work.

While her voice may be a point of contention for newcomers and the album's content risks going over heads in its catering to the progressive sect, openminded listeners will find fortune, self-esteem, and inspiration from her constantly growing womanhood.

As much credit as the pair deserve for creating a modern approximation of Ennio Morricone, Rome is more likely to lead to watching one of Sergio Leone's classics than replaying the album itself.

A trio of high-profile tracks near the end of MNIMN offer the best of both worlds in terms of Pusha T catering to the Top 40 crowd and still supplying the uncut raw fans expect.... Sadly these moments are inconsistent and broken up by generally ill-fitting production.

Die-hard Funk Volume supporters get everything they want and more with Knock Madness.... But casual fans and savvier listeners may ultimately find Hop’s latest frustrating.

The album slightly suffers from copycat syndrome with "Initiation" being the latest in Hip Hop's long line of Lex Luger replications (guest starring Lola Monroe, Taylor Gang's Nicki Minaj soundalike) and "Remember You" following the trend of working with drug chic singer The Weeknd, but Wiz Khalifa mostly succeeds at occupying his own comfortable lane.

He’s established a solid, consistent repertoire, one he should be proud of on its own merits if nothing else.

Smoke DZA and Harry Fraud deliver a solid collection of songs that grow more interesting on repeated listen, basking in an evolved sound equally representing vintage and avant-garde New York Hip Hop.

While Sail Out meets expectations of what Jhene fans have come to expect, it’s unlikely to convert doubters.

WZRD's strengths are rooted in Kid Cudi's vocal tone, one that is gripping and melodic despite his quite limited singing ability.

Ultimately, fans of Aesop will love this release, but those who have yet to find a reason to listen to his music won't find one here.

It's serious when necessary, occasionally triumphant, and impressive enough that you have to consider him a force to be reckoned with.

Throughout Free Weezy, Wayne is merely drawing in the spaces on a coloring book rather than in unique hues.

What it lacks in lyrical depth it makes up for by being a catchy, entertaining and completely in the moment snapshot of the current turned up, hybrid of R&B and Rap for clubs and bedrooms.

Oh No's execution is slightly off the mark in sticking to its motif, but that shouldn't detract from the goods he's brought this time around. We can dig it.

Cats & Dogs is a moody, well-produced album that, at times, is brimming with meaning-something not entirely common these days.

Self Made Vol. 2 is a noted improvement from its predecessor.

From mic to plug, Wu Block is a vintage Rap release only lacking in invention.

Overall, In Another Life is an easy, efficient listen, that caters to all facets of Bilal’s musical identity.