As its own EP, The Re-Up would help provide balance to the pop chart aspirations from last year. But as a tack-on for Roman Reloaded, it plays like a band-aid over a shotgun wound.

Please Excuse Me For Being Antisocial is the type of debut every breakout artist strives for. The album flaunts commercial appeal with hints of immense potential when it becomes more thoughtful, gritty and shows off Roddy’s knack for songwriting.

Tyler, the Creator still achieves an engrossing dystopian vision of Hip Hop that refuses to compromise to what fans and industry critics demand of him.

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.

His sophomore solo set, God of the Serengeti, sticks to the script, and that's not a bad thing.

The creative process seems more organized and thought out, allowing Nas to do all the things he’s good at, without embellishing any of them.

General Patton walks a fine line between putting his troop of featured artists in their place, while still showcasing his own five star pedigree.

Overall, A$AP Ferg’s Trap Lord, is a solid, if an sometimes-uninspired effort.

Life of a DON shows Toliver has a clear understanding of the strengths that have made him into a star already. It’s not a wack album, more so it’s just there, destined to be nothing more than late night background music.

With Dark Sky Paradise, Big Sean is prepared to leave his mark.

It maintains a musical energy intense enough to fuel a good party, yet throws in just enough of a dash of introspect to remind listeners that behind Jim Jones' exotic cars, empty bottles left behind at VIP tables, penchant for the drug business, and platoon of fly females, the man still has a heart.

Looking to make a convincing splash across the pond, Tempah offers up a hearty sample of talent and charisma with the aptly-titled debut album Disc-Overy.

Although the production and detrimental hyper-lyricism place Eminem’s worst habits on display throughout the album, there is plenty of good here. Extremely compelling is the theme of Eminem’s growth.

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

An indistinct retread of his past work that falters further under self importance and desire for ambition that falls flat.

Czarface Meets Ghostface is far from a “bad” rap album despite having a seemingly uninspired rap trio. From a bar-for-bar standpoint, the rhymes on here are better than a lot of today’s modern offerings but it’s missing the menacing attitude which is often times half the battle.

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 it’s own merit; Barter 6 is the definitive mainstream strip club album of the modern era.

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.

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.

Ghostface Killahs won’t shake up the current Hip Hop ecosystem but does offer a gritty detour down those commercial highways. But longtime fans could argue the project is his strongest since 2006’s Fishscale.

One Of The Best Yet makes a strong case that its chain and star logo is Hip Hop traditionalism’s version of the Union Jack flag to salute where credit is due to one of rap’s greatest MCs and duos yet.

While the boastful rapitty raps are par for the course for an artist of DMX’s tenure, he shines even brighter on the more broodingly beautiful “Walking In The Rain,” which features another appearance from Nas.

Magic 2 has a high floor as a rehashing of a proverbial tried and true formula of a Nas and Hit-Boy collaboration. It can still be magical, but you’re left with the sense that Hit could use a few new tricks.

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

From a technical standpoint, they're still rough around the edges; a weakness that can be improved over time. More importantly, their hearts seem to be in the right place, which can't be said for many of Animal Farm's peers.

The project succeeds in tying its theme of spiritual crisis amidst stardom to an analogy for the struggle to satisfy purists, but the overall results for this concept are fairly lackluster.

Overall, Bobby has bars for days--and days--and as a consistent top to bottom play, YSIV has vibrant energy.

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.

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.”

Overall, Extinction Level Event 2: The Wrath of God is a welcoming addition to Busta Rhymes’ extensive catalog.

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

Gift of Gab is a craftsman, and achieves goal to provide uplifting music.

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.

His rapping capabilities are clearly present and his newfound singing abilities hints at some more engaging possibilities down the road. But in order to translate those skills to his listeners, he’ll need to stray from the path already traveled, quit trying to prove himself and blaze his own trail rather than trying to please every rapper dead or alive he clearly wants to become.

The light, nimble, casual nature of Robed in Rareness makes it a pleasant interlude within the Shabazz Palaces discography.

Despite some solid songwriting about addiction and mortality, Macklemore’s comeback album still experiences the same struggles with corniness and over-sincerity that torpedoed him from a household name to an afterthought, leading to a mixed bag that’s more admirable than actualized.

MFH2 frequently chooses to forgo these extremes that make Gates riveting, opting for something more middle-of-the-road.

Gutter Rainbows is a fairly easy spin, and can go into the listener's steady rotation in a pinch. That being said, this feels a bit like a subdued version of Eardrum.

The release of his third studio album GO:OD AM showcases maturity beyond Miller’s years, the result of which is a cohesive project that is as cohesive as it is profound.

The 17 tracks that precede Oldie are a hodgepodge of styles and line-ups; they're random in an ineffective way, with crew members seemingly shoe-horned together and the songs rolled out with little thought as to how the mixtape-slash-album plays as a whole.

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.

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

The album is full of minute details that highlight Durk’s complexity as a character and a writer, wielding pain with a skill far beyond others who call themselves melodic rappers. However, too often the production formula runs stale as the piano-led instrumentals mush tracks together.

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

Overall, Saaab Stories is the meeting of two artists who push the old Hip Hop formulas to new places unlike other ‘90s era revivalist types who would rather cling on.

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

The fact that it’s 22 songs only highlights how disorganized the project is. There are some tracks that I actually like scattered throughout, but none that really compare to the best from his previous projects. His two mixtapes were also similarly eclectic, but these collaborations feel less exciting and more calculated. ... The Big Day will go down as one of the biggest disappointments in rap in recent memory, in no small part because Coloring Book was so great.

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.

Bold and indulgent, God Forgives, I Don't embodies why Rick Ross has become a fixture that listeners can depend on, as well as an executive who can strategize success for not only himself but others around him.

The flows are slicker, and the hooks more engaging. His writing is still standard fare for Gucci, but he doesn’t hesitate to play with his delivery.

At its very best, Seen It All is a glimpse into how Jeezy can make his living on the back nine in a crowded subgenre with no use for him anymore: By recalling the most chilling details of his drug dealing past with a flashback-like crispness.

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.

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

More Beautiful Than Silence, is one of the year's most authentic rap collections.

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.

It’s the subtle sequencing--deliberate to show his progression--that elevates the project from merely a delinquent to being the tale of a reformed man.

The listenability is at an all-time high, but the writing itself is still lackluster.

The L.I.B.R.A. could have benefitted from a few snips here and there, but overall it’s a reasonably satisfying listen and a tangible reminder that the self-proclaimed King Of The South hasn’t lost his edge.

Southsiders is a solid album. The production is consistent and there are moments of enlightenment from Slug. But due to Atmosphere’s already extensive catalog, it doesn’t easily separate itself from previous works.

He can use his voice for rapping and singing, but he’s still getting the hang of using it to truly deliver a message.

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.

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.

Weighing in at 19 tracks and 86 minutes, PP&DS sprawls to a fault, but it sticks true to its branding.

He succinctly gets his point across by instilling that much needed old-school nostalgia lacking in music today with nine tracks. Instead of diving into the album with a bloated guest list, Bruno and his production team, Shampoo Press & Curl (with assistance from longtime collaborators The Stereotypes) ensure 80s babies stay forever young.

Scarlet is an album worth hearing but not listening to. It’s still arguably Doja’s most gripping body of work to date because it sounds amazing, but it lacks the integrality to secure a legacy.

The Pinkprint runs a middle path between pop over exertion and real lyricism, creating an everything for someone aesthetic that Nicki doesn't allow to shift into wastefullness. As such, it is an ambitious undertaking Nicki has wrangled in highly entertaining fashion.

He gives a worthy addition to the series and continues his reign as one of rap's best.

With production wizards such as Mustard, Hit-Boy, Cubeatz and more on deck, the production checks all the boxes as steroidal bass and encompassing synths permeate the project for modest results.

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

There are some run-of-the-mill features from Lil Wayne (“Bout That”), French Montana (“Going Crazy”) and Chris Brown (“Pretty Diamonds”), but the rest of the supporting cast help elevate below-average tracks.

The Infamous Mobb Deep is a return to the roots of their artistic consciousness, substantiated almost 20 years ago, and with fine precision.

Despite the house and dance beats and Marc Anthony features, Pitbull is still a rapper, and a decent one at that. He has definite personality on the mic, a trained and well-executed flow and delivery, and an ear for a good club banger.

Using Wolf as a platform to let his imagination run wild while remaining accessible, Tyler, the Creator displays maturation on his own twisted terms.

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.

Shoot For The Stars Aim For The Moon offers a fleeting peek into the artist Pop would become—beyond Drill, beyond Brooklyn, beyond even the United States.

It’s a curious turn, but one that finds them as oddly whimsical and satisfying as ever.

Offset or no Offset, Quavo and Takeoff’s stylistic DNA holds steady. It’s home-grown. It’s theirs, and it’s as potent as ever.

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.

He’s let the high filter out more of the revelation, and it sounds like a more accessible piece of entertainment than his last. It’s not the call to arms some expected, but Ab-Soul is as convincingly conspicuous as he’s ever been.

With welcome to: OUR HOUSE, Slaughterhouse has somehow managed to improve upon its already-absurd skill set.

Longtime Swollen Members fans likely won’t raise an eyebrow, but the consistent horrorcore references are likely to turn off potential new fans that aren’t down with the macabre subject matter

Common has been delivering solid material for three decades, but this album can be chalked up as a mediocre comeback, not for lyrical ability. Rather, it’s for the lack of soul “by the pound” in the album’s soundscapes. It just doesn’t hold as much weight in his discography.

With Food & Liquor 2: The Great American Rap Album Pt. 1, Rap's resident Judo master of juxtaposition sounds inspired again, dishing out shifting dichotomies through a scattering of deliveries without encroaching on petulance.

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

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.

With this sequel, Minaj transitions from innovator to adapter, producing a polished collection of songs that stick to the Rap trends that are hot right now, not quite living up to the expectations of the original, but still giving her fans a solid body of work that asserts her legacy.

King of Memphis has all the ingredients of a breakout debut album with 12 featureless tracks but it settles in as another conventional Dolph project.

There are 21 tracks on jammed with booming, mellow Atlanta trap flare and some inconsistency between bangers and filler tracks with similar minimalist, psychedelic soundscapes.

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.

Girl On Fire pushes her superb writing skills forward without losing what makes Alicia Keys the artist she promised to be 11 years ago.

There are without doubt a few tracks on this album that could make it to your favorite ScHoolboy playlist but said “few” don’t outweigh the remaining dozen that fall flat on their blank face.

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.

Aside from “Run Away,” none of the tracks on Bush are utter drag-and-recycle-bin drop material, the album is a surprising letdown from two legendary artists who have (literally) a platinum track record.

Musically, he is maturing before our very eyes.

Drake feeds his own ego and starves his humility. There are engaging moments scattered throughout, such as the subtle outro to “9” or dvsn’s stellar turn on “Faithful,” but from the content to the execution, Views is strangled by the 6ix God’s own delusions.

The Idol’s soundtrack narrowly avoids disaster thanks to a few good guests and captivating solo performances from its lead, but just like the show, it severely mishandles its women. Lily-Rose Depp has a decent enough voice but instead, she’s relegated to generic pop girl, while Suzanna Son doubles down on the Halsey effect to make her voice stand out.

There is still enough variety in styles that make it a successful conjuring. And, once there, the free-form melting pot of production and vocals continues to satisfy.