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.

In sum, the mysterious Tahliah Barnett has created a devastatingly beautiful and industrial debut.

While the compilation deejay/producer album tends to have it’s share of woes as too many cooks spoil the broth, Statik Selektah balances out this tendency with solid production that invokes images of the days of Hip Hop yore.

While the misses hold Blacc Hollywood back from being great, Wiz still reminds listeners that regardless of what they’re looking for, he’s capable of providing.

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.

Directors of Photography is a top-notch effort. Production and lyrics are both outstanding, and there are few qualms, if none at all.

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

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.

Throughout this descent into 2 Chainz’ world he vacillates between the surface level fun of his previous recordings and the slightly introspective allowing us to see the other side of the man formerly named Tity Boi.... Interestingly enough, these contradictions make the tape more fun than anything we’ve heard from 2 Chainz in a while, and, equally, it shows the most fun for a listener is a hint of depth added to a raucously good time.

Nobody’s Smiling is defiant, as full of commanding musicality as it is of Common’s own provocation.

Wild, yet well-delivered songs showcase Songz as a master of a now lyrically unrestrained mainstream R&B standard.

Even with its melancholy closing, Dark Comedy is an incredibly fulfilling listen.

Neon Icon seems aimless and not very well thought out.

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.

When listening to this record, there isn’t much to enjoy or appreciate. It’s a struggle to sit through, partly because it reads like the ramblings of an ex-genius turned affectless braggart, but mostly because it’s monotonous and unimaginative.

Good To Be Home is the better, more streamlined version of Blu’s nonchalance.

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.

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

It attempts to do many of the same things [as Kilt II] sonically but falls short of the mark.

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.

When an object in motion has been in as much motion as Kelis has been in the past four years, finding rest in soulful vibes and plaintive melodies, an album that invites rest for the artist as much as it does the listener is a welcomed, intriguing and appreciated listen.

Much like with W.A.R. and Desire, P.T.S.D. seeks to accomplish more than just keep Pharoahe’s spot on the criminally-underrated lists warm; instead, it makes a case for placing him among the Chuck Ds and Ice Cubes as one of Hip Hop’s sharpest social voices.

Z is strongest when SZA avoids usual Pop tropes. Too many songs are about being left brokenhearted, and don’t add much to what’s already been done.

He’s returned with a slightly updated, less flawed version of 2012’s Pluto.

Iggy Azalea’s The New Classic aims high, but ultimately falls flat.

The trouble with Illmatic XX isn’t what you hear, but what you don’t hear. In a vacuum, it’s an unexpectedly well-preserved snapshot of Golden Era, New York Hip Hop. Sonically, it strikes the perfect balance between cleaning up the original recordings through the advent of digital remastering without eliminating subtleties such as the crackle of a needle over vinyl.

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

Breaking fresh ground with the latest addition to an already prolific catalog, Gravitas finds Talib Kweli simultaneously wearing the hats of businessman and creator.

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.

It’s a tepid set of songs that will undoubtedly satisfy his growing fanbase and, if lucky, make a run with the right program directors. For the rest of us, and not by design, Winter & The Wolves leaves you more than a bit cold.

Remember Me’s faults definitely hold it back, but it’s still largely likeable and satisfying when it comes to simply being festive West Coast party Hip Hop.

With the exception of “Me & My Bitch” (a tale of two way infidelity) wedged in between a festive midsection, the Pushaz Ink crew has pieced together a well sequenced and cohesive package with My Krazy Life, but this aspect and his street credibility aren’t enough to win over naysayers expecting an overall greater performance.

As Gangster Rap, Piñata is free of conceptual pretense; it’s a slice more than a thesis. It’s also a new benchmark for Gibbs and may end up as a career calling card. If nothing else, it quickly sounds like one of the year’s best.

He should listen to Rise of an Empire more closely, though: He may be part of an empire now, but it’s looking more and more like Rome in decline.

If only its last few tracks were just as focused and compelling [as "Wake Me Up"]. Lift Your Spirit only suffers when it winds down, as it panders to Blacc’s booming audience.

While G I R L is too surface-level at times, it hits the target it’s aimed for.

Mastermind simply lacks flair.

Scott Mescudi made an EP’s worth of material feel like an album, and he did it without surrendering his artistic integrity in the process.

When an act features the level of execution that Major Lazer showcases on Apocalypse Soon, it makes the likely forthcoming full synergy of dance, Rap and pop not so much regrettable, but palatable and completely welcomed.

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.

Every story and every hook connects on a human level, which in a Rap game moreso than ever defined by absurdity and ephemeral aspirations makes this a worthwhile listen.

The seven-track offering spills alpha male-isms from a “money-over-bitches” point-of-view, yet remains sultry enough to appeal to the fairer sex. It’s a tenuous balance Ty walks like a seasoned tight rope artist.

It all adds up to a quality album that manages not to take itself too seriously without resorting to being dumb.

What My Own Lane ultimately lacks is a true sense of creative risk from Kid Ink.

At the end of the day, I Am’s overall passable production and flashes of potency and strength keep it afloat for a time.

In the end, Marci Beaucoup is a nice victory lap that falls just short of Reloaded.

It’s hard to blame B.o.B. for wanting to acclimate himself to a different scene. But the startling lack of creativity he exercises in doing so makes Underground Luxury easy to write off, and the duality that once powered crossover appeal is now hard to detect.

If there’s one thing you can take from Beyonce, it’s that you never have to feel “bored” as she describes in “Ghost.” There’s always room to innovate.

In addition to being Dam Funk’s best production work to date, 7 Days Of Funk is Snoop's most enjoyable album in years.

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

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

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.

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.

As a byproduct of a team that has actualized potential for groundbreaking contributions, MellowHigh misses the mark by a wide margin.

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

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.

While Suffering From Success has all of the coherency one would assume comes from locking down the A-Room of one of Cash Money Records’ studios, DJ Khaled offers none of the earmarks which have previously separated his collections from everyone else’s.

No Poison No Paradise is Black Milk’s best album, and one of the year’s best in Hip Hop so far.

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.

Proving himself one of today’s most flexible emcees, Old’s back end is Brown’s furthest departure from straightforward Rap to date, with him successfully adapting to faster 4/4 tempos reflective of the more erratic subject matter.

The Foreign Exchange have transformed themselves from a bastion of jazzy Hip Hop into a crossover group more akin to R&B’s soulful beginnings than the underground sound that was synonymous with Little Brother. Ultimately, listeners are the beneficiaries.

It’s a true spiritual successor to the original, and is everything fans could have asked for: a worthy follow-up, well-thought-out standalone project, and a very necessary commentary on society, government, and machinations by which the two interact.

It’s obvious Justin had quite a bit to say but sometimes, some things are just better left unsaid.

Nothing Was The Same showcases new skills--trimming the unnecessary songs, and focusing on narrative details the way he does on “From Time”--that will strengthen Drake’s arsenal and help him continue to cement his status as a pop-rap heavyweight for years to come.

Overall, the album lacks the shine and luster of the previous two Maybach Music Group compilations.

Take it or leave it, Wise Up Ghost is great.

This album is a polished, lateral step with an accompanying barcode for Weeknd’s fans. And outsiders looking to understand his appeal are likely better off downloading the three mixtapes that preceded the album.

Loyal 2 Chainz supporters and casual fans may enjoy B.O.A.T.S. II: #MeTime as functional, turn up music. But listeners that don’t fall into either of those categories would do well picking up more uniform offerings from similar artists.

There’s no doubt that this project will have traction with some listeners, but that will based on the names involved and not the quality control (or lack thereof) presented.

There’s no glorifying of childish trends or negative influences, instead Monae favors creating music that could be embraced by varying demographics and is molded to withstand the test of time.

Existing within that world that overlooks lyrical competence or any moral deficiencies, there are enough instances where the veteran’s effortless style starts veering too close to effort-less.

For those willing to experiment, Age Against The Machine serves as both a piece of art and a rewarding risk in an age where established artists are fearfully playing it safe.

As a whole, the feel-good album’s set of eclectic beats doesn’t disappoint, but it lacks diversity.

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

Where he has yet to master the art of making complete songs (“Uncle Al” clocks in under a minute long) and his diction tends to lacks clarity, Earl paints pictures in a manner more poetic than just about all within his peer group.

The album is repetitive in nature (a sure complaint for anyone highly critical of his solo work), Prodigy continues his largely consistent reign as a still thriving pioneer of New York’s once thugged-out era.

There are a few holes--the project’s length and forgettable appearances (Wiz Khalifia on “See Me”)--but overall, it’s an incredible album that will keep that hint of burgundy in the sky.

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.

Ace Hood fails to deliver on Trials & Tribulations, and with four albums under his belt that have produced similar results, no rapper has arguably done so much and so little at the same time

It doesn’t introduce a new sound, nor does it feature many moments we haven’t heard before. Yet what makes this album important are all the reasons Hip Hop needs Freddie Gibbs. On any one album, he can give you pieces of Tupac, UGK, Three 6 Mafia, and blend them into a harmony that would make Bone Thugs-n-Harmony proud.

It’s a harsh listen that’s likely more obscure to casual, Top-40 listeners than R.A.P. Music. That’s too bad for them, because Mike and El-P seemingly unleash every item in their B-boy tool kit this time around.

It’s a harsh listen that’s likely more obscure to casual, Top-40 listeners than R.A.P. Music. That’s too bad for them, because Mike and El-P seemingly unleash every item in their B-boy tool kit this time around.

Magna Carta Holy Grail is where Jay-Z’s emceeing finally meets his “High Rap” ambitions. This is easily the best rhyming Jay’s done since American Gangster. But a sharp Shawn on the mic isn’t a surprise. What is a surprise is that this is the most cohesive project Jay’s put together since The Blueprint.

While not without its flaws (the “Bad” remix was unnecessary, and probably done simply for the big name feature), those questioning the direction Wale was going post MMG affiliation will more than likely be pleased with The Gifted.

Whatever adolescent deficiencies Mac Miller dealt with throughout his prodigious rise as Rostrum’s second brain child, Watching Movies With The Sound Off genuinely keeps him grounded for a calculated performance that will earn him the respect he’s craved since his Easy Mac days.

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.

While the album might incite a little listener’s fatigue in a single session absorption, it functions well as an inspiringly crowded display case of quality Rap in 2013.

Yeezus--like Yeezy--is jarring, uncomfortable, uncompromising and courageous--all the things that initially made Hip Hop great.

Though not his greatest body of work, it places his cunning lyrical skills front and center while showcasing his and Scram Jones’ identical ears for quality, bass-heavy production and the fact that gangsters want to have a little fun, too.

Notwithstanding a couple musical blemishes, IV Play diligently continues The-Dream’s tenure as one of the premier acts in R&B.

Overall, it’s an album embedded with enough humor, knowledge, and obscure Hip Hop references that will force listeners to keep this one in rotation.

Excuse My French comes off as extremely formulaic.

Kool Herc: Fertile Crescent is at its root empowering, challenging and subversive, most strikingly, it’s simply an incredibly rewarding listen.

The heart of the issue with Lip Lock is that Eve hasn’t restored the command she once had, which subsequently allows these new sounds to lead her down a road of uncertainty.

Ultimately, fans looking for a solid but not necessarily classic addition to the Infamous Mobb Deep catalogue, should be satisfied with 13.

For all of its powerful lyricism, Prisoner Of Conscious is not a particularly dynamic listen.

Unfortunately, Authentic suffers the same fate as LL’s other late-career missteps: too many features and a superficial brand of R&B bog down another release from one of rap’s earliest superstars.

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