Unquestionably, this is one of the most complete works of music made this year, and absolutely speaks volumes about what cohesiveness and attention to detail can do for a project.

Lace Up is an imbalanced project that fails to establish MGK's grand message. His debut is decent at best.

The title-track to Meek Mill's album has all the makings of a classic opening.... And yet, what transpires on the rest of Dreams & Nightmares is an inconsistency of lyrical ingenuity and thematic execution that will haunt the Philadelphian rapper on his debut.

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

Lucky 7 doesn’t deviate from the framework of Statik’s previous compilations, but it does highlight his masterful command of each individual track, without ever simplifying the approach or integrity of the album.

A heavy knock on Church in These Streets lies in its length; at 19 tracks, a few of the hustle-hard anthems, i.e. the lackluster “Hustlaz Holiday” would have better been served for the cutting room floor. And while most of Jeezy’s signature trap sound is enjoyable, the alarm sounds of “God,” are a jolting earsore. Fortunately, moments like this are the exception.

Although he’s far from a punk, the caricature we’ve come to know as Gucci Mane has shed a chunk of his unrepentant hood mentality in favor of a wiser narrator of the trap. Once he fully discovers how to convincingly put that into the music, the world had better brace itself.

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.

Shlohmo creates reverential moments out of human gloom, and does so with a level of execution that invites multiple listens while defying comparisons, too.

There's noticeable growth from their EP and mixtape in both Majid's singing and Jordan's production.

"Stocking Cap" Sai may be no more, but Saigon proves that he still hasn't lost his touch on the mic.

K.R.I.T. IZ HERE is neither a career-defining album nor a complete flop. Instead of building off the creative momentum of 4eva Is a Mighty Long Time, K.R.I.T. is on auto-pilot. But thankfully, he’s still effortlessly exciting.

P3 doesn’t totally live up to the hype due to the excess sadness rendering it a tad boring but at the very least it gives us an explicit snapshot of where OVO’s second-in-command is at emotionally.

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

With a tight-knit collection of features and palpable confidence exuded in his lyrics, Ambition is Wale's most cohesive and likewise enthralling project thus far in his brisk career.

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”)

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

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.

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.

The rhythmic excellence of producer RIOTUSA and Ice Spice comes to a peak on “Actin A Smoochie.”

I Never Liked You continues his stagnation from High Off Life, settling for comfort rather than experimentation. The songs are rehashes he’s done more effectively in the past. His signature consistency is still there.

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

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

The final product is a solid debut that shows enough of Sean's skill and personality to keep listeners stay tuned, with the room for growth for higher expectations next time around.

His singular sound gives the project a wonderful sense of cohesiveness and gels Purpp's vision together with a maturity beyond his young years.

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.

Love & Danger leaves a confusing stain on the veteran's legacy and does little to strengthen the cause of loyalists with a vested interest in his haphazard easily misunderstood art.

Pink Friday was one of the most highly-anticipated albums of 2010, largely due to curiosity. The reality is that it could have never lived up to the hype it prematurely received. Still, there's room for growth, and Nicki Minaj has both the skills and the following to keep moving up.

The problem is that the album is creatively too safe even when taking on large gambles.

The ambition is commendable but in the process of Ricch trying to slow things down, he’s relegated his lambo to autopilot.

While his long journey has finally paid off, Living Legend lacks it factor to have listeners clamoring for a follow-up anytime soon.

Lukewarm contributions from Doja Cat, The KID LAROI, Roddy Ricch and others can’t help Post Malone get out of the quicksand. He continues to be pulled in an obvious direction of glitzy Hollywood stardom but instead, maintains a chokehold on comfortability.

The LP comes up short in delivering songs that standout amongst his peers. For the most part, Love Sick isn’t going to move the needle for Toliver. Those that were fans before will like this, while others that are apprehensive about him probably won’t start liking him now.

At times tasteful and other times tasteless, Pluto demonstrates a bravado that knows no shame.

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.

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.

Gunna’s still making songs that would fit on a Drip Season deluxe, but it’s juxtaposed with pain ballads you’d hear on a Lil Durk album. And though the instrumentals and somber delivery evoke the pain he’s clearly going through, he keeps the audience at a distance, making the album poignant, but also obligatory.

B.o.B. has been adamant about his latest album being created organically, yet that doesn't justify the lack of cohesion or quality found on Strange Clouds.

Aside from its two missteps, Snoop and Wiz's Mac + Devin Go To High School is a surprisingly enjoyable listen.

Cruel Summer is heavy and brash, and in that sense, it succeeds. G.O.O.D. Music's first outing successfully showcases the collective's talents, but it's ultimately an underachieving and uneven effort.

Overall R.E.D. is concise and beautifully simple, making it one of this year's smoothest R&B albums.

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.

Suncity (named after his former El Paso stomping grounds) goes the distance in capturing slow-moving society, accented with inviting sunbeams, especially on the first-person acoustic number “Saturday Nights.”

The album largely succeeds off the natural chemistry of its co-creators and the wide range of instrumentals that touch on several regional rap styles that both rappers learned to conquer during their decades-long careers.

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

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.

A solid, but ultimately forgettable record despite its impressive sales numbers, a come and go affair with moments of brilliance but not enough originality to stand out in the crowded field that Trippie helped tillage years ago.

Like his previous albums, They Got Amnesia is a simple collection of songs with slightly more consistent performance and significantly lower peaks.

As it stands, EVOL is nothing out of the ordinary from his past endeavors. With no measures in place preventing from Future releasing new full-length projects, this album could easily be surpassed in a month or two.

Mastermind simply lacks flair.

Casting such a wide net over the span of 20 songs ends up being a gift and a curse as the brighter moments risk getting dimmed out by extremely ambitious attempts that fall short. Running so long ensures filler and repetitive topic material, but overall Snoop makes a strong case against ageism as he fuses the adult contemporary and Gangsta Rap genres.

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

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

Starboy won’t immortalize his legacy just yet but it will strengthen a once desolate Toronto kid’s placement in a musical sect he probably couldn’t even have ever dreamed of being in.

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.

While convincingly spry, Cali Swag District are unable to outlive the resonance of success that they attained with "Teach Me How To Dougie" as this one-sided affair of party tunes and fairly expendable production rarely impresses.

Is it going to be the album of the year? No. But it’s a very high quality, and very enjoyable.

Although SET IT OFF is a teaser in the right direction, there isn’t enough substance to distinguish him as a solo artist, aside from the good graces he received with the Migos.

When Wale showcases his growth in being able to link his classic skillset with modern content, the album unequivocally succeeds. However, in attempting to placate current mainstream tastes, he falls short of the album being the unique and iconic success of the mixtape that truly launched his career to another level five years ago.

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.

For Future, his latest work will be more than enough to keep his name ringing in the streets, but not enough to have him be immortalized as an urban legend. Not yet, at least.

The project offers disposable fun bangers and somber explorations of their pain but doesn’t elevate or illuminate Baby or Durk. It hints at lofty ambitions: an attempt at a seminal artistic statement about their influence, and dually, a victory lap after their recent success.

In addition to her general growth as an artist, All of Me mainly works due to Estelle having the confidence to let it work instead of over-thinking it.

While Montana by no means offers up any profound lyrical executions on MC4, he clearly has fun doing what he’s doing and is finally learning to master the role he’s developed for himself.

At 18 songs, Wunna’s tracklist is dense but not padded.

Rich The Kid has done a fine enough job with his second album, and he’s successfully set the stage for a career that could be long, fruitful, and ultimately well-respected.

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.

While each track on Loud is an audio Polaroid of past work, there's little evolution. It's evident Rihanna is working her way to the top, but she's been doing that for three albums now.

NehruvianDOOM isn’t the first attempt to recreate Golden Age Hip Hop in the 21st century, but it’s an exceptionally creative take on the now-classic sound that succeeds in offering an enjoyable--and at times quirky--listen.

Its narrative, the tropes, and the strategies are completely overcome by the albums terrifying integrity. It is immensely relatable because it is not afraid to be corny and cliche.

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.

Ultimately, 03 Greedo and Kenny Beats’ Netflix & Deal contains some exciting moments, but otherwise, the short-sighted project that relies too heavily on production and features instead of Greedo’s raw and unbridled ability to tell stories.

The apprentice runs laps around the master throughout the 54-minute overstuffed marathon. Though toxic masculinity is his calling card, there’s only so many times Future can say he’s going to steal my girl without hesitation and I’ll wear it like a badge of honor before it becomes disinteresting.

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

There are instances on this album that do prove Khaled’s worth as a Hip Hop orchestrator in terms of matching high profile rappers with quality beats but unfortunately, they come too few and far between.

In a crowd of colorful guests, Scott’s contributions can feel listless. His rapping is more dexterous than ever, but he’s still saying things like “deep in her throat… I’m her favorite beverage.” When Westside Gunn swans into the Alchemist-produced “LOST FOREVER” with “poles in the Rolls/…alligators on the toes,” it makes a decent Travis verse look bland and unfocused.

As his name indicates, Mr. Muthafuckin’ eXquire is profane and unashamed. ... Left to his own devices, and free from the constraints of a major label, his eponymous album announces his arrival, once and for all — and warts and all.

If slightly unexciting, Richer Than I Ever Been is a testament to the lasting talent of the MMG commandant, even if he doesn’t break new ground.

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.

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.

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.

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.

The ambition of Digital Roses is also its downfall, leaving K.R.I.T. with pieces of a good album but not coming close to completing the puzzle.

Jesus Piece ends up being the least compelling release in Game's storied catalogue, but that doesn't mean it's not worth a listen.

ColleGrove peaks when it stumbles onto potential hits off sheer energy but it never sparks the same fervor that songs about their old stomping grounds could.

While there are some highlights on the album, they don't nearly make up for the glaring flaws throughout, the lack of noteworthy lyrics or the redundancy in topics, flows, hooks and beats.

Plata O Plomo was definitely made with the right intentions and features some solid rapping but the most memorable moment remains “All the Way Up” which has since been inducted into Hip Hop’s overplayed archives.

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.

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

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.

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.

Lioness: Hidden Treasures preserves the gift of a true diamond in the rough.

Through the first 11 tracks on Diamond In The Ruff, Freeway is near flawless, showcasing an array of styles and fresh patterns while refusing to peddle shallow perspective. And then, over the course of the final five songs, the album nearly falls off a cliff.

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.

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.

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.

Across the album, there’s a looming question--what makes any of these canned Confessions even remotely Dangerous? If Logic wants to be above commercial Hip Hop, he will have to try a lot harder than this. Scratch that, maybe he should stop trying this hard.

This isn’t an album, it’s the spiritual essence of the joy beyond the pain.