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.

As a whole, there’s very little that’s progressive about B4.Da.$$ but it’s a distinguished retread and the most polished project the young emcee has put out to date.

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.

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.

Dirty Sprite 2 doesn’t survey any new territory for the croaking crooner, but it magnifies the depth of his distress and channels it into an even richer multilayered sonic experience.

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.

4 doesn't necessarily stand so well by itself, but as part of the Beyoncé experience, there are enough vehicles here to keep her moving.

It Is What It Is isn’t the worthy successor to Drunk, but it certainly feels like its ideal companion piece.

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

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.

Kenny Beats’ production is a weapon as blunt and beautiful as Curry’s verses.

This is a Hip Hop album, complete with the wondrous elements consistent with a broader musical appreciation. And it just might be 9th Wonder's best yet.

Marciano's outright refusal to relinquish his old school ways and broaden his reach results in enjoyable glorified crime fiction that could render him archaic sooner rather than later, but for right now it's perfect.

Hallways is still an accomplished addition to Homeboy Sandman’s ever consistent output.

The album transpires without so much as a lyrical couplet--exchanging raps for electromagnetic soul and fluorescent funk--and will ultimately be remembered for its experimentation over its execution.

The album at times teeters on the point of greatness.

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

Where this album excels is in the celebration of youth’s insecurities and dichotomies.

Despite its free-wheeling feel, efficient sequencing and a lack of filler show that it's not as random as its title implies.

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.

Sullivan’s long time away from music has given her a new outlook on life and Reality Show is all the better because of it. Her excellence bleeds into songwriting and production while her crooning is as good as ever.

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

When it's all said and done, Ghostface Killah treats Apollo Kids like a seasoned veteran would treat a game on the hardwood; he picks his spots, lets his teammates have their moments, and takes over when necessary. In that respect, Apollo Kids is another project we can tally up in Ghost's win column.

An exemplary balance of serious and cheerful cuts alike, very seldom does The Heist reach beyond its means.

His knack for personal lyricism over melodramatic production makes his latest album, The Search, an impactful listening experience and validation for the aforementioned comparison.

The album is replete with humor, drama, and a satisfying sense of duality and resolution.

The mixtapes remain practically untouched, giving any new The Weeknd fans a genuine look into what allowed an unknown artist to transform himself into someone who breathed new life into R&B.

During the first listen of the album, only a handful of its 13 tracks stood out but upon further exploration, ROADRUNNER suddenly blossomed into a sonic garden ripe with introspective brilliance.