Forever grants a mirror into Phife’s soul in the post-ATCQ breakup years. His musings on the importance of family and dedication to those around him, draped in a tight cloak of agile raps that could act as the standard for any era, exist as a timeless sendoff fitting for a legend.

Lack of everyday slappers aside, it’s a grand return to form, giving truth to the bars, “Black Star shines eternally,” off their debut single 24 years ago.

The most rewarding aspect of Atrocity Exhibition is the ease with which Danny Brown conducts this freakshow.

On COMING HOME, Usher meets the moment without trying to eclipse the past, serving as a reminder that the King of R&B hasn’t gone anywhere.

Genre-blending albums (no matter how commonplace they might be these days) are not easy to pull off and for that, Juice WRLD should be given credit. From the seemingly sincere lyrics to the equally candid delivery, Juice truly goes with his gut in whichever way (rap, sing, hum, sob).

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.

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.

Established formulas of pandering singles and assembly line choruses aside, The Beautiful & Damned possesses enough serious assertiveness and classic Bay area slick talk to get burn well into 2018.

Their chemistry is unquestionable and the music derived from that unique harmony is constantly improving.

Fans clamoring for the old Marshall Mathers should stream the old album or hell, rent it from the library or something. After being faced with nothing to prove as the highest-selling rapper of all-time, Eminem’s found another challenge in perfecting the new style he’s put on display.

Each of the eight songs on You Only Live 2wice can be taken as different scenes from a movie, with the one-trick pony effect dulling brighter moments such as “Homesick.”

Listeners who like Drake’s pop songs will have plenty to enjoy here, while huge fans of his old stuff can play “Jimmy Cooks” on repeat until Scary Hours 3 drops. ... It’s simply an album of Drake songs people will actually listen to in public, not just while driving, or at the pregame, or through headphones in the early AM uber home.

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.

The Circus is an overall creative win and a nice precursor for his next album. The EP’s lack of substance holds it back from matching some of his previous work, but in lieu of a bigger idea, it provides a cohesive, quick and enjoyable flow fest perfect for listeners looking for a relaxed set of songs to escape the craziness of everyday life.

Genre inconsistencies aside, Effected is a clear statement Cozz doesn’t just want to be the conversation with the best rappers.

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.

The project suffers a bit from hit-chasing evidenced from the bubbly Kevin Gates-assisted “POP” and catchy but baseless Nicki Minaj pairing dialed up on “iPHONE.” Unlike Baby on Baby, which sported “Suge,” it’s the hardcore “XXL” that serves as the album’s most complete record.

The end result sounds like a distillation of contemporary popular music, the kind of blockbuster pop album following the much larger footsteps of Ariana Grande’s Dangerous Woman or Katy Perry’s Teenage Dream, albeit not as polished.

It results in superior storytelling and simplicity that few in the genre could hope to achieve, providing a solid base for him to return to if he ever loses his way, whether it be emotionally or creatively.

A conscionable affair from start to finish, it’s a reminder of Future’s effortless ability to release solid tracks within his wheelhouse.

This album is a big win for Gunna, an even bigger win for executive producers Wheezy and Turbo but a championship win for contemporary rap as a whole that should be appreciated by all.

The sequel to his 2018 two-pack ranges from “just OK, I guess” to “pretty damn impressive” — in a smooth 3-song sonic gradient.

It’s the stellar storytelling that elevates East’s themes above standard thuggery and stamps P2 a memorable affair.

With its brevity and risk-taking, The Last Rocket succeeds at illustrating Takeoff’s talents. Though there’s no outright banger and some filler, this solo album serves as a glimmer of hope for the longevity of Hip Hop’s current favorite trio.

In a time where her late age peers getting major release priorities get more experimental, introspective or attempt to follow trends, Iconology works as a reminder of Missy’s DNA not only in the recent explosion of female rappers but pop music in general.

This project takes the proper time and attention to fully digest. After repeated listens, it suddenly becomes crystal clear — this is mood music.

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.

What emerges is something that treads into uncharted waters and even if it isn’t fully understood yet, it can at times be quite a spectacle.