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

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

Aside from the lack of significant risk-taking, Teyana Taylor generated a debut album that is honest and well produced. And while she takes absolutely no risks on the album, and her vocal range is limited, she never strays from what she does well.

Numbers can be applauded as the mature nature and notably impressive songwriting displays progression from MellowHype's older riotous material.

While other artists are constantly on the prowl for the latest trend that will keep their names relevant, Spitta never ventures out of his own lane, and yet, his latest material never seems to spoil.

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.

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

Although it is still to be determined if Thugger can step it up a couple of notches for an album that will be touted as an official release, I’m Up doesn’t offer up any reason to doubt him.

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.

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.

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.

When Love Story is great, it’s when the unique pieces of Yelawolf’s life discover similarly off-kilter spaces in which to manifest a new voice.

If Welcome to JFK is meant to take Chinx Drugs to a national level, the song structures may be right, but the content shows Chinx was still in transition of fully realizing this aspiration.

Blue Slide Park doesn't do anything to damage Mac's current status in the game, but it also doesn't do much to raise it.

While not setting the world on fire, it nestles its way warmly into your heart, soul and dancing feet.

Moreover, this work shows his place in Doomtree, but provides him a greater unique identity against his sister and brothers. Bad Time Zoo definitely raises the question of where the cages and bars are in 2011.

Ultimately, Blackenedwhite is conflicted, but quality music.

In an artist exploring her brand new self pairing with a producer doing his best to pair up beats with her wild new imagery, this one never quite meshes, but is yet still impressive enough to sit back and marvel at the emotive and lyrical force that Angel Haze is evolving into.

With a sound that’s one-third punk, one-third underground and one-third Yeezus, Doomtree’s All Hands is a work of lyrical importance covered up by synth notes and drum crashes, its messages left to be decoded by their fans.

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.

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.

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.

The tension that fuels this album is exciting, dynamic, and worth examining. It’s when 21 sits back and coasts or tries to land a radio hit that this record comes up short.

With points rewarded for originality and innovation the composer's greatest strengths are also his faults, as this effort lacks cohesion and sensible sequencing making for an exercise in patience that only biased fans would process as a sign of genius.

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

Back In Black certainly sounds like the core duo is having more fun making music than in years past. The album features some of the best music the group has made in years but doesn’t stack up to their trailblazing efforts of the ’90s.

This album won’t go down as a modern day classic, nor will it slingshot NLE to the top of the charts, but it will give listeners a battery in their back for their next big gym session or block party.

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