On a sonic level, much of this album is strong but the identity and continuity are lackluster.

Jackson's progressiveness and laser-aimed focus on perfection was always the foundation of everything he ever did and resonated through every song he ever made....Given the patch-work necessary to piece Michael together posthumously, it's impossible to imagine that this is a collection of songs Michael intended to deliver.

Though The DeAndre's Way only has 10 tracks, it feels as if it has four or five too many.

In a business where artists come and go with quickness, Flo has managed to remain relevant. Only One Flo will only strengthen Flo's relevance, but it will never be mistaken for a solid piece of art.

In its own perverse way, Vultures 2 is emblematic of 2024 — it is loud, brash, utterly devoid of substance and almost certain to be lauded as Kanye West’s latest masterpiece by his rabid legions of stans.

Simply put, this album suffers from Beyonce syndrome--it does nothing to further the group's catalogue. Last time around, the Black Eyed Peas were exploring new territory, and the results were contagious. Now, it seems as though the group, particularly will.i.am, is stuck on auto-pilot.

There are no surprises here, no growth shown, but the one thing worth crediting to Gucci and Waka is their consistency – the audience will know what to expect, and as long as that is all that they expect, their expectations will be fulfilled.

No Boys Allowed doesn't match its polished predecessor success a whole project. The songwriting feels more in line with her R&B/Pop peers than anything else.

The Gold Album is underscored by its poor creative choices.

There is more to Black Rob than "Whoa," but there is nothing that quite lives up to it on Game Tested, Streets Approved.

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

Wild Ones is an unfilfilling [sic] and detached listen.

Much like Brass Knuckles before it, 5.0 might just be another forgettable release from the St. Lunatic.

A purported concept album, The Death of Slim Shady (Coup de Grâce) is in fact a disjointed and incoherent clump of non-sequiturs, loosely held together by infantile wordplay, forced goading and desperate attempts at one final hurrah in celebration of a past that seems suspiciously indistinguishable from the present.