The result is dangerously addicting and affecting, where modern relatability rests on top of nostalgic production, avoiding the pitfalls of corniness and imitation. Full of soul and life, PinkPantheress’ status as social media’s newest darling is secure, as she crafts a garage dreamland that may just stand the test of time.

It does highlight Justin Scott and Big K.R.I.T. in their truest essence; spiritual, witty, and loyal to Mississippi, with overly soulful, southern production. Thanks to 4eva Is a Mighty Long Time, Justin Scott has once and for all ensured that his musical legacy is worth remembering.

With The Wild, Raekwon firmly grabs another trophy for the squad while continuing to pad his own hall of fame legacy in the process.

The 14-track album keeps all the commended technical framework of The Never Story but elevates the delivery and songwriting to a point where he sounds completely like his own man with his own plan.

This isn’t a simple listen. The lyrical punches fly faster than a speeding bullet, making it impossible to digest the staggering amount of content in a single sitting. It requires an acute attention to detail and several run-throughs to truly capture the brilliance of the project.

Gangsta Gibbs has enough fire here to remind fans that he’s able to compete in an era that has continuously boats of some insane releases.

He succinctly gets his point across by instilling that much needed old-school nostalgia lacking in music today with nine tracks. Instead of diving into the album with a bloated guest list, Bruno and his production team, Shampoo Press & Curl (with assistance from longtime collaborators The Stereotypes) ensure 80s babies stay forever young.

Blank Face LP could’ve cut some fat from its 72-plus minutes and 17 tracks, especially since some songs cover the same ground. However, as a whole, Blank Face LP is a victory not only for ScHoolboy Q, but for a T.D.E. crew that had seemed to lose momentum outside of its star player.

Despite how direct the lyricism is, it plays like two friends riffing in the studio and building off each other’s energy; listeners can hear how much Nas loves what he’s doing. The fact Hip Hop fans are getting appetizers of this caliber to hold us over until an inevitable third entry in the series is, in itself, Magic.

Mr. Morale & The Big Steppers paints a gripping portrait of how trauma and therapy have morphed the 34-year-old artist beyond recognition. Even with superior production choices and a semi-triumphant tone of self-actualization, it feels as if listeners can’t fully define what place he’s in — the question of what’s left for him lingers.

Still Brazy is a testament that real-life experience breeds the best music but we can do without the shootouts from this point on.

At its core, We’re All Alone In This Together is a meticulously constructed, well-balanced rap album. It’s an important landmark, placing Dave high in the best rappers under 25 conversation.

Even with a lengthy tracklist, WASTELAND is economical and patient with its time. Songs are given a chance to breathe and arrive at their full potential rather than being sequenced and chopped to appease streaming requirements.

Produced entirely by Erick “The Architect” Elliott, the 12-song mind trip is hodgepodge of haunting strings, ambient sounds fit for a sci-fi film and hard-hitting drums.

At 15 songs and 51 minutes long, it’s an enjoyable listen with good pacing, filled with the right amount of vulnerability, heartache, menace, and savagery.

It’s a tumultuous journey of trials, tribulations and everything in between, which is something Lizzo is able to illustrate quite well. Whether you’re here for it or not, Lizzo has arrived.

Ab-Soul expounds on his cranial compound Do What Thou Wilt and fully revealed himself as an artist who plays mind games with himself and listeners. Although figuring Soulo lyrical intent continues to be a guessing game, at least there are some critical takeaways that linger far after indulging in the music.

The theme of newfound optimism opens Beware of the Money with “Nuthin I Can Do Is Wrong.” The DJ Blackpower produced record contains a soothing soul sample from Forrest’s “I Just Want to Love You,” in which MIKE sings along halfway through the opening hook. It’s not hard to imagine a cheeky grin from the esoteric rapper as he raps with radiant pride.

While Vince sticks with his most familiar narrative examining stardom’s futility despite it providing escape from former life’s struggles, his calling lies in finding provocative, edgy and unconventional ways to tell his story. Luckily, Staples’ choice to walk the road less traveled placing innovation at a premium over fame shouldn’t prevent his well deserved shine from gaining continual momentum.

Sometimes I May Be Introvert is an espousal on Black womanhood with deep emotional intelligence and refined insight from someone who’s ruminated on her pain and found catharsis through music.

Travis manages to create a substantial body of work that begs to be served as a whole, rather than just bite-sized pieces.

Water Made Us, Woods’ third, and best, album, tackles an even more grand and universal experience: relationships. But she does so with a fine-tooth comb, crafting songs bursting with intimate details on a diorama-sized scale that loosely trace the relationship lifecycle.

Sitting at 11 tracks and clocking in at a relatively short 40 minutes, the project is an exciting blend of vibes. The project’s sound is diverse, traversing a lo-fi, basement aesthetic, A$AP-level soundbeds and Yeezy-esque ambient experimentation. The glue is the careful curation of the listening experience and--without question--his lyrics.

Redemption shines brightest when the music itself matches Rock’s dynamic performance and infuses enough energy for him to seize the moment.

Nitpicking on the extra grams aside, with Plugs I Met 2, Benny not only adds a well-rounded arc to his discography but also solidifies his status as an elder statesman/role model for a new generation who could genuinely use the perspective. While he’s just as guilty of glorifying his former lifestyle as any rapper, his music exemplifies the difference authenticity makes.

It may not be as beautifully consistent as Malibu, but during those glorious pinnacles when Oxnard is firing on all cylinders, it’s undeniably some of the best music of 2018.

The full-length fully introduces the world into a troubled young man with a brilliant mind whose musings are starkly engaging.

He seems to have complete control over the proverbial dance floor, switching up tempos to match the crowd’s mood throughout the 15-track album; this prevents 99.9% from feeling bloated and is yet another reason Kaytranada’s debut album is a resounding success.