NehruvianDOOM isn’t the first attempt to recreate Golden Age Hip Hop in the 21st century, but it’s an exceptionally creative take on the now-classic sound that succeeds in offering an enjoyable--and at times quirky--listen.

It’s a true spiritual successor to the original, and is everything fans could have asked for: a worthy follow-up, well-thought-out standalone project, and a very necessary commentary on society, government, and machinations by which the two interact.

Nothing Was The Same showcases new skills--trimming the unnecessary songs, and focusing on narrative details the way he does on “From Time”--that will strengthen Drake’s arsenal and help him continue to cement his status as a pop-rap heavyweight for years to come.

One of the most accomplished releases of the year, You’re Dead! embraces the uncertain, celebrates fear, and induces a meditative consciousness that’s hard to shake after listening.

Its narrative, the tropes, and the strategies are completely overcome by the albums terrifying integrity. It is immensely relatable because it is not afraid to be corny and cliche.

Fashawn’s sophomore release is a strong follow-up, six years in the making, that hits hard while preaching perseverance.

Sure the heavenly feel of “No Mistakes” harkens back to his gospel soul days, 070 Shake’s passionate cameo on “Ghost Town” unveils a star-in-the-making and honest thoughts about raising North and Chicago on the serene album anchor “Violent Crimes” make for a alluring sonic experience. But ye merely excels in surface-scratching instead of the transcendent territories that spawned the Kanye everyone loved. Sometimes less does not equate to more.

In sum, Golden Era is an extremely tight, solid package, clocking in at less than 40 minutes through ten tracks.

Like the album itself, the cast of guest appearances is minimal, yet praiseworthy for its originality.

Tirade is a refined exercise in Spottie’s advancement as an artist.

The peaks on SOS, (“Used,” “Smoking on my Ex Pack,” and “Forgiveless”) find SZA sounding refreshingly comfortable rapping over gritty, hazy, and grimy productions.

Where he has yet to master the art of making complete songs (“Uncle Al” clocks in under a minute long) and his diction tends to lacks clarity, Earl paints pictures in a manner more poetic than just about all within his peer group.

It’s a curious turn, but one that finds them as oddly whimsical and satisfying as ever.

Elitist as it might seem, it's a Rap album that sounds better if you can name most of the Gang Starr Foundation.

The complete package displays an obvious maturation from the veteran that is effectively in tune with a focus many have considered missing for some time.

Although the production and detrimental hyper-lyricism place Eminem’s worst habits on display throughout the album, there is plenty of good here. Extremely compelling is the theme of Eminem’s growth.

Throughout this descent into 2 Chainz’ world he vacillates between the surface level fun of his previous recordings and the slightly introspective allowing us to see the other side of the man formerly named Tity Boi.... Interestingly enough, these contradictions make the tape more fun than anything we’ve heard from 2 Chainz in a while, and, equally, it shows the most fun for a listener is a hint of depth added to a raucously good time.

There aren't any lackluster songs, and even though the lyrics and the rhymes are digestible on the first listen, they get better with more listens.

With so many artists trying and failing to capitalize on reprisals of their finest work and have the breadth of work necessary for a strong double album, this particular release and its quality deserves attention.

This isn’t an album, it’s the spiritual essence of the joy beyond the pain.

The work and musical experiments Brockhampton has proven to be a successful one. Tradition means nothing to a project like Saturation III, as constant themes of vulnerability poverty, violence, sexuality gives listeners nothing but honest perspectives.

All 6's and 7's doesn't disappoint as a well-balanced offering.

The biggest success of The 20/20 Experience lies within Justin Timberlake being able to gracefully glide into Adult Contemporary Music without coming across as trite or cheesy. There is enough oomph for the youngins, yet a defined maturity that proves Timberlake’s overstanding of eventually aging out of the capricious sect of R&B.

Using Wolf as a platform to let his imagination run wild while remaining accessible, Tyler, the Creator displays maturation on his own twisted terms.

The Grammy Award winner shows he continues to be ambitious as an artist while keeping up the Slaughter King mantra he ran with early in his career. For Young Metro, Savage Mode II asserts there’s no rust on his boards and proves he’s still one of the best architects in the game.

Who Made the Sunshine is a solid offering, even if not Gunn’s most wholly compelling body of work. It doesn’t break any ground or expand his dynamics in the way that A King To A GOD did for Conway, but it is Gunn doing what he does best — at a very high level.

Mourning in America and Dreaming in Color takes an inspiring and heartfelt stance, representing another triumph for the resilient and complex orator Brother Ali.

Magna Carta Holy Grail is where Jay-Z’s emceeing finally meets his “High Rap” ambitions. This is easily the best rhyming Jay’s done since American Gangster. But a sharp Shawn on the mic isn’t a surprise. What is a surprise is that this is the most cohesive project Jay’s put together since The Blueprint.