The rest of the album is rock solid, even if it takes a while to sink in. Whilst it does occasionally have a bit too much of an underground feel, it also chucks in a couple of more commercial numbers ("Confess" and "Out the Trunk") to help bring some ecological balance.

It's nothing we've not heard before.

SremmLife definitely lives up to the hype--yes, it's more focused towards the youth market, but it shouldn't preclude anyone reading this who enjoys the youthful energy of debut artists going nuts once they get a big chance.

Sour Soul isn't the best album in Ghostface's discography, but it is a fine effort.

It is an LP with one hit single, some solid album cuts and the rest is genuinely quite forgettable.

The problem with Full Speed is that Kid Ink is often lost within his own album, as the listener anticipates the next song that's defined by its guest feature.

If You're Reading This It's Too Late isn't that good.... There are definitely some songs that have commercial potential that I don't hate, and though I'd rather hear Drake rapping than singing, "Jungle" seems like the kind of track that with a few choice edits could get radio play.

The production throughout Aquarius is on point, whether it's the infectious, yet odd sound of "Wildfire", or the crashing bongos backing a pseudo-rap switch in to some long notes on "Far Side of the Moon."

Vibes is a very fun, laidback album.

B4.DA.$$ is a step in the right direction in New York hip-hop getting the attention and validation its long been denied.

Lupe Fiasco doesn't present tracks that are just a hot beat and some memorable bars--he's aiming for cinematic moments and drawing you into the atmosphere he seeks to create.

Black Messiah is an incredible album, and an essential addition to D'Angelo's discography.

There are no phony builds, no bass dropping, no obvious patterns. Faith in Strangers keeps listeners on their toes, and keeps their head nodding the whole time.

The fact that this record features Ab-Soul, Kendrick Lamar, Childish Gambino and Vince Staples means it is worth checking out for hip hop fans anyway; that it's actually a brilliant listen makes it all the better.

BWET is a fascinating starting point, as she can spit complex rhyme patterns with ease. The hope is that this can progress into something deeper, but as things stand she's still a pleasure to listen to.

This is as essential as any other producer/emcee collaboration this year ("Pinata", "Run the Jewels 2") and proves that Premier (with the assistance of Adrian Younge) can still craft great albums with his well-worn formula.

It hits all the notes that you want from a Wu-Tang Clan affiliate, and is much a more satisfying project than "A Better Tomorrow."

The Pinkprint is let down by some basic conceptual flaws, lackadaisical decision-making and even placing too much faith in bonus tracks to appease the masses

We get predictable rock-rap joints like "I Need Church" and "Dead Man's Shoes"; embarrassing skits involving Robbie Williams; abysmal jokes at other celebrity targets; saccharin singles like "Lullaby" (which retreads most of "Read All About It") and "Little Secrets"; getting outshone on your own song by the Rizzle Kicks ("Name In Lights"); ripping off The Streets' old shit ("Fast Life"); a surprisingly soulful joint that clearly ended up on the wrong album ("Not Your Man"); the sound of a rapper all but giving up ("Shadow of the Sun") and subsequently ruining dope instrumentals like the title track.

The stakes were so high, the pressure was on and what makes him interesting was ironed out in favour of low risk, high percentage choruses. Couple that with a mixed bag of lyrics from the rapper himself, and you get a curiously crafted mess that contains a few great songs that you'll end up loving, and lot of numbers that just weren't bold enough or executed with confidence.

Shady XV seems like it was made for: diehard fans of Marshall; and fresh kids who don't know no better. Otherwise, you'll probably have forgotten about the album by 2015, and 95% of the label's energy will soon be diverted to the next Eminem solo LP all over again.

RZA is certainly experimenting on a bunch of tracks, but results are unconvincing.

He's been afforded a rare amount of artistic freedom on 2014 Forest Hills Drive and there aren't even any singles, so it's great that he's more or less delivered. But whilst this definitely misses out on classic territory, that doesn't mean it isn't a bloody good album for the most part.

It's the beats, the cameos and the sheer momentum of Maybach Music that propels Hood Billionaire forward.

The resulting album is an intense, visceral experience. It manages to combine the aggression of both punk and hip-hop.

Many worry that the Cadillactica theme might go over the heads of some and alienate fans but rest assured, at the core of it all, there's still the 808 bang, jazzy, soulful music and the same Big K.R.I.T. that so many have come to know, respect and love--on second thought, he's better.

Everybody Down may try to tackle too much in its 48-minute run time, but even if the story isn't always coherent, the emotions of the characters shine through.

Even with Black Milk's limits as a rapper, If There's a Hell Below is a solid album. Black Milk nails the line between being retro and forward-thinking, between street and backpack, between nostalgia and honesty.

When nostalgic old-timers lament the golden age of hip-hop, for those championing our current era, Under Pressure is the album to point to.

The only thing you really need to know is that no matter how you cop RTJ2, whether it's as a free digital download, a physical copy from Mass Appeal or the super-expensive "I'm On The Guestlist" supporter package you're getting more than your money's worth.

A typical T.I. album is loaded with singles ready to blow and Paperwork is no exception.

You're Dead loses momentum after "Never Catch Me." Much of the later two-thirds of the album is more atmospheric, reminiscent of 2012's more contemplative "When the Quiet Comes."

The metallic fingerprint of Auto-Tune is all over My Everything, even the vocal trills that start off the album.

He tends to repeat himself and his punchlines lack punch--but Seen It All is an album you can listen to start to finish and not hate yourself for buying it.

Just Be Free is not hipster music, and it's not gay music. It's music for a good time, no matter what gender your partner is or what pronoun you use.

For the moment, we are treated to a promising if frustrating record that remarkably lacks a hit single itself.

The beats and rhymes give life to a truly cinematic experience, as though the Souls had been airlifted from Oakland to a Hollywood soundset. It's a short trip geographically but a long player musically that's worth revisiting many times after your initial purchase.

Until Trey adds another layer to his songs, whether it be humor, empathy or any emotion other than a caveman-like approach to sex; Trigga remains a hollow, if tempting prospect for men that may well woo your woman, but is unlikely to keep your attention after.

It's accessible enough to be listenable, challenging enough to be interesting, and has many layers for the listener to unfold and decipher.

Lizzo is a level-headed rapper who besides rhyme and reason also balances endearing and terrifying qualities. But she wouldn't quite be the standout if it wasn't for her screwball moments, which are frequent.

When Common is feeling himself few can do it better, but one of the best things he does on "Nobody's Smiling" is spread the love around.

We got what feels like a very quickly thrown together product that lacks the depth and introspection of his previous projects.

It's also among his best work and he raps with the passion and fury of a rapper on his first LP.

Open Mike Eagle does one better and shows a path forward for hip-hop.

Despite being billed as his fifth album, it's nowhere near the level of his strong, yet largely overrated debut "Get Rich or Die Tryin'".

The songs feel more like eight variations on the same concept than eight distinct tracks. That's neither surprising nor unforgivable given the experimental bent of the band, but you can't help but notice the sameness when you listen to the album.

The production is ultimately enough of a spoonful of sugar to make it easy to swallow.

Death Grips have always been a challenging group to listen to, but Government Plates is more migraine-inducing than head-nodding.

This album makes up for substance with slickness.

It's lines like [in "Flicker" that] keep me coming back to Atmosphere's music, and make Southsiders another solid entry into the Atmosphere catalogue, warts and all.

Remember Me isn't a perfect album, but it has some great songs and a lot of promise.

There's simply not enough substance and individuality for me to call this a good rap album. But at the intersection of rap and pop it doesn't embarrass either side.

The Infamous Mobb Deep is an enjoyable journey for long time fans of the group, but for newcomers it's a hefty two hour plus tome that can't be taken in one sitting.

Pharoahe Monch has always been among the most talented rappers in the game, and now with PTSD, he has an album that showcases not only his lyrical prowess, but also his ability to craft a fully focused and theme driven album.

Illmatic by Nas is a 10/10 classic hip hop album. It's essential, and that's undeniable. Illmatic XX when taken as a whole, isn't.

Unfortunately, the rhythm of the album is constantly interrupted by cacophonous dirges which makes it feel unsettled.

My Krazy Life is a successful debut album that achieves most of what it sets out to achieve.

Madlib produced albums tend to only get better with age, and I don't expect Pinata to be an exception.

She's going for Nicki Minaj meets Eminem meets Rihanna on the Tyra show. It feels like a major missed opportunity.

At times the production teeters back and forth between cohesive and monotonous, but after repeated listens, the tracks stand out apart from each other more as you unravel the heavily layered production.

So long as you don't expect Shakespeare and don't presume this to be a rap album, you won't be mad. It's pure pop done the way Pharrell does it.

When push comes to shove, there are only about three songs here that merit that kind of mindshare--and none of those come close to his best singles. By his standards, Mastermind is technically a good album, but neither timely nor memorable.

The production is too inconsistent to get him there, but it's certainly not due to a lack of intrinsic talent on his part. Keep your eyes on Q.

Beach House EP is cringeworthy, brainless hip hop at its worst.

This isn't their greatest album, but there's plenty to enjoy from Evidence, Alchemist, the carefully chosen guests and the mostly excellent instrumentals--Steppington isn't a fully realised character but a thin theme binding together a very good collection of eccentric hip hop.

Kid Ink hasn't so much found his own lane, but taken the well-worn stretch of road that's littered with empty beer bottles and discarded condoms; a road frequented by beautiful video-models and catchy hooks. Despite this, My Own Lane is tasteful, smooth and if taken at face value, an enjoyable example of radio-friendly hip hop.

Decidedly hit and miss, it's the songs that stray beyond the typical tales of money, sex and cars that are worth returning to.

This more cerebral music is interesting and challenging, but it is missing some of immediacy of his earlier work.

If you can get past the ignorance, this is enjoyable for what it is - an album to be played loudly in your car, with the windows down and a middle finger up to anybody who looks at you disapprovingly.

If you felt Roc's previous albums were too Roc-heavy, this is the ideal album to ease you in to his brand of excess rap. Yet for somebody that held his previous two albums in such high regard, it's a little bit disjointed, unpolished and dare I say it, scruffy

Dam-Funk's production is solid and quite funky, while Snoop's personality shines through his vocals just as they have for the past twenty years or so.

It's fair to say he's not a Childish Gambino any more though--he's an Adult Gambino.

Doris may not get the party started, but it's still an inspiring album.

Within the initial audio assault of "Matangi" lies a fine album, but it's also one that could have done with some pruning, a bit more care taken in the sequencing and perhaps a bit more self-belief.

This feels fresh yet familiar; a throwback picture in a modern frame. ... The truest of Eminem fans out there ... will absolutely lap it up.

Hip hop is an artform based on messages, yet all too frequently he comes across as a messenger with little to report.

While none of the songs are straight terrible (except "Bugatti") none leave me feeling like I'd want to leave the CD in my whip on a long trip--it would probably lull me to sleep and I'd crash.

While there are some good songs on Some Say it is often a frustrating listen, which is all the more disappointing given Ghostpoet's potential as an artist.

By Janelle Monae's lofty standards, this is still very good, but not quite as great as her previous offering.

Brown's self-awareness of his situation doesn't seem to have made him alter his intake. At least it has allowed him to make an incredible album.

Not so much a victim of his own success, but an unwillingness to take risks in the name of music.

It's hard to complain much about Event II given Del's razor sharp wit and deft tongue skills.

This is certainly a fine album, pretty much throughout.

Stay Trippy may not be the album you play for doubters to prove the artistic merits of hip-hop, and its subject matter wears thin after a while, but damn if it doesn't sound good loud.

Nothing Was the Same is a good album, occasionally great, but sometimes you end up yearning for more of those epic Drake SONGS, of which there aren't nearly enough.

The 40 or so minutes of "All People" are what I imagine taking a shower in a waterfall on a hot summer day would be like--nd if you're too far removed from nature to do that then it's like putting on your swim trunks and running around an open fire hydrant.

Lyrically, let us not sugar coat the situation and pretend that he's some sort of Pulitzer prize winner in waiting. But in conjunction with the upgraded music, 2 Chainz has definitely put more work into his punchlines and it is most welcome.

It's too bad they didn't spend more time polishing this so that it could be a great album instead of a pretty good one.

With a few more standout moments, and a bit less filler, the perception could well have matched the reality in a more positive manner.

This is just a lot of well produced but unenjoyable noise.

Even many of his prettiest, most delicate tracks are grounded in thumping bass. As a result, it's a more satisfying listen than Shlohmo's or Nosaj Thing's albums.

This album is Prodigy and Alchemist giving long time fans exactly what they want.

He can literally sleepwalk his way through a Trap House album. He does here.

Even with the occasional humorless rhyme and plodding beat, Joey Badda$$'s latest mixtape is further proof that he is a force to be reckoned with, and that the hype around him is not unwarranted.

Evolution may not be a cutting edge advancement of hip-hop, but it's no embarrassment to Baatin and Dilla's legacy either. It's a solid album you wouldn't be ashamed to pledge a few dollars toward for a copy.

There is very little humour and some of the production is flat out boring.

This album is two veteran MCs going hard and loose, feeding off one another's energy and pushing one another to step their game up. It's definitely the start to a beautiful friendship.

I'm not saying Wale is Jay-Z yet--and it's not certain he ever will be--because a Shawn Carter only comes along once in a generation. What I do see on The Gifted though is that potential.