"Certified" treads a fine line between keeping it real and selling units, but Banner treads that line very well.

Blade of the Ronin has its own artistic ambitions that aren't duplicative of its predecessor, all resemblances notwithstanding. Vast Aire and Vordul Mega have shown on this record that, as a duo, they stand alone and aren't defined by their producer.

"Venomous Villain" is more of an Insomniac promo CD than a credible sequel to Doom's dastardly "Vaudeville Villain" release two years ago. Even so, Doom stylistically slays every opportunity he's given at the mic.

Talib Kweli keeps the level of discourse high throughout Gutter Rainbows, and it should come as a surprise that some references he makes will go right over your head (props if you knew who knew Yohji Yamamoto was or what the Bhagavad Gita is).

Tricky isn't trying as hard to be all things like he was at the turn of the millennium, and he's not phoning it in to pay the bills like he's been doing for the past few albums. He's making music for the love of making music, and the results are pretty satisfying.

A third of the songs are about hooking up with ladies, a third are heartfelt ballads to lovers, and a third are break-up songs. It's the lifecycle of a relationship, over and over. I'm not convinced by it, but it's working for him.

Ultimate Victory is everything one could have hoped for as an official sophomore album follow-up to "The Sound of Revenge"--there's no slump here.

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.

At the end of the day Mac Miller is without a doubt capable of bringing more to the table than shallow, boring rap. Unfortunately, he doesn't do much to prove that on GO:OD AM.

The strength and the weakness of the Odd Future crew is that Tyler does stand out from the rest of the Wolf Gang, and in many ways.

In all honesty, it's not the sentiment that bothers this reviewer. Rather, it's the insertion of the sentiment into what should have ostensibly been a light-hearted romp, a fun return to their days of old.

I fully respect his artistic and creative choices and his right to be his own man and not be defined by his years as a seminal underground rapper. I respect his choices, but I still pine for a Camu Tao we don't hear on this album and that we won't hear ever again. In the end I feel that his potential still went untapped.

The third album from T-Pain, Thr33 Ringz, finds him once again attempting to master the triple threats--rapping, singing and producing. That it turns out to be incredibly formulaic and slavishly apes his sophomore effort ("Epiphany") proves only to be a minor deterrent, since almost everything here is upscaled.

There's nothing boring about the tracks on Ego Trippin' though, from the hard hitting Neptunes produced "Sets Up" to the soft-spoken Polow Da Don produced "Why Did You Leave Me."

This is the most satisfying P.E. album in over fifteen years, both a throwback to their glory years and a hopeful sign of more great years to come.

Rick Ross' Rather You Than Me is fun to listen to.

This album [is] unabashedly fun and very easy to listen to.

I Heard it Today makes me a less reluctant Lif fan since I've come to terms with his vocal style, but I still yearn for the collaborative efforts of Perceptionist days gone by which had incredible rhymes and incredible beats all at the same time.

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.

While the pull of the charts is hard to resist, the tracks with Primo and Just Blaze show he knows where his heart truly is, while the rest of the album tries and either fails or succeeds at pulling him away from the grime, grease and grit of the street corner.

Whether it is a product of being stuck in mixtape territory for so long or having to work on a limited budget, The Nacerima Dream is neither dream nor nightmare.

It certainly doesn't reach the catchy levels of Ross' biggest hits on most songs, but sounds good enough to have been decent album tracks.

“Everybody’s Everything” reflects Peep’s short but impactful catalogue by deviating little from the things that made him viral — his hazy wavy style, his emotional delivery, and his apparently complete lack of control over his demons.

Jeezy has a competent flow, good breath control, plenty of hot beats and all-star guests, and yet this album really is a sequel to "101" in all but name because it picks up where the last one left off without even trying to differentiate between the two.

Overall, Wretch 32 gives us a fresh take on a common story.

This is a decent mixtape that you'll happily spin for up to a fortnight, I reckon. But it's a hook. It's a sample to get you addicted.

[A] fun, rambunctious, guilty pleasure of an album.

She does so many things right it's hard to point out any one in particular.

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.

The cons of “The Inspired Soundtrack” is that some tracks, much like movie scenes, could’ve simply been left on the cutting room floor since they don’t belong. However, their inclusion highlights the more quality songs on the album, the ones that coincide with the movie’s themes, ones which still are fought against in the present day.

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

She can often sound like the guest rapper on her own songs, which is why she doesn’t really need the collaborations that some emcees rely upon. But there’s no denying the clear star power on display throughout “Scarlet”, an album that is her most direct, and shows that a pissed-off rapper that has something to get off of their chest, often results in their best work.

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

Thanks in large part to the beats and the guest appearances, and in small part to Jeezy's frank delivery and raspy voice, it leans more toward the former [enjoyable] than the latter [obnoxious], leading me to give this album a cautious thumbs up.

It’s another solid album from an artist who like his late friend can crossover into a lot of areas (and arenas) given the chance.

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.

Fish Outta Water is a bright, colorful album that does an excellent job of incorporating different styles into a cohesive whole.

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.

Pitbull's rapping machismo enhances his songs, but for better or worse there are times on Planet Pit where he seems caught up in the limelight instead of shining in it. This is likely to be his most successful album to date regardless.

Whether he does fast angry raps like "Domo23" or revealing personal songs like "Lone," his music is never not fascinating.

There's little doubt that "Tha Blue Carpet Treatment" ultimately qualifies as a successful follow-up to "R&G (Rhythm & Gangsta) - The Masterpiece," although there's also little doubt that Snoop is not pushing any new boundaries or exceeding already set expectations.

He can croon and autotune his way through some songs that are easy to ride to while faking it though--he ATL Jacob laced “Rocket Ship,” the Jacob and Jambo co-produced “Stick to the Models,” and the mellow radio friendly “Tricks On Me” from Nineteen85. Future has plenty of swagger and personality, knows all the right producers to take his style and make it sparkle, and has little problem serving his fan base exactly what they want.

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

For better or worse the album also achieves a certain bland uniformity at times by staying so true to the trap aesthetic and having Metro Boomin produce so much of the music. It's not ill-conceived, it's just that it all winds up becoming a bit monotonous if you don't randomize it and/or mix in some songs by other artists.

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

Therefore, whoever had the final say-so on the beat selection is the main culprit for the failings on the album - if it was Joe Budden himself, then more shame him, because he also turns in a superb lyrical performance that rap fans will appreciate as one of the most interesting efforts in recent hip hop history.

The debut was unexpectedly good and remains a classic. The official sequel to it was EXPECTED to be good and it is.

If Jay-Z is like a smooth mellow shot of Maker's Mark, then Mad Child is like wolfing Bacardi 151 and Swollen Members follows it with a smooth Prevail chaser. If you like the burn, this machine is beautiful.

Making an album is a team game, and the end product isn't big enough, not quite as daring or bold as we may well have expected.

He's never too sappy, too apologetic, or too mean-spirited.

There's too much material here to sit and listen to straight through in one sitting. Give it time though and Culture II will grow on you.

The drawbacks to Bush are few and far between though, and even these complaints are more like minor annoyances.

At the end of the day, I enjoy Cherry Bomb, both for it's misanthropic noise and for its funkier and jazzier sides.

Drake's Views is him lying on a therapist's couch whining for large chunks of time and the album drags as a result. Yet, if you took the best dozen tracks, you'd have a perfectly enjoyable, listenable LP.

Whether you want to doubt it or not, there's just too much right about the self-titled Slaughterhouse for this album to be wrong.

It is certainly a satisfying listen, worthy of a sensible level of recommendation.

There isn't a weak track on "Father Divine," and though some of Ladd's lyrical styling can be uninspired... the album is packed with solid material.

The album has more laughs than groans, and does make some good points at times with songs like "Green Power" even if it does so with the higher vocal tones of Otis' alter ego's alter ego.

It's wholly derivative, self-pitying emo rap that owes everything in its essence to Drake, Weezy, Cudi, and Kanye. That said, Glover is an incredibly compelling and talented rapper.

The lion's share of Cage's fans will see this newly found exposure as Chris Palko taking steps towards getting his story out to a wider audience with this personal and quite exceptional release.

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.

The album's best moments come courtesy of the newer, younger emcees, highlighting the different hunger levels on display.

As a sequel to "The Greatest Story Never Told" some people will feel that it's not as good as the original, but as for this reviewer Saigon is still that dude who has something to say that's worth hearing.

While no album may ever top his debut's brilliance, this one comes close enough to make even his most passionate haters happy to hear the raw essence of hip-hop revealed in all it's true glory.

He may not be the deepest lyricist on earth, and his attempts at bedroom music may fall flat, but he makes a mean soundtrack for a night out.

Most of Let It Go is solid, but there are some skippable tracks.

This is a truly throwaway fast food album. You will enjoy it for a while, and in a year, I guarantee that you will not be listening to it, save for a few songs (such as "Legendary" and "Ambition").

Wu-Block isn't a necessity, not for the Wu, not for the Block, not for hip-hop, not for the fans. And yet while it may be nothing more than a stopgap for all involved, it makes sense, not in theory but de facto.

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

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

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

Much like the Starbucks menu name she goes by, Ice Spice has a product that’s easily digestible, but ultimately throwaway.

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.

While it could’ve benefitted from at least one RZA-produced track, I will say that with the production and trademark rhymes, Ghostface Killah has given one of the more unmistakable New York City rap albums for 2025.

Throwback to the Future is a solid album that is a nice change of pace from what I normally listen to.

His beats are understated but masterful, and so good that they remind you how mediocre most of the stuff you hear is.

The beat/choruses are impressive enough, and whilst it's doubtful you'll be bumping Finally Famous a year from now, it's an album with merits that avoids the curse of the opening tweet, and sets Big Sean up pretty nicely for the next phase.

The inspiring message that is clearly part of the appeal is still buried under too much empty rap rhetoric.

Not all of the songs are in easy to digest radio play lengths either, as 'Live Forever (Fly With Me)' proves they aren't afraid to do a song that's over seven minutes long. The more that GHC take chances on this album, the more they succeed.

Putting the lyrics aside for the moment I’m willing to say there’s something here. The production goes from spartan and airy to distorted and noisy in a way that makes it feel like industrial trap rap, and his accent plays with your expectations of what the flow should be like. ... Ultimately I must still give a “meh” to the overall presentation, because like many of his U.S. counterparts, Yung Lean’s music relies more on style than substance.

With so many albums in his volumnious catalogue, it's neither the best nor the worst, but a passable experience with intriguing beats and rhymes is all anybody can ask for from this eclectic eccentric of hip-hop.

Most of his fans will chose to follow, while first time listeners may find it hard to relate. I promise you there's no bitter aftertaste if you give it a chance - in the end you may find it surprisingly sweet.

The whole of the self-titled Fetty Wap album is remarkably inoffensive and uninspired.

In the end though it’s all just a little too polished, like a hip hop manicure after a rap spa day, one that leaves everything radiant and glossy but says nothing about what’s underneath.

Minor complaints aside, 9th and Buck have definitely upped the ante on their debut, so much so that a re-naming might be in order.

“Twelve Carat Toothache” doesn’t reveal a new facet of Austin Post, it just shines an even brighter light on the jewels that he drops.

His album is incredibly well polished, but the gleam of his ice is an illusion, as these diamonds are nothing more than cubic zirconias.

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.

He's well-produced, well-connected, and well-forgettable.

Favoring melody over raucous beats is a risky strategy, but she just about pulls it off.

Despite the superficial trappings of Strange Clouds his talent still breaks through the atmospheric turbulence and shines down on the listener.

It's fair to say that if there's one criticism of Devin that can truly stick it's that he takes the "Dude" aspect of his personality very seriously, and in few songs will you see him regard women as more than just objects of his sexual conquest. Nonetheless songs like 'Me, You' show he can still charm a girl or two.

The production and hooks propel the quality of these tunes as the lyrics could have been sharper at times.

Regrettably though Soil 2 is a little more uneven than the last installment.

The biggest fault of Cruel Summer may be that it lacks a unifying voice or vision.

Even though there's little to nothing of intellectual nourishment for the majority of "Jungle Rules," there are slick songs like the Beat Billionaire produced Young Thug feature "Black Out" that you can literally do just that to.

Crime Pays is Cam'ron's triumphant return to form....You also have an overabundance of skits on the album that generally are just there and not entertaining.

There's nothing wrong with the 15 songs chosen for this per se, especially given that to some degree the material chosen is from more obscure Wu releases or remixes that haven't gotten wide exposure. That said a dedicated hardcore Wu fan could easily compile 90% of this album out of their own collection.