This album will take you on an emotional roller coaster but it won’t give you a stiff neck or scare the living shit out of you. It’s a ride you’ll want to go on again and again.

“Don’t Be Dumb” certainly doesn’t feel like something that has been multi-drafted, painstakingly thought out or perfected with time. Instead, it plays like a subpar effort from an artist we have all seen deliver notably stronger work in the past.

“Light-Years” is a good album, but not the best in Mass Appeal’s 2025 roll-out. Nas is an elite lyricist, no question. And Premo? He’s an elite producer. But for “Light-Years”, he laced several tracks that were simply “just OK.”

This is just great Hip-Hop. .... It had no right to be good, let alone excellent. It’s the best Mobb Deep album since “Murda Muzik”.

“The Coldest Profession” is certainly Roc Marciano and DJ Premier doing their thing, but it turns out that two greats of Hip-Hop combining doesn’t guarantee greatness.

Pusha is more thoughtful and Malice is more cocksure. Through the alchemy of Pharrell Williams the result is their finest work to date.

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.

“JackBoys 2” isn’t a bad JackBoys album or a bad Travis Scott album — it’s just repetitive and monotonous.

If there’s any album to compare this to, it would have to be The Clipse’s recently released “Let God Sort Em Out”, as both are similar and uncompromisingly raw in sound and content. But “Alfredo 2” differs in style and tone. The album’s edge? It has a narcotic swagger with flash and no polish, as well as being a very welcome and well-timed contemporary follow-up.

An album that feels more akin to an oddly shaped misfire of a satirical take than it does the latest installation of an ultra-successful series of rap albums.

The monotonous lack of infection in his voice is prevalent throughout the album, to the point where it sounds like he loses interest in his own words.

In Bad Boys, Smith was cool. In Hitch he was funny. In Twelve Pounds, he was vulnerable. He doesn’t seem to retain any of these qualities in his raps, instead opting for a smorgasbord of soundscapes designed to mask what could have been a revealing, emotionally interesting rap album.

While Mac Miller’s latest posthumous release does accomplish something interesting and worthy of accolades, and is ultimately a strong album, it should be held to its own limits.

It’s the definition of “it’s fine.”

Is “Missionary” the greatest Snoop Dogg album of all time? No. Is it at least as good as “BODR” though, the album that announced his purchase of Death Row? Absolutely.

Kendrick Lamar’s “GNX” wrestles with rage, frustration and inner-conflict. All of these elements and the way the Compton artist binds them together are what makes it an intriguing and impressive album.

“Alligator Bites Never Heal” makes sense as a mixtape designed to showcase a star in the making, even if some of the bites of famous rappers may feel a bit on the nose for long-term listeners.

Like any successful artist, he’s willing to take risks, and he’s doing it more than I’d expect this far into his career. He’s singing on “Gold Crossbow” for a start, an irresistible set of drums that slap you round the face, with a lovely piece of piano that gives it an underlying sense of horror.

“The Force” is a successful return for the 56-year-old, and possibly the most impressive example of a rapper approaching sixty, demonstrating why he’s one of the greats. Q-Tip frontloads the record with some stellar sounds, and it’s an album open to repeated listens, but it gets a bit bogged down in proving LL can still rap his ass off. A strong return, but doesn’t quite match those classics from yesteryear.

I’m glad he found a lane, stuck to it, and rode the hell out of it until he had to go to the clinic for a shot. On the other hand “Play Cash Cobain” is nearly one straight hour of listening to another dude read me the letters he wrote to Playboy. I prefer that to a rapper bragging about how many people they’ve killed, but an hour straight of either one with no variance is monotonous. He’s a solid producer, and while pitch corrected rap singing isn’t my favorite thing, he’s better than average at that too.

This album feels like “how do you do fellow kids” in rap form. It’s trying so hard to be slutty that it’s transparent in its aims and it robs Latto of the power she once had.

Ice Spice provides very little in the way of significant or substantial thematics on this album and that lacking is certainly felt as her technical ability takes a dive and her beat selection goes down with it. With little to look to on this album, it falls flat on the floor.

It’s evident that his pen game remains sharp, but the aforementioned polarization causes Eminem to also remain as an acquired taste even now: You either like him or you don’t.

Wasting no time and not adding any filler, the psychedelic soul of “Dreamin’” kicks off the album with Common sounding as though he hasn’t aged vocally. .... The album title has “Vol. 1” as a suffix, indicating there’s more to come. I hope so because “The Auditorium, Vol. 1” is the kind of listen that makes one wonder what’s next from the two.

It’s difficult to gauge its direction, and it often seems aimless and forgettable, despite some interesting experiments here and there. Overall though, it’s a continuation of their gradual decline since their stellar debut, resembling more a mixtape of half-formed ideas than a cohesive, fully realised project.

Knxwledge really knows how to bring the best out of Brandon. “HereIAm” swells with organs that make you feel like you’re at church for Sunday service. .... “Why Lawd?” proves it’s possible to remain true to your vision and bring the haters to you instead of the other way around.

As far as I’m concerned “We Still Don’t Trust You” is a solid hour of music that came with an unnecessary bonus disc.

All of these guests can be distracting, but Ghostface’s performances are as you’d expect. It’s not quite as precise with the abstract vocabulary, a bit diet-Ghost if you will, but his flow remains sharp and his energy levels are high for a 54-year-old. .... The frustrating thing about “Set the Tone” is I have no idea who it is even aimed at.

Aside from leaning too hard into the baller and misogynistic cliches “2093” is a solid listen.

While “Everybody Can’t Go” is mostly good, Benny will need to push some boundaries if he’s ever going to top his classic albums.

I can say I recommend the entire thing as high quality.

“Magic 3” continues to strengthen the argument for Nas as the GOAT and his legions of fans who appreciate his output in 2023 will clearly agree with this take.

Of the nineteen tracks on offer here, there are just too many skippables for a Busta Rhymes album. It may not be a proper Busta album, and it may be Busta’s way of sharing the flame, rather than passing the torch (as he so eloquently describes it), but in the context of Busta’s catalog, and the rest of 2023’s hip-hop releases, it frequently disappoints.

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.

“Solid Gold” is Aesop at his most complex, but then tones it down on “Vititus”, a dedication to his late grandmother. With “Black Snow” closing out the album, it ends with “ITS is not a cult” to coincide with the concept.

In nearly every way, it is downright unremarkable. The Toronto superstar has once again delivered a tiresome and inflated LP composed of 23 tracks, the bulk of which are only successful thanks to the guest features that aid them.

Overall, “Voir Dire” isn’t bad. But to speak the truth, in the spirit of the album, both men have had more superior output. Plus, The Alchemist’s beats are usually better suited for rappers with gangsta motifs, because it sounds more like shared vision then.

Sure, there are a few things that could be improved (that golden scrotum line for one – not even Roc Marciano could pull that one off), but I can’t imagine many Nas fans are upset with more of the same, when both Nas and Hit-Boy are on such a hot streak.

Nevertheless, while it’s difficult to get past the wording of Travis Scott’s “Astroworld” follow up, the instrumental completeness and overall energy is difficult to forget.

The focus of Quavo’s “Rocket Power” is on him — as it should be.

I found “To What End” is an album that grows on the listener. It does have a few tracks that sound like they could have been from older albums and the shorter track lengths I can’t ignore, but there are great tracks here to appease any self-respecting hip-hop fan seeking something more genuine and soulful in their 2023 playlists.

It hurts me to say different choices in terms of the production would have made it more accessible, because I respect his intent to be inaccessible here. If I have to sum it up and put a bow on it, I think “UGLY” is an album that will probably be appreciated more 25 years from now than it is today.

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

I can listen to “Mansion Musik” for 76 minutes and it’s fine as background music, but if I start paying attention to tracks like “WITCHCRAFT” the bars are so relentlessly negative it accidentally becomes a turnoff.

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

There’s so much that could be done with a Northern UK emcee to celebrate a part of England that has numerous industrial cities with interesting stories, but Aitch’s message doesn’t register as well as it should thanks to production akin to a box-ticking exercise.

The only potential pitfall is that the tableau that is a Curren$y record leans too much towards self-care and opulence like some showy Instagram account. ... While “Covert Coup” was more varied musically, the familiarity of the arrangements and orchestration on “Continuance” ensure a certain timelessness.

Nas sounds like he’s regained his confidence as the king once more. He sounds like the king. He’s in that “Ether” mindset once more – not necessarily as vicious, but simply sounding like he’s willing to name names and it feels like he’s genuinely having fun with his writing.

Well it’s a better Drake album than “Honestly, Nevermind” so that’s a plus. It’s not a better 21 album than “I Am > I Was” or “Issa” though so that’s a minus. If you split the difference you wind up with an average album. There are a few joints I’d care to play more than once.

Sampa the Great may be defined by where she hails from, but she also defines herself by making heartfelt songs with a universal appeal. Although this new album is my first chance to listen to her, I somehow feel like I’ve been listening to her my whole life.

The chemistry is undeniable and “The Elephant Man’s Bones” is the culmination of this partnership. This is an album that gets better with each listen and yet, despite capturing everything great about previous Roc Marciano albums, sounds remarkably fresh and current.

“2000” is very much worth celebrating. Much of the production is handled by Statik Selektah, now a veteran with a strong reputation who regularly works with Joey and it’s his sample-flipping in particular that makes this album stand out.

Individual songs can be seductive but his singing can lull you into a peaceful state over such a long stretch. Yeah it’s not much of a complaint at all is it? Don’t buy this album if you don’t want to chill out too much.

The “Eminem sound” the first “Curtain Call” could accurately collate and celebrate (given 100% of it was produced by either Dre or Em) has been pushed aside in favor of party trick flows and quick-win hooks from guests. It still seems to be a successful approach, but it’s not as satisfying to revisit.

This two-hour epic may not be his best work, but it’s his most Game album yet.

There are those who employ cheat codes just for the hell of it. Lyrically and musically, Black Thought and Danger Mouse used theirs here to get one up on their peers in their respective mediums.

“Sound Ancestors” is a good listen, but if you’re expecting the manic gangster energy of Gibbs or the loquacious lyricism of Dumile, then this isn’t the Madlib project for you. ... I’d definitely call it a Madlib album, but I still don’t know if I’d call it a Four Tet one.

As much poetry as rap, as much philosophy as sci-fi odyssey, “Bobby Digital and the Pit of Snakes” is not for the first time but the LONG time RZA listener.

Jack Harlow’s attempts at grandiose appeal ultimately fall short on “Come Home The Kids Miss You”. The young rapper fails to inspire or interest and his attempts at grand standing charm are without merit.

Drake breaks no new ground here, and retreads the same tales of love and regret so many times that the songs bleed together. If you just want background music for making love, this is your album. If you want to have your imagination captured by fantastic tales or be taken on an emotional roller coaster, don’t bother. There are no highs or lows here. We’re on medium the whole time.

On “It’s Almost Dry”, Pusha T proves that while he is fixated on selling drugs (almost to an obsessive extent), he is also a truly creative and, yes, original artist.

You know what you’re getting with Benny the Butcher, which is reliability, authenticity, and tough beats, but it rarely surprises, inspires, or leaves a lasting impression.

Through over 70 minutes of Lamar’s latest, every facet of life for the young Compton rapper is held up to the light. Love, pain, hope, despair, triumph, defeat, it’s all there. ... He’s a rapper who understands rapping is more than just a good beat, a good punchline, or a good vocal tone. He’s blessed to have all of that but he takes the platform he got from it and makes art that will last a lifetime.

“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.

Even when you don’t understand his choices, you can’t argue with them, because you know they are coming from a place of thoughtful artistic creativity.

The hard truth is that “Dope Don’t Sell Itself” takes a tumble down into the same hole of forgettable 2 Chainz albums that has become home to the likes of “Trapavelli Tre’”, “Pretty Girls Like Trap Music”, “Collegrove” and the like. 2 Chainz seems burnt out.

For the most part, the sound palette on “God Don’t Make Mistakes” is painted as dark and grimy which suits Conway’s visceral crime details. Though he isn’t from New York City, he’s got the grit to match it. Many of the tracks show off his penchant for detailed street life depictions with polysyllabic rhymes delivered in a veteran’s flow.

It’s remarkable how these beats all have their own feel yet still work as a cohesive whole. The well-worn joke in hip-hop circles that Nas picks bad beats is effectively wiped. Nas is, in his own words, reincarnated, but with an additional self-awareness that is more grounded than his last few performances. There’s no cryptocurrency chatter or verses shoehorned into trap instrumentals. There are no skips, this is simply good ol’ Nas distilled.

There are few better ways to ride through the current Omicron surge than spinning “Garbology” and joining Aesop and Blockhead as they excavate garbage for gold.

Sullivan herself is certainly an artist that doesn’t follow the rules, which is why it’s mildly disappointing to hear her sound like Post Malone or Juice WRLD on tracks. For a woman with as much power and agency as she clearly has, she let too much of this release be shaped by what other people sound like in terms of the production of her vocals and her instrumentals.

Hommy albums get better with repeated listens and he’s an artist that suits the album format. The antithesis of a regular coke rap rapper, his music carries a richer quality than Griselda regulars. Whether you can truly appreciate his craft depends on your patience and willingness to hear something a little different.

Overall, aside from some promising lines and one, maybe two standout tracks, “Richer Than I Ever Been” is an album that predictably falls short. It simply features too many weak beats backing up bars that often do more to bore than they do to convey a sense of skill or originality.

Those who grew up with a diversified rap album portfolio bridging different territories may find “Half God” cool, while those who are Cali native and not Cali transplants like Navy Blue may vehemently reject it as "that New York shit."

“Call Me If You Get Lost” is undoubtedly a strong showing by Tyler, The Creator, to say the very least. Despite this album’s fantastic structuring and delivery, however, something that is always to be expected with this artist is that what he creates next will undoubtedly be even better.

BBNG have been doing this since 2010 and over a decade+ they’ve gotten really good at what they do.

She’s not mired in self-pity, but she is also not blindly overconfident and thoughtless. This combination of bravado and humility makes “Sometimes I Might Be Introvert” such a fantastic album. It shows an artists who is not afraid to grow, take chances, and let it all out there. All of that make it one of the better albums I’ve heard this year.

It’s beige, hollow music and that’s what ultimately frustrates your dedicated rap listener because it doesn’t make sense why it’s so damn popular. When you throw the poor writing on top of this, and some real hit-and-miss production into the mix, “Certified Lover Boy” may well be Drake’s worst album.

I admire how empowered and unencumbered Ray BLK is, taking her time to release this album the way she wanted, choosing her own lane and not being forced to speed up or slow down for anybody else. I think you’ll enjoy it too.

Lil Nas X set out to make a crossover pop album with “MONTERO” and succeeded.

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.

Aside from these few niggles, this is easily Nas’ best record since 2012’s “Life is Good” and let’s be honest, a pleasant surprise.

It’s too slick and polished for a posthumous album.

The good news is that he’s very easy to pay attention to. It’s hard to miss a word that he says. Either because of the incredibly short length, or his great attention to detail, or the Kenny Beats production (or all of the above) “Vince Staples” is a must listen. He was wiser than his years at 22, now he’s wiser than his peers too.

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.

There’s a very real, dare I say relatable feel to Cole’s music that “The Off Season” continues to highlight. Unfortunately, it’s a few songs short of being a great album as Cole experiments with some different styles of production that aren’t always successful. Cole’s nearly-man mentality produces a nearly-great album.

Though Swizz did vary the sound of the production, the album’s overall sound could’ve benefitted from a P.K. or Dame Grease beat. “Exodus” isn’t DMX’s worst album, but for a comeback album, a now-posthumous one at that, it should’ve been better.

The album’s sole difference from its predecessor is the length. It’s not lyrically mind-blowing, but its hip-hop for fans in the know and those tired of the vapid mainstream.

Ultimately the album gets away with overly familiar breaks thanks to the superb level of stars. ... It’s not his best compilation, it’s not his worst, but it’s another one.

The raps are solid and the production under Fraud is not polished, but more refined this time around. All in all, “The Plugs I Met 2” is another feather in Benny’s cap.

He’s successfully bridged the gap from local to international with this album and when everyone can go on tour again I think he’ll have a ready made audience well outside of the United Kingdom.

It is claustrophobic, depressing, but also beautiful in its own sad way. While the circumstances that led to “Fall to Pieces” are terrible, the album is incredible.

“E3 AF” certainly has its moments. The filthy Grime collaborations are brilliant and overshadow everything else, for better and worse.

It feels like the audio version of Madonna releasing a coffee table art book of her sexual exploits, and I’m not in any way judging you if you get off on that, but it’s just not my thing.

At only 26 minutes “Fuck the World” is (more than) a little on the short side, but it’s still long enough to make a powerful impact with a croon as opposed to a boom from the cannon. The only other complaint I could issue is that at times Brent Faiyaz is self-indulgent to the point of straight up misogynistic attitude lyrically.

“Limbo” shows that if he takes his time and works with the right people, the results can be drastically improved. The hidden talent Amine had is hidden no more, and I’m happy to say I won’t be nearly so reluctant to listen to his NEXT album.

“E.L.E. 2” may be bloated and overloaded with A-list star features, but it works. Somehow managing to cater toward two generations of listener; you could have this playing on a CD in your car for weeks, skipping some tracks and then discovering new favourites down the line; yet there’s enough excellent individual moments here to populate a digital playlist too.

Songs like “Wishing Well” carry on the things that made him popular — a catchy melody and hook, AutoTuned lyrics, tales of depression and drug use. All of Juice WRLD’s trademarks can be found here.

Occasionally it leaves you underwhelmed and yearning for more, but that still counts as a positive, because so many other rappers wind up doing more and leaving you wanting a whole lot less.