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.