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.

The problem for Wiley on 100% Publishing is that things just vary too wildly from song to song.

While the beats are mostly good, it feels like Macklemore missed out on an opportunity to really set his solo career apart from Macklemore & Ryan Lewis.

Like the core message of Everything Is Borrowed, this album will, unfortunately, come and go soon enough, little trace left behind.

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

If you can get into the fantasy and ignore the reality then DS2 might be good escapist music for a little while.

Neva Left is unfortunately, yet predictably, another mixed bag. The good tracks are effectively updates to proven formulas, which when matched to more imposing beats, show Snoop hasn't lost his touch.

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

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.

It's no secret the Twins get gully. Fortunately for listeners, it's very contagious. Unfortunately, it comes at the expense of lyrical content.

As it stands, the album has some decent songs but doesn't hold together as an album.

He clearly cares about his output, but “Music To Be Murdered By” is, unfortunately, another mixed bag of tricks, propped up by lyrical acrobatics and underwhelming production.

If you can focus more on the beats and not so much on the words the overall experience improves, but even then it still tends to be monotonous.

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

Unfortunately the drama turns out to be more interesting than the album itself, with Yayo offering little lyrically, Banks seemingly phoning in his performances, and 50 trying to hold the whole thing together on the strength of his star power alone

Ultimately I have two complaints about Blue Slide Park which in the grand scheme of things may be minor.

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.

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.

The problem here is that not only is no progress made, Weekend at Burnie's might just be an artistic regress.

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."

If you can get past some of the dumb lines and the often blunt nature of Big Sean's approach to seduction, there's enough solid, modern R&B here to satisfy those craving something a bit more direct than Drake, but it could have been so much more.

Rather than staying true to political and social roots that got him signed in the first place, David Banner has chosen to mimic what's popular.

Freedom will be a disappointment, and a predictable one at that.

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.

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

You see, the first 5 songs set the album up to be a pure party album - which actually would have worked a lot better, with the last track being a comedown moment. But then, delusions of adequacy spring up and the LP ends up shooting off in different tangents, where musically it is solid (if entirely unchallenging), but lyrically/conceptually it do nothing for you.

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