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.

They've wisely chosen to not compete with the younger generation of DJs, and shown the upstarts the roots of dance music. They've also proven that they are not one-trick ponies who can only build beats on samples. They do just as well with a completely different sonic pallette.

Littered with ignorance, braggadocio and uninspired production, French Montana's debut release is less about him and more about the guests that his label have brought in to help hide his lack of skills.

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.

Not every track on Lip Lock is a home run, but she bats for the cycle here and only strikes out a few times.

It may be hard to take Mac Miller seriously at times, but it's just as hard to dredge up any overwhelmingly negative feelings about Watching Movies save for two [the cover art and the deluxe edition feels like there's some filler material ].

It's not at Radiohead's level, simply because it's not as conceptually coherent; the lyrics may shock but they don't bite; the production (save for "On Sight" and a couple of others) is interesting but barely truly revolutionary within his own career arc, let alone when we count other contemporaries such as M.I.A. But while it might feel like an opportunity missed, at least Yeezus feels real.

Extended Play has the comfortable feel of a mid-to-late 1990's DJ Premier P-P-P-Premier mixtape though so I'm not mad at it--I just want Statik to knock his next one out of the stratosphere.

Born Sinner is a real grower, one that in many ways completely exceeds expectations and demands your attention.

POC is a step above his worst material and a far cry from his glory days.

Chance the Rapper builds on the formula that Kendrick Lamar rode to success last year, offering a lower-key, more introspective take on Kendrick's confessional half-sung raps.

As action-packed as beats and rhymes are, CZARFACE was a quick read I soon found myself putting back on the shelf.

Minus the niceness of "Manson Murder" and "Hater Love", this should have been a mixtape as it isn't a patch on any of Styles' previous LPs.

As much as I enjoy 13 and think it's probably his best solo work to date, I would like Havoc to floor me with a knockout album, rather than just leaving me feeling reasonably content.

For fans of RA The Rugged Man, this is essential. For fans of early Eminem, this is essential. For everybody else, if you can ignore the swearing and appreciate the intricacies of RA's rhyming, you'll undoubtedly enjoy this because at least 80% of this record is straight up dope hip hop.

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

Kool Herc: Fertile Crescent succeeds because it manages to balance Homeboy Sandman's unique delivery with fun, free-wheeling production.

It's hip, it's slick, it's polished, and it's an utter waste of time.

I'm not even sure I like it, but I do respect that it's exactly the unusual artistic vision these collaborators conceived.

Despite his years away acting, LL hasn't really lost his touch rapping. What he has lost is a sense of focus and direction.

There's Something 'Bout Kreay is the sound of a record company trying to turn 15 minutes of fame into a career, and spending way too much money in the process.