Speedin’ Bullet 2 Heaven is ultimately messy, challenging, and rough around the edges (perhaps more so than anything Scott has ever released), but there’s also something about it that’s admirably unique.

Even as she's suffering the romantic disadvantage, Adele infuses the songs of 25 with a love-drunk cockiness, tossing wine by a loose wrist as she reconsiders these departed men.

Many of the album’s strongest moments find room in the spaces he’s already mined giving his house blends more depth.

This is the fairytale of Puff Daddy the hitmaker turned businessman and culture tastemaker, and he's writing the epilogue to his happily ever after. So far, so good.

Janet is reflective, optimistic, and offering encouraging, motivating lyrics to those listening.

"Trap Queen," "My Way," "Again," and "679" are all great songs: impassioned, radically romantic, and congenial sans the PG-13 restraint of, say, Jidenna's "Classic Man.".... The present ubiquity of Fetty's singles renders Fetty's album largely redundant.

Despite a corny bar here or there, Drake sounds way more energized with much better flows. But he’s still on Future’s planet.

Jay shows range by playing with his flow and experimenting with his sound on tracks that feature beat switches.

Travi$ Scott made an enjoyable album for his fans peppered with undeniable bangers for his detractors.

The lecherous lyrics that built his core are still here, but the beats are larger, more capacious, and more lush..... [“Tell Your Friends”] shows a growth in the Weeknd’s songwriting that unfortunately isn’t more prevalent throughout the album.

Compton is his third-best album, but that's hardly an insult. His skills have always been about immediacy, the grandiose, a sixth sense for the universal. On Compton, that's still intact.

Dom Kennedy's third studio release is short and to the point leaving no room for fillers. But it lacks the certified bangers we're used to him delivering. Still, it's a solid offering from an independent artist.

If you've followed Future's recent moves, DS2 is not unprecedented, but it greatly enhances the brooding ambiance of his recent work, a dive further into the abyss.

Dreams Worth More Than Money sticks the landing, sustaining over its running time without stumbling and occasionally providing some thrilling moments.

Although, it's a bit too long, and suffers from some peaks and valleys, it's a very solid project overall.

Major Without a Deal’s concept songs miss almost as much as they hit.

Surf is a boardwalk picnic with sunset views of the Ferris wheel, grassy laughter, and paper plates smeared with blueberry shortcake.

There's nothing new or challenging here. It bangs, though predictably.

All things considered, this is a solid album. Fans of old Rocky will be happy to hear he hasn’t left them behind and new fans will have a plethora of options to choose from.

His latest album loads several compelling rounds of rage and heartache, and no egregious duds (though "Spoil You" really is pushing it).

It may seem dismissive to write the album off as a stepping stone, but when you consider the stark contrast between tracks like the gospel leanings of "I Know There's Gonna Be (Good Times)" and, say, "Basic Space," In Colour isn't only a necessary listen, but an important one too.

Trey Songz and The-Dream can gripe on tracks about smart phones and Omarion can make a run for dancehall licks, but Kehlani’s pulling all these ideas together into something that feels original and authentic and, somehow just slightly transgressive.

Ultimately, Zedd’s True Colors shows the guy is brilliant at what he does, and for those who want to get all in their feelings on the way to a festival or to soundtrack a beach date with bae (or a group of friends), this will be the disc to keep on repeat.

Dark, frenetic, and complicated, Ratchet is so thrilling because of its refusal to settle down.

There isn’t anything outright offensive to the senses, but if you are a bit of curmudgeon Bush might strike you as a little corny.

For what it’s worth, Ciara’s voice sounds stronger than ever. It’s just much of what she’s singing lacks a certain oomph.

Fly International Luxurious Art is an often awkward and fumbling attempt to update Raekwon’s music.

Its solid momentum really fizzles out in the last few songs, making for a disappointing finale of an otherwise solid effort. Nonetheless, Love Story is a big step forward for the Slumerican affiliate.

On Barter 6, a rapper frequently dismissed as a druggie dance trapper inverts himself, yielding a passionate and personal record that's as insular as Earl's latest, but with charisma and color.

Cherry Bomb is Tyler's greatest creation to date. However, the album is bit of a mess in the beginning, and while Tyler's grown immensely as a producer, his rapping isn't consistently up to par.

As the third installment of Spitta’s aircraft-themed series, Pilot Talk 3 finds the NOLA sky captain delivering a familiar set of luxury rap fairytales upon which he’s built a quietly impressive career.

When the lyrics don’t sound old, they come across as eternally gross.... A lot of lyrics are just corny.

The second half of The Album About Nothing is a bit more hit-and-miss than the opening seven tracks.

Self-produced almost entirely under the moniker RandomBlackDude, I Don’t Go Outside is a minefield of gloomy thumpers. Nothing stands out to the point of distinction sonically, but that might be the point.

Mr. Wonderful is a solid offering from a guy who consistently puts out quality music.

With all its superfly flourish and talk of Willie Lynch, Butterfly is heady and ambitious, if not unprecedented as subject matter.

The rap songs are dated and goofy as hell, but occasionally they're catchy enough. Luckily, Empire keeps a few true R&B greats on call for the love of musicality.

The end result is a love letter to the world of feels, and a great escape for heads looking to let their freak flag fly.

A relatively conservative follow-up to a debut album that, three years ago, had many fans and critics re-imagining pop music as inexhaustibly brave and new.

Occasionally clumsy but wonderfully plainspoken, and impassioned when he wants to be, Sean has advanced (if not graduated) from the tepid mythmaking of Hall of Fame. Here he’s dynamic, and a pretty good rapper.

You won’t be listening to this one all the way through, but that’s perfectly fine. The release is more than capable of holding up his legacy until Views From the 6 arrives later this year.

For the most part, Kid Ink is a C-average rapper scoring unexpected B-pluses over A-grade beats from DJ Mustard, Stargate, and Metro Boomin.

Non-Fiction is a fire sale of songs no one else bought, over beats no other singer could’ve wanted. The beat selection is whiplash, from pop to R&B to retro trance vibes that never settle into a sure, comfortable pattern.

This record is beautifully crafted, with robust lyrics over expertly crafted beats. You will not find any throwaway tracks on here.

[Joey Bada$$'s] potential is only half realized on B4.DA.$$, which speaks to his lack of adjustment in transitioning into a full-fledged artist who truly represents something other than ’90s nostalgia rap. Still, B4.DA.$$ is a commendable performance from an MC who has every opportunity to capitalize on his next project with some more seasoning, experience, and focus.

Reality Show is neck-in-neck [with Love Me Back] in terms of quality, but Sullivan’s latest feels a lot more current—which should make it easier for the public to relate to.

Lennox lost his father to brain cancer in 2002 and the experience has floated through his music ever since, but never has his songwriting been so tragically pointed. There's no ambiguity here, only the gaping emptiness that the absence of a parent leaves behind.