At its core, We’re All Alone In This Together is a meticulously constructed, well-balanced rap album. It’s an important landmark, placing Dave high in the best rappers under 25 conversation.

Even with a lengthy tracklist, WASTELAND is economical and patient with its time. Songs are given a chance to breathe and arrive at their full potential rather than being sequenced and chopped to appease streaming requirements.

Produced entirely by Erick “The Architect” Elliott, the 12-song mind trip is hodgepodge of haunting strings, ambient sounds fit for a sci-fi film and hard-hitting drums.

At 15 songs and 51 minutes long, it’s an enjoyable listen with good pacing, filled with the right amount of vulnerability, heartache, menace, and savagery.

It’s a tumultuous journey of trials, tribulations and everything in between, which is something Lizzo is able to illustrate quite well. Whether you’re here for it or not, Lizzo has arrived.

Ab-Soul expounds on his cranial compound Do What Thou Wilt and fully revealed himself as an artist who plays mind games with himself and listeners. Although figuring Soulo lyrical intent continues to be a guessing game, at least there are some critical takeaways that linger far after indulging in the music.

The theme of newfound optimism opens Beware of the Money with “Nuthin I Can Do Is Wrong.” The DJ Blackpower produced record contains a soothing soul sample from Forrest’s “I Just Want to Love You,” in which MIKE sings along halfway through the opening hook. It’s not hard to imagine a cheeky grin from the esoteric rapper as he raps with radiant pride.

While Vince sticks with his most familiar narrative examining stardom’s futility despite it providing escape from former life’s struggles, his calling lies in finding provocative, edgy and unconventional ways to tell his story. Luckily, Staples’ choice to walk the road less traveled placing innovation at a premium over fame shouldn’t prevent his well deserved shine from gaining continual momentum.

Sometimes I May Be Introvert is an espousal on Black womanhood with deep emotional intelligence and refined insight from someone who’s ruminated on her pain and found catharsis through music.

Travis manages to create a substantial body of work that begs to be served as a whole, rather than just bite-sized pieces.

Water Made Us, Woods’ third, and best, album, tackles an even more grand and universal experience: relationships. But she does so with a fine-tooth comb, crafting songs bursting with intimate details on a diorama-sized scale that loosely trace the relationship lifecycle.

Sitting at 11 tracks and clocking in at a relatively short 40 minutes, the project is an exciting blend of vibes. The project’s sound is diverse, traversing a lo-fi, basement aesthetic, A$AP-level soundbeds and Yeezy-esque ambient experimentation. The glue is the careful curation of the listening experience and--without question--his lyrics.

Redemption shines brightest when the music itself matches Rock’s dynamic performance and infuses enough energy for him to seize the moment.

Nitpicking on the extra grams aside, with Plugs I Met 2, Benny not only adds a well-rounded arc to his discography but also solidifies his status as an elder statesman/role model for a new generation who could genuinely use the perspective. While he’s just as guilty of glorifying his former lifestyle as any rapper, his music exemplifies the difference authenticity makes.

It may not be as beautifully consistent as Malibu, but during those glorious pinnacles when Oxnard is firing on all cylinders, it’s undeniably some of the best music of 2018.

The full-length fully introduces the world into a troubled young man with a brilliant mind whose musings are starkly engaging.

He seems to have complete control over the proverbial dance floor, switching up tempos to match the crowd’s mood throughout the 15-track album; this prevents 99.9% from feeling bloated and is yet another reason Kaytranada’s debut album is a resounding success.

Other than the Yeezy collab “Glow” being a bit lackluster, primarily for being slow and sonically off-putting, More Life has very few stumbles and a plethora of exciting moments that will ensure this project’s shelf life.

In an increasingly-predictable rap universe top-heavy with trolling mumble-rappers and formulaic pop-trap beats, Rosebudd’s Revenge’s quiet-storm menace makes for a surreptitiously potent punch of heavyweight Hip Hop.

It’s a continuation of his intense focus on a singular topic, which results in a clear elevation in quality that few could hope to achieve, setting the standard for any plan to follow his formula.

The Allegory plays out as Royce’s most consolidated offering yet. A definite career high-point for a rapper whose résumé spans over 20 years.

Layers is an album of tremendous depth and skill, and shines a light on Royce 5’9” as multifaceted artist.

HNDRXX provides a view into a modern rock star indulging in a side of himself that’s more thoughtful and dare one say, honest.

Listeners will find themselves going back to the top of the tracklist and letting the album roll through the variety of worldly sounding tracks. A true GoldLink summer vacation. A true summer diaspora.

The album is littered with allusions to Whack’s mental health struggles, but it never feels overbearing, owing to Whack’s ability to balance darkness with her trademark wit and playfulness.

The Patience is a rewarding opening chapter, a satisfying burst of fresh air after a period of holding his breath.

One Of The Best Yet makes a strong case that its chain and star logo is Hip Hop traditionalism’s version of the Union Jack flag to salute where credit is due to one of rap’s greatest MCs and duos yet.

Much like his subdued persona in the media and social world, BJ has put forth a project that speaks louder than any other outlier that dictates what rides the trend.

The House Is Burning does exactly what it’s intended to do, it allows Rashad to dust off the cobwebs going back to the southern sound he so deeply admires, while also proving to listeners he hasn’t lost a step.

The L.I.B.R.A. could have benefitted from a few snips here and there, but overall it’s a reasonably satisfying listen and a tangible reminder that the self-proclaimed King Of The South hasn’t lost his edge.

While it would be easy to get lost in the eclecticism of the album, that’s frankly what makes N.E.R.D the group they are.

It’s unabashedly fun and a refreshing celebration of sample-based beats in a genre largely moving away from them. There’s no deep thinking or worldly insight here, but Bronson has never tried to be that artist. He sticks to what he does best and succeeds in doing so.

With a debut studio album as refreshing and well-rounded as MID AIR, it seems like they’ve found that lane, and may be the leaders.

This debut shines so brightly in comparison to what Aminé’s contemporaries are passing off that it may be easy to forget that it is not exactly a groundbreaking album. Regardless, the rookie should be commended for crafting an honest, entertaining and revealing album.

The songs here demonstrate his versatility by tackling new subject matters (relationships, love), expanding his reach with more big-name producers and features. He is no longer boxed in as a drill specialist but an artist with range, who can take that foundation and shape melodies that are on trend with 2020’s standards.

With no filler or fluff, this album is bound to satisfy those who like their bars bountiful and Lupe Fiasco in peak form.

Pray For Haiti is an easy starting point for new Griselda fans looking to find out what the Mach-Hommy hype is all about.

The rhythmic excellence of producer RIOTUSA and Ice Spice comes to a peak on “Actin A Smoochie.”

As a highly experimental album, the occasional misfire is a guarantee. Ultimately, Iridescence is an exciting way to start a new trilogy and is a testament to Brockhampton’s perseverance.

Some Rap Songs is reminiscent to Earl’s late friend Mac Miller’s final album Swimming. Both bring the listener through the process of overcoming trauma and healing but ultimately, choose to leave the story unfinished.

ALL-AMERIKKKAN BADA$$ shows an ample amount of growth for a socially aware rapper discussing heavy issues.

Is it going to be the album of the year? No. But it’s a very high quality, and very enjoyable.

EarthGang are rapping and harmonizing the sights and sound that make up the musical hubs’ cultural and social-economical tapestry. This isn’t a new Outkast. This is a new Atlanta.

The subtle wave of acoustics, sparse pianism and occasional bass bump work as an apt complement to Ella’s oration. The production also displays the underappreciated diversity of Mustard’s bottomless bag of beats.

Shoot For The Stars Aim For The Moon offers a fleeting peek into the artist Pop would become—beyond Drill, beyond Brooklyn, beyond even the United States.

After Hours is the most satisfying blend of “old” and “new” Weeknd that he’s ever put forth on a single project.

Frank has proven to be his most compelling work to date.

HERE is sewn up together nicely and a testament to what Keys always gets right--speaking from the heart as she strokes those 88-keys.

It’s quite good, and a good Freddie Gibbs album is an already high standard to match.

Sounding more like its European/British predecessor (danceable, quasi-electronic) than its more guttural Midwestern/Chicago cousin (as first made famous by Chief Keef), Pop Smoke’s raw growling was jarring and hard against these bouncy beats but surprisingly, it’s also wildly effective. In typical drill fashion, Pop Smoke does best when he’s paired with UK producers.

This is an impressive showcase for his fans.

Kehlani’s decision to provide spoonfuls of candor throughout the album is why she’ll reach the apex of R&B sooner than a lot of her contemporaries.

ZUU is filled with entertaining records, but their relatively short runtimes often leave one yearning for more. This brevity is just minor quibble though when presented with rewind-worthy efforts such as “Ricky,” a creation named after Curry’s father.

From out the gate, it comes as no surprise that the strongest material on the 18-track audio excursion is centered around Cole.

Where GoldLink hardly breaks new ground thematically waving the flag for tortured souls aiming to survive ghetto violence, he has continually achieved sonic innovation having coined his own sub-genre “future bounce.”

Every spin is undoubtedly an exercise in active listening; an Aesop Rock album isn’t a casual affair. Close attention is required to grasp the nuances and cleverness of his writing. But for those who appreciate the creative lyricism he consistently slings and Blockhead’s dreamy, layered production, Garbology isn’t likely to end up in the trash.

The creative process seems more organized and thought out, allowing Nas to do all the things he’s good at, without embellishing any of them.

With Jp3, Junglepussy has successfully pushed her artistry forward without sacrificing the personality that established her as a dynamic force. Although her crass content isn’t meant for everyone and she has yet to have a proper crossover moment, the sophistication of this project demonstrates her underrated status is just moments from being erased.

Even with nothing to truly prove, Ty Dolla $ign managed to once again assert dominance in an overcrowded lane of crooners who get likened to rappers.

As a debut album, X 100PRE succeeds at establishing Bunny’s ambition. With its bangers and sonic diversity, this release suggests that the Latin trap artist possesses the potential to shape mainstream music for years to come.

While the boastful rapitty raps are par for the course for an artist of DMX’s tenure, he shines even brighter on the more broodingly beautiful “Walking In The Rain,” which features another appearance from Nas.

KD3 keeps Nas in the relevancy conversation because his voice is still impactful, calling to action when some might say he doesn’t need to do this anymore. It’s a lesson in purposeful storytelling and aging with grace.

Benny raps with so much confidence and gratitude here that listeners have to tip their hat to the certified Buffalo legend. For those used to the aggressive, violent music of The Butcher will be happy to hear this fresh, refined take on his sound.

Overall, for a debut album, Ari Lennox shows a lot of promise as a contemporary musical child of past neo-soul pioneers (whether they claim the title or not). With minimal effort, Ari impressively delivers the kind of R&B that has been missing (and missed), from the genre.

It’s a restlessly inventive work that adds a uniquely soulful layer to underground Hip Hop 3.0’s resurgent, evolving sound.

Ultimately, Staples has added another colorful chapter to his chameleon-like catalog and reinforced his intention to keep evolving no matter what trends are dictating the current wave.

.Paak’s newest project is less cinematic and epic than its companion piece but it’s just as ambitious, texturely rich, and bustling with pleasant surprises.

Despite the lack of range, Pretty Girls Like Trap Music goes down as 2 Chainz’ strongest LP to date and will become a reference point for anyone curious about how the towering rap star can service their turn-up needs.

Yes, New Blue Sun is receiving a healthy amount of praise because it’s André 3000, but it’s also a truly wonderful piece of music.

A lot of the otherworldly iterations might make it difficult for some of his peers to grasp, especially if you don’t have the time to properly digest it. SYRE requires patience, a thorough listen and acute attention to detail otherwise it’s just going to sound like a strange pontification on existentialism that the casual listener simply doesn’t have the time to decipher.

It's a matter of execution, and in that regard, fans will have little to complain about.

After the first initial play through, this album definitely translates as Jadakiss’ most celebratory to date. The beats are more grandiose, less gutter horror story and more hustler’s celebration. The whole theme plays out like his very own victory lap.

He gives a worthy addition to the series and continues his reign as one of rap's best.

Inspectah Deck, 7L & Esoteric use '90s East Coast Hip Hop as a blueprint to innovate, and ultimately, that’s what made that era so special in the first place.

Take it or leave it, Wise Up Ghost is great.

Wild, yet well-delivered songs showcase Songz as a master of a now lyrically unrestrained mainstream R&B standard.

There is no denying Lil Uzi Vert’s unconventional version of rap has been polarizing for the better part of the last five years yet Eternal Atake should be celebrated. He maneuvers within the cockpit of his comfort zone, navigating a galaxy of different genres while keeping the essence of rap at the forefront.

Yes, it’s true the mini-album doesn’t break any new ground, and--as he’s done in the past — revisits elements of previous projects. However, without the bloated tracklist of Starboy, and any attempt to please an audience outside of his core, the lack of innovation doesn’t seem take away from the concise, focused, conceptual nature of this well-produced R&B gem (thanks to Frank Dukes, Mike Will Made It and several other notables).

Surf will not be for everyone, but for those seeking a sense of spiritual upliftment and a relaxing summertime soundtrack, Surf is the wave you’ve been looking for.

The Beasties feel permanently young again having crafted an album that is just as consistent, unhinged and enjoyable as Check Your Head.

Overall, Saaab Stories is the meeting of two artists who push the old Hip Hop formulas to new places unlike other ‘90s era revivalist types who would rather cling on.

When an act features the level of execution that Major Lazer showcases on Apocalypse Soon, it makes the likely forthcoming full synergy of dance, Rap and pop not so much regrettable, but palatable and completely welcomed.

Late Nights shoots at the moving target that is modern rhythm and blues and scores, because sometimes sheer talent just can’t be denied.

By the Time I Get to Phoenix has arrived, an album loaded with deep emotion and detailed texture that makes every track feel revelatory.

Every story and every hook connects on a human level, which in a Rap game moreso than ever defined by absurdity and ephemeral aspirations makes this a worthwhile listen.

Taking steps to advance his career without compromise, Michael Christmas uses Fudge’s Lady Parts to make what’s arguably the greatest showing off his talent to date.

It’s a Mantovani-style soundscape heard in a sensory deprivation salt tank. It’s just as home in a ‘head’s collection as it is in a New Age retreat or if you prefer, at Sunday Service.

The rhymes and the beats are correct on every song on The Earn, and whenever he speaks against something, he offers an alternative.

Music For My Friends is an above-average effort from Skyzoo.

The Infamous Mobb Deep is a return to the roots of their artistic consciousness, substantiated almost 20 years ago, and with fine precision.

It’s a kaleidoscope of sounds that feels like a best of instead of a debut. It’s jarringly airy, flitting about and flouting conventions at every turn, and it’s sometimes so steeped in it’s 90s house past that it undermines its own velocity.

Scott Mescudi made an EP’s worth of material feel like an album, and he did it without surrendering his artistic integrity in the process.

While When I Get Home is a valiant effort and (thankfully) distinctive to mainstream music’s consistently homogenized landscape, it could’ve benefited from less freeform and a little more stability.

His sophomore solo set, God of the Serengeti, sticks to the script, and that's not a bad thing.

Buddy’s self-acceptance ensures his future in Hip Hop is bright and shines through on Harlan & Alonda. The pursuit of his goals has finally paid off with this grand debut.

Tinashe allows her project to rise above the strain of heartbreak to create a simultaneously empowered and cohesive debut.

It’s a harsh listen that’s likely more obscure to casual, Top-40 listeners than R.A.P. Music. That’s too bad for them, because Mike and El-P seemingly unleash every item in their B-boy tool kit this time around.

Prima Donna is his most challenging work to date.