There are 21 tracks on jammed with booming, mellow Atlanta trap flare and some inconsistency between bangers and filler tracks with similar minimalist, psychedelic soundscapes.

At 18 songs, Wunna’s tracklist is dense but not padded.

NAV’s biggest problem is that he doesn’t provide anything new with his music other than another generic serving of NAV.

He doesn’t dazzle with sinewy flows or clever melodies; he spits what’s on his mind and trusts it will resonate. It definitely resonates on Beyond Bulletproof, due to his transparent lens and well-suited production. Chalk it up as a victory for Sacramento’s lyrical champion.

It Was Good Until It Wasn’t‘s back half will earn respect from core fans for its consistency, muddling the notion Kehlani played it safe with this one.

Ultimately, while the album can get introspective and quite personal, the moments are buried under music that feels slightly unsure of its audience. It’s things he’s done before, and (for the most part) better. ... Not that it’s terrible music — it isn’t. In a few instances quite the contrary. It just isn’t the wall to wall classic fans may be hoping to get from him at this point.

Once again Drizzy has found a way to craft songs that will deeply resonate with some and less with others, continuing to get listeners to press play — quality be damned. Even with its faults, Dark Lane Demo Tapes has already built anticipation for his next album scheduled for this summer.

Everything from the production to the subject matter on this new album is frustratingly similar to the first two projects.

Tory has ceremoniously set the stage for his new indie path and become among Hip Hop’s elite. But for his mission to join the rap’s upper echolon, Tory has to diversify his content beyond ex-lovers, sex, his drug dealing past and Quarantine Radio twerkathons.

It Is What It Is isn’t the worthy successor to Drunk, but it certainly feels like its ideal companion piece.

Like an episode of Atlanta, 3.15.20 takes us in various, episodic directions that are snapshots into the thought process of Donald Glover. He ties it all together with the unifying, timeless theme of love. It’s just a shame his vision was marred by musical risk-taking that falls flat almost as much as it soars.

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.

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

A frustrating project that falls short of its composer’s talent.

As an album and summation of why so many people have revered Jay Electronica for so long, A Written Testimony was absolutely worth the wait. Let’s just hope the next one arrives sometime this decade.

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.

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.

Whether or not listeners make it through all 24 tracks on Funeral, it’s easy to see what Wayne is definitely in his own world. His rhyming remains unlike anyone else in the entire genre and despite this album not being his strongest, you don’t have to go far to find a Wayne quotable that inherently makes one admire his seasoned lyrical dexterity.

Kenny Beats’ production is a weapon as blunt and beautiful as Curry’s verses.

As it stands, Born 2 Rap is a proclaimed swan song that feels more like a playlist. Let’s hope Jayceon has one more in him.

This may be one of Roc’s most energetic yet and puts him foot down as one of Hip Hop’s most influential underground rap hitmen in the digital age.

He finds beauty and peace in allowing himself to experience his own emotions. It’s an honest, matter-of-fact account of the grey areas of his life and mind. On Circles, Mac shows the unexpected joy that can be found in the darkest of times.

Music To Be Murdered By is far from the star-studded, commercially sustainable album Recovery was, but that isn’t necessarily a bad thing. On this album, despite its handful of flaws, Em shows strong signs of adapting to the times through modern musical choices and smarter songwriting.

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 Circus is an overall creative win and a nice precursor for his next album. The EP’s lack of substance holds it back from matching some of his previous work, but in lieu of a bigger idea, it provides a cohesive, quick and enjoyable flow fest perfect for listeners looking for a relaxed set of songs to escape the craziness of everyday life.

Despite impressive features and banging singles, JACKBOYS seems too lean of a project to feel like a noteworthy introduction to Scott’s label and collective.

Please Excuse Me For Being Antisocial is the type of debut every breakout artist strives for. The album flaunts commercial appeal with hints of immense potential when it becomes more thoughtful, gritty and shows off Roddy’s knack for songwriting.

This 25-song compilation renders itself as a gift to the die-hard X fans that are rightfully craving anything new from the late rapper – even if it’s simply lo-fi humming over baselines for a hot second.