K.R.I.T. IZ HERE is neither a career-defining album nor a complete flop. Instead of building off the creative momentum of 4eva Is a Mighty Long Time, K.R.I.T. is on auto-pilot. But thankfully, he’s still effortlessly exciting.

Overall, it works and is another jewel in her crown — one that she, overall, can be proud to call hers.

Gems are few and far between on The Lost Tapes 2. Nasir Jones mostly sounds uninspired and distracted throughout the 16 tracks, which begs the question: why even release these previously hidden records to begin with?

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.

SAVE ME, opposed to previous collaborative EPs such as 2016’s Purple Reign with Metro Boomin, feels incomplete for it’s lacking the divine energy felt from previous Future projects.

With production wizards such as Mustard, Hit-Boy, Cubeatz and more on deck, the production checks all the boxes as steroidal bass and encompassing synths permeate the project for modest results.

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.

Earworms aside, some songs are merely second-rate homages. ... 7 does show some promising directions for the meme maestro.

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.

Filled to the brim with ideas even when it sometime sounds as if he’s creatively a little too all over the place. Thankfully, even when he fails, listeners should be fascinated by even those attempts.

No sole record matches the adept level of musicianship exemplified in her breakout hit “Big Ole Freak,” but Fever’s dedication to eschewing pop-leaning material wins big with the everyday people, strippers and strip club aficionados.

On IGOR, Tyler showcases a more polished iteration of the hazy pop he’s been perfecting for years. Though some might be disappointed that he’s becoming more of a singer than a rapper, this is the kind of project that should encourage more artists to disavow labels and relish in taking risks.

There are without doubt a few tracks on this album that could make it to your favorite ScHoolboy playlist but said “few” don’t outweigh the remaining dozen that fall flat on their blank face.

Instead of replicating last year’s hit mixtape, Nasty is clearly set on experimenting and expanding her sound. Even though it shows that she’s a risk taker, Anger Management is unfortunately half-baked.

At times Abstract is advancing the alternative Hip-Hop genre, while in other moments he’s relishing in an indie-pop fantasy. Generally, he’s at his best when he’s building off his previous Hip Hop success.

The production on Guns is most appealing when he relents and allows for more free-flowing instrumentals.

Rich The Kid has done a fine enough job with his second album, and he’s successfully set the stage for a career that could be long, fruitful, and ultimately well-respected.

It’s the perfect type of album to have playing in the background at your local Foot Locker and as long as it’s getting streamed somewhere, somehow by someone, NAV will likely be happy.

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.

Not only is Homecoming an artistically-sound triumph, it’s a cultural touchstone and, quite possibly, the live album of a generation.

.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.

Czarface Meets Ghostface is far from a “bad” rap album despite having a seemingly uninspired rap trio. From a bar-for-bar standpoint, the rhymes on here are better than a lot of today’s modern offerings but it’s missing the menacing attitude which is often times half the battle.

Genre-blending albums (no matter how commonplace they might be these days) are not easy to pull off and for that, Juice WRLD should be given credit. From the seemingly sincere lyrics to the equally candid delivery, Juice truly goes with his gut in whichever way (rap, sing, hum, sob).

While Chainz’s level of authenticity remains intact throughout the album’s duration, the commercial ambitions of its third quarter give way to a lapse of quality.

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.

This album is a big win for Gunna, an even bigger win for executive producers Wheezy and Turbo but a championship win for contemporary rap as a whole that should be appreciated by all.

The 27-year-old Offset digs deep into his Atlanta Hip Hop lineage, crafting an album that’s equal parts rare in this climate (seeing it follows an unfolding narrative) and refreshing, given its telling content.

Other than polished vocals and drastically better mixing, Lil Pump sounds the exact same as he did when he dropped Lil Pump; zooted on Xans, lean, and without a care in the world. The rapping is simple, the concepts are easy to grasp as he pretty much gets straight to the point on all 16 tracks (said point being the drugs and money he bathes in excessively).

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

On The WZRD, he spends most his time refining his formula or simply being lazy. Either way, it’s clear that Future is way too comfortable.

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.

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.

The beats Metro cooked up for this one were top notch throughout, adding some refreshing sounds to the current trap landscape. With retirement in the rearview mirror and a 21 Savage album on the horizon, Not All Heroes Wear Capes solidifies the return of one of this era’s most trusted producers.

Even with all the underwhelming guest performances and filler, Evil Genius demonstrates that Gucci Mane hasn’t completely lost it. That being said, it’s definitely time for him to disrupt the formula.

Overall, the 16-track project is mostly cohesive aside from the few disposable tracks that clutter its message and, at times, elementary lyrics.

The 14-track album keeps all the commended technical framework of The Never Story but elevates the delivery and songwriting to a point where he sounds completely like his own man with his own plan.

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.

Each of the tracks contain replay value, but the standouts besides the aforementioned are the blues-tinged “New Thangs,” “No Window Tints,” and the punchy funk-heavy snares and easy listening jazz keyboards on “Buddy & Sincere.”

On Eden, a follow up to this year’s Ephorize, CupcakKe refines her lyricism, diversifies her subject matter, and proves why she shouldn’t be dismissed.

While Come Over When You’re Sober Pt. 2 puts the cap on Peep’s short-lived career, it leaves behind clear evidence of his once-limitless potential.

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.

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.

With its brevity and risk-taking, The Last Rocket succeeds at illustrating Takeoff’s talents. Though there’s no outright banger and some filler, this solo album serves as a glimmer of hope for the longevity of Hip Hop’s current favorite trio.

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.

With Pieces of a Man, Jenkins is surely having his own Frank Ocean-esque moment--he’s expressing himself on his own terms with poignant lyricism and nuance.

Suncity (named after his former El Paso stomping grounds) goes the distance in capturing slow-moving society, accented with inviting sunbeams, especially on the first-person acoustic number “Saturday Nights.”

Quavo shows consistency on this album through trap-a-long choruses and fresh sounds but there are definitely some misses that will likely never be streamed again.

Tip’s latest sets an example for matured vets who still like to get their hands dirty. Dime Trap is dually nostalgic and relevant, and cements T.I. amongst rap’s all-time elite.

Overall, Bobby has bars for days--and days--and as a consistent top to bottom play, YSIV has vibrant energy.

It’s clear that DROGAS Wave has enough value to be memorable but is less than the sum of its parts.

Noname overwhelmingly succeeds in telling her coming-of-age story where she removes all emotional layers to explore everything from comical socio-political ideology to sexuality minus self-serving preachiness.

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.

Curry has constructed a project that plays to the sonic structures of the era without sacrificing meaningful content in doing so. TA13OO is the culmination of his promise and talent, resulting in Curry’s magnum opus.

In an era where artists hype up projects that turn out to be nothing but half-baked playlists, 6LACK’s thoughtful embrace of the album format is refreshing. East Atlanta Love Letter is a moody masterpiece that may very well take the artist’s career to new heights.

Fans clamoring for the old Marshall Mathers should stream the old album or hell, rent it from the library or something. After being faced with nothing to prove as the highest-selling rapper of all-time, Eminem’s found another challenge in perfecting the new style he’s put on display.

There are no deep layers to be uncovered on Queen. No methodical analysis responding to her critics for her reliance on sexual ploys. Nary a mention of any mental anguish the grave allegations her brother faces.

Where his debut was concerned with building on his formative years, this incubated follow-up hatches a newly minted worldview from the embattled singer.

A conscionable affair from start to finish, it’s a reminder of Future’s effortless ability to release solid tracks within his wheelhouse.

Stay Dangerous could have benefitted greatly with more personal touches as opposed to the conventional gangsterisms that bulk up the album.

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

One of the best R&B/soul albums of 2018.

It may take more than one sitting to get through it, but anyone who dives in as fan will discover there are plenty of contact highs to be had.

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.

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.

Scorpion solidifies his universal relatability while yet again supplying fans with an overload of tracks to willingly keep or ditch.

Gangsta Gibbs has enough fire here to remind fans that he’s able to compete in an era that has continuously boats of some insane releases.

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

When you factor in all its dexterity, randomness and overall generality, it’s hard to truly believe NASIR was the album he had been cerebrally building these past six years. No, this isn’t “grown man Hip Hop” to bring balance back to whatever the younger generation of mainstream rappers are doing at the moment; nor will it ever reside in the upper echelon of the living legend’s catalog. It is, however, imperfect fine art.

Sonically speaking, EVERYTHING IS LOVE benefits from the sophisticated palates of two superstars and integrates reggae, soul, R&B and boom bap throughout but in a way that’s entirely seamless. Trustworthy studio gurus including Pharrell, Vinylz, !llmind and Mike Dean all pitch in for instrumentals that are both opulent and demure in their presentation.

Black Thought is rightfully held as a model for what Hip Hop fans could (and should) expect from MCs demanding to be held in high regard. The project’s only fault is its length prevents the five nearly flawless records truly getting off the ground.

It’s a well-calculated offering from a living legend whose abilities are still very much intact.

With Cudi playing the role once occupied by his own ego, Kanye’s music sounds freer than ever before. Together, these two studio wzrds have managed to produce something that is equal parts raw, honest, touching, spooky and ethereal. We’re going to need more than seven tracks next time.

Book Of Ryan continues a four-year, six-album streak of top-tier lyricism, with noted personal and artistic growth in the process. His 2018 output will not only earn him noted respect as one of the best lyricists of the year but in rap as a whole.

Sure the heavenly feel of “No Mistakes” harkens back to his gospel soul days, 070 Shake’s passionate cameo on “Ghost Town” unveils a star-in-the-making and honest thoughts about raising North and Chicago on the serene album anchor “Violent Crimes” make for a alluring sonic experience. But ye merely excels in surface-scratching instead of the transcendent territories that spawned the Kanye everyone loved. Sometimes less does not equate to more.

The seven-track album goes the distance to add further refinement and distillation to the steely, luxurious drug raps that earned him rap relevance. ... The album is only seven songs and 21 minutes long, but Kanye covers a lot of ground sonically without getting scatterbrained.

Dirty Computer falters along the way with a few weak hooks and some questionable lyrics but at least she was able to wipe out the old Monáe and reboot who she’s truly meant to be--both artistically and personally.

Although Everything’s Fine is well-crafted from front to back, there are a few hiccups.

Vacation in Hell is a worthy effort that showcases the individual strengths of each Zombie member, from Arc Elliott’s compelling concoctions to Meechy’s raspy, full-throated raps and Zombie Juice’s sing-songy hooks and spiritual-political leanings.

J. Cole has a gift in turning tears into teaching tools and KOD is a concise, leather-bound audiobook of invaluable life direction goals.

With Care For Me, Saba accomplished his objective by making an album that can endure for years to come.

Keith has built an entire career on his abstract, stream-of-consciousness rhymes, which scream loudly throughout the 11-track project. ... An undeniably intriguing affair.

Equipped with drowsy articulation tinged with a melodic pinch of raspiness, Xan is far from an astute lyricist but isn’t actually a slouch on the mic in terms of flow and rhyme schemes.

The few times she steps out her killzone results in messy break-up anthems such as the languid “Be Careful,” a pop chart over-reach where strained vocals and vulnerability make for a mismatch. To her credit, Cardi is fully capable of spitting bars with brazen energy.

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).

This isn’t a simple listen. The lyrical punches fly faster than a speeding bullet, making it impossible to digest the staggering amount of content in a single sitting. It requires an acute attention to detail and several run-throughs to truly capture the brilliance of the project.

Lil Boat 2 is a simply a weird musical vacation that sets sail into the strange mind of the impactful red-haired youngster.

Minor potholes aside, Victory Lap not only boosts Nipsey’s stock but it raises expectations for the next time he eyes a checkered flag. The benchmark for quality has been set and the race to officially hit the championship podium is only getting revved up.

Genre inconsistencies aside, Effected is a clear statement Cozz doesn’t just want to be the conversation with the best rappers.

There is by no means dazzling wordplay, vivid storytelling or smash hits to be indulged through Amen but there are some strong beats courtesy of the man himself.

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.

It’s the stellar storytelling that elevates East’s themes above standard thuggery and stamps P2 a memorable affair.

While he may not be at the level of Compton’s Most Wanted’s 1992 classic Music To Driveby or DJ Quik’s 1995 magnum opus Safe + Sound, Perico is making a valiant effort to get there. To his credit, he’s reignited an interest in G-Funk during a time when trap music and one-hit wonders rule the airwave.

Huncho Jack, Jack Huncho conveys exactly what fans might expect from two of the hottest trap rappers out. Soaring, robo-rhythmic tunes? Check. Endless braggadocio? Check. A seamless blend of vocoder-tinged singing and cocky flows? Check, check, Nike Swoosh. But don’t expect a structured, meticulous project. Rather, it feels as if La Flame and the Migos leader went into the studio, indulged in the ganja, and all grooviness broke loose.

Super Slimey falls tragically short of being considered a strong joint project and it’s inherently clear that they still shine brightest as individuals.

Woods brings a lot of strong vocal performances to this project that get mixed smoothly with the production staff’s downtempo rhythms. Those seeking more upbeat output from Woods will appreciate the few times there are bustling bumps in the baseline but at its core it’s the type of hour-long album that makes for a perfect rainy-day playlist.

Pressure will appease fans looking for mindless tunes to cruise or smoke to but Snowman’s reluctance to push the envelope at the risk of alienating his longtime congregation is simply frustrating.

Established formulas of pandering singles and assembly line choruses aside, The Beautiful & Damned possesses enough serious assertiveness and classic Bay area slick talk to get burn well into 2018.

While Rubba Band Business: The Album is far from the iconic and groundbreaking material this man has created over his storied career, Juicy still champions a project fans of the Memphis rap legend can still find appetizing in a few morsels.