Legends Never Die functions as a goodbye to and from Juice WRLD. His exact wishes for a post-death album might never be known, but this avoids feeling exploitative.

While Iridescence proved that the group could survive Vann’s abrupt departure, Ginger exposes their creative limitations. Although their winning streak may be over, Ginger has enough good ideas to suggest that with a bit more editing, Brockhampton can potentially reclaim their footing.

Slay-Z isn't quite such a project [that will eclipse anything she does offline] but her talent is still apparent throughout its run time.

Game’s first installment The Documentary 2 is a fine achievement in making the familiar sound fresh. It will be exciting to see what he has in store for the second go-round.

Luv Is Rage 2 is proof that Lil Uzi Vert is simply an artist who succeeds in makes music he loves, for people that hold tightly to his carpe-diem attitude.

Sremmlife 2 is worthwhile (and much needed) bid for album of the summer. It’s top heavy, “By Chance,” “Look Alive,” and “Black Beatles” feeling a lot like one of the best three song stretches of the year, but Swae brings a promising sense of experimentation to the entire project.

The Incredible True Story is both the overt and organic progression of an accomplished emcee maneuvering in his comfort zone past potential pitfalls.

As much credit as the pair deserve for creating a modern approximation of Ennio Morricone, Rome is more likely to lead to watching one of Sergio Leone's classics than replaying the album itself.

Debuts this good just don't come along very often, and it all comes down to the precocious Harlem rookie's vision.

On Marciology, he dazzles for 45 straight minutes, whether he’s talking about the Bible or someone’s aunt he went to bed with.

With 4 Your Eyez Only, J. Cole deserves consideration for tugging at the heartstrings of listeners with raw human emotion but still leaves open the door to reach a musical zenith.

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.

The biggest success of The 20/20 Experience lies within Justin Timberlake being able to gracefully glide into Adult Contemporary Music without coming across as trite or cheesy. There is enough oomph for the youngins, yet a defined maturity that proves Timberlake’s overstanding of eventually aging out of the capricious sect of R&B.

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

Despite losing the laser-like focus of their earlier mixtapes, When Fish Ride Bicycles is a fun, well-made album that brings several welcome additions to their catalogue

H.E.R. doesn’t push the genre or her artistry forward with this debut, but she more than proves herself a worthy torchbearer for the art of R&B balladry.

If Welcome to JFK is meant to take Chinx Drugs to a national level, the song structures may be right, but the content shows Chinx was still in transition of fully realizing this aspiration.

One of Cudi’s most digestible albums in a long time. The songs are equal parts catchy, meaningful and galaxy-brain without taking more than 45 minutes altogether.

Keith’s magnetism is absurd yet inspirational to think different.

As a whole, there’s very little that’s progressive about B4.Da.$$ but it’s a distinguished retread and the most polished project the young emcee has put out to date.

The beats are pleasant to excellent, the raps are practiced yet dry, and the trio that has come so far finds itself not moving at all.

J. Cole's debut album has flaws just as others' rookie seasons did, but Cole World: Sideline Story definitely proves that he deserves a prominent spot on the team.

Overall, it feels like Last Train to Paris will be an album more tailored to the Pop scene, rather than the Hip Hop audience.

Directors of Photography is a top-notch effort. Production and lyrics are both outstanding, and there are few qualms, if none at all.

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.

Mozzy’s strengths are YG’s weaknesses and vice-versa, which is the making of an ideal collaboration. There is an iron-clad authenticity to every note and word on the album: It’s rap that makes you start doing pushups, rap that you’ll most likely hear in the next Fast and Furious movie, and most importantly, rap that you’ll remember for longer than a few weeks.

The album at times teeters on the point of greatness.

While some may be upset that Murs isn’t the unruly rapper he once was, he’s managed to craft a project that remains true while growing up enough to talk about life in a radiant, maturity tinged glow.