StereoType finds both Statik and Strong Arm Steady breaking new ground that is free of expectations and limitations, proving themselves capable of making relatable music that can't be boxed in and assigned a personality.

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 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.

If you consider the particular goals each artist sets out to accomplish--Madlib with sonic compositions that will have everyone scratching their heads on their origins, Blu with the West Coast lean in his muffled step, and MED with his boom bap flow--they did an impressive job without stepping on anyone's toes, having lines and beats worth remembering, and bringing a few friends and family along for the ride.

The Grammy Award winner shows he continues to be ambitious as an artist while keeping up the Slaughter King mantra he ran with early in his career. For Young Metro, Savage Mode II asserts there’s no rust on his boards and proves he’s still one of the best architects in the game.

A trio of high-profile tracks near the end of MNIMN offer the best of both worlds in terms of Pusha T catering to the Top 40 crowd and still supplying the uncut raw fans expect.... Sadly these moments are inconsistent and broken up by generally ill-fitting production.

Packs is a noteworthy set loaded with supremely smart twists that capture the continuing evolution of a ferociously talented MC.

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.

Gemini Rights is a coming of age album where Lacy asserts that whatever journey he’s been on, it’s clear he now knows who he wants to become.

Urgent and impactful as always, his heartfelt music succeeds at balancing out traditional drum programming with original music composition.

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.

This 23-year-old may have been searching for answers, but that journey allowed him to find one of this year's most outstanding albums with Section.80.

The best boundary-pushers use parts of their own style to traverse new musical territory. While tracks like “Sooner” are a success, UGLY doesn’t manage to complete the journey.

He’s returned with a slightly updated, less flawed version of 2012’s Pluto.

Heaven knows may not creatively propel PinkPantheress to new heights, but it’s a poetic and dramatic compilation of breakup songs that will leave a listener dancing around their living room while yearning for their toxic ex.

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

Despite its free-wheeling feel, efficient sequencing and a lack of filler show that it's not as random as its title implies.

If Covert Coup was the beginning of two trailblazers starting to find their path, then Continuance is the victory lap as they reflect with gratitude and satisfaction over the legends they’ve built for themselves.

With The Wild, Raekwon firmly grabs another trophy for the squad while continuing to pad his own hall of fame legacy in the process.

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

Continuing to build her movement brick by brick, A Curious Tale Of Trials + Persons finds the artist Little Simz flexing her superego while exposing the all too human frailties of Simbi Ajikawo. Proof positive she’s unafraid to stretch her musical limitations.

Mourning in America and Dreaming in Color takes an inspiring and heartfelt stance, representing another triumph for the resilient and complex orator Brother Ali.

Hell Can Wait is Vince Staples’ best short release to date and his true-to-form introduction as a Def Jam artist. It’s proof that he can improve for a new audience without compromising to reach them.

It does highlight Justin Scott and Big K.R.I.T. in their truest essence; spiritual, witty, and loyal to Mississippi, with overly soulful, southern production. Thanks to 4eva Is a Mighty Long Time, Justin Scott has once and for all ensured that his musical legacy is worth remembering.

Where this album excels is in the celebration of youth’s insecurities and dichotomies.

Tirade is a refined exercise in Spottie’s advancement as an artist.

With the exception of “Me & My Bitch” (a tale of two way infidelity) wedged in between a festive midsection, the Pushaz Ink crew has pieced together a well sequenced and cohesive package with My Krazy Life, but this aspect and his street credibility aren’t enough to win over naysayers expecting an overall greater performance.

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.