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.

When an object in motion has been in as much motion as Kelis has been in the past four years, finding rest in soulful vibes and plaintive melodies, an album that invites rest for the artist as much as it does the listener is a welcomed, intriguing and appreciated listen.

For those willing to experiment, Age Against The Machine serves as both a piece of art and a rewarding risk in an age where established artists are fearfully playing it safe.

Dirty Sprite 2 doesn’t survey any new territory for the croaking crooner, but it magnifies the depth of his distress and channels it into an even richer multilayered sonic experience.

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.

4 doesn't necessarily stand so well by itself, but as part of the Beyoncé experience, there are enough vehicles here to keep her moving.

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

On it’s own merit; Barter 6 is the definitive mainstream strip club album of the modern era.

The Pinkprint runs a middle path between pop over exertion and real lyricism, creating an everything for someone aesthetic that Nicki doesn't allow to shift into wastefullness. As such, it is an ambitious undertaking Nicki has wrangled in highly entertaining fashion.

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

This is a Hip Hop album, complete with the wondrous elements consistent with a broader musical appreciation. And it just might be 9th Wonder's best yet.

Marciano's outright refusal to relinquish his old school ways and broaden his reach results in enjoyable glorified crime fiction that could render him archaic sooner rather than later, but for right now it's perfect.

Hallways is still an accomplished addition to Homeboy Sandman’s ever consistent output.

The album transpires without so much as a lyrical couplet--exchanging raps for electromagnetic soul and fluorescent funk--and will ultimately be remembered for its experimentation over its execution.

The album at times teeters on the point of greatness.

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

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

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

If there’s one thing you can take from Beyonce, it’s that you never have to feel “bored” as she describes in “Ghost.” There’s always room to innovate.

Sullivan’s long time away from music has given her a new outlook on life and Reality Show is all the better because of it. Her excellence bleeds into songwriting and production while her crooning is as good as ever.

General Patton walks a fine line between putting his troop of featured artists in their place, while still showcasing his own five star pedigree.

When it's all said and done, Ghostface Killah treats Apollo Kids like a seasoned veteran would treat a game on the hardwood; he picks his spots, lets his teammates have their moments, and takes over when necessary. In that respect, Apollo Kids is another project we can tally up in Ghost's win column.

An exemplary balance of serious and cheerful cuts alike, very seldom does The Heist reach beyond its means.

His knack for personal lyricism over melodramatic production makes his latest album, The Search, an impactful listening experience and validation for the aforementioned comparison.

The album is replete with humor, drama, and a satisfying sense of duality and resolution.

The mixtapes remain practically untouched, giving any new The Weeknd fans a genuine look into what allowed an unknown artist to transform himself into someone who breathed new life into R&B.

During the first listen of the album, only a handful of its 13 tracks stood out but upon further exploration, ROADRUNNER suddenly blossomed into a sonic garden ripe with introspective brilliance.

Breaking fresh ground with the latest addition to an already prolific catalog, Gravitas finds Talib Kweli simultaneously wearing the hats of businessman and creator.

In addition to her general growth as an artist, All of Me mainly works due to Estelle having the confidence to let it work instead of over-thinking it.

As a Wu-Tang project it is one of the most complete and consistent in the post-Supreme Clientele canon.... Iron Fists is also a compilation that wears its love of Asian cinema on its sleeve.

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.

Boosie’s eighth studio album is ambitious in scale, and contains some of his best work to date. The message and content aren’t always constant, but the ebb and flow of the experience enable a strong diversity of sound, and Boosie adapts to the beats like a chameleon with different colors.

Through the first 11 tracks on Diamond In The Ruff, Freeway is near flawless, showcasing an array of styles and fresh patterns while refusing to peddle shallow perspective. And then, over the course of the final five songs, the album nearly falls off a cliff.

His self-expression is supported by an album mostly produced by him (a.k.a.. randomblackdude) and Left Brain, where the entire production is minimal, dark and contains rare interludes. It's the glue that holds all his confessions and retrospective bars together.

So, all in all, Ty delivers a light, layered debut, with more depth than we thought could be drawn out of the trap&B sound he helped usher into the mainstream.

Overall, Extinction Level Event 2: The Wrath of God is a welcoming addition to Busta Rhymes’ extensive catalog.

It's not an understatement to call Carnivale Electricos one of the most fun, vibrant, and culturally-diverse albums in recent years.

Component System with the Auto Reverse is no landmark of rap music, but it is rock solid, and contains enough pearls of wisdom and displays of swagger to justify Open Mike Eagle’s endless tenure.

There are a few holes--the project’s length and forgettable appearances (Wiz Khalifia on “See Me”)--but overall, it’s an incredible album that will keep that hint of burgundy in the sky.

While the compilation deejay/producer album tends to have it’s share of woes as too many cooks spoil the broth, Statik Selektah balances out this tendency with solid production that invokes images of the days of Hip Hop yore.

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.

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

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.

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 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.

Don’t Smoke Rock appeals to old and new heads alike, for its rooting in traditional NYC production and attention to contemporary details. Smoke DZA and Pete Rock prove to be a formidable duo on their first official outing, and the guests joining in on the fun comprise the collective cherry on top of the proverbial sundae.

With Food & Liquor 2: The Great American Rap Album Pt. 1, Rap's resident Judo master of juxtaposition sounds inspired again, dishing out shifting dichotomies through a scattering of deliveries without encroaching on petulance.

Habits & Contradictions may be no follow-up to fellow Kendrick Lamar's Section .80, but ScHoolboy Q definitively shines through as a formidable rapper with immense future potential.

With a tight-knit collection of features and palpable confidence exuded in his lyrics, Ambition is Wale's most cohesive and likewise enthralling project thus far in his brisk career.

Even with its melancholy closing, Dark Comedy is an incredibly fulfilling listen.

Unquestionably, this is one of the most complete works of music made this year, and absolutely speaks volumes about what cohesiveness and attention to detail can do for a project.

Williams isn’t here for you to simply digest his art and move on. He wants it to stick to you, to stay in your heart, mind and soul, the same way it does with him as the artist. And MartyrLoserKing accomplishes just that without question.

He succeeds in creating a soul revival with a refreshing modern day twist done so right.

The Family Sign is a heavy, moody album. There's not nearly as much humor here as with Atmosphere's previous two releases, but that doesn't make it any less of a quality addition to the group's catalogue.

Overall, it’s an album embedded with enough humor, knowledge, and obscure Hip Hop references that will force listeners to keep this one in rotation.

Sounds Of Crenshaw Vol. 1 feels like the ideal soundtrack to the iconic 23-mile street named after the real estate banker George Lafayette Crenshaw. It won’t transcend to other hoods but Martin and crew win by developing a project that’s sonically ambitious from beginning to end.

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.

Good To Be Home is the better, more streamlined version of Blu’s nonchalance.

Bold and indulgent, God Forgives, I Don't embodies why Rick Ross has become a fixture that listeners can depend on, as well as an executive who can strategize success for not only himself but others around him.

The album takes a more digestible approach than its predecessor, Feet of Clay; while still heavy on metaphors and wordplay, it’s not buried under cryptic mystique, allowing one of rap’s most prominent enigmas to come out of the shadows.

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.

Mr. Wonderful isn’t everything for everybody, but it seems to belong completely to Bronson.

Thugger has performed vocally like this before on Jeffrey, lyrically like this on Slime Season and emotionally like this on Beautiful Thugger Girls but not consistently have they all converged together like this, forging the ultimate Young Thug Voltron. Plus, this top-notch performance has been spread across such perfectly paced beats. Quite literally, the production on this album is just a blast.

More Beautiful Than Silence, is one of the year's most authentic rap collections.

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.

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.

There’s no glorifying of childish trends or negative influences, instead Monae favors creating music that could be embraced by varying demographics and is molded to withstand the test of time.

The project succeeds in tying its theme of spiritual crisis amidst stardom to an analogy for the struggle to satisfy purists, but the overall results for this concept are fairly lackluster.

Eminem and Royce Da 5'9" are perfectly capable of standing on their own, but it's clear that even after all these years, they inspire something special in each other.

Each word he raps is carried by an exhausted voice devoid of emotion on the surface, painting a scene of what it’d be like if he was trapped in his neighborhood. In doing so, he reveals more about himself and an ignored slice of America than sensationalized news stories ever could.

Its focus on breadth is also part of its charm, and although the project is 18 songs deep it does not feel rushed through, but rather lived through.

This is an escapist listen that appeals to fans beyond the traditional Hip Hop consumer, and is as forward-sounding as it is nostalgic.

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

Flying High leaves you wanting more, and that’s a good thing.

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

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.

There isn’t a ton of lyrical progression for La Flame on this album. ... But he soothing digitized finish and woven through the most polished contemporary drums in Hip Hop, it’s truly hard to hate. That puzzling beauty is the best part about Scott’s music.

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.

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.

From the jamming intro to the sublime closer, Jeffery is a testament to the rapper’s carefree spirit.

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.

Encapsulates everything a Gen Z rapper should be aiming for; young gun energy mixed with traditional skill.

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.

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.

Ghostface Killahs won’t shake up the current Hip Hop ecosystem but does offer a gritty detour down those commercial highways. But longtime fans could argue the project is his strongest since 2006’s Fishscale.

Starboy won’t immortalize his legacy just yet but it will strengthen a once desolate Toronto kid’s placement in a musical sect he probably couldn’t even have ever dreamed of being in.

DISCO! demands to be met halfway. Without listener buy-in – it’s just a collection of musings. However, when the listener allows MIKE to conduct his symphony of introspection, the album reveals itself to be a treasure trove of compassionate nihilism and a definitive body of work by one of rap’s most understated lyricists.

With this sequel, Minaj transitions from innovator to adapter, producing a polished collection of songs that stick to the Rap trends that are hot right now, not quite living up to the expectations of the original, but still giving her fans a solid body of work that asserts her legacy.

While it doesn’t push the envelope, this is a more than worthy follow-up to its predecessor — further solidifying his status as pound for pound, one of the better MCs breathing.

Forever grants a mirror into Phife’s soul in the post-ATCQ breakup years. His musings on the importance of family and dedication to those around him, draped in a tight cloak of agile raps that could act as the standard for any era, exist as a timeless sendoff fitting for a legend.

Lack of everyday slappers aside, it’s a grand return to form, giving truth to the bars, “Black Star shines eternally,” off their debut single 24 years ago.

The most rewarding aspect of Atrocity Exhibition is the ease with which Danny Brown conducts this freakshow.

On COMING HOME, Usher meets the moment without trying to eclipse the past, serving as a reminder that the King of R&B hasn’t gone anywhere.

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).

The album largely succeeds off the natural chemistry of its co-creators and the wide range of instrumentals that touch on several regional rap styles that both rappers learned to conquer during their decades-long careers.

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.

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.

Their chemistry is unquestionable and the music derived from that unique harmony is constantly improving.