She’s unafraid of uncharted territory and willing to step outside the conventional box Americans place on Afrobeats, all while broadening the umbrella of dance music.

Whether it’s a future classic or impenetrable catalog builder remains to be seen, but once more, King Kendrick has proved through linear vision he’s naturally able to outshine the rest of the mainstream while still working to figure out the world around him.

Black Messiah is ambitious and adventurous, and in that way it delivers wholly on the promise of D’Angelo as an artist.

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

From nine-minute douchebag manifestos, to enlisting an A-list Grammy ensemble to piece-mealing his album out to the masses every Friday, My Beautiful Dark Twisted Fantasy defies logic and it ignores convention.

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.

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

It is both album and manifesto, and illustrates the true power of art. The power to conjure back from the dark the voice of people the world has chosen to ignore.

The album is a storyteller's album. In fact, it's an immensely inclusive R&B album.

At its core, We’re All Alone In This Together is a meticulously constructed, well-balanced rap album. It’s an important landmark, placing Dave high in the best rappers under 25 conversation.

This project truly is an American requiem as the opening track states; it’s Beyoncé’s reminder that much has been sacrificed to allow her to claim her identity as a southern girl and fully partake in all of America’s unique artistic and cultural traditions.

With Good Kid, m.A.A.d. City, Compton's flag bearer unveils a group of songs equally potent individually and collectively, meeting the mainstream and rabid fans in the middle, improbably touching that thinnest slice between mass appeal and mass respect.

Renaissance is both backward-looking and forward-thinking. A colorful, euphoric and glittery celebration of what has passed and what is still to come.

Through thick and thin, Tribe embodies the fully fleshed out idea of the Hip Hop their impassioned audience clamors for: work that’s soulful, thought provoking, and gripping enough to transport minds away from strife to another world sonically.

The peaks on SOS, (“Used,” “Smoking on my Ex Pack,” and “Forgiveless”) find SZA sounding refreshingly comfortable rapping over gritty, hazy, and grimy productions.

The 16-track potent lyrical adventure is peppered with countless poetic musings masquerading as seamless Hip Hop tracks, easily solidifying Rapsody’s musical legacy.

The two have undeniable chemistry; woods always sounds exceptionally comfortable over a Kenny Segal beat, and Segal complements woods’s intricate writing brilliantly, keeping the backdrops uncluttered but ever-evolving.

Throughout RTJ2 [El-P] holds his own rhyming alongside a superior wordsmith.

RTJ4 cements Killer Mike and El-P’s right to be mentioned amongst the greats, especially in the realm of politically charged Hip Hop.

Rather than cheap ploys to cross over, the questionable collaborations are more likely calculated concessions with the intent of sneaking his evangelical message to a greater audience. After the communion cup runs empty, Chance proves himself worthy of hero worship by subtly and subversively overthrowing the commercialized horrors of his town’s violent drill movement.

While Vince sticks with his most familiar narrative examining stardom’s futility despite it providing escape from former life’s struggles, his calling lies in finding provocative, edgy and unconventional ways to tell his story. Luckily, Staples’ choice to walk the road less traveled placing innovation at a premium over fame shouldn’t prevent his well deserved shine from gaining continual momentum.

A Seat at the Table is her strongest work to date.

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.

Whether you've been patiently waiting for five years or just recently got into Saigon's music, The Greatest Story Never Told delivers a stimulating message that is as cautionary as it is entertaining.

With its substantial subject matter, solid production and tightly-woven sequencing, Charity Starts At Home does exactly what a solo debut should: showcases the artist's skill set and personality all at once.

Sometimes I May Be Introvert is an espousal on Black womanhood with deep emotional intelligence and refined insight from someone who’s ruminated on her pain and found catharsis through music.

The 17-track project finds Tyler leaning into his rap prowess and flexing more bars than on previous efforts like 2017’s critically acclaimed yet sonically lighter album Flower Boy. ... The blatant dichotomy between emotiveness and almost blind arrogance peppers nearly every track, shedding even more light on who Tyler is beneath the surface.

RTJ3 ultimately mirrors the sentiment of too many movie franchise sequels that make the brand go stale.

Alfredo is a master class in rap — 35 minutes of cutthroat bars that feel like 15, leaving you hungry for another course.

This is a work to prove that they could do it, and they've done it tenfold.

KD3 keeps Nas in the relevancy conversation because his voice is still impactful, calling to action when some might say he doesn’t need to do this anymore. It’s a lesson in purposeful storytelling and aging with grace.

As the culture is currently enamored with more rhythmic patterns than the meat on the bone, Freddie Gibbs and Madlib have undoubtedly proved they can compete without compromising their composition standards.

The Canadian megastar avoids the pitfalls of cheap, nostalgia bait by earnestly repurposing and breathing life into deep cuts from a bygone era.

With Cadillactica he’s found his stride by taking new steps. K.R.I.T. isn’t slept on, but he’s proven again that he should have a bigger bandwagon by now.

One of the most accomplished releases of the year, You’re Dead! embraces the uncertain, celebrates fear, and induces a meditative consciousness that’s hard to shake after listening.

With its glitchy instrumental palette backing it, Lahai is a serene look to the future where Sampha can be at peace with his memories and can raise his family in a positive environment.

Whereas a lot of listeners might be tempted to ask themselves if ScHoolboy Q’s latest offering was worth the wait, his remarkable growth also suggests that years of experience is perhaps what births the richest music, especially in a word-heavy genre like rap.

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.

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.

Rapsody evolves on this latest album--increasingly comfortable revealing a wide range of personal facets while developing into an apt storyteller.

Much of Blonde sounds more like a minimalist soft rock record with its sparse, isolationist guitars and pianos; little to no drums; and choruses that fade into the rest of Frank’s dense, congested lyrics.

They make poignant soul that’s fresh sounding at all angles. Most importantly, Choose Your Weapon stands on its own as one of the year’s best albums.

We Buy Diabetic Test Strips feels like an accumulation of that gained experience, a moment of breakthrough clarity. Kenny Segal, Messiah Musik, SteeltippedDove, JPEGMAFIA, and Child Actor handle the production, with every beat maker retreading past ideas to create invigorating new ones.

No I.D. and company have helped him make music that’s both uncomfortable and lived-in, and Staples sounds more himself inside of it than ever before.

There aren't any lackluster songs, and even though the lyrics and the rhymes are digestible on the first listen, they get better with more listens.

Monét weaves an instant R&B classic out of empowerment anthems, genuine respect for her soul elders, and an unflappable confidence that can only be admired.

Those looking for an album which actively engages the future of music while remembering the imperfect past has much to enjoy with In Colour.

This is an impressive showcase for his fans.

The theme of newfound optimism opens Beware of the Money with “Nuthin I Can Do Is Wrong.” The DJ Blackpower produced record contains a soothing soul sample from Forrest’s “I Just Want to Love You,” in which MIKE sings along halfway through the opening hook. It’s not hard to imagine a cheeky grin from the esoteric rapper as he raps with radiant pride.

The rhymes and the beats are correct on every song on The Earn, and whenever he speaks against something, he offers an alternative.

It’s not exactly the blockbuster conclusion Nas fans were looking for. Instead, it’s the cliffhanger ending that offers the chance for a reunion in the future.

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.

The result is dangerously addicting and affecting, where modern relatability rests on top of nostalgic production, avoiding the pitfalls of corniness and imitation. Full of soul and life, PinkPantheress’ status as social media’s newest darling is secure, as she crafts a garage dreamland that may just stand the test of time.

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.”

The Patience is a rewarding opening chapter, a satisfying burst of fresh air after a period of holding his breath.

Brimming with synth undercurrents, transfluid melodies, and delightfully jarring production shifts, Raven is a transfixing ode to human connection, interpersonal communication, and Black femininity.

In sum, the mysterious Tahliah Barnett has created a devastatingly beautiful and industrial debut.

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.

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.

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.

It’s fun and inventive; a mashup of experimental Hip Hop that harnesses a truly demented collection of sounds and influences from 80s commercials to gospel chorus. That combination might not make sense to everyone, but it’ll be a long revisited cult classic for those who get it.

Phonte and Pooh have released the best Little Brother album since 2005’s The Minstrel Show. In doing so, they’ve reaffirmed why LB means something special to so many people and proven the improbable is still possible.

Surf will not be for everyone, but for those seeking a sense of spiritual upliftment and a relaxing summertime soundtrack, Surf is the wave you’ve been looking for.

It’s indeed Summer Walker’s authenticity she sells on Over It that feels right at home with ’90s R&B, and adjacent to contemporary druggy Atlanta-centric Hip-Hop. Summer Walker is unashamed, contemplative, and despite her debut album name, far from over.

What strikes you most is the sheer joy present in the sessions, imperfections galore. The free-flowing yet concentrated totality of Kendrick’s method.

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.

Girl In The Half Pearl emits confidence despite being out of bounds for the average musically unconscious listener. Liv.e makes it clear she’s not here for external approval.

Skyzoo's sincerity as a rapper is shot through A Dream Deferred, but the album has a seamless musical charm.

Mr. Morale & The Big Steppers paints a gripping portrait of how trauma and therapy have morphed the 34-year-old artist beyond recognition. Even with superior production choices and a semi-triumphant tone of self-actualization, it feels as if listeners can’t fully define what place he’s in — the question of what’s left for him lingers.

For as good as the melodies and ripe drums and bass beats are on the album, more impressive is the songwriting.

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.

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.

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.

Ultimately, the album is challenging and uncompromising as it makeshifts a rallying cry for the disenfranchised Millennial Redditor; a manifesto for the misunderstood.

Pray For Haiti is an easy starting point for new Griselda fans looking to find out what the Mach-Hommy hype is all about.

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

It’s just a rap album, albeit a very good one, and it shows just how dynamic and forceful Denzel Curry can be when he releases himself from the poisonous burden of perfection.

Pusha delves into risky artistic terrain and imparts flashes of lyrical genius only a few have the pedigree to pull off. The Prelude has once again positioned Pusha as an emcee with the ability to put forth a legendary piece of work.

Water Made Us, Woods’ third, and best, album, tackles an even more grand and universal experience: relationships. But she does so with a fine-tooth comb, crafting songs bursting with intimate details on a diorama-sized scale that loosely trace the relationship lifecycle.

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.

The end result is his most introspective material since “Daylight.” Dedicated fans will appreciate it for its familiarity, which ironically, might also be their deterrent from it.

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

The end result sounds like a distillation of contemporary popular music, the kind of blockbuster pop album following the much larger footsteps of Ariana Grande’s Dangerous Woman or Katy Perry’s Teenage Dream, albeit not as polished.

Kool Herc: Fertile Crescent is at its root empowering, challenging and subversive, most strikingly, it’s simply an incredibly rewarding listen.

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.

Still Over It puts Walker into an elite tier of R&B artists who are able to balance personal vendettas and artistic execution. She pulls no punches, commanding attention through her ability to integrate her drama into tracks through beautiful storytelling.

There's no doubt--R.A.P. Music is the best Southern Rap album since Big Boi's Sir Lucious Left Foot: The Son of Chico Dusty.

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.

Azealia Banks has an endearing charm, magnetic glow, and aggressively attitudinal confidence that come together as 1991's short collection is equally catchy and unique rendering her one to continue watching.

Clocking in at 47 minutes, the album is both Tyler, The Creator’s shortest and most cohesive album to date and is full of introspective admissions that logically line up with his public character.

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.

Elitist as it might seem, it's a Rap album that sounds better if you can name most of the Gang Starr Foundation.

With a debut studio album as refreshing and well-rounded as MID AIR, it seems like they’ve found that lane, and may be the leaders.

PRhyme can be closed off to the Rap of today, but their rendition of the Rap of yesteryear will always have a place in any era.

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.

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.

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.

Overall, Tyla’s debut fulfills the promise of her first international hit: sonically, she is truly the foreign exchange student who is ready to take America by storm. And she has all of the makings of a relatable, cross-genre, international star intent on carving a lane of her own.