All 6's and 7's doesn't disappoint as a well-balanced offering.

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.

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.

The 17 tracks and 63 minutes of Islah flow surprisingly well; even though there’s room to cut the fat, it doesn’t drag on the way many albums with that many songs do.

Ego Death is an album both suited specifically for the social media age of music listeners but simultaneously rich and permeated with the traditions of the soul and R&B music of the past.

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.

For now, MHz Legacy fits the group's journey quite well with strong highlights and a few struggles along the way.

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

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.

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.

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.

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.

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.

Outside of the disappointing “They.Resurrect.Over.New” (featuring Ab-Soul)--which connects conceptually, but sounds less dope doing so--Tetsuo & Youth glistens with maturity and imagination.

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.

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.

Tinashe allows her project to rise above the strain of heartbreak to create a simultaneously empowered and cohesive debut.

The production is exquisite. A lush, cosmopolitan collection of sounds spread out and allowed to coalesce. The album is quiet, subtle and monastic.

On Traumazine, Meg recaptures her narrative, sound and essence, ready to swing into the next chapter of her life.

It’s a restlessly inventive work that adds a uniquely soulful layer to underground Hip Hop 3.0’s resurgent, evolving sound.

Big Baby D.R.A.M. is presented as a playlist of D.R.A.M.’s best conceptual songs rather than achieve the glory of playing a perfect album from front to back.

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.

With so many artists trying and failing to capitalize on reprisals of their finest work and have the breadth of work necessary for a strong double album, this particular release and its quality deserves attention.

Other than the Yeezy collab “Glow” being a bit lackluster, primarily for being slow and sonically off-putting, More Life has very few stumbles and a plethora of exciting moments that will ensure this project’s shelf life.

Tory has ceremoniously set the stage for his new indie path and become among Hip Hop’s elite. But for his mission to join the rap’s upper echolon, Tory has to diversify his content beyond ex-lovers, sex, his drug dealing past and Quarantine Radio twerkathons.

Moreover, this work shows his place in Doomtree, but provides him a greater unique identity against his sister and brothers. Bad Time Zoo definitely raises the question of where the cages and bars are in 2011.

While her voice may be a point of contention for newcomers and the album's content risks going over heads in its catering to the progressive sect, openminded listeners will find fortune, self-esteem, and inspiration from her constantly growing womanhood.

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.

Nitpicking on the extra grams aside, with Plugs I Met 2, Benny not only adds a well-rounded arc to his discography but also solidifies his status as an elder statesman/role model for a new generation who could genuinely use the perspective. While he’s just as guilty of glorifying his former lifestyle as any rapper, his music exemplifies the difference authenticity makes.

The Allegory plays out as Royce’s most consolidated offering yet. A definite career high-point for a rapper whose résumé spans over 20 years.

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.

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.

Ultimately, fans of Aesop will love this release, but those who have yet to find a reason to listen to his music won't find one here.

A solid effort that is up there with the best of the year but it definitely sets the stage for the emcee who made Follow Me Home and many feel could be the second best in the set to Kendrick to make the jump to great when sophomore time comes around.

Even though the first half of the album skates by simply on its beats (“Boomin’” pairs a light, airy set of electronic chimes with an ominous set of horns in the background; “What It Be Like” featuring Nipsey Hussle is luminously jazzy for Stalley, much like the later track “Free”), Ohio’s second half is much closer to vintage Stalley.

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

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.

Every spin is undoubtedly an exercise in active listening; an Aesop Rock album isn’t a casual affair. Close attention is required to grasp the nuances and cleverness of his writing. But for those who appreciate the creative lyricism he consistently slings and Blockhead’s dreamy, layered production, Garbology isn’t likely to end up in the trash.

Nothing Was The Same showcases new skills--trimming the unnecessary songs, and focusing on narrative details the way he does on “From Time”--that will strengthen Drake’s arsenal and help him continue to cement his status as a pop-rap heavyweight for years to come.

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

With no filler or fluff, this album is bound to satisfy those who like their bars bountiful and Lupe Fiasco in peak form.

His highly anticipated debut album The Healing Component serves as a 15-track showcase of youthful positivity.

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.

For anybody who's ever considered Rap cliche or walked away believing all has possibly been said, this is one emcee whose writing and candor is trailblazing the conversation.

IDK has demonstrated he already holds the keys to his own success through past releases and, in fleeting moments, on USEE4YOURSELF. The skills are there — the confidence just needs to follow.

Releasing a handful of incredible singles ahead of an album sets a pretty lofty standard that the rest of the LP doesn’t always meet. In spite of its drawbacks, Culture showcases Migos at the top of their artistry and there’s no indication that it’s their peak either.

Every Hero Needs a Villain is simply an enjoyable listening experience that any longtime Hip Hop fan is sure to appreciate.

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

It all adds up to a quality album that manages not to take itself too seriously without resorting to being dumb.

This collection is as heavy, thoughtful and laborious as anything Mike Eagle has released to date, but luckily he’s reached a place where he can withstand indie Hip Hop’s glass ceiling.

As abrasive as it feels, it’s a lyrically rewarding payoff for listeners who choose to sift through the muddle and explore a high-brow exercise into poetry. Otherwise, old Odd Future fans and casual Hip-Hop listeners will be turned off by its off-putting and annoyingly grating aesthetics.

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.

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

Cats & Dogs is a moody, well-produced album that, at times, is brimming with meaning-something not entirely common these days.

Besides a few questionable features, there’s nothing offensive or particularly bad about Hollywood’s Bleeding. It’s just Malone playing it safe and betting on the likelihood that the streaming algorithms will reward him once again.

Smoke DZA and Harry Fraud deliver a solid collection of songs that grow more interesting on repeated listen, basking in an evolved sound equally representing vintage and avant-garde New York Hip Hop.

While Take Care could be much better in some theoretical ways, it isn't bad in any objective way either.

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.

Given TDE’s ever-increasing appeal, Oxymoron isn’t quite an elite offering, but it meets the difficult task of attracting casual fans without straying too far from the formula that attracted ScHoolboy Q’s core audience.

Experimental is a tag few artists at his age would attempt, and yet Ghost does it with immeasurable confidence.

When he ends the album with “Cold Ass Nigga,” the most demonstrably aggressive verse on the album, you realize Shadow of a Doubt isn’t Gibbs flipping to go pop, but a man secure enough in the foundation he has laid to take a leap of faith.

Some Cold Rock Stuf continues with a gracious mixture of up-tempo and moody cuts, though some are more favorable over others.

No Poison No Paradise is Black Milk’s best album, and one of the year’s best in Hip Hop so far.

Overall, In Another Life is an easy, efficient listen, that caters to all facets of Bilal’s musical identity.

The Circus is an overall creative win and a nice precursor for his next album. The EP’s lack of substance holds it back from matching some of his previous work, but in lieu of a bigger idea, it provides a cohesive, quick and enjoyable flow fest perfect for listeners looking for a relaxed set of songs to escape the craziness of everyday life.

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 album is brimming with peerless content and an enlivened ambience that is manifested from his spoken word introduction to his grandmother's parting words on the closing track.

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.

Much like with W.A.R. and Desire, P.T.S.D. seeks to accomplish more than just keep Pharoahe’s spot on the criminally-underrated lists warm; instead, it makes a case for placing him among the Chuck Ds and Ice Cubes as one of Hip Hop’s sharpest social voices.

Nobody’s Smiling is defiant, as full of commanding musicality as it is of Common’s own provocation.

While SremmLife is thin on substance, it’s built for clubs and late night adventures. Perfect for the time where sunglasses and Advil are eventually needed.

Late Nights shoots at the moving target that is modern rhythm and blues and scores, because sometimes sheer talent just can’t be denied.

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.

It’s quite good, and a good Freddie Gibbs album is an already high standard to match.

Stuffed with a handful of sub-two-minute tracks and a few interludes, The Age of Pleasure sounds more like a short week of longing and sexual liberation, the epilogue to a coming of age story.