With beats provided largely by newcomer Oren Yoel that are more hit than miss, Asleep in the Bread Aisle is that new kind of 2009 hip-hop you either have to learn to live with or jump off the bandwagon altogether.

The EP serves its purpose quite well as it gives fans just enough to keep you craving a Brother Ali full length, but holds back enough so they will appreciate the full length once it arrives.

You have to be a fan of either or both men going in, and IF you are, then the sheer force of their persona and their political viewpoint won't be off-putting to you. Newcomers beware, this album is not the place to start.

"Venomous Villain" is more of an Insomniac promo CD than a credible sequel to Doom's dastardly "Vaudeville Villain" release two years ago. Even so, Doom stylistically slays every opportunity he's given at the mic.

The third album from T-Pain, Thr33 Ringz, finds him once again attempting to master the triple threats--rapping, singing and producing. That it turns out to be incredibly formulaic and slavishly apes his sophomore effort ("Epiphany") proves only to be a minor deterrent, since almost everything here is upscaled.

Lizzo is a level-headed rapper who besides rhyme and reason also balances endearing and terrifying qualities. But she wouldn't quite be the standout if it wasn't for her screwball moments, which are frequent.

Even with Black Milk's limits as a rapper, If There's a Hell Below is a solid album. Black Milk nails the line between being retro and forward-thinking, between street and backpack, between nostalgia and honesty.

Snoop gets the credit he is due and deserves for coming back strong on Malice N Wonderland and managing not to lose his edge despite all his success. It won't go down as the most important album of his career, but it's not one that you should pass on either.

The production and hooks propel the quality of these tunes as the lyrics could have been sharper at times.

“Lil Boat 3” finds Yachty syncopating and stretching beyond his naturally baritone voice. He sounds more self-aware than ever, channeling his beloved infectious energy as the main driver for the album, rather than his erratic lyrical ability.

Napalm is remarkably focused, not forsaking the established Xzibit sound but neither rehashing it.

The final installment is arguably the best of the three.

It is, most definitely, not an album: there is a slight lack of cohesion, the artists don't particularly stretch themselves conceptually and the music certainly doesn't compare to the past classics that either MC has dropped before. However, the whole point was to get Eminem and Royce back in the booth, and to spit fire.

Even his non-album singles are bangers, which is what makes it more insulting that we had to wait all these years for them to be compiled together into one “package” for our perusal. Better late than never though.

There's nothing wrong with the 15 songs chosen for this per se, especially given that to some degree the material chosen is from more obscure Wu releases or remixes that haven't gotten wide exposure. That said a dedicated hardcore Wu fan could easily compile 90% of this album out of their own collection.

Themselves do have a niche. They are not for rap purists; they are not for hip-hop newcomers. But they are for faithful listeners, sick of what they've been hearing, but not ready to give up entirely.

The production is ultimately enough of a spoonful of sugar to make it easy to swallow.

This Generation is a solid album.

Sigel is qualified enough as an artist to hold down an album on his own, but one gets the sense he didn't want to take any chances this record wouldn't sell and had to make sure there was one cameo for everyone.

It seems cliche to say it, but Trouble Man: Heavy Is The Head has a little bit for everyone.

Zion I--on four songs, at least--maintain their sterling reputation as one of the most underrated acts around.

There's far more good here than bad, but there's definitely a sense of familiarity to Diamond in the Ruff.

This is the sort of 'really good album' that can precede an all-time classic breakthrough album.

A typical T.I. album is loaded with singles ready to blow and Paperwork is no exception.

If you are in the right mindset, Fated is a rewarding listen.

He may not be the deepest lyricist on earth, and his attempts at bedroom music may fall flat, but he makes a mean soundtrack for a night out.

Despite the superficial trappings of Strange Clouds his talent still breaks through the atmospheric turbulence and shines down on the listener.

Well Done is a shining example of what collaborative albums should be.

He's been afforded a rare amount of artistic freedom on 2014 Forest Hills Drive and there aren't even any singles, so it's great that he's more or less delivered. But whilst this definitely misses out on classic territory, that doesn't mean it isn't a bloody good album for the most part.

This is a worthy addition to the Czarface catalogue that will find frequent rotation in your car stereo, boombox or headphones for the rest of 2019 AND beyond.

Therefore, whoever had the final say-so on the beat selection is the main culprit for the failings on the album - if it was Joe Budden himself, then more shame him, because he also turns in a superb lyrical performance that rap fans will appreciate as one of the most interesting efforts in recent hip hop history.

BWET is a fascinating starting point, as she can spit complex rhyme patterns with ease. The hope is that this can progress into something deeper, but as things stand she's still a pleasure to listen to.

As much poetry as rap, as much philosophy as sci-fi odyssey, “Bobby Digital and the Pit of Snakes” is not for the first time but the LONG time RZA listener.

Make no mistake about it, this is a formulaic album.

They've wisely chosen to not compete with the younger generation of DJs, and shown the upstarts the roots of dance music. They've also proven that they are not one-trick ponies who can only build beats on samples. They do just as well with a completely different sonic pallette.

It's not her best album, as there are clearly concessions on display but it doesn't let her anthology down and she is now free of her label.

The soulful production, harnessing plenty of live instrumentals, mixes well with the lingering hints of MMG production.

I'm not saying Wale is Jay-Z yet--and it's not certain he ever will be--because a Shawn Carter only comes along once in a generation. What I do see on The Gifted though is that potential.

Durk is more than just authentic though, he’s creative and compelling. He elevates drill from a regional art into a crossover territory that may earn him more haters but will definitely gain him more fans.

There's too much material here to sit and listen to straight through in one sitting. Give it time though and Culture II will grow on you.

It is certainly a satisfying listen, worthy of a sensible level of recommendation.

"Murray's Revenge" clocks in at a meager thirty-three minutes, which is simply too short for a full-length album.... Regardless, he is back, and better than ever.

Songs About Girls is an album that theoretically has no end and doesn't need to have one.

While there are a few tracks that take left turns, most of the album follows a similar template and sound palette, which leads to a sense of sameness for such a short album. Malibu Ken is an Aesop Rock joint, which means it is worth listening to you until you decipher every pun and metaphor. If it feels less weighty and consequential compared to his solo albums, maybe that is point.

Making an album is a team game, and the end product isn't big enough, not quite as daring or bold as we may well have expected.

He has created a haunting, unique, and well-realized artistic statement that is the perfect soundtrack for the early hours of the morning.

"Idlewild" seems to prove they're two seperate artists even more than the last double album did.

At least a third of the tracks are songs I could do without. The other two-thirds show that whether you love or hate the modern day Marshall Mathers, he's still as relevant as he ever was.

He's never too sappy, too apologetic, or too mean-spirited.

Sometimes this anger is ugly and interesting. Sometimes it is shallow and shocking. But something tells me that, while I have no trouble dismissing loads of offensive hip-hop, I won't be able to write this one off so easily.

On the whole it works more often than not though, as Morello and Riley have a genuine and unforced chemistry.

If Jay-Z is like a smooth mellow shot of Maker's Mark, then Mad Child is like wolfing Bacardi 151 and Swollen Members follows it with a smooth Prevail chaser. If you like the burn, this machine is beautiful.

It’s a good album. ... Emo rappers often tend to release short albums with even shorter tracks, and this one is suspiciously long and incredibly overloaded with talent.

Within the initial audio assault of "Matangi" lies a fine album, but it's also one that could have done with some pruning, a bit more care taken in the sequencing and perhaps a bit more self-belief.

On the lyrical side of things, 50 seems to have his edge back. Whether he's orchestrating a robbery or bucking (pun intended) shots at his foes, it seems apparent that the criticisms got to him. For the hard core fans, the softer songs are skippable, but I can't hold that against him too much.

Even with the occasional humorless rhyme and plodding beat, Joey Badda$$'s latest mixtape is further proof that he is a force to be reckoned with, and that the hype around him is not unwarranted.

[A] fun, rambunctious, guilty pleasure of an album.

After three decades in the music business, it's inspiring to see him deliver an excellent album: overseeing it, driving his guests/writers/producers onto greater things and delivering it in an interesting way is no mean feat. His voice has matured.

Despite the prolific amount of material having the possibility of thinning out the quality of his beats and rhymes, Plies just keeps getting better with every CD.

It's [the] beats by Danger Mouse that make "Demon Days" a winner, even when the Gorillaz concept threatens to overwhelm itself with pretentious twaddle.

Despite it's unevenness, Ridin High is a nice portfolio from an up-and-coming duo.

Home might be a bust as an instrumental hip-hop album, but it is very successful as a piece of well-crafted electronic music.

It's funny and soulful, and will help keep the blues at bay.

The sound's still high quality on "Shock Value II," it's just not 100% his own any more - maybe 50%, maybe 75%, all depending on what the co-credits really mean.

Overall Bandana is certainly a solid album. It was one of 2019’s most anticipated releases and, while it’s not as good as “Pinata”, it’s still a worthy inclusion in any hip-hop fan’s collection.

Vodka & Ayahuasca is not only one of the strongest rap releases so far this year, in terms of 'crazy combinations' it stands up to "Madvillainy" and "Hell: The Sequel."

This is a fun, modern rap album with strong roots in '90s creativity and '80s innocence that has the potential to reach longtime fans as well as recruit new followers.

Despite some lyrical flaws here and there, it still shines.

A$AP's charisma and finesse mostly compensate for his shortcomings as a lyricist. That, combined with the trippy heaviness of Danger Mouse's production, make "A.L.L.A." an album worth spending time with, even dead sober.

The Mountain Will Fall is DJ Shadow's best album in over a decade, largely because it is his most consistent since "The Private Press."

The best thing about listening to the Heiruspecs is that they sound like a rap group on the beginning of a long journey, as opposed to one who finally "made it" and feel content now that they're signed and distributed nationally.

Her debut is musically brilliant--if a bit samey.

The focus of Quavo’s “Rocket Power” is on him — as it should be.

Busta Rhymes has finally made an album that works from beginning to end--it is just a shame that the lack of crossover hit singles will doubtless leave BOMBS a slightly unappreciated gem.

“Limbo” shows that if he takes his time and works with the right people, the results can be drastically improved. The hidden talent Amine had is hidden no more, and I’m happy to say I won’t be nearly so reluctant to listen to his NEXT album.

The members were certainly armed, and they seem to hit more than they miss.

While it won't be the best or most important album in the entire catalogue, "Redman Presents... Reggie" fits perfectly into his body of work as a whole and will be worthy of multiple replays after the purchase date.

If you're willing to put up with the headaches of finding and acquiring the right version though, 5.0 is a worthy follow-up to "Brass Knuckles" that should keep his millions of fans well satisfied.

While the pull of the charts is hard to resist, the tracks with Primo and Just Blaze show he knows where his heart truly is, while the rest of the album tries and either fails or succeeds at pulling him away from the grime, grease and grit of the street corner.

This album makes up for substance with slickness.

On their self-titled debut, they were having fun. This time, they had fun but with focus.

A quality contemporary UK rap album with equal shares of bleepy, futuristic and poppy, everyday music and plenty of singing to support a rapper that clearly isn't just rapping because everyone else is. Still, there's room for improvement.

This is a clear and definitive evolutionary improvement from his solo debut on "No Introduction," which is all a listener or review could have really asked for.

It's fair to say he's not a Childish Gambino any more though--he's an Adult Gambino.

Not every track on Lip Lock is a home run, but she bats for the cycle here and only strikes out a few times.

This isn't the album to introduce the uninitiated to his unique and often oddball style and flow, but long time fans will appreciate this slice of history as proof that Dumile really does rap his own concerts and doesn't send out impostors under his famed Metal Face.

It's not as consistently good as "The Salvation", or as instantly satisfying as his work with Torae, but with recent months slowing down on the incredible start we've had in 2015 for albums, this is certainly worth checking out.

If this was pop music with terrible lyrics and shitty beats that hurt my ears, you know I'd tell you so (see Soulja Boy) but nothing on Only One Flo (Part 1) would make me want to change the station if I heard it on the radio.

The Life of Pablo has a lot going for it, but sometimes, even with all the best intentions, you can mess up a good thing just by virtue of being yourself.

Throwback to the Future is a solid album that is a nice change of pace from what I normally listen to.

Maybe the highest praise one can bestow on Pilot Talk is that it is a real album, not really fit for phone speakers or headphones but best enjoyed on a home or car system, where Ski's warm beats and Spitta's hazy vocals can fill the space.

The album's best moments come courtesy of the newer, younger emcees, highlighting the different hunger levels on display.

If you're not expecting an hour of profound wisdom from start to finish this is an ideal late summer mixtape to ride around to.

Nothing Was the Same is a good album, occasionally great, but sometimes you end up yearning for more of those epic Drake SONGS, of which there aren't nearly enough.

"Subject: Matter" is a strong EP. Homeboy Sandman proves himself to be one of the most nimble, unique MCs out there.

Even though I said Curry raps more than his peers, I didn’t say he NEVER sings. He flips back and forth between both on tracks like the Rugah Rajh produced “Speedboat,” but the nice thing is that he’s not so heavily medicated and AutoTuned that you can’t follow along with his delivery.

If you felt Roc's previous albums were too Roc-heavy, this is the ideal album to ease you in to his brand of excess rap. Yet for somebody that held his previous two albums in such high regard, it's a little bit disjointed, unpolished and dare I say it, scruffy

The cons of “The Inspired Soundtrack” is that some tracks, much like movie scenes, could’ve simply been left on the cutting room floor since they don’t belong. However, their inclusion highlights the more quality songs on the album, the ones that coincide with the movie’s themes, ones which still are fought against in the present day.