Little Simz is at her best when she is coming out all guns blazing, but a little too often on this album her hyper lyricism is unnecessarily hampered by mellow beats that don’t match her fire. “Grey Area” deserves all of the accolades it has received. Little Simz is a talented rapper with a broad range. She is raps with fierceness, attitude, sensitivity, and intelligence.

Do NOT approach this as a rap album, or you will be perplexed to no end. This is cerebral, intricate and inventive electronically-based music that is certainly hip-hop in ethic and inspiration, but channelled through a uniquely British conduit, interpreted by one of the more intriguing urban poets of recent times.

On Ctrl, SZA proves that you can be confident yet insecure, sexual yet crave affection and genuine connection, and empowered and still prone to falling for bad boys and all the drama that entails. SZA is the real deal and yet another example of how some of the most interesting, complex, sophisticated art being made today is being made by R&B artists.

Jeezy manages to keep a strong unified album together without ever getting monotonous or tired.

Through soaking in various travails, and pouring them through the microphone, he has truly grabbed us. His beats have almost taken a backseat on this journey but it is worth it just to prove that his story, his journey and his life are much more interesting that a mere drum pattern and a sample.

His bitterness about that fate may be the only black mark against this album--there's a tinge of resignation here and little effort to make himself more palatable to the masses.

Where Bjork's music is grounded in indie and experimental pop, as well as Bjork's innate quirkiness, Kelela's music is still R&B at its core. She's great singer and a fantastic talent.

It's the sound of a composer showing just what can be done with a sampler in the right hands. Hip-hop producers should take notes.

The album is listenable, exciting and succeeds in reigniting interest in hip hop and rappers that dedicate their life to become great MC's, not just hustlers.

Top Boy has elevated Kano to a bigger platform, and his music has managed to follow suit. His character in the Netflix series may play second fiddle to Dushane, but he can consider himself “Top Boy” as far as British rappers go.

There's nothing ludicrous about Ludacris giving his fans exactly what they want, and it's even less ludicrous that he will probably convert more new fans on the strength of "Release Therapy."

Years of being disregarded, underrated and criticized may have hurt Dilla's feelings but those who would regret that will feel no shame now knowing every barb thrown his way only made Dilla that much doper as a producer--to the point his posthumous albums are now better than what most living cats make today.

Shorter than its predecessor, it is also a more cohesive and even effort, making Ace and Brooklyn the focal points of this hour plus narrative told in the now trademark laid-back manner.

This album is Prodigy and Alchemist giving long time fans exactly what they want.

Chance the Rapper builds on the formula that Kendrick Lamar rode to success last year, offering a lower-key, more introspective take on Kendrick's confessional half-sung raps.

Mac’s sixth studio album is a surreal experience that’s filled with opaque contemplation and tragic connotations. ... Loneliness may be our greatest fear other than death. Mac was able to explicitly re-establish this idea through reflective songwriting and gentle crooning. His genius and thoughtfulness will always be remembered. “Circles” is a stark reminder of that.

Yes true believers these villains are definitely up to no good, but they're just the anti-heroes you've been looking for. With beats and rhymes more punishing than Frank Castle, Czarface Meets Metal Face is the hip-hop for everyone who's had it up to here with mumble mouthed singing emcees.

Despite the album having a few filler tracks, Machine may just end up with the crown on the album cover if he continues the route he’s currently on.

Sage Francis is obviously not for everyone. Though he is a gifted lyricist, he is hard to follow, and the entirety of "A Healthy Distrust" has a rough edge that makes it far from easy listening.

It is claustrophobic, depressing, but also beautiful in its own sad way. While the circumstances that led to “Fall to Pieces” are terrible, the album is incredible.

I Don't Like S#%! sees Earl continuing to mature and grow as an artist.

Hommy albums get better with repeated listens and he’s an artist that suits the album format. The antithesis of a regular coke rap rapper, his music carries a richer quality than Griselda regulars. Whether you can truly appreciate his craft depends on your patience and willingness to hear something a little different.

Redman sounds every bit as strong in 2007 as he ever has. Unfortunately, he doesn't expand his range at all here.

He’s successfully bridged the gap from local to international with this album and when everyone can go on tour again I think he’ll have a ready made audience well outside of the United Kingdom.

It's an excellent original product from young inspired artists. If you are looking for underground musicians who are about to explode, look no further than these two.

By Janelle Monae's lofty standards, this is still very good, but not quite as great as her previous offering.

There's enough variation in energy and production to keep the listener engaged throughout, and several times there are sudden drops into another beat entirely in the middle of a song.

Even at its most mundane (like on the painfully repetitive title track), “uknowhatimsayin¿” represents an artist at his most polished and enthusiastic.