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

Blade of the Ronin has its own artistic ambitions that aren't duplicative of its predecessor, all resemblances notwithstanding. Vast Aire and Vordul Mega have shown on this record that, as a duo, they stand alone and aren't defined by their producer.

There won't be another album in 2015 with so much of the artist invested in it: mind, body and soul.

The rest of the album is rock solid, even if it takes a while to sink in. Whilst it does occasionally have a bit too much of an underground feel, it also chucks in a couple of more commercial numbers ("Confess" and "Out the Trunk") to help bring some ecological balance.

SremmLife definitely lives up to the hype--yes, it's more focused towards the youth market, but it shouldn't preclude anyone reading this who enjoys the youthful energy of debut artists going nuts once they get a big chance.

Sour Soul isn't the best album in Ghostface's discography, but it is a fine effort.

If You're Reading This It's Too Late isn't that good.... There are definitely some songs that have commercial potential that I don't hate, and though I'd rather hear Drake rapping than singing, "Jungle" seems like the kind of track that with a few choice edits could get radio play.

The production throughout Aquarius is on point, whether it's the infectious, yet odd sound of "Wildfire", or the crashing bongos backing a pseudo-rap switch in to some long notes on "Far Side of the Moon."

Vibes is a very fun, laidback album.

B4.DA.$$ is a step in the right direction in New York hip-hop getting the attention and validation its long been denied.

Lupe Fiasco doesn't present tracks that are just a hot beat and some memorable bars--he's aiming for cinematic moments and drawing you into the atmosphere he seeks to create.

Black Messiah is an incredible album, and an essential addition to D'Angelo's discography.

There are no phony builds, no bass dropping, no obvious patterns. Faith in Strangers keeps listeners on their toes, and keeps their head nodding the whole time.

The fact that this record features Ab-Soul, Kendrick Lamar, Childish Gambino and Vince Staples means it is worth checking out for hip hop fans anyway; that it's actually a brilliant listen makes it all the better.

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.

This is as essential as any other producer/emcee collaboration this year ("Pinata", "Run the Jewels 2") and proves that Premier (with the assistance of Adrian Younge) can still craft great albums with his well-worn formula.

It hits all the notes that you want from a Wu-Tang Clan affiliate, and is much a more satisfying project than "A Better Tomorrow."

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.

It's the beats, the cameos and the sheer momentum of Maybach Music that propels Hood Billionaire forward.

The resulting album is an intense, visceral experience. It manages to combine the aggression of both punk and hip-hop.

Many worry that the Cadillactica theme might go over the heads of some and alienate fans but rest assured, at the core of it all, there's still the 808 bang, jazzy, soulful music and the same Big K.R.I.T. that so many have come to know, respect and love--on second thought, he's better.

Everybody Down may try to tackle too much in its 48-minute run time, but even if the story isn't always coherent, the emotions of the characters shine through.

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.

When nostalgic old-timers lament the golden age of hip-hop, for those championing our current era, Under Pressure is the album to point to.

The only thing you really need to know is that no matter how you cop RTJ2, whether it's as a free digital download, a physical copy from Mass Appeal or the super-expensive "I'm On The Guestlist" supporter package you're getting more than your money's worth.

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

The metallic fingerprint of Auto-Tune is all over My Everything, even the vocal trills that start off the album.

He tends to repeat himself and his punchlines lack punch--but Seen It All is an album you can listen to start to finish and not hate yourself for buying it.