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.

This is Cube's strongest performance musically and lyrically in many many years, so he's not only forgiven for using such an absurd word, he's actually given me hope that it might eventually show up in the hip-hop dictionary.

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.

Lyrically, Sway is on fire (take that as read for the whole album) and his tongue-twisting raps will dazzle any unfamiliar ears.

Minus the niceness of "Manson Murder" and "Hater Love", this should have been a mixtape as it isn't a patch on any of Styles' previous LPs.

The watery wave of “Payback”, the reverberating bass of “Traffic”, the head nodding flow of “Dead Presidents”, it all works. The lyrics? They sort of work. 03 sings his way through songs like the latter track, and while he’s mostly just flossing, he occasionally takes the time to call out peers who have let him down by not being as G as he.

At times Sovereign exceeds at being entertaining and at other times her simplistic lyrics, heavy accent and electronic beats prove to be too much to grasp.

It's not his greatest work but it's easily one of his most ambitious, which still makes it an album worth celebrating and listening to, though perhaps in smaller doses than an hour and a half at a time.

Welcome to a new classic.

There are many quirks with this album, but realise that it doesn't feel like a debut from a fully-formed artist, rather someone that intermittently flickers with potential and then dials it down to play it safe for the radio.

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.

Nevertheless, while it’s difficult to get past the wording of Travis Scott’s “Astroworld” follow up, the instrumental completeness and overall energy is difficult to forget.

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."

Overall, aside from some promising lines and one, maybe two standout tracks, “Richer Than I Ever Been” is an album that predictably falls short. It simply features too many weak beats backing up bars that often do more to bore than they do to convey a sense of skill or originality.

It's about as weird and wonderful as you'd expect from a guy who looks like he's been living on a commune for the past ten years.

"The Massacre" is still a fine follow-up to his last full length release, and despite a few miscues avoids letting down his fanbase.

While it's not better than 50's national debut or G-Unit's album, it's certainly no worse.

Fabolous is borderline to being cornball with his jokes, but he's got the one hundred to pull it off when you add all the elements together. Add in the fact he pulls some of the hottest guest stars in hip-hop for albums like Loso's Way and you've got it made.

While he's still the 21st century's answer to KRS-One, a rapper who is simultaneously intelligent and engaging, he needs to work with producers who are capable of sharing that vision with the masses in an equally engaging way. At times "The Beautiful Struggle" achieves this perfection combination, and at other times you're left loving the lyrics but lacking in headnodding dopeness.

Like Big Boi and Andre 3000, Lyrics Born is on a mission to expand the boundaries of the genre. He doesn't always succeed, and the result is an album that is a little inconsistent, but it is damn good more often than not.

To be honest, this just doesn't really feel like a Game album--there's a distinct lack of drama, of real hyperbole, of genuine excitement. It tends to come across as a resume.

All in all this project comes up very short. Lil Wayne is simply not what he used to be, and 2 Chainz leaves much to be desired.

There's a noticeably muted tone to his delivery and a bit of his defiant "proud to be country" attitude has faded away.

There are enough songs with worthwhile beats and guests to hold this album together to some degree, and depending on whether or not you like Flocka's lyrical style will be the degree.

She's going for Nicki Minaj meets Eminem meets Rihanna on the Tyra show. It feels like a major missed opportunity.

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

While "White People" certainly shows no lack of adventure... one is ultimately left wishing that Dan and Paul toned the wackiness down a few knobs this time around.

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.