The lean guest list of trap all-stars Young Thug, Gunna and Travis Scott delivers solid if unspectacular support down the home stretch. Diehard Future fans, of which there are legion, will be satisfied. But at 20 tracks, The Wizrd runs overlong. Jewels like “F&N” (with its nifty beat switch), “Promise U That” and “Faceshot” run the risk of getting lost in all the streaming.

Some Rap Songs packs a lot in 25 minutes, making for an unsettling listen that is also one of the most personal, gripping rap records of the year.

[An] urgent, wise and poignant fourth LP.

FM! is definitely more centrally focused than either of those EPs [2014's Hell Can Wait and 2016's Prima Donna]. And even if this is just an off-hand project Vince recorded quickly, it's a hell of a one-off album that's full of charm and lyrical depth paired with fantastic production. Tune in.

It may not be quite the full-marks classic he’d hoped, but Oxnard is an intriguing next step for the 2016 XXL Freshman that demands repeat listening and hints that he may have a Blueprint in him yet.

With all of its paper-and skirt-chasing, The Last Rocket may not be a giant leap for mankind but it’s more than a small step for establishing Takeoff as something other than the Migo left off of “Bad and Boujee.”

This might is his best effort after a string of uneven post-Paper Trail albums. It's probably not as much of an evolution of T.I.'s style as he claims, but it's a more-than-worthy addition to the rapper's canon.

YSIV succeeds when it forgoes pretentious views on what hip-hop should be and instead focuses on what makes the self-proclaimed Young Sinatra unique. The trio of “Everybody Dies,” “The Return,” and “The Glorious Five” feature the Everybody MC at his most fluid and nimble.

If anything lets Tha Carter V down, it’s the track sequencing and transitions, which can start to make the project feel like it’s dragging about halfway through. However, that should hardly dissuade Wayne’s most diehard fans, as even in its slowest moments, the album never loses its heady sense of rapture. ... The album is indeed memorable, as much for the journey that led to its release as the previously unseen layers that Weezy reveals.

While some may feel the clap-back approach reeks of bitterness, there's no denying how skillfully Em runs through these six minutes of lyrical acrobatics. He keeps listeners more attentive than he has in quite some time with an abrasive attitude that was missing from Revival.

Within the framework of Queen--equal parts an album for her fans, a victory lap and a reminder of Minaj’s unflappable meta presence--the enormity of her success and her cultural impact is undeniable. There are genuine moments of the excitement and fun Minaj associates with her beloved New York City.

Swimming merges enlightening, candid rhymes over funky beats, providing a transparent look at how Mac Miller hit a personal rock bottom and his vigorous climb to save himself.

While Astroworld has some slight flaws, the project is Travis' best, most-progressive and most-well-rounded album to date.

Rolling Papers 2 may not eclipse Wiz's most acclaimed work, but it is an admirable effort that shows growth in a creative evolution that gives hope that his best could still be ahead of him.

The album is a hulking catalog of Drake in his comfort zone, a space in which his ability to create memorable music that sits perfectly in the cradle of the cultural zeitgeist is unmatched. Still, the excessive 25-song tracklist is a misstep.

The two music minds came up with a project that wavers between brilliant synergy and occasionally uninspired filler.

Redemption might be Jay Rock's most consistent yet. At 44 minutes, the album breezes by without many frills. Rock raps, makes his point, and gets out quickly after, allowing the TDE vet to chalk up his biggest win yet.

He and Cudi pull equal weight on Kids See Ghosts, but the album’s brightest points--the beautiful madness they seek--come from the moments when Kanye plays the background and Cudi seizes the forefront. It’s a testament to their chemistry and quite the turn from 2008.

The album does start to feel the weight of having 21 tracks at times, but little overstays its welcome. Even 20 years into his career, Royce maintains his reputation as one of hip-hop's premier rappers by releasing his most affecting work yet.

While there are moments where Cole comes off more as a condescending high school principal than earnest older brother, KOD is an overall strong effort that connects of emotional trauma, mental health stigma in the Black community and the real problem of drug glorification.

Despite occasional bouts of underwhelming songwriting, Ephorize is a standout showcase of emphatic cuts laid over a wide variety of sound beds, perfect for pervs and prudes alike to bang.

Invasion Of Privacy sounds incredibly well thought-out. The beats were strategically chosen, the lyrics and hooks carefully constructed. Invasion Of Privacy was not slapped together, yet punches anyone in the face for doubting Cardi B. The odds were stacked against her, and she won.

Musically and lyrically, PRhyme 2 holds its own next to its precursor. There's something for everyone here--Premier's production is diverse and tuneful while Royce pushes the bounds of his imagination with impressive wordplay. Win-win.

A project filled with rich, jazzy vibes and all the tight lyricism we've come to expect from one of Chicago's very best.

There is no denying how pleasantly digestible Victory Lap, despite the minor idleness. The beats bump, the flows follow suit and the messages of humbly hustling are crystal clear.

Effected confirms that Cozz has more in him than just straight bars. He continues to tell his own story but through new flows, different hooks and an advanced way of making rap songs.

Although the creative achievements aren’t revolutionary, they are thorough and consistent.

While Revival isn’t the defibrillator that Eminem needed to revive his dominance, the album has enough highlights to maintain decent replay value and enough lyrical miracles to keep mindful rap from totally flat lining. His pen game hasn't lost even half of a step, and he still possesses the neurotic edge that's always made him such a driving force in hip-hop.

He'll likely never reach the heights of albums such as Mos Def and Talib Kweli Are Black Star or Quality again, but Radio Silence proves that his voice is much needed and breaks through the noise.

Beach House 3 truly is Ty Dolla $ign’s best work to date. He manages to please with his collaborative hits and hooks all while maintaining artistic integrity with his more introspective tracks.

4eva Is a Mighty Long Time is arguably his most cohesive studio album to date. While mainstream superstardom may allude Big K.R.I.T., his legacy as one of the most lauded southern poets of his generation is very much alive and continues to grow with 4eva Is a Mighty Long Time, an admirable effort from one of rap's most resilient MCs.

Without Warning is more than a Halloween novelty. Offset and 21 Savage turn their differences in delivery into an undeniable chemistry, while Metro Boomin's production gives the project a proper Halloween-inspired sound so their comparisons to classic villains like Freddy Krueger and Jason Voorhees aren't in vain.

While it's hard to pinpoint a track on Laila's Wisdom that is anthemic enough to be a dominant single, the project is a smooth, cohesive and powerfully insightful effort, which represents Rapsody's steadfast commitment to her craft.

Mr. Davis is stripped-down, honest and straight to the point.

Despite the long-winded nature of the album, Uzi definitely got it right with Luv Is Rage 2. The songs are catchy, the beats are hot and Uzi gives a vocal performance that redefines the term rap rock star.

Imperius Rex is a worthy entry into the Sean Price canon, and proof that his voice will still live on in hip-hop well after his untimely passing.

The LP finds Meek at his most concise and focused in some time. All 17 songs carry that raw, kinetic emotion that has made Meek such a force to be reckoned with but they are also much more dialed in and concentrated than anything on DC4 or his Meekend Music series.

These days, there aren’t many rap albums that can service as a deeply digested work of art as well as music for easy listening, yet Tyler, The Creator fills both lanes well. He manages to find the happy medium on Flower Boy and translates it to his best album yet.

All in all, 21 Savage manages to craft a fairly concise project with Issa Album about all the things that make him such a compelling rapper in today’s hip-hop landscape.

While this project falls short of his more seminal offerings, 4:44 is among JAY-Z’s more meaningful bodies of work to date and showcases another dimension of the greatest rapper alive.

From a glimpse of his rock star lifestyle to transparent parables of his quest for inner peace, Machine Gun Kelly crafts a well-rounded effort that is likely to raise his stock and push his name back into the conversation of respected rappers. Bloom is an effort that’s just short of a comeback, but is very much a step up for Cleveland’s finest.

Pretty Girls Like Trap Music is an explosive collection of songs that showcases the colorful rhyme animal at the top of his game.

Khaled sticks to what he knows best throughout this LP and that’s creating hits with ease. The 22 songs on Grateful aren’t anything out of the ordinary for Khaled or any of his featured guests but they remain hits nonetheless.

Thug sounds the best he’s ever sounded, despite some of the songs begin fairly far removed from his proverbial comfort zone.

Shunning party-hearty staples for the mainstream and taking it back to the concrete, Snoop Dogg turns back the hands of time on Neva Left, delivering an album that is a testament to his unprecedented staying power.

On past projects he has been comfortable sticking to a script he’s outlined for himself but here, he operates without rules. He isn’t bound by tempo, theme, style or even genre for that matter. All that appears to matter to Big Boi on Boomiverse is making good music that players can still bump in their Cadillacs.

True to Self may fall short in terms of being a showcase of Bryson Tiller’s maturation, but wins in terms of its aesthetic and addictive refrains.

Gucci Mane’s latest may be business as usual, but Drop Top Wop gives the customer exactly what they’re looking for, which is a tried-and-true art within itself, making it another quality offering in the Atlanta legend’s extensive catalog.

Complete with unbridled lyricism, top-notch production and conceptual brilliance to tie it all together, Everybody is a hallmark release that further solidifies Logic solid standing in hip-hop.

Five albums in, Wale remains one of the more mercurial talents in rap, with SHINE serving as further evidence of his abilities as an MC and a reminder of his lyrical radiance.

DAMN. may be Kendrick’s most commercially viable body of work to date and contains a number of breezy tunes that should keep him on the Billboard charts for the foreseeable future, but is at its best when the rapper delves inward.

Carti’s efforts on this debut project are definitely well-absorbed and not taken for granted. While the majority of the mixtape isn’t anything radically different from the music he’s been making for the past three years, it’s a sign of consistency in sound.

Diehard fans of Joey Bada$$’ older, more minimalist will applaud the latter half of the album. Whereas the top half dozen songs flex Joey’s evolved songwriting and beat selection, the bottom has Statik Selektah handling a few more beats and thus opening up Joey’s perfect in-pocket rhyming.

His cadence and dance party-made flow make light of his more serious situations in a way that translates well to listeners. His rhymes are relatable and the beats are bumping—a true win-win.

The fact that Freddie Gibbs created You Only Live 2wice as a concise, to-the-point body of work without fillers and ultimately for a greater purpose than just simply rapping makes it one of, if not the, strongest installment in his catalog thus far.

While fans and critics argue over whether or not he’s one of the greatest MCs of his generation, let alone among the greatest of all-time, Drake continues to prove his worth as an elite talent with More Life, another blockbuster from rap’s golden child with the midas touch.

Of course, he isn’t breaking totally new ground but still manages to make Captain California one of his best projects to date. At no point on this 45-minute rap fest does Murs ever come across as unsure, unauthentic or unaware of who is he is as a rapper or man.

Nine albums removed from anonymity, Rather You Than Me secures Rick Ross’ slot within the list Top 5 of rap soloists to emerge from the South over the last 20 years, and is among his more cohesive bodies of work to date.

HNDRXX is a reminder that no matter how hard he tries to shun his reputation as a hitmaker, Future remains one of the most reliable acts in mainstream music, his reluctance aside.

The rapper, producer and crooner pulls all the stops on The Chief, resulting in a first impression that is a memorable one.

With both touching on their experiences in the prison system and their rise to the top of the food chain, Plata O Plomo is a triumphant return for Fat Joe and Remy Ma.

The combination of one voice and one like-minded production team makes for a very clear, concise body of work, which FUTURE definitely is.

Big Sean rises to the occasion on I Decided., arguably the best album of his career, and one that secures his spot as one of the top five artists in hip-hop today.

Culture is a tour de force of all that makes Migos great while showcasing all of the group’s strengths--the gift for catchy hooks and melodies, unique flows, incredible group chemistry and phenomenal one-liners.

In the grand scheme of rap music, Killer Mike and El-P get more and more niche with each project they release together and this new album is no different. If this dynamic duo can keep their rebellious spirit alive without beating it to death, they’ll continue to thrive.

Don’t Smoke Rock is another great entry into Smoke DZA’s ever-expansive discography.

The kind of God level rapping that Ab-Soul showcases on Do What Thou Wilt means this album will exist predominantly in the headphones of those shrewd enough to understand.

The Weeknd is a self-described pop star, and proves his worth on Starboy, an album with plenty to love.

4 Your Eyez Only is a solid, short listen that relies on J. Cole’s strength and comfort zone, perhaps a little too much at times, but the underlying concepts continue to add a layer of depth to his artistry.

Childish Gambino gets definite props for pushing the envelope and refusing to operate within any genre confinements on this refreshing 49-minute trip through the funkadelic 1970s. While these blurred lines make this album a little hard to follow, “Awaken, My Love!” proves his versatility as a rapper turning over a new leaf.

Each member brings something fresh to the table whether it’s Ferg’s rapid-fire delivery, Nast’s layered lyrics, Ant’s hooks or Rocky’s swag-infused raps. When combined, Cozy Tapes Vol. 1: Friends is solidified as a body of work that feels as real as it sounds.

At the end of the day, Common creates a great album with such a pertinent and topical purpose. If nothing else, it’s a strong snapshot of the happenings in America right now and the promise of what the country could become.

With 16 tracks that move from the trap, to the clubs, to the gutter, and back again, Trap or Die 3 is potent enough to leave listeners fiending for his next hit.

Yes Lawd! is one of the more satisfying efforts of the year thus far.

Campaign may not exceed the musical brilliance of Free TC but it’s a close runner-up.

All in all, The Divine Feminine is an experiment well done. Mac Miller’s creative mind explores the ins and outs of the modern relationship while maintaining a certain level of sophistication that can be considered timeless.

Birds in the Trap Sing McKnight is a roller coaster ride of an experience, with an endless amount of highlights, whether it be an indelible hook here or timely guest verse there.

Cilvia Demo was a taste of who he is, and now this album paints a complete picture of himself and where he is in his life right now. He lets his rhymes and observations do the talking, and the end result is one of the most refreshing rap records of the year.

Prima Donna doesn’t have one single track that carries the project and this is obviously done on purpose. It’s an effort better experienced as a whole rather than its parts.

Gucci sounds more comfortable, confident and icier than ever before.

Blank Face LP isn’t Schoolboy Q’s first great album, but it’s the first one where he lives up to his utmost potential.

MFH2 highlights everything we have come to love about Gates and more. Even though he wavers with some vocal performance on a few tracks, he still manages to put together a solid free sample project that should tide us over until his sophomore offering drops next year.

Coloring Book, replete with a spiritual aura and talk with the man above, is a heavy contender for the best project released this year because it goes against the grain while still building upon hip-hop’s foundation.

While the project has a few speed bumps, particularly the tracks with sung hooks that don’t seem to mesh much with the tense, dynamic raps Freeway delivers, Free Will is another solid entry into the consistent catalog of one of Philadelphia’s finest.

The album highlights everything we have come to love about Drake but in too much excess. Clocking in at just under an hour-and-a-half and spread across 20 different songs, Views renders itself too long.

That title is the rapper’s motto for the project and he accomplishes both. Not only does he strive to become a better, more diverse artist, he definitely prospers in more ways than one as he continues to make a name for himself as one of New York’s biggest talents.

Six albums deep on the solo tip, Royce’s introspective side clearly shines through on Layers.

While The Diary has its shining moments, it also has some issues. ... For Dilla fans, The Diary proves to be an essential listening.

3001: A Laced Odyssey is a perfect first step in a career that is still blooming.

Seeking peace of mind and understanding while speaking to the human condition, Kendrick drops poignant gems on the idiosyncrasies of life, as well as his own, over the rich production provided by his trusty platoon of boardsmen on untitled unmastered.

The album isn’t necessarily a classic, or better than The Heist, but it does prove Macklemore is here to stay.

The Art of Hustle finds Yo Gotti sticking to his roots. His street-acclaimed catalog is what got him here in the first place and the project doesn’t veer off course.

T.L.O.P. does the perfect job of showcasing what makes Kanye brilliant--excellent production mixed with creative samples and his Quincy Jones-esque ability to get the best work out of some of music’s most talented artists. ’Ye’s rapping is good, filled with creative and honest lyrics, funny barbs, outright disses, his occasional take on pop culture and politics and the traditional Kanye bragging plus a few unnecessary lines that can make some listeners wonder he would even say them. But that’s ’Ye.

EVOL is only the latest building block on one of the most impressive runs from any rapper we’ve seen, and Future shows no signs of slowing down for anything.

This is him at his creative peak. Bloated though it may be, these discs are The Game that was promised by a desperate industry in 2005.

The project gives fans an answer to the hypothetical of what a full album between Drake and Future would sound like, right now, in 2015. It’s cutting and honest and self-congratulatory and vindictive. It’s fantastically decadent and brutally real at the same time.

With honesty, fiery cadence and a flow more commonly heard on a shock jock or rock star, Haze holds nothing back. Free from features, the listener can fully follow along with Haze’s journey uninterrupted.

Overall, Rodeo has plenty of bangers and noteworthy collaborations that help bring out a futuristic trap sound that could bleed into the mainstream of hip-hop in no time.