On Evil Genius, Gucci Mane sounds like he’s having fun and his rapping is as polished as ever. But too much of the album comes across as filler, and his lyrics seem afraid to take any kind of chance.

Ice Cube’s social consciousness makes Everythang’s Corrupt a refreshing release. From beginning to end, Cube’s maturity as an artist shines; the songs in which he acknowledges his achievements feel well earned because the primary focus stays on social injustice.

At her best, she turns simple observations into complex emotions. The Pains of Growing has its flaws, but altogether it’s a cohesive statement and a marked improvement from her debut.

These albums are as close as we can get to traveling back in time to see one of our greatest at his best.

While the Audemars-Piguet and Rolls-Royce Wraith have not disappeared from the equation and Meek Mill’s affinity for the finer things is still intact, his conscience is the crown jewel of Championships.

It’s yet another deep, personal, reflective album that’ll impress listeners but, in this instance, leave them only partially satisfied.

If your first language is, say, Russian or Chinese, then you might enjoy the musicality of some of 6ix9ine’s verses even though they blur together. Unfortunately, Dummy Boy is not improved with a knowledge of English, and indeed that might be an obstacle to enjoying the album.

It’s the work of a seasoned songwriter proving that he’s as good at penning powerful, personal songs in a traditional vein as he is layering records with bells and whistles.

Previously, Mariah Carey has made it clear that she’s been through too much to care what anyone else thinks, shrugging off critics and denying all drama. On Caution, Carey has channeled that energy into the music itself.

The 1975 don’t presume to have all the answers, but their sincerity and vulnerability make for a tremendous record that speaks to the state we live in. It’s their best work yet.

A slight lack of focus, and an ending that’s more of a whimper than a bang, detract from an otherwise impressive major label debut.

It does work as a bulwark against the cherry-picking, playlist-happy listening habits of the modern music fan. It works best as a complete dose of bitter medicine; a groove-happy message of fear, love, and measured hope.

Though “experimental” may be a bit of an overstatement, the best parts of Delta prove that, in the hands of the right producer, Mumford & Sons remain capable of recording radio-ready earworms that challenge expectations (a little, at least) while still retaining the major qualities that made them superstars in the first place.

Muse’s firm embrace of electronic tropes risks fragmenting their fan base, particularly those who had been by their side since their earlier days and would find certain elements of Simulation Theory to sound shockingly foreign. ... Listeners who had previously revelled in the moments where Muse dipped their toe into electronica will delight in finally seeing them cannonball into the pool. It’s polarizing for sure, but that’s not necessarily a bad thing.

It might not be the same magic, but something magical is coursing through Shiny and Oh So Bright, Vol. 1., hinting at a future we can all embrace--especially Corgan.

FM! features the rapper in his raw form and representing his love for the west coast. Whether you decide to hit play in chronological order or skip around, this album will have you bobbing your head at any point. FM! is a sunny day that not even being stuck in LA traffic can ruin.

Pieces of a Man might not be what you whistle to in the bathroom or what you have on repeat for days, but Mick Jenkins’ lyrical and creative performance make this an album that you’ll need to return to.

Suspiria benefits from Yorke’s attention to atmosphere. But there’s no getting around the fact that perhaps half of the soundtrack is unmemorable and (out of context, at least) incredibly dull. There’s a right way to experience this music, and that’s by viewing the film, just as Yorke intended.

It’s sad and sweet and lovely and brutal.

While some edits could have crafted a more concise record, this grand, indulgent piece finds Holter at the height of her ability. Even the quiet periods are always entrancing.

Fans hoping for a repeat of the accessibility and groove of the self-titled album or the spasticity and rawness of earlier albums might be disappointed, but You Won’t Get What You Want is a brave and excellent addition to Daughters’ discography.

It’s arguably the most modern score he’s ever composed, cutting with a minimalistic edge that might make Trent Reznor and Atticus Ross blush. Even so, the score never loses that Carpenter charm, keeping a tight grip on its origins without sneezing from all the dust.

MØ deserves credit for consistency; almost every song on Forever Neverland is pleasant enough, but few rise above “pleasant.” The everything-is-a-hook songwriting style works better in small doses.

QUAVO HUNCHO ends up being a half-and-half affair: half making it easy to hit the skip button and the other half highlighting the talents Quavo brings to Migos.

The heavy songs on Evolution should please longtime fans, with a couple harkening back to the dynamism of Disturbed’s first couple of albums, but the glut of softer tracks may have been served better on a separate acoustic EP.

On their debut, Greta Van Fleet proves their ability to resurrect the sounds of the past, but not necessarily that they’re ready to make those sounds into something they truly own.

A ferocious album that finds them diving headfirst into experimentation, it is filled to the brim with a driving energy that rarely lets up. Striking the precarious balance of melding their pop inclinations with uproarious noise, Cloud Nothings push the dial back in the right direction.

These woozy explorations don’t always result in anything more than a pleasant 10 minutes or so, but taken together, they combine to form one more data point for the argument that Kurt Vile’s artistic trajectory remains, as always, on an upward slant.