Durk just has no grasp on what he wants this album to be, leading to a project made strictly to appeal to everyone, but satisfying no one.

Subversion is what distinguishes Never Enough from his previous efforts. Instead of sprinkling female voices across the album as he did on Freudian, this record exclusively focuses on the male perspective — save for a handful of background harmonies from women and a Summer Walker remix on the deluxe.

Jackman. sounds disjointed and dull.

The masterful way in which Thought delivers his bars, the sequencing and the soulful, almost comforting tone of the production (outside of a few cuts) make it a highly enjoyable listen.

In Pieces misses the mark sounding too much like a rebrand for Chloe instead of earnest songwriting.

It’s fun and inventive; a mashup of experimental Hip Hop that harnesses a truly demented collection of sounds and influences from 80s commercials to gospel chorus. That combination might not make sense to everyone, but it’ll be a long revisited cult classic for those who get it.

The best boundary-pushers use parts of their own style to traverse new musical territory. While tracks like “Sooner” are a success, UGLY doesn’t manage to complete the journey.

Despite some solid songwriting about addiction and mortality, Macklemore’s comeback album still experiences the same struggles with corniness and over-sincerity that torpedoed him from a household name to an afterthought, leading to a mixed bag that’s more admirable than actualized.

The LP comes up short in delivering songs that standout amongst his peers. For the most part, Love Sick isn’t going to move the needle for Toliver. Those that were fans before will like this, while others that are apprehensive about him probably won’t start liking him now.

Maintaining its cohesion while avoiding monotony, Nudy’s latest is at once chill and animated — an extravagant adventure that’s as controlled as it is fun.

Brimming with synth undercurrents, transfluid melodies, and delightfully jarring production shifts, Raven is a transfixing ode to human connection, interpersonal communication, and Black femininity.

Girl In The Half Pearl emits confidence despite being out of bounds for the average musically unconscious listener. Liv.e makes it clear she’s not here for external approval.

Let’s Start Here. is exciting at the first listen because the style is new to Lil Yachty himself. Alas, the shiny sheen of new experiences tends to dull over time and with repetition.

The rhythmic excellence of producer RIOTUSA and Ice Spice comes to a peak on “Actin A Smoochie.”

This project is simply too long. The songs themselves are actually quite good in their own unique way but it’s difficult for anyone to jump around a 25-track album and get the most out of it. The Mansion would have been better off as a collection of mini condos.

The theme of newfound optimism opens Beware of the Money with “Nuthin I Can Do Is Wrong.” The DJ Blackpower produced record contains a soothing soul sample from Forrest’s “I Just Want to Love You,” in which MIKE sings along halfway through the opening hook. It’s not hard to imagine a cheeky grin from the esoteric rapper as he raps with radiant pride.

The peaks on SOS, (“Used,” “Smoking on my Ex Pack,” and “Forgiveless”) find SZA sounding refreshingly comfortable rapping over gritty, hazy, and grimy productions.

Component System with the Auto Reverse is no landmark of rap music, but it is rock solid, and contains enough pearls of wisdom and displays of swagger to justify Open Mike Eagle’s endless tenure.

KD3 keeps Nas in the relevancy conversation because his voice is still impactful, calling to action when some might say he doesn’t need to do this anymore. It’s a lesson in purposeful storytelling and aging with grace.

One of Cudi’s most digestible albums in a long time. The songs are equal parts catchy, meaningful and galaxy-brain without taking more than 45 minutes altogether.

For better or worse, at an overwhelming 23 tracks, It’s Only Me is more of a playlist experience than a concise and focused album, an endless stream with occasional stylistic flourishes but a mostly consistent energy.

The realization of internet dream collaboration chatter, where the result is better than fantasy.

A vulnerable, sexy, and fun record, Age/Sex/Location is a fitting eye-roll at the R&B is dead debate.

Offset or no Offset, Quavo and Takeoff’s stylistic DNA holds steady. It’s home-grown. It’s theirs, and it’s as potent as ever.

It’s quite good, and a good Freddie Gibbs album is an already high standard to match.

Demons Protected By Angels alludes to an artist self-aware enough to acknowledge his flaws, but the passivity of his music suggests he’d rather stew in the toxicity than work through it.

JID raps like a Harlem Globetrotter on The Forever Story; the skills are there, it’s littered with flashy displays of technique and it sounds better than fine most of the time. But there’s nothing on the line: at the end of the day, it doesn’t matter who wins the game.

Those who are less dedicated to the soul-trap genre might find the hour-long, 24-track album a test of their aural endurance. Beautiful Mind shows every element that contributed to Wave’s rapid ascent to the top of his genre: the interplay between his vocals and verse; the bitter honesty with which he describes his early life experiences; and his skill for turning any sample – no matter how well-known – into his own anthemic trap-soul style.