Lack of everyday slappers aside, it’s a grand return to form, giving truth to the bars, “Black Star shines eternally,” off their debut single 24 years ago.

Each word he raps is carried by an exhausted voice devoid of emotion on the surface, painting a scene of what it’d be like if he was trapped in his neighborhood. In doing so, he reveals more about himself and an ignored slice of America than sensationalized news stories ever could.

I Never Liked You continues his stagnation from High Off Life, settling for comfort rather than experimentation. The songs are rehashes he’s done more effectively in the past. His signature consistency is still there.

Back In Black certainly sounds like the core duo is having more fun making music than in years past. The album features some of the best music the group has made in years but doesn’t stack up to their trailblazing efforts of the ’90s.

While B.I.B.L.E. doesn’t break any new or exciting ground and lacks any song of the summer contenders, it is solid enough to command streams and further prove his commercial viability.

The faults in Trendsetter come mostly because she relies on the star power brought by her guests but negates her ability to identify herself within the music.

It’s just a rap album, albeit a very good one, and it shows just how dynamic and forceful Denzel Curry can be when he releases himself from the poisonous burden of perfection.

It’s Almost Dry is a good rap record that delivers a few hard hitting tracks, some great production and bar-for-bar excellence by one of the best rappers in the game, but the album lacks the bite of past releases.

Forever grants a mirror into Phife’s soul in the post-ATCQ breakup years. His musings on the importance of family and dedication to those around him, draped in a tight cloak of agile raps that could act as the standard for any era, exist as a timeless sendoff fitting for a legend.

Frank has proven to be his most compelling work to date.

The album is full of minute details that highlight Durk’s complexity as a character and a writer, wielding pain with a skill far beyond others who call themselves melodic rappers. However, too often the production formula runs stale as the piano-led instrumentals mush tracks together.

If Covert Coup was the beginning of two trailblazers starting to find their path, then Continuance is the victory lap as they reflect with gratitude and satisfaction over the legends they’ve built for themselves.

While it doesn’t push the envelope, this is a more than worthy follow-up to its predecessor — further solidifying his status as pound for pound, one of the better MCs breathing.

The ambition of Digital Roses is also its downfall, leaving K.R.I.T. with pieces of a good album but not coming close to completing the puzzle.

The rawness of Kanye West’s current existence manifests in music that actually means something, which is the first time we’ve been able to say that about a Kanye album in some time.

Though he’s still lyrically sharp, in the moments when he revisits and spins familiar themes, things begin to feel comfortable and less remarkable. Still, this album succeeds by expanding on what hardcore Griselda fans already know.

If slightly unexciting, Richer Than I Ever Been is a testament to the lasting talent of the MMG commandant, even if he doesn’t break new ground.

In attempting to recreate his peak, he offers some familiar flows but mostly unimpressive lyrics that lean more toward grown-up nursery rhymes than his catchy, skillful couplets of days past.

It results in superior storytelling and simplicity that few in the genre could hope to achieve, providing a solid base for him to return to if he ever loses his way, whether it be emotionally or creatively.

His rapping capabilities are clearly present and his newfound singing abilities hints at some more engaging possibilities down the road. But in order to translate those skills to his listeners, he’ll need to stray from the path already traveled, quit trying to prove himself and blaze his own trail rather than trying to please every rapper dead or alive he clearly wants to become.

DS4EVER is proof he presumably won’t allow stardom to make him complacent, balancing improvements in song topics and technical skill, even if the drip talk has gone stale.

The album takes a more digestible approach than its predecessor, Feet of Clay; while still heavy on metaphors and wordplay, it’s not buried under cryptic mystique, allowing one of rap’s most prominent enigmas to come out of the shadows.

The Canadian megastar avoids the pitfalls of cheap, nostalgia bait by earnestly repurposing and breathing life into deep cuts from a bygone era.

Despite how direct the lyricism is, it plays like two friends riffing in the studio and building off each other’s energy; listeners can hear how much Nas loves what he’s doing. The fact Hip Hop fans are getting appetizers of this caliber to hold us over until an inevitable third entry in the series is, in itself, Magic.

She fills her brazen concept album with shared experiences to fully encompass what it means to be a Black woman dealing with love and relationships. Every tale might not apply to every listener, but Sullivan guarantees no experience is left unrepresented.

The ambition is commendable but in the process of Ricch trying to slow things down, he’s relegated his lambo to autopilot.

Every spin is undoubtedly an exercise in active listening; an Aesop Rock album isn’t a casual affair. Close attention is required to grasp the nuances and cleverness of his writing. But for those who appreciate the creative lyricism he consistently slings and Blockhead’s dreamy, layered production, Garbology isn’t likely to end up in the trash.

Like his previous albums, They Got Amnesia is a simple collection of songs with slightly more consistent performance and significantly lower peaks.

Fighting Demons embodies Juice WRLD in that way: a flawed project with moments of brilliance that feels uncomfortable to listen to but isn’t ashamed of its naked humanity. And in that aspect, it becomes a balancing act of the man and the artist, melding the two to create a project that’s earnest and authentic — just like Juice WRLD.

JPEGMAFIA is at his best and most focused when he has a specific target.

Still Over It puts Walker into an elite tier of R&B artists who are able to balance personal vendettas and artistic execution. She pulls no punches, commanding attention through her ability to integrate her drama into tracks through beautiful storytelling.

Clocking in at nine tracks and 31 minutes, Mars and Paak are in and out, delivering their best impression of ’70s funk, soul and R&B — albeit each track is so spit polished and clean, it noticeably lacks the raw charm of the original. But that in no way means An Evening With Silk Sonic doesn’t have its merits.

Life of a DON shows Toliver has a clear understanding of the strengths that have made him into a star already. It’s not a wack album, more so it’s just there, destined to be nothing more than late night background music.

By the Time I Get to Phoenix has arrived, an album loaded with deep emotion and detailed texture that makes every track feel revelatory.

GUMBO’ is arguably Siifu’s greatest work to date. It’s an album that’s accessible but never treads on its underground street cred or lessens the dusty aesthetic to conform. It’s compact with moments of wonder, tenderness and fun folded into each other. GUMBO’! is as complete as it is essential to Siifu’s discography.

Sometimes I May Be Introvert is an espousal on Black womanhood with deep emotional intelligence and refined insight from someone who’s ruminated on her pain and found catharsis through music.

The result is dangerously addicting and affecting, where modern relatability rests on top of nostalgic production, avoiding the pitfalls of corniness and imitation. Full of soul and life, PinkPantheress’ status as social media’s newest darling is secure, as she crafts a garage dreamland that may just stand the test of time.

The end result sounds like a distillation of contemporary popular music, the kind of blockbuster pop album following the much larger footsteps of Ariana Grande’s Dangerous Woman or Katy Perry’s Teenage Dream, albeit not as polished.

It’s a standard debut album, with plenty of flaws and high moments that flash greater potential but not much else.

A solid, but ultimately forgettable record despite its impressive sales numbers, a come and go affair with moments of brilliance but not enough originality to stand out in the crowded field that Trippie helped tillage years ago.

CLB can feel formulaic, as if checking off boxes on an executive producer’s clipboard. Despite the frequent predictability, it’s exciting to see a consummate professional at work.

There are times where Kanye recaptures the magic of his golden years. ... But there just isn’t enough good here to look past the flaws. The final result is a collection of songs with little binding energy other than a vague Gospel through line, which runs across the tracklist — chaotic like The Life Of Pablo but devoid of the magic.

The House Is Burning does exactly what it’s intended to do, it allows Rashad to dust off the cobwebs going back to the southern sound he so deeply admires, while also proving to listeners he hasn’t lost a step.

At its core, We’re All Alone In This Together is a meticulously constructed, well-balanced rap album. It’s an important landmark, placing Dave high in the best rappers under 25 conversation.

IDK has demonstrated he already holds the keys to his own success through past releases and, in fleeting moments, on USEE4YOURSELF. The skills are there — the confidence just needs to follow.

DISCO! demands to be met halfway. Without listener buy-in – it’s just a collection of musings. However, when the listener allows MIKE to conduct his symphony of introspection, the album reveals itself to be a treasure trove of compassionate nihilism and a definitive body of work by one of rap’s most understated lyricists.

H.E.R. doesn’t push the genre or her artistry forward with this debut, but she more than proves herself a worthy torchbearer for the art of R&B balladry.

It’s a safe follow-up to the previous breakout project, serving as an ideal reference point for when she fully decides to take wholesale risks with her sound.

This project takes the proper time and attention to fully digest. After repeated listens, it suddenly becomes crystal clear — this is mood music.

The 17-track project finds Tyler leaning into his rap prowess and flexing more bars than on previous efforts like 2017’s critically acclaimed yet sonically lighter album Flower Boy. ... The blatant dichotomy between emotiveness and almost blind arrogance peppers nearly every track, shedding even more light on who Tyler is beneath the surface.

Pray For Haiti is an easy starting point for new Griselda fans looking to find out what the Mach-Hommy hype is all about.

The beats are pleasant to excellent, the raps are practiced yet dry, and the trio that has come so far finds itself not moving at all.

The project offers disposable fun bangers and somber explorations of their pain but doesn’t elevate or illuminate Baby or Durk. It hints at lofty ambitions: an attempt at a seminal artistic statement about their influence, and dually, a victory lap after their recent success.

Mozzy’s strengths are YG’s weaknesses and vice-versa, which is the making of an ideal collaboration. There is an iron-clad authenticity to every note and word on the album: It’s rap that makes you start doing pushups, rap that you’ll most likely hear in the next Fast and Furious movie, and most importantly, rap that you’ll remember for longer than a few weeks.

Despite the casualness of everything, The Off-Season still earns buckets from the level of microphone craftsmanship he’s developed for himself and the melodies it brings.

While the boastful rapitty raps are par for the course for an artist of DMX’s tenure, he shines even brighter on the more broodingly beautiful “Walking In The Rain,” which features another appearance from Nas.

The protocol for new DJ Khaled albums is as follows: expect nothing, delight in finding a few songs which clear that floor-high bar, tell your friends that Khaled is back, and forget about it for the rest of your life. His most recent effort, Khaled Khaled, falls directly in line with the rest of the world’s most profitable yet forgettable discography.

During the first listen of the album, only a handful of its 13 tracks stood out but upon further exploration, ROADRUNNER suddenly blossomed into a sonic garden ripe with introspective brilliance.

Nitpicking on the extra grams aside, with Plugs I Met 2, Benny not only adds a well-rounded arc to his discography but also solidifies his status as an elder statesman/role model for a new generation who could genuinely use the perspective. While he’s just as guilty of glorifying his former lifestyle as any rapper, his music exemplifies the difference authenticity makes.

The sequel to his 2018 two-pack ranges from “just OK, I guess” to “pretty damn impressive” — in a smooth 3-song sonic gradient.

udas and the Black Messiah: The Inspired Album could’ve benefited from more carefully curated content (like Polo G’s surprisingly poignant take on the plight of Black men on “Last Man Standing”) instead of some of the tone-deaf material that wound up on the project.

Side B is a 16-track expansion that delivers familiar territory with some pops of Em at his sharpest.

The L.I.B.R.A. could have benefitted from a few snips here and there, but overall it’s a reasonably satisfying listen and a tangible reminder that the self-proclaimed King Of The South hasn’t lost his edge.

Benny raps with so much confidence and gratitude here that listeners have to tip their hat to the certified Buffalo legend. For those used to the aggressive, violent music of The Butcher will be happy to hear this fresh, refined take on his sound.

Overall, Extinction Level Event 2: The Wrath of God is a welcoming addition to Busta Rhymes’ extensive catalog.

The apprentice runs laps around the master throughout the 54-minute overstuffed marathon. Though toxic masculinity is his calling card, there’s only so many times Future can say he’s going to steal my girl without hesitation and I’ll wear it like a badge of honor before it becomes disinteresting.

Who Made the Sunshine is a solid offering, even if not Gunn’s most wholly compelling body of work. It doesn’t break any ground or expand his dynamics in the way that A King To A GOD did for Conway, but it is Gunn doing what he does best — at a very high level.

The Grammy Award winner shows he continues to be ambitious as an artist while keeping up the Slaughter King mantra he ran with early in his career. For Young Metro, Savage Mode II asserts there’s no rust on his boards and proves he’s still one of the best architects in the game.

Detroit 2 shows when Big Sean opens up and tells his story he’s an artist worthy of being in the conversation of the best of his era. He just needs to come back stronger with more airtight songs and not attempt to attract every audience that’s out there.

If his discography to this point was the regular season, From King To A GOD could be a sign that play-off Maquina is going to be a problem.

While Karma 3 isn’t the show-stopping follow-up to Survival, East is still going to outwork any MC, dropping album after album until he’s good and ready to hang up the mic.

The creative process seems more organized and thought out, allowing Nas to do all the things he’s good at, without embellishing any of them.

The songs here demonstrate his versatility by tackling new subject matters (relationships, love), expanding his reach with more big-name producers and features. He is no longer boxed in as a drill specialist but an artist with range, who can take that foundation and shape melodies that are on trend with 2020’s standards.

No Pressure is far too busy and easily distracted. ... When Logic just kicks back and shows off his skills, without trying to prove himself to anyone, No Pressure feels true to its title.

Legends Never Die functions as a goodbye to and from Juice WRLD. His exact wishes for a post-death album might never be known, but this avoids feeling exploitative.

Shoot For The Stars Aim For The Moon offers a fleeting peek into the artist Pop would become—beyond Drill, beyond Brooklyn, beyond even the United States.

6pc Hot offers different shades of 6LACK, and if the flavors not always perfect, it’s never bland.

Even if Lil Boat 3 came out in a time without so much surface tension (is such a thing still possible?), it’d still feel sloppy and forgettable. The presence of personalities like Lil Yachty’s should be welcomed, but the execution still needs to be there.

RTJ4 cements Killer Mike and El-P’s right to be mentioned amongst the greats, especially in the realm of politically charged Hip Hop.

Alfredo is a master class in rap — 35 minutes of cutthroat bars that feel like 15, leaving you hungry for another course.

There are 21 tracks on jammed with booming, mellow Atlanta trap flare and some inconsistency between bangers and filler tracks with similar minimalist, psychedelic soundscapes.

At 18 songs, Wunna’s tracklist is dense but not padded.

NAV’s biggest problem is that he doesn’t provide anything new with his music other than another generic serving of NAV.

He doesn’t dazzle with sinewy flows or clever melodies; he spits what’s on his mind and trusts it will resonate. It definitely resonates on Beyond Bulletproof, due to his transparent lens and well-suited production. Chalk it up as a victory for Sacramento’s lyrical champion.

It Was Good Until It Wasn’t‘s back half will earn respect from core fans for its consistency, muddling the notion Kehlani played it safe with this one.

Ultimately, while the album can get introspective and quite personal, the moments are buried under music that feels slightly unsure of its audience. It’s things he’s done before, and (for the most part) better. ... Not that it’s terrible music — it isn’t. In a few instances quite the contrary. It just isn’t the wall to wall classic fans may be hoping to get from him at this point.

Once again Drizzy has found a way to craft songs that will deeply resonate with some and less with others, continuing to get listeners to press play — quality be damned. Even with its faults, Dark Lane Demo Tapes has already built anticipation for his next album scheduled for this summer.

Everything from the production to the subject matter on this new album is frustratingly similar to the first two projects.

Tory has ceremoniously set the stage for his new indie path and become among Hip Hop’s elite. But for his mission to join the rap’s upper echolon, Tory has to diversify his content beyond ex-lovers, sex, his drug dealing past and Quarantine Radio twerkathons.

It Is What It Is isn’t the worthy successor to Drunk, but it certainly feels like its ideal companion piece.

Like an episode of Atlanta, 3.15.20 takes us in various, episodic directions that are snapshots into the thought process of Donald Glover. He ties it all together with the unifying, timeless theme of love. It’s just a shame his vision was marred by musical risk-taking that falls flat almost as much as it soars.

There is no denying Lil Uzi Vert’s unconventional version of rap has been polarizing for the better part of the last five years yet Eternal Atake should be celebrated. He maneuvers within the cockpit of his comfort zone, navigating a galaxy of different genres while keeping the essence of rap at the forefront.

After Hours is the most satisfying blend of “old” and “new” Weeknd that he’s ever put forth on a single project.

A frustrating project that falls short of its composer’s talent.

As an album and summation of why so many people have revered Jay Electronica for so long, A Written Testimony was absolutely worth the wait. Let’s just hope the next one arrives sometime this decade.

The Allegory plays out as Royce’s most consolidated offering yet. A definite career high-point for a rapper whose résumé spans over 20 years.

Sounding more like its European/British predecessor (danceable, quasi-electronic) than its more guttural Midwestern/Chicago cousin (as first made famous by Chief Keef), Pop Smoke’s raw growling was jarring and hard against these bouncy beats but surprisingly, it’s also wildly effective. In typical drill fashion, Pop Smoke does best when he’s paired with UK producers.

Whether or not listeners make it through all 24 tracks on Funeral, it’s easy to see what Wayne is definitely in his own world. His rhyming remains unlike anyone else in the entire genre and despite this album not being his strongest, you don’t have to go far to find a Wayne quotable that inherently makes one admire his seasoned lyrical dexterity.