Overall Unbreakable, while it feels like Terry, Jimmy and Janet may have over saturated the album with essentially too many tracks (if there can be too much Ms. Jackson if you're nasty) making the album more than 60 minutes of run time, it works.

With so many artists trying and failing to capitalize on reprisals of their finest work and have the breadth of work necessary for a strong double album, this particular release and its quality deserves attention.

This isn’t an album, it’s the spiritual essence of the joy beyond the pain.

Game’s first installment The Documentary 2 is a fine achievement in making the familiar sound fresh. It will be exciting to see what he has in store for the second go-round.

There’s no creative expansion, just two acts trying to exist in their own worlds simultaneously instead of finding a new and interesting middle ground. Mixing classic Big Boi verses over old Phantogram songs would’ve probably been just as effective.

The problem is that the album is creatively too safe even when taking on large gambles.

Continuing to build her movement brick by brick, A Curious Tale Of Trials + Persons finds the artist Little Simz flexing her superego while exposing the all too human frailties of Simbi Ajikawo. Proof positive she’s unafraid to stretch her musical limitations.

Few producers in the game boast similar originality and creativity, which makes Invite the Light a refreshing new album for 2015 and beyond.

In an artist exploring her brand new self pairing with a producer doing his best to pair up beats with her wild new imagery, this one never quite meshes, but is yet still impressive enough to sit back and marvel at the emotive and lyrical force that Angel Haze is evolving into.

Though not the blow away success that meets the considerable hype surrounding its debut, What A Time To Be Alive certainly features 2015’s top-selling rap superstar duo turning up and having a helluva lot of fun.

The release of his third studio album GO:OD AM showcases maturity beyond Miller’s years, the result of which is a cohesive project that is as cohesive as it is profound.

A solid effort that is up there with the best of the year but it definitely sets the stage for the emcee who made Follow Me Home and many feel could be the second best in the set to Kendrick to make the jump to great when sophomore time comes around.

If Welcome to JFK is meant to take Chinx Drugs to a national level, the song structures may be right, but the content shows Chinx was still in transition of fully realizing this aspiration.

Rodeo's back end after “Antidote” begin to mesh together and gets repetitive.... Nonetheless, the originality of Scott’s sound within this new movement provides for a strong rookie effort leaving the listener excited for a career that is just getting started.

Though their formula is simple, the pair takes precisely measured efforts to make sure each song remains true to their refined essence.

The Meth Lab may be Method Man’s return to solo work, but without a true connection between the tracks the album feels more like a mixtape than an album, a string of songs that range from uninspiring to a reminder that Method Man was once one of Hip Hop’s elite.

In reaching out and grabbing every pop sound that’s been successful in the past half-century of mainstream pop, rolling it tightly in a blunt and setting them ablaze with Abel Tesfaye’s sonorous vocals, this release gets much higher than most anything else released in 2015.

Each of Compton’s 16 tracks feel like individual set pieces bound together perfectly.

While his long journey has finally paid off, Living Legend lacks it factor to have listeners clamoring for a follow-up anytime soon.

Dom Kennedy once again makes another solid effort that’s perfect for the mid-summer kick-back.

Dirty Sprite 2 doesn’t survey any new territory for the croaking crooner, but it magnifies the depth of his distress and channels it into an even richer multilayered sonic experience.

While Ghost can tell a story and his skills are sharp (despite Action Bronson’s recent claims to the contrary), he’s sounded far more at home on this past winter’s Sour Soul LP with Hip Hop jazz band BadBadNotGood.

Lucky 7 doesn’t deviate from the framework of Statik’s previous compilations, but it does highlight his masterful command of each individual track, without ever simplifying the approach or integrity of the album.

On Wildheart, Miguel excels in embodying the name of the album by being an artist both making a progressive album, but also uncovering more knowledge of self in the process, too.

Overall, In Another Life is an easy, efficient listen, that caters to all facets of Bilal’s musical identity.

With a dynamic range that stretches from speedier tracks like “I Wish” to the slow and steady “90’s Class Act (Ek),” PeteStrumentals 2 refuses to settle on a single model, rather incorporating snippets of what Pete Rock has shown has fans over the years.

Throughout Free Weezy, Wayne is merely drawing in the spaces on a coloring book rather than in unique hues.

Ego Death is an album both suited specifically for the social media age of music listeners but simultaneously rich and permeated with the traditions of the soul and R&B music of the past.

Music For My Friends is an above-average effort from Skyzoo.

The Gold Album is underscored by its poor creative choices.

Dreams Worth More Than Money is a slight misfire for Meek Mill, but enough is there the we think he can eventually achieve in his music the high he’s achieved in his personal life.

No I.D. and company have helped him make music that’s both uncomfortable and lived-in, and Staples sounds more himself inside of it than ever before.

Troy Ave’s self-confidence skews towards myopic arrogance, as high points like “Young King” are practically ruined by intentionally off-key vocal melodies and “Real Nigga” comes off as Maybach Music Group karaoke.

Every Hero Needs a Villain is simply an enjoyable listening experience that any longtime Hip Hop fan is sure to appreciate.

Regardless of whether his hands are tied creatively to coded lyrics, such as “500 Homicides,” the music undoubtedly suffers as a result. But there are ephemeral periods on Remember My Name where Durk is more illuminative of his world, like “Resume.”

Those looking for an album which actively engages the future of music while remembering the imperfect past has much to enjoy with In Colour.

Surf will not be for everyone, but for those seeking a sense of spiritual upliftment and a relaxing summertime soundtrack, Surf is the wave you’ve been looking for.

Its focus on breadth is also part of its charm, and although the project is 18 songs deep it does not feel rushed through, but rather lived through.

The end result is an album that is as much a wild party as it is brutally honest.

While some may be upset that Murs isn’t the unruly rapper he once was, he’s managed to craft a project that remains true while growing up enough to talk about life in a radiant, maturity tinged glow.

Where this album excels is in the celebration of youth’s insecurities and dichotomies.

The production is exquisite. A lush, cosmopolitan collection of sounds spread out and allowed to coalesce. The album is quiet, subtle and monastic.

Aside from “Run Away,” none of the tracks on Bush are utter drag-and-recycle-bin drop material, the album is a surprising letdown from two legendary artists who have (literally) a platinum track record.

They make poignant soul that’s fresh sounding at all angles. Most importantly, Choose Your Weapon stands on its own as one of the year’s best albums.

Shlohmo creates reverential moments out of human gloom, and does so with a level of execution that invites multiple listens while defying comparisons, too.

At times the style itself feels like a copy of Rae’s hits instead of an organic creation, but The Chef does a good job of balancing the radio-friendly Rap with material his diehard fans crave.

When Love Story is great, it’s when the unique pieces of Yelawolf’s life discover similarly off-kilter spaces in which to manifest a new voice.

On it’s own merit; Barter 6 is the definitive mainstream strip club album of the modern era.

Musically, he is maturing before our very eyes.

While other artists are constantly on the prowl for the latest trend that will keep their names relevant, Spitta never ventures out of his own lane, and yet, his latest material never seems to spoil.

When Wale showcases his growth in being able to link his classic skillset with modern content, the album unequivocally succeeds. However, in attempting to placate current mainstream tastes, he falls short of the album being the unique and iconic success of the mixtape that truly launched his career to another level five years ago.

His seemingly unshakeable integrity and forthright spirit in music making shrouds Ludaversal in serious tones, marking a stark departure from the Georgia emcee’s status quo, making this one a novel and welcome addition to his catalog.

His self-expression is supported by an album mostly produced by him (a.k.a.. randomblackdude) and Left Brain, where the entire production is minimal, dark and contains rare interludes. It's the glue that holds all his confessions and retrospective bars together.

Mr. Wonderful isn’t everything for everybody, but it seems to belong completely to Bronson.

To Pimp A Butterfly is ambitious in its attempt to inspire a generation to change the world for the better and poignant enough to actually do so.

Eat Pray Thug is a remarkably moving opus condemning ethnocentricity and wallowing in relational grief.

Fashawn’s sophomore release is a strong follow-up, six years in the making, that hits hard while preaching perseverance.

Blade of the Ronin is a dense collection of music. Fans of lyricism will appreciate the wordplay, as well as the contributions from artists like Elzhi and DOOM, among many others.

With a sound that’s one-third punk, one-third underground and one-third Yeezus, Doomtree’s All Hands is a work of lyrical importance covered up by synth notes and drum crashes, its messages left to be decoded by their fans.

There is still enough variety in styles that make it a successful conjuring. And, once there, the free-form melting pot of production and vocals continues to satisfy.

The inclusion of a small handful of featured emcees spices up the pot appropriately and where and when they cook are choiced well.

Fan of a Fan reads like a mimicking of that, missing a key ingredient in the Pop-Rap alchemy it takes to create something truly ingenius and infectious.

With Dark Sky Paradise, Big Sean is prepared to leave his mark.

Ibeyi is executed expertly and encapsulates entirely its artists’ public narrative and ambitious musical inclinations up to this point. For now, that’s a blessing and all we know enough to ask for.

At 28, he’s very much hitting his stride in Rap, using every transitional moment to add one more compelling chapter to his narrative.

While not setting the world on fire, it nestles its way warmly into your heart, soul and dancing feet.

Most of the songs on Full Speed are catchy in their own right, but on the heels of tracks that sound so much alike just now seeing their expiration on radio, the feeling is mixed at best.

What will disappoint Wayne fans on S4TW2 is his predictable beat selection.

Sullivan’s long time away from music has given her a new outlook on life and Reality Show is all the better because of it. Her excellence bleeds into songwriting and production while her crooning is as good as ever.

Outside of the disappointing “They.Resurrect.Over.New” (featuring Ab-Soul)--which connects conceptually, but sounds less dope doing so--Tetsuo & Youth glistens with maturity and imagination.

As a whole, there’s very little that’s progressive about B4.Da.$$ but it’s a distinguished retread and the most polished project the young emcee has put out to date.

Ronson and company created an album that’s accessible by all, a little bit of everything that everyone wants to hear.

While SremmLife is thin on substance, it’s built for clubs and late night adventures. Perfect for the time where sunglasses and Advil are eventually needed.

Black Messiah is ambitious and adventurous, and in that way it delivers wholly on the promise of D’Angelo as an artist.

Hallways is still an accomplished addition to Homeboy Sandman’s ever consistent output.

PRhyme can be closed off to the Rap of today, but their rendition of the Rap of yesteryear will always have a place in any era.

The Pinkprint runs a middle path between pop over exertion and real lyricism, creating an everything for someone aesthetic that Nicki doesn't allow to shift into wastefullness. As such, it is an ambitious undertaking Nicki has wrangled in highly entertaining fashion.

Aside from the lack of significant risk-taking, Teyana Taylor generated a debut album that is honest and well produced. And while she takes absolutely no risks on the album, and her vocal range is limited, she never strays from what she does well.

Its narrative, the tropes, and the strategies are completely overcome by the albums terrifying integrity. It is immensely relatable because it is not afraid to be corny and cliche.

36 Seasons may not be Ghostface’s greatest project, but it is another notable addition to his extensive body of work. Rapping alongside Kool G Rap and AZ for the bulk of the album is certainly a treat, and the two have their own moments of glory. Production, on the other hand, simply does not hold on to the lyrical dynamism present between Ghost, Pharoahe Monch, AZ and G.

All in all, the Wu remains palatable. They each have their own skillset they bring to the table, and all of them do so with varying degrees of grit on the album.

Some songs border on perfection. A few more are just solidly average. Yet, it all balances out, and the rhymes on full display make Shady XV a great compilation release.

The album skips along predictably and offers nothing much outside of Rozay’s usual narrative.

It’s a kaleidoscope of sounds that feels like a best of instead of a debut. It’s jarringly airy, flitting about and flouting conventions at every turn, and it’s sometimes so steeped in it’s 90s house past that it undermines its own velocity.

Hell Can Wait is Vince Staples’ best short release to date and his true-to-form introduction as a Def Jam artist. It’s proof that he can improve for a new audience without compromising to reach them.

With Cadillactica he’s found his stride by taking new steps. K.R.I.T. isn’t slept on, but he’s proven again that he should have a bigger bandwagon by now.

Vibes succeeds in getting its listener to flourish in a world of champagne toasts, faceless women and impulsive dancing.

Even though the first half of the album skates by simply on its beats (“Boomin’” pairs a light, airy set of electronic chimes with an ominous set of horns in the background; “What It Be Like” featuring Nipsey Hussle is luminously jazzy for Stalley, much like the later track “Free”), Ohio’s second half is much closer to vintage Stalley.

The album captures a swath of moods and tastes, and Black Milk’s lyrics are both imaginative and well-executed. The production is on the money, and he continues to make big strides lyrically.

There are a great many moments that make Under Pressure feel like a feature film about Logic’s life, and when at its best, it is creating that sort of imagery.

Throughout RTJ2 [El-P] holds his own rhyming alongside a superior wordsmith.

One of the most accomplished releases of the year, You’re Dead! embraces the uncertain, celebrates fear, and induces a meditative consciousness that’s hard to shake after listening.

NehruvianDOOM isn’t the first attempt to recreate Golden Age Hip Hop in the 21st century, but it’s an exceptionally creative take on the now-classic sound that succeeds in offering an enjoyable--and at times quirky--listen.

Tinashe allows her project to rise above the strain of heartbreak to create a simultaneously empowered and cohesive debut.

Personality aside, Chris Brown’s ability to succeed artistically at delivering sounds in all three sectors of urban Pop makes this release a great, yet disjointed listen.

The songwriting is so intentionally simple and evocative that you’re as much sucked into wondering just what she’s going to say next as much as you just want to hear a high-quality song.

Like the album itself, the cast of guest appearances is minimal, yet praiseworthy for its originality.

At its very best, Seen It All is a glimpse into how Jeezy can make his living on the back nine in a crowded subgenre with no use for him anymore: By recalling the most chilling details of his drug dealing past with a flashback-like crispness.