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.