As it stands, Born 2 Rap is a proclaimed swan song that feels more like a playlist. Let’s hope Jayceon has one more in him.

The work and musical experiments Brockhampton has proven to be a successful one. Tradition means nothing to a project like Saturation III, as constant themes of vulnerability poverty, violence, sexuality gives listeners nothing but honest perspectives.

With its brevity and risk-taking, The Last Rocket succeeds at illustrating Takeoff’s talents. Though there’s no outright banger and some filler, this solo album serves as a glimmer of hope for the longevity of Hip Hop’s current favorite trio.

Filled to the brim with ideas even when it sometime sounds as if he’s creatively a little too all over the place. Thankfully, even when he fails, listeners should be fascinated by even those attempts.

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.

The Foreign Exchange have transformed themselves from a bastion of jazzy Hip Hop into a crossover group more akin to R&B’s soulful beginnings than the underground sound that was synonymous with Little Brother. Ultimately, listeners are the beneficiaries.

Blank Face LP could’ve cut some fat from its 72-plus minutes and 17 tracks, especially since some songs cover the same ground. However, as a whole, Blank Face LP is a victory not only for ScHoolboy Q, but for a T.D.E. crew that had seemed to lose momentum outside of its star player.

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.

Oh No's execution is slightly off the mark in sticking to its motif, but that shouldn't detract from the goods he's brought this time around. We can dig it.

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

Don’t Smoke Rock appeals to old and new heads alike, for its rooting in traditional NYC production and attention to contemporary details. Smoke DZA and Pete Rock prove to be a formidable duo on their first official outing, and the guests joining in on the fun comprise the collective cherry on top of the proverbial sundae.

Tip’s latest sets an example for matured vets who still like to get their hands dirty. Dime Trap is dually nostalgic and relevant, and cements T.I. amongst rap’s all-time elite.

Kenny Beats’ production is a weapon as blunt and beautiful as Curry’s verses.

The complete package displays an obvious maturation from the veteran that is effectively in tune with a focus many have considered missing for some time.

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.

The production on Guns is most appealing when he relents and allows for more free-flowing instrumentals.

On IGOR, Tyler showcases a more polished iteration of the hazy pop he’s been perfecting for years. Though some might be disappointed that he’s becoming more of a singer than a rapper, this is the kind of project that should encourage more artists to disavow labels and relish in taking risks.

He seems to have complete control over the proverbial dance floor, switching up tempos to match the crowd’s mood throughout the 15-track album; this prevents 99.9% from feeling bloated and is yet another reason Kaytranada’s debut album is a resounding success.

No sole record matches the adept level of musicianship exemplified in her breakout hit “Big Ole Freak,” but Fever’s dedication to eschewing pop-leaning material wins big with the everyday people, strippers and strip club aficionados.

At 15 songs and 51 minutes long, it’s an enjoyable listen with good pacing, filled with the right amount of vulnerability, heartache, menace, and savagery.

Redemption shines brightest when the music itself matches Rock’s dynamic performance and infuses enough energy for him to seize the moment.

All 6's and 7's doesn't disappoint as a well-balanced offering.

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.

Ultimately, Staples has added another colorful chapter to his chameleon-like catalog and reinforced his intention to keep evolving no matter what trends are dictating the current wave.

The 17 tracks and 63 minutes of Islah flow surprisingly well; even though there’s room to cut the fat, it doesn’t drag on the way many albums with that many songs do.

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.

Sounds Of Crenshaw Vol. 1 feels like the ideal soundtrack to the iconic 23-mile street named after the real estate banker George Lafayette Crenshaw. It won’t transcend to other hoods but Martin and crew win by developing a project that’s sonically ambitious from beginning to end.

For now, MHz Legacy fits the group's journey quite well with strong highlights and a few struggles along the way.