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.

Minor potholes aside, Victory Lap not only boosts Nipsey’s stock but it raises expectations for the next time he eyes a checkered flag. The benchmark for quality has been set and the race to officially hit the championship podium is only getting revved up.

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

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

On Traumazine, Meg recaptures her narrative, sound and essence, ready to swing into the next chapter of her life.

It’s a restlessly inventive work that adds a uniquely soulful layer to underground Hip Hop 3.0’s resurgent, evolving sound.

Big Baby D.R.A.M. is presented as a playlist of D.R.A.M.’s best conceptual songs rather than achieve the glory of playing a perfect album from front to back.

The mixtapes remain practically untouched, giving any new The Weeknd fans a genuine look into what allowed an unknown artist to transform himself into someone who breathed new life into R&B.

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.

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.

Other than the Yeezy collab “Glow” being a bit lackluster, primarily for being slow and sonically off-putting, More Life has very few stumbles and a plethora of exciting moments that will ensure this project’s shelf life.

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.

Moreover, this work shows his place in Doomtree, but provides him a greater unique identity against his sister and brothers. Bad Time Zoo definitely raises the question of where the cages and bars are in 2011.

While her voice may be a point of contention for newcomers and the album's content risks going over heads in its catering to the progressive sect, openminded listeners will find fortune, self-esteem, and inspiration from her constantly growing womanhood.

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.

The Book of David isn't Quik's finest effort; an album reportedly done in quick fashion, doesn't truly live up to Quik standards. However, it still holds its own in the current field.

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

While Come Over When You’re Sober Pt. 2 puts the cap on Peep’s short-lived career, it leaves behind clear evidence of his once-limitless potential.

Thugger has performed vocally like this before on Jeffrey, lyrically like this on Slime Season and emotionally like this on Beautiful Thugger Girls but not consistently have they all converged together like this, forging the ultimate Young Thug Voltron. Plus, this top-notch performance has been spread across such perfectly paced beats. Quite literally, the production on this album is just a blast.

Ultimately, fans of Aesop will love this release, but those who have yet to find a reason to listen to his music won't find one here.

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.

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.

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

Instead of replicating last year’s hit mixtape, Nasty is clearly set on experimenting and expanding her sound. Even though it shows that she’s a risk taker, Anger Management is unfortunately half-baked.

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.

Nothing Was The Same showcases new skills--trimming the unnecessary songs, and focusing on narrative details the way he does on “From Time”--that will strengthen Drake’s arsenal and help him continue to cement his status as a pop-rap heavyweight for years to come.

This is an escapist listen that appeals to fans beyond the traditional Hip Hop consumer, and is as forward-sounding as it is nostalgic.