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.

For anybody who's ever considered Rap cliche or walked away believing all has possibly been said, this is one emcee whose writing and candor is trailblazing the 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.

Releasing a handful of incredible singles ahead of an album sets a pretty lofty standard that the rest of the LP doesn’t always meet. In spite of its drawbacks, Culture showcases Migos at the top of their artistry and there’s no indication that it’s their peak either.

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

Overall, the 16-track project is mostly cohesive aside from the few disposable tracks that clutter its message and, at times, elementary lyrics.

It all adds up to a quality album that manages not to take itself too seriously without resorting to being dumb.

This collection is as heavy, thoughtful and laborious as anything Mike Eagle has released to date, but luckily he’s reached a place where he can withstand indie Hip Hop’s glass ceiling.

While similar in feel to it's predecessor, Pilot Talk, this follow-up is much less commercial in approach. The backdrop, though sometimes redundant, is more intimate, substituting any real peaks of audio genius for a solid, cohesive chilled-out-smoke-and-float ambiance.

As abrasive as it feels, it’s a lyrically rewarding payoff for listeners who choose to sift through the muddle and explore a high-brow exercise into poetry. Otherwise, old Odd Future fans and casual Hip-Hop listeners will be turned off by its off-putting and annoyingly grating aesthetics.

Vacation in Hell is a worthy effort that showcases the individual strengths of each Zombie member, from Arc Elliott’s compelling concoctions to Meechy’s raspy, full-throated raps and Zombie Juice’s sing-songy hooks and spiritual-political leanings.

Flying High leaves you wanting more, and that’s a good thing.

Cats & Dogs is a moody, well-produced album that, at times, is brimming with meaning-something not entirely common these days.

Besides a few questionable features, there’s nothing offensive or particularly bad about Hollywood’s Bleeding. It’s just Malone playing it safe and betting on the likelihood that the streaming algorithms will reward him once again.

Smoke DZA and Harry Fraud deliver a solid collection of songs that grow more interesting on repeated listen, basking in an evolved sound equally representing vintage and avant-garde New York Hip Hop.

While Take Care could be much better in some theoretical ways, it isn't bad in any objective way either.

Williams isn’t here for you to simply digest his art and move on. He wants it to stick to you, to stay in your heart, mind and soul, the same way it does with him as the artist. And MartyrLoserKing accomplishes just that without question.

Like most projects that get recorded without the guise of a meticulous A&R, Without Warning’s billing never exceeds the expectations of any artist--rapper or producer--let alone offer a glimpse of what allows these individuals to rank amongst 2017 Hip Hop’s most popular figures.

Given TDE’s ever-increasing appeal, Oxymoron isn’t quite an elite offering, but it meets the difficult task of attracting casual fans without straying too far from the formula that attracted ScHoolboy Q’s core audience.

Experimental is a tag few artists at his age would attempt, and yet Ghost does it with immeasurable confidence.

When he ends the album with “Cold Ass Nigga,” the most demonstrably aggressive verse on the album, you realize Shadow of a Doubt isn’t Gibbs flipping to go pop, but a man secure enough in the foundation he has laid to take a leap of faith.

Some Cold Rock Stuf continues with a gracious mixture of up-tempo and moody cuts, though some are more favorable over others.

No Poison No Paradise is Black Milk’s best album, and one of the year’s best in Hip Hop so far.

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

The Circus is an overall creative win and a nice precursor for his next album. The EP’s lack of substance holds it back from matching some of his previous work, but in lieu of a bigger idea, it provides a cohesive, quick and enjoyable flow fest perfect for listeners looking for a relaxed set of songs to escape the craziness of everyday life.

It’s a harsh listen that’s likely more obscure to casual, Top-40 listeners than R.A.P. Music. That’s too bad for them, because Mike and El-P seemingly unleash every item in their B-boy tool kit this time around.

The album is brimming with peerless content and an enlivened ambience that is manifested from his spoken word introduction to his grandmother's parting words on the closing track.

The beats Metro cooked up for this one were top notch throughout, adding some refreshing sounds to the current trap landscape. With retirement in the rearview mirror and a 21 Savage album on the horizon, Not All Heroes Wear Capes solidifies the return of one of this era’s most trusted producers.