While the songs with Rae's contemporaries bang, the joints starring his artists--JD Era, Ceazar-N-Reason, Camoflauge, Big B, Tommy Nova and R&B singer Altrina Renee--are hard to sit through

Theophilus London’s musical ability is evident throughout Vibes, a mesh-mash of genres that come together to form one of the better listenings of 2014.

Its greatest moments shine through in club hits that seeped through virally on the web and made him a nationwide phenomenon on the radio, it’s other moments aren’t as flashy.

His voice is a powerful weapon, and he still has some ideas worth mining, but he’d be better served under the direction of a producer who could focus his sound, kill a couple bad hooks and weed out the filler. We’re not expecting Dr. Dre or Bomb Squad-level results anymore, but some outside guidance could help.

Unfortunately, it doesn't live up to its potential, and the result is lackluster, with bland efforts both lyrically and production-wise.

The highs of PND 2 have replay value, and the lows--though there are certainly more of them--blend with the rest of the album as it plays in the background of a bedroom.

Overall, the album has a good balance of solo tracks and features.

Endearing, ambitious and a tad overstuffed, Slime Language is a literal and figurative family reunion. However, like any Black family reunion, the project captivates when the young are allowed to flex in front of the father and claw their way from the periphery to the main stage.

Despite using a familiar formula, Havoc’s beats never sound too dated here; new techniques in his repertoire, such as using more melodic synths and complicated drum arrangements, keep things sounding fresh. Unfortunately, the same can’t be said for his lyrics.

Filled with lust, desire and sexual journeys, Trey Songz reaches an expected level of mainstream success with Trigga, and while safe is always encouraged during sexual acts, perhaps Trey could’ve taken a few more risks with this album.

Nuthin’ 2 Prove, like it’s 2018 predecessor, Lil Boat 2, largely sees Yachty spinning in place, warring with his past and grasping at a murky future.

The times when it succeeds are when Tinashe doesn’t overdo things.

It pans out as--at the very least--a unique and varied production that asks to be received seriously, even if Riff Raff’s choppy, uneasy flow and absurdist imagery runs counter to that.

Self Made Vol. 3 won’t silence the haters of Rick Ross’ MMG movement, and it certainly does not break the mold of previous iterations in the series. However, the album’s hits should have a lasting impact, serving as jump off points for several of the artists on the label.

Ace is still aiming for the club on certain tracks. His enthusiasm and rapid-fire flow sound at home over the menacing summer jam “Bugatti” with the warbling hook of Future or on the triumphant “We Outchea”. But on other tracks, like the flimsy Chris Brown-assisted “Rider,” he comes off clumsy and out of place.

While God of the Serengeti doesn't blaze any new ground, it is a release that will hold up to the Paz's legacy on the underground scene and will surely satisfy long-time fans.

While the LP is worth the wait and a worthy debut, it lacks the explosive selections and raw exuberance that put Vic’s Innanetape mixtape in classic territory and ignited his buzz.

Brevity in music can be good, but some of these songs seem to end as quickly as they start, and could be fleshed out a bit. Desiigner’s lyrics also seem to be limited in subject matter, and the themes of the song can all seem the same after a while.

It's a pretty fun album to listen to--just don't listen too closely.

It works just fine and follows the blueprint of most major label projects today. The thing is that, in doing so, Curren$y loses some of the magic that makes him a true original.

Although D4 will not be celebrated as much some of his other work, he does reminds all why Hova considered sending "D.O.A. (Death of Auto-Tune)" to "the Mixtape Weezy."

Not unlike Lasers, lots of songs on this album have focused verses from Lupe and large scale, sing-along choruses from featured guests, which both helps and hinders the overall listen.

On songs like “Kyrie” and “Gmail,” he briefly lives up to that raucous potential. Unfortunately, the missteps--the thin singing voice used on “WESPN” and awkward yogurt references of “Danimals”—hamper much of the promise.

The LP is fun and a return to what hip-hop started out as in the parks--a way to rock the crowd and have a good time.

While BS may not exhibit the growth sonically or conceptually that fans may have anticipated after hearing Cole’s early work, he remains too gifted lyrically, too keen of a storyteller, and too emotionally open for his sophomore LP to be anything less than impressive, but not overly so.

A scattershot collection of fresh-yet-familiar thumpers that will nicely keep the Migos brand bubbling through the forthcoming solo sets from kinfolk Offset and Takeoff. This is step one in building anticipation for the inevitable reunion record of three voices that, until proven otherwise, are best experienced playing off one another.

There is a lot of content geared towards the party, bullshit and get money topics that are present in rap culture. However, the production (which is mostly done by Bobby Ray) evokes a deeper appreciation for his music as a whole.

When he does step out of his zone, his temperament--hood and Memphis to the core--feels out of place. But luckily for Gotti fans, these moments of mediocrity are brief. On the majority of I Am, he stays rooted in the ideas and melodies that he’s been refining since he first dropped From Da Dope Game 2 Da Rap Game over 10 year ago.