Although, it's a bit too long, and suffers from some peaks and valleys, it's a very solid project overall.

It may seem dismissive to write the album off as a stepping stone, but when you consider the stark contrast between tracks like the gospel leanings of "I Know There's Gonna Be (Good Times)" and, say, "Basic Space," In Colour isn't only a necessary listen, but an important one too.

Surf is a boardwalk picnic with sunset views of the Ferris wheel, grassy laughter, and paper plates smeared with blueberry shortcake.

Reality Show is neck-in-neck [with Love Me Back] in terms of quality, but Sullivan’s latest feels a lot more current—which should make it easier for the public to relate to.

Lennox lost his father to brain cancer in 2002 and the experience has floated through his music ever since, but never has his songwriting been so tragically pointed. There's no ambiguity here, only the gaping emptiness that the absence of a parent leaves behind.

Compton is his third-best album, but that's hardly an insult. His skills have always been about immediacy, the grandiose, a sixth sense for the universal. On Compton, that's still intact.

Self-produced almost entirely under the moniker RandomBlackDude, I Don’t Go Outside is a minefield of gloomy thumpers. Nothing stands out to the point of distinction sonically, but that might be the point.

Dark, frenetic, and complicated, Ratchet is so thrilling because of its refusal to settle down.

Trey Songz and The-Dream can gripe on tracks about smart phones and Omarion can make a run for dancehall licks, but Kehlani’s pulling all these ideas together into something that feels original and authentic and, somehow just slightly transgressive.

This record is beautifully crafted, with robust lyrics over expertly crafted beats. You will not find any throwaway tracks on here.

If you've followed Future's recent moves, DS2 is not unprecedented, but it greatly enhances the brooding ambiance of his recent work, a dive further into the abyss.

Jay shows range by playing with his flow and experimenting with his sound on tracks that feature beat switches.

The album overall is a triumph, however, varied and fulfilling, with too many hits and slappers to regard Rae Sremmurd as a one-hit wonder of 2014.

You won’t be listening to this one all the way through, but that’s perfectly fine. The release is more than capable of holding up his legacy until Views From the 6 arrives later this year.

As the third installment of Spitta’s aircraft-themed series, Pilot Talk 3 finds the NOLA sky captain delivering a familiar set of luxury rap fairytales upon which he’s built a quietly impressive career.

Mr. Wonderful is a solid offering from a guy who consistently puts out quality music.

All things considered, this is a solid album. Fans of old Rocky will be happy to hear he hasn’t left them behind and new fans will have a plethora of options to choose from.

Even as she's suffering the romantic disadvantage, Adele infuses the songs of 25 with a love-drunk cockiness, tossing wine by a loose wrist as she reconsiders these departed men.

Janet is reflective, optimistic, and offering encouraging, motivating lyrics to those listening.

[Joey Bada$$'s] potential is only half realized on B4.DA.$$, which speaks to his lack of adjustment in transitioning into a full-fledged artist who truly represents something other than ’90s nostalgia rap. Still, B4.DA.$$ is a commendable performance from an MC who has every opportunity to capitalize on his next project with some more seasoning, experience, and focus.

His latest album loads several compelling rounds of rage and heartache, and no egregious duds (though "Spoil You" really is pushing it).

Dreams Worth More Than Money sticks the landing, sustaining over its running time without stumbling and occasionally providing some thrilling moments.

The lecherous lyrics that built his core are still here, but the beats are larger, more capacious, and more lush..... [“Tell Your Friends”] shows a growth in the Weeknd’s songwriting that unfortunately isn’t more prevalent throughout the album.

Occasionally clumsy but wonderfully plainspoken, and impassioned when he wants to be, Sean has advanced (if not graduated) from the tepid mythmaking of Hall of Fame. Here he’s dynamic, and a pretty good rapper.

On Barter 6, a rapper frequently dismissed as a druggie dance trapper inverts himself, yielding a passionate and personal record that's as insular as Earl's latest, but with charisma and color.

Dom Kennedy's third studio release is short and to the point leaving no room for fillers. But it lacks the certified bangers we're used to him delivering. Still, it's a solid offering from an independent artist.

Despite a corny bar here or there, Drake sounds way more energized with much better flows. But he’s still on Future’s planet.

A relatively conservative follow-up to a debut album that, three years ago, had many fans and critics re-imagining pop music as inexhaustibly brave and new.