He’s successfully bridged the gap from local to international with this album and when everyone can go on tour again I think he’ll have a ready made audience well outside of the United Kingdom.

It is claustrophobic, depressing, but also beautiful in its own sad way. While the circumstances that led to “Fall to Pieces” are terrible, the album is incredible.

“E3 AF” certainly has its moments. The filthy Grime collaborations are brilliant and overshadow everything else, for better and worse.

It feels like the audio version of Madonna releasing a coffee table art book of her sexual exploits, and I’m not in any way judging you if you get off on that, but it’s just not my thing.

At only 26 minutes “Fuck the World” is (more than) a little on the short side, but it’s still long enough to make a powerful impact with a croon as opposed to a boom from the cannon. The only other complaint I could issue is that at times Brent Faiyaz is self-indulgent to the point of straight up misogynistic attitude lyrically.

“Limbo” shows that if he takes his time and works with the right people, the results can be drastically improved. The hidden talent Amine had is hidden no more, and I’m happy to say I won’t be nearly so reluctant to listen to his NEXT album.

“E.L.E. 2” may be bloated and overloaded with A-list star features, but it works. Somehow managing to cater toward two generations of listener; you could have this playing on a CD in your car for weeks, skipping some tracks and then discovering new favourites down the line; yet there’s enough excellent individual moments here to populate a digital playlist too.

Songs like “Wishing Well” carry on the things that made him popular — a catchy melody and hook, AutoTuned lyrics, tales of depression and drug use. All of Juice WRLD’s trademarks can be found here.

Occasionally it leaves you underwhelmed and yearning for more, but that still counts as a positive, because so many other rappers wind up doing more and leaving you wanting a whole lot less.

He’s a fine producer, a middling singer, and a very forgettable lyricist. The album’s title banks on his name being the sole draw, but if it has been titled “Featuring Kanye West, Quavo, Kid Cudi, Young Thug, Big Sean and Future” it would be a whole lot more accurate.

Despite the album having a few filler tracks, Machine may just end up with the crown on the album cover if he continues the route he’s currently on.

The 44 minutes of this album could exist without Mr. Freeman, but they couldn’t exist without Metro Boomin. ... [21 Savage's] a solid RAPPER through and through and in an era of singers I’m always going to appreciate that, but if I said I could ignore the banality of “Savage Mode II” lyrically I’d be lying.

Gibbs and Alc show no signs of allowing the credits to roll.

The biggest missed opportunity lies in Nas’ inability to reach beyond the ambitious presentation found in everything surrounding the lyrics. He’s entertaining in spurts, but much like his “godly” contemporary Jay-Z, one has to wonder if what he says ever really matters on “King’s Disease” any more.

Though “Blame It On Baby” is fairly short at only 33 and a half minutes, the bop of songs like the Nils & Wheezy produced “Talk About It” and the title track from DJ Kid and friends prove you can hit skip and land on something good anywhere.

Positives of “The Goat” — it’s 47 minutes long, it’s slickly produced, and even when Polo’s voice is Tuned up it’s not to cover up him being mumble mouthed or syrup addled. Negatives — well there aren’t too many.

Putting the lyrics aside for the moment I’m willing to say there’s something here. The production goes from spartan and airy to distorted and noisy in a way that makes it feel like industrial trap rap, and his accent plays with your expectations of what the flow should be like. ... Ultimately I must still give a “meh” to the overall presentation, because like many of his U.S. counterparts, Yung Lean’s music relies more on style than substance.

It manages to sound both isolating and uplifting at the same time, and really shows an artist who is honing their loneliness and boredom into creativity. It has helped me get through these long and strange months, and I highly recommend it.

Relentlessly preachy music can be just as obnoxious as the relentlessly vapid, but even pop music can offer more substance than this. If this album was a soda, it would be light and bubbly, yet its sugar free nature would make you crave a Mexican soda in a glass bottle instead.

“Lil Boat 3” finds Yachty syncopating and stretching beyond his naturally baritone voice. He sounds more self-aware than ever, channeling his beloved infectious energy as the main driver for the album, rather than his erratic lyrical ability.

Because of the themes it addresses, “RTJ4” is indeed a hip-hop album chaotically reflective of the modern times and much needed for the same reason.

It’s a complete package (pun intended). I’ll take the Jay-Z style “Song Cry” feel of “When to Say When” as an album song any day. The MexikoDro and Shebib “From Florida With Love” is the example of why I can handle Drake being Tuned up more than most of his contemporaries. He uses it without abusing it to ridiculous absurdity.

Mozzy’s greatest strength as a writer is clear intimacy. Every time he spits a verse, I feel like he’s talking to me one-on-one with a cigar in hand and his posse surrounding him. There’s wisdom attached to his words because he’s been through it all. ... Mozzy still carries demons, but there are indeed shimmers of happiness percolating throughout some of these passages.

It is the right combination of introspective and funky. It makes these long, endless days and weeks much more manageable. If you need something both banging and relaxing, Shabazz Palaces got you covered.

Rather than trying to please the club, the ladies, the hardcore 30+ crowd, the younger fans, and everyone in between, Jadakiss has released a cohesive, satisfying album that is easily one of his best efforts. More of this, please.

If you absolutely can not stand rappers who should be called singers then you need to take a hard pass on Vert, but if you occasionally (or more often than that) enjoy the crooning, Vert is at least someone who can put it together in a way that is surprisingly decent and occasionally quite good.

“Unlocked” is a blast. It is a highly-enjoyable snapshot of an otherworldly dimension traversed by the superbly-skilled rapper Denzel Curry and the fantastic Kenny Beats. This EP delivers loads of strong bars and beats alike and is most definitely worth the listen.

Throughout “Chixtape 5” though I keep finding songs that pay tribute to hits by other people, and in each case Tory Lanez is not the rapper on the track. ... He’s just straight up crooning. He almost raps on “If You Gotta” featuring Fabolous but can’t resist the urge to sing. Unfortunately this leads F-A-B to imitate him instead of vice versa. The album’s slicker than the tile floors behind the counter at Wendy’s though.