pop rap
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Come Over When You’re Sober, Pt. 2 features more dynamic vocal performances and a more diverse instrumental palette than its predecessor, but is still let down by shallow songwriting and bland production.
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Not All Heroes Wear Capes is a pretty cohesive listen for a producer-guided album, but it’s not fire from front to back.
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Joji’s BALLADS 1 has some great songs, but a thin appeal, as most of the tracks don’t function beyond their moody vibe and lo-fi aesthetic.
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Yeah, Lil Yachty literally sounds like he has nothing to prove.
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If nothing else, Quavo Huncho suggests that Quavo’s dependence on Takeoff and Offset doesn’t run quite as deep as one might think. But what little appeal the album ends up having has less to do with him, and more to do with the features and variety of production.
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Logic is, as always, well-intentioned and likable on YSIV, but his music remains middle-of-the-road.
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Lil Wayne is in rare form on the best parts of his fifth installment of the Carter series, but bogs this album’s full potential down in a number of underwhelming cuts too.
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Despite its slightly cumbersome 100-minute runtime and spotty concept, DROGAS Wave is a surprisingly solid addition to this phase of Lupe Fiasco’s career.
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The all-American boyband makes its major label debut with an album that shows emotional and creative maturation despite occasionally gimmicky production and some members getting outshined by others.
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Zoo‘s songs, with only a couple of exceptions, range from boring to awful and are further weighed down by Russ’s crummy mindset.
