trap
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Harverd Dropout sounds more refined and slicker than its self-titled predecessor, but is all the worse for it.
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Sweetener is no longer Ariana Grande’s strongest album.
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Bawskee 2 sounds like something a South Florida rapper would’ve uploaded to Soundcloud two years ago.
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Despite being bookended by a few awkward detours, Assume Form contains James Blake’s best writing and production since the earlier part of this decade.
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While not Future’s most cutting-edge release, The WIZRD is packed with great production, sticky hooks, and consistently electrifying vocal performances from Future himself.
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The EPs that comprise TDT, while very much listenable, pale in comparison to Big K.R.I.T.’s prior work.
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The full-length debut from Latin trap popularizer Bad Bunny mostly sounds standard even in the context of stateside pop rap.
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Meek Mill’s celebratory new album ends up being a mixed bag of mostly generic pop rap.
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Despite being Ski Mask the Slump God’s debut commercial album, Stokeley is about as brief and inconsistent as the mixtapes leading up to it.
