Nectar acts truer to itself as an album compared to its predecessor, BALLADS 1. Joji's lyrics have matured somewhat, which is surprising as the album occasionally drops its moody, dramatic seriousness and opts for summer hits like Pretty Boy and and Tick Tock. Some tracks suffer from being too short, and some suffer for being too lengthy—a quick change in pacing would've benefited this album enormously.

Joji struggles to craft an album, only being able to provide singles mixed together into a compilation. The repetition of his trademark "woe is me/I can't do love" lyrics, along with his whispered falsetto, creates a nauseating listening experience that's thankfully only a half-hour.

Nearly every moment of Kanye-and-JayZ's-Circlejerk-Extravaganza is boring and uninspired. You'll find a slight twinkle of inspiration, something that isn't about the duo's prowess, but all roads lead to Rome, more or less. Its braggadocios theming lacks the self-awareness of MBDTF, or even the arguable purpose of Yeezus. The production is extravagant and dull, leaving no underlying messages—just the obviousness of its technicality and volume.

I'll never understand the hate for this album. The production's insanely good and Nas is awesome. Bonjour's also one of his best songs.

Even ignoring Nas' poetry, the production and rapping is musically amazing, and it's short enough to have you wanting more.

Not the biggest fan of the new Kendrick-accent, but even in this weird in between state of knowing what works and trying to experiment, he still makes worthwhile music.

World's most overrated album, while still being great. I just couldn't care for the lyricism, as apart from wording that improves the flow, deep messages that've been reiterated in a thousand different ways, whether through real life actions, movies, albums, books, and every other medium, don't make an album musically better.

If this was renamed to, "good musician, g.R.E.A.t album," then it'd be more accurate.

Extremely enjoyable listen front-to-back, rarely ever feeling bored. It's relatively lengthy 1-hour and 12-minutes feels short, with every other lyric hooking you back in.

We don't love 'em hoes.

Ye marks Kanye's ability to change, a feat that his previous albums showed his difficulty in.

The emotional and productional highs are sometimes matched with basic, boring lyricism that sounds like a parody of itself.

While incredibly complicated and loosely knit together, the experimental style this album goes for triumphantly succeeds with not a second wasted.

While Kanye's most influential and one of his most impressive albums, especially for being made in 3-weeks, the last quarter of this album completely falls flat. The rest is filled with pretty orchestral arrangements that sound like they're from a Disney movie.

Equal with College Dropout in its musical quality, it highlights both Kanye's egocentric and vulnerable sides better than the album before it. And the immediate change from chipmunk soul sampling to orchestral strings still retains Kanye's style while giving us another breath of fresh air.

Out of Kanye's college trilogy, this has the most personality and charm to it. It's a miracle that for the amount of perfect songs on this, there's only two ugly ducklings: Barry Bonds and Drunk and Hot Girls.

A near-masterpiece in maximalist Hip-Hop that'd benefit in shortening some of the songs.

The greatest Sophomore album ever recorded. It takes the emotional weight of Cudi's previous album and blends them with moody, orchestral strings. This album was made at one of his lowest moments, making it perfectly relatable for anyone who's going through a tough time.

The superior second half to Sgt. Pepper's, it does everything its last album did but better, faster, and stronger.

An example of an album whose greatness lives through its influence for music and not through its music. Some of the greatest songs in music history are found in this, but some of The Beatles' most pretentious, annoying songs are found on this as well.