Solar Power is mellow and laid-back, but it often feels too stripped back to the point of being underwhelming. The acoustic, beachy vibe is consistent, but many songs lack impact or strong hooks, making the album drift a bit.

This is very safe and overly polished, with most of the album leaning on predictable pop and acoustic ballads that don’t go anywhere interesting. A lot of the tracks feel designed for radio rather than substance, and they end up sounding generic and repetitive. The rat’s true colors really shine here and if his obsession with charts hasn’t already started, then this is the point of no return.

We Don’t Trust You has strong production and a few moments where the energy really clicks, but a lot of it feels underwhelming. Many tracks sound repetitive, with similar flows and ideas that don’t really develop, and it starts to blur together over time. Even with Metro’s polished beats, the album doesn’t do much with its potential and feels kind of flat in stretches.

Ten Days has emotional electronic production and some nice atmospheric moments, but it doesn’t always develop its ideas fully. A lot of tracks feel similar in tone and structure, which makes it a bit repetitive over time. There are also way too many interludes. Overall, a decent but flat project.

Mr. Morale & the Big Steppers is dense, emotional, and very layered, with a strong focus on therapy, trauma, and self-reflection. The production switches styles a lot, which keeps it interesting, but also makes it feel uneven at points. Some tracks hit really hard emotionally, while others feel more like interludes or experiments.

Wintersongs is smooth and well-performed, with warm arrangements that fit the mood nicely. It can feel a bit safe and samey at times, but the vocal delivery and production keep it pleasant throughout.

Remain in Light is dense, rhythmic, and full of layered ideas that constantly shift and build. The grooves are tight and hypnotic, and the production is packed with detail that keeps it interesting on repeat listens. At the same time, it can feel a bit overwhelming and not every track is equally memorable. A undeniably innovative album.

From Zero feels uneven and a bit safe, with a mix of solid ideas and weaker, forgettable tracks. The production is clean but doesn’t take many risks, and a lot of the songs lean on familiar structures without much punch. There are a few decent moments, but they don’t fully carry the album. Overall, it’s middling and inconsistent.

Donda is long, messy, and inconsistent, with too many ideas fighting for space. The production has strong moments, but they’re buried under filler and uneven pacing across the tracklist. Some songs hit emotionally or sound huge, but others feel unfinished or dragged out. Overall, it’s a bloated and uneven album.

Private Music is moody and atmospheric with heavy, layered guitars. It sounds consistent, but a lot of tracks stick to the same tone and start to feel repetitive. The highlights are strong, but the middle drags a bit. Overall, it’s a solid and atmospheric album.

Who Believes in Angels? has a few bright, melodic moments, but most of it feels pretty flat and samey. The production is clean but overly safe, and a lot of the songs lean on familiar piano-driven structures without much spark or surprise.

Whole Lotta Red is loud and abrasive, but it quickly becomes exhausting rather than exciting. The production is often stripped down to harsh, repetitive loops that don’t evolve much, and Carti’s vocal style leans so heavily into distortion and ad-libs that it starts to blur together across the tracklist. Even the more energetic cuts feel one-note, stretched out without enough variation or payoff.

Idols is loud and energetic, but it’s also pretty messy and repetitive. A lot of the songs rely on the same shouty hooks and simple structures, which gets tiring fast. There are a few decent moments, but they don’t do enough to lift the project overall.

Glorious has a few catchy moments, but most of it feels generic and forgettable. The songs blend together and don’t leave much impact. Overall, it’s a mid and underwhelming album.

Alfredo has smooth, moody production, but it can get boring across the runtime. A lot of the beats blur together, and while Freddie is consistent, not many verses really stick out or elevate the songs. It can start to feel like it’s coasting on vibe rather than delivering standout moments.

Never Enough is energetic and catchy, with a bright, punchy sound that keeps things moving. A lot of tracks hit hard with strong hooks and great momentum, even if a few blend together and don’t stand out as much. It stays consistently fun and easy to get into throughout.

Let God Sort Em Out is a sharp return that leans hard into gritty, stripped-down production and focused rapping. The album feels purposeful and controlled, with both members sounding great. The beats are minimal but effective, giving the verses space to hit harder. An amazing album that is strong and focused throughout.

God Does Like Ugly is a sharp, high-energy project with strong rapping and great technical moments throughout. The production is dense and dynamic, and JID switches flows effortlessly, keeping most tracks engaging. A few moments can feel a bit packed or chaotic, but that intensity is also part of the appeal.

Bad has a lot of polished, iconic pop moments, but it doesn’t fully justify the level of praise it gets. Outside a few amazing songs, it has a lot of filler that doesn’t hit as hard as the highlights. The production is clean and the hooks are strong, but not every track lands with the same impact. Compared to Thriller, it feels less consistent and not quite as groundbreaking overall.

Sucker is loud, bratty pop with a few catchy moments, but it doesn’t really hold together. The punk-pop attitude gets repetitive fast, and too many tracks fall into generic, radio-ready structures that don’t leave much impact. The energy is there, but it feels inconsistent and a bit forced at times.