Malcolm Todd's self titled album is a maturing of sound. A slight shift from Malcolms original sound on Sweet Boy, Malcolm Todd as an LP is grey. The vibrancy that was found in his earlier work has been slightly lost. Malcolm is a burning fire, but this album feels like a dousing of water. Something that was core the Malcolm has been lost, and it cant quite been found. Malcolm Todd is a 74.

Rimera's BUSHWA is a experimental post-hip album reminiscent of the 2015 counter culture movement. BUSHWA is defined by a sense of campfire storytelling with hard-hitting tracks that bring the albums jumpy light atmosphere down to a grounded level. It strikes the strong balance between fun and emotional. It marks a high point in Rimera's career. BUSHWA is a 80.

Malcolm Todd's mixtape Sweet Boy is truly an indie-gem. With hard drum beats and catchy hooks and tunes overall, mixed with this playdough bass sound that permeates the entire album. Malcolm takes on this partying-trailer trash persona underlined with this soft, tender, inner core. This album really reflects the young adult mentality, it feels like an ode to youth in the roughest way possible. This, by far may be the sign in Malcolms carrier that he's bigger than just an indie ... read more

Steve Lacy's The Lo-Fis is a compilation of leaks and unfinished demos that is surprisingly one of Steve's most consistent bodies work. The Lo-Fis gives a CD-burned mixtape from the early 2000s vibe mixed with garage-gaze that is memorable. The album remains a cult-classic turned hit and for a compilation holds strong. The Lo-Fis is a 71.

Jev's. LONERWRLD, vol 1 is alright. Its noteworthy within the jev workspace, but other than that nothing really sticks out as his best or worst. LONERWRLD vol 1 is a 74.

Jev's. LONERWRLD vol. 2 is mediocre. It feels like every project jev. releases gets less and less original, or at least less him. LWv2 is the fine line between "ive heard it before" and "its alright" which is a line this project revealed. LONERWRLD vol. 2 is a 69.

Jev's. LP: when angels cry. is a perfect example of overcooked. Solid concepts, delivery that feels whole, but something still doesn't feel right. For this piece of work, I think it's the influences. Jevs style is derived from both East Coast and West Coast greats, but for this LP it feels lost somewhere in the middle, not being able to find its own way. Other than that it's still a positive addition to the jev. discography. when angels cry. is a 75.

Jev's. the color grey. needs no introduction. A Jazz Rap masterpiece, almost perfect, some clunk in the pacing of the EP itself being the only thing holding the album from overall greatness. With lyrics silhouetting a gritty East Coast portrait deep but also on the surface, the color grey earns itself an 85.

Steve Lacy's Demo is Steve Lacy's... demo. It shows the groundwork for all of his feature projects AND unlike other artists, starts with a bang. Steve Lacy's Demo is a rock-solid 86.

MAVI's shadowbox is a frustration. Shadowbox carries some of the most existential and thought-provoking tracks that spark murky themes of deep, crushing, blood-curdling regret, mixed with a bipolar production and voice mix. It's almost mind-boggling how some tracks like drunk prayer & the giver understand the assignment so well, but the tone and mood they so carefully put together are ripped apart by tracks that sound like they were produced in the late 2010s (and not in a good ... read more

Steve Lacy's Apollo XXI remains in the minds of many as a strange mix between psychedelic R&B and Funk-Pop that for some hits, but other feels lackluster. For most, it's the latter, and in this case, it is. Apollo XXI feels like the true first big steps into a funky coat, but a coat that doesn't quite fit just yet. Apollo XXI is a 68.

Steve Lacy's Gemini Rights is a depth-filled exploration of love, breakup, and what it means to be mature. With a shaded sound and an almost artisan craft put into this LP, Steve has proved why he is one of the R&B/Modern Soul pioneers of our time.
Gemini Rights comes in at a solid 84.

Tyler, the Creator's first studio album, BASTARD is a grafting of music. Almost indescribable in its horrific qualities, but also visionary in its prophetic nature on Tylers sound in the future, BASTARD is a low 44.

Tyler, the Creator's GOBLIN is a early formation of potential. With a sea of concepts unperformed, and shock lyrics slurring the meaning and quality of tracks, GOBLIN only deserves a 51 (at most).

Tyler, the Creator's Wolf shows Tylers first steps as a true storyteller, stringing together a messy but strong narrative. With a focus on forcing out a story, it leaves the album oddly feeling disconnected. The LPs strange tracks leave the listener wanting more, but not in a good way. Wolf, with nothing more to offer, finds itself at a medial 67.

Tyler, the Creator with his LP: Cherry Bomb, has created a statement that vibrates with grime. A almost bipolar work, unpolished and highly experimental, it fails on the most part to perform on any high level. Cherry Bomb lands on a low 62.

Tyler, the Creator's magnum opus of sonic architecture IGOR finds its gritty voice within the tombs of its acoustic labyrinth. Distorted love, vice, and obsession creep their way into this LP like vines onto a corpse. With tone, style, and a pacing that is almost immaculate, IGOR deserves nothing less than a 94.

Tyler, the Creator turns somber melodies into new-formed hits in his LP: Flower Boy. With some of his first true breakout tracks, Tyler crafts an almost open field of emotion and atmosphere. With all things considered, Flower Boy claws its way to an 79.

Tyler, the Creator crafts an expert mirage of wealth and splendor within his LP; CALL ME IF YOU GET LOST, only to tear it down with masterful tracks. From records that spill stories of regret and depression, to boastful regaling of spending, being only held down by a weaker tail end, CALL ME IF YOU GET LOST scores itself an easy 84.

Tyler, the Creator released DON'T TAP THE GLASS as a personal project. With low quality of content, small ideas and concepts, and a failure to set out a true message (if that was the point or not), DON'T TAP THE GLASS is a low 64.