It’s a deeply uninteresting blend of modern pop sounds, backed by an artist who doesn’t have a lot to say.

Cole is envloped, as always, in a lyrical reflection of his life, and has a really cinematic, interesting production style to back him. Unfortunately, Born Sinner is held back by its bloat.

Nettspend is some of my least favorite rage music, but this is undeniably his best work. Thanks che.

Slayr pops out with more ambitious digicore production, a touch slower pacing, and nothing but a collage of some more absolute slappers of songs. I like to look at the Bloodluxe as an extension of the main project, and I think that the Bloodluxe only elevates it to an extraordinary high degree.

On some rs though, I actually had a transformative experience listening to this album. This is probably my favorite rage project ever, thanks to the Bloodluxe.

Really good beats and rapping. It doesn't iterate much on his past styles

He's got a long way to go, but KingJei's smooth Rap-R&B fusion style has potential.

In a style very clearly influenced by other contemporary trad-pop artists, Natalie Jinju is at her best when she is fiercely pursuing her own sound. This is a project of inconsistencies that ask the question; What could Natalie become?

J. Cole proves that Conscious Hip Hop can still absolutely bang throughout this well-produced and catchy album. It drags on a bit by the end, but sits as one of Cole's best efforts.

J. Cole's sophomore mixtape has some genuinely incredible wrapping, but doesn't stand particularly strong as an entire project. The mixtape doesn't have much variety or particularly interesting moments beyond the lyricism, which I value a lot in rap music. It's a fantastic project, and means great things for Cole's career, but isn't very memorable for me.

A gorgeously introspective look into IDK's psyche. It is laden with beautiful beats and some bangers.

The atmosphere is the only thing that isn't really boring about this project. The messages are the same throughout, the soundscape stay pretty stagnant for the entire 45 minutes, and I didn't find a single one of these tracks to even be particularly catchy. There was the occasionally super-well-produced track, but I found most of it shamelessly boring.

This is a pretty solid mixtape overall. Cole is in his element, the production is pretty beautiful (despite being fairly basic), and his verses and fire.

From introspective, brash opening, to conscious, braggadocious ending, I felt like I’d heard this before. It was not bad at any point, but the messages felt shallow and unfortunately surface-level. The bangers are absolutely also there, but nothing like from Baby Keem’s past projects.

There is clearly a lot going on in Keem’s life and I know that this isn’t his best work. I am still incredibly optimistic for the rest of his career and expect big things from him. Casino ... read more

Lana’s style is in one of its most beautiful forms during this project, as her vocals, writing, and the instrumentation all come together to create a gorgeous project.

A vibey, time-period-esque project that is held back by its relatively bad mixing and lack of variety throughout.

The use of strings and synths alone made it one of the better pop soundtracks of all time.

Some of it is atmospherically pretty, but most of it sounds like a good pianist tooling around during practice time.

It's one of her most beautiful projects, with hints of interesting sounds, but nothing concretely enticing.

No, it doesnt do anything crazy or push any genres, but it's a banging project.

Her style has gotten stale by this point. It feels like filler.