Lucki sounds as asleep as ever, but it kind of sets a vibe. The production is mostly strong as always, and every once in a while Lucki puts together a good verse. This probably just sounds like lean addict noise to most of the population but if you like Lucki then you'll get something out of it.

The first half of Not So Virgo of You is a complete waste of a great second half that could have been one of Lucki's best songs on its own.

Only album out of the trilogy where it feels like Drake tried to do anything fresh or creative. There are some awful songs on here, but at least he tried to put himself out threre a bit musically, and there are songs where everything comes together. Ban Sexyy Red from making music.

A snooze. As someone that likes R&B Drake, I was optimistic, but this is straight up album filler Drake isolated. There were a couple of minor things I liked but I will probably never listen to this album again after this week.

I don't think this is a bad Drake album at all, and I think it avoid the mindless filler that usually drags down his listening experiences, but so much about this album feels forced. The production is good overall, and there are some positive lyrical moments, but I don't feel like Drake was truly letting himself be free on most of this album. As an album to sit down and listen to, I think this an an above average Drake album, but I don't see myself regularly coming back to a ton ... read more

A bit dragged out with plenty of lazy slop, but Faygo hides some gems in the tracklist as always. You could make a legitimately great album if you combined the best tracks from his last few projects, but he feels the need to fill in his tracklists with some really forgetable and generic tracks. Monster, Figure Me Out, Count Up Fast, and Safe are what I'm coming out of this album with.

After sounding completely disinterested in music on i5u5we5, HXG return to form, although this sounds like an album they've made before. Their at their best as rappers, but many of the beats don't feel mixed to their fullest potential. Something needs to be changed up at some point or HXG is going to remain the forgotten member of Opium.

The vocals are hard to wrap your head around on first listen, but the production is captivating from start to finish. The Whole Lotta Red influence is clear, and this could be another album that gets better the more you listen to it.

Some strong moments of classic Westside Gunn with darker than usual production, but the features were generally lacking and some of the hooks were awful.

Eh. There are highs and lows, but there's no cohesion between the parts of the album, and Travis gives himself way more airtime than he deserves. Travis sounds lazy and disinterested, and it's clear what features did and didn't put any effort in. Don Toliver and Sheck Wes sounded like they were ready to go, and even SoFaygo, possibly the laziest artist of all time, put together a verse that sounded like he cared. Instead of letting this be a proper Cactus Jack project, Travis ... read more

I miss this genre. I understand where it has its shortcomings, but music like this is simply enjoyable to listen to.

There's a solid amount of range on this, but I just can't make myself hear anything that sets this apart.

Skies has no future making rock music and most of the production and lyrics come off as extremely corny, but he sounds more alive than he has in years. This album isn't exactly a success, but I do think this is a good sign for Skies' future as a RAPPER and there are a few enjoyable songs.

By far Chief Keef's cleanest album, but this project manages to keep some of the absurdity that makes his music unique. There are plenty of weird beats and lines, some of which work better than others, but Sosa's usual mixing and mastering issues are avoided, and every move sounds a little more calculated than usual.

Partynextdoor sounds so good when he gives the slightest bit of life to his songs, but 90% of his output sounds like a dumbed down, autotune coated version of the worst of early Drake.

I didn't know Tecca had an album like this in him. He's never gonna be a very boundary pushing artist, but the production is strong and stands out, Tecca sounds more dialed in than ever, and his autotune plugin sounds amazing. There is very little true filler, making this the first Tecca album that I see replay value in front to back.

Somewhere buried in the tracklist there might be a decent album, but any decent songs are surrounded by more than an hour of filler. The production is decent, although very lowkey, but Lone sleepwalks through most of the album, and there was zero reason for him to make a project this long.

The production is a snooze, Lone sounds lifeless. It's miracle he got signed when this is the music he was putting out.

Wayne wastes the first half of this album making commercialized, lifeless music, and spends the second half of this album executing poorly on mildly ambitious ideas. Wayne can still put together a good verse in a pinch, but this album manages to make some decent rapping sound extremely boring.

I've been way to harsh to Lone. While not as experimental as the beats Carti and Ken were getting on during this era, the production is forward thinking, and Lone's vocals are much more listenable than Ken on X or than he was on If Looks Could Kill. The lyrics are lazy and there are a few tracks where Lone sounds like he's on autopilot, but this is one of the cleaner projects made by an Opium artist.

Other than a couple of moments, Bryson Tiller can't keep a flow together on this album. While it's a little more tolerable than PND or some other artists in this genre, this album is generally a snooze unless you're really in the mood for this type of music.