AM I THE DRAMA?: Stuck between embracing the fresh ideas of the pop and hip hop climates and sticking to her guns, Cardi B's latest project carries a muddled pace and an inconsistent approach. The industry is always looking forward, and Cardi doesn't commit ample energy to following suit

Rating: **

MAN UP: Seeing Ice Cube go from a beacon of social consciousness in hip hop to presenting contradictory respectability politics and rambling about AI is disappointing. You could say it parallels the regression of the genre's political potency, but it nonetheless showcases Cube's decline.

Rating: *½

DIRTY HARRY 2: El Cousteau slackened his flow a little too much on his latest project, resulting in an effort that feels so lax that it begins to wander. Cousteau toys with a variety of sounds and lands a couple big features, but it can't fully make up for the unmotivated performances.

Rating: **½

AIN'T SHIT STOPPED: Erica Banks continues to display her confident delivery and unapologetic sensuality in both an antiquated dirty south style and a more contemporary trap ballad approach. While the former makes for some entertaining tracks, the latter is occasionally unpalatable.

Rating: **

LONELY AT THE TOP: Caught between pushing for a mellowed out pop rap approach and operating in his usual form, the latest project from Joey Bada$$ feels like a hollow interpretation of contemporary styles. Relaxed delivery and a lack of unity in the tracklist holds this back quite a bit

Rating: **½

LIVE LAUGH LOVE: Earl Sweatshirt's latest project externalizes the comfort that Earl has recently found himself in. Earl's flow continues to be a cut above most of his peers and hints of unconventional ideas bleed into otherwise innocuous drumless production. Strong, albeit guarded.

Rating: ***½

What's your 10/10 album?

RECESS: Even if I were to look past the grating detours into country and trap balladry That Mexican OT embarks on, what's left is still a shaky exercise from the artist. There is still ample momentum in Mexican OT's performances, but the production and lyrical output feel flatter here.

Rating: **

STAR LINE: Chance the Rapper's return album is a scatterbrained assortment of tracks that aims for too broad a scope. It's clear that Chance had a lot to say, but there lacks a throughline to wrap all of his ideas together. Many tracks wander off or fail to provide depth to their cores.

Rating: **

SORTILÈGE: It's refreshing to hear some drumless instrumentals that have teeth, as Preservation lays down some wonderfully abstract and minacious production for 'Nandez. 'Nandez carries his weight too, displaying a socially conscious attitude that pairs well with Preservation's beats.

Rating: ***½

HYPERYOUTH: A further embrace of dance-pop soundscapes comes at a cost of a great deal of JVB's charm. While a couple of cuts manage to recapture the infectious energy their last project had, most of what is offered here feels like a regression in their stylistic development.

Rating: **½

ELECTRIC CHAIR: Cities Aviv's latest project is a tantalizing and floaty experiment in both ambient passages and poetic delivery. Aviv's blend of distortion and unconventional production choices makes for a hypnagogic feel as he aims for a more sensory experience. A spellbinding album.

Rating: ***½

THE COLDEST PROFESSION: Marci and Preemo's bite-sized collaboration feels rather pedestrian for the two legends. Marci operates on autopilot through Preemo production that is missing some much-needed vigor. It's an acceptable sample to get fans by, but not anything worth returning to.

Rating: **½

GOD DOES LIKE UGLY: The latest effort from JID is a muddled assortment with ham-handed switches from spiritual arrangements to soulful sensuality to thumping trap tracks. It gets by well enough on JID's impressive technique, but it's definitely hindered by its notable lack of cohesion.

Rating: ***

FUNERAL FOR A DREAM: Apollo Brown operates in his comfort zone, supplying soulful vocal samples and a firm boom bap style for Nazareth. Although not the most engaging in his presentation, Nazareth does bring a solid pen and lyrical focus. A safe project that's absent any serious punch.

Rating: ***

ALFREDO 2: Freddie and Al's collaborative return sees Alchemist provide a more glistening instrumental array for Gibbs to utilize. Freddie's hardened braggadocio and cautionary anecdotes are as present here as ever, fitting seamlessly into Al's loose beats. A strong effort from both.

Rating: ****