If Good Kid, M.A.A.D City introduced Kendrick Lamar to the masses, To Pimp A Butterfly cements his place in the hip hop hall of fame. This is an instant classic.
For all the merits of Lianne La Havas’s thoroughly lovely and dynamic voice, the album ultimately comes across as lopsided and a little flat.
Blond flirts with indulgence but just about manages to stay grounded. It’s an account of slight thoughts, vague ideas, and delicate musings.
Shifting smoothly from ’90s R&B to psychedelic funk, Channel Orange is a liberation that Frank Ocean experiences as an artist as well as a man.
An extremely smooth ride with no turbulence or unnecessary distractions, full to the brim with colourful instrumentals and warm, comforting Solange vocals.
The album boasts a lush, colourful sound, drawing from elements of funk and soul to create an impressively modern vibe. It's just a shame it's so cartoonish.
Thundercat doesn’t want to exhaust an idea, getting in and out of a song as soon as possible, but that doesn't keep the album from being exhausting.
The album’s craft is a pleasure to experience, luring one's attention rather than commanding it. Listens through have the sensory, slow-motion quality of a dream.
As enjoyable, sometimes euphoric, as Dirty Computer is, it’s far from perfect. Some of the trap-tinged beats will likely sound redundant in a few years.
The record stagnates into a smooth R&B mood, though admittedly a rather lavish one. It’s frustrating to hear an album so content with being unrefined.