Wesley Joseph - Forever Ends Someday (R.I. Review)

Wesley Joseph is a rapper from London who just released a polished new album with a lot of potential. The production is hip and sounds like a band. The album cover is very rock inclusive. While this is a rap album, most of it is melodic. Heritage focused aesthetics are about pride so if you don't radically choose a side, or you contain elements that logistically contradict in the ethnic utility, it's better not to seek that kind of attention. Forever Ends Someday has some very strong moments both lyrically and vocally. Contrarily, while the titles of the songs are relevant and interesting, the songs don't live up to the titles well enough to make them relevant in their own right. Wesley Joseph is good at rapping and singing, but the production is the most impressive part of his music. He's cool, self-aware, and highly focused on his audience so he could easily be the next success story.

Kanye West & Ye - Bully (R.I. Review)

Kanye West is a rapper/mogul/and artist that has become the proof that all press is not good press. The very name "Kanye West" is nearly as polarizing as "Donald Trump". However, to be fair, this album is appropriate. There are no radical agendas or controversial hot takes on this one. Songs like "Punch Drunk" and the distinction between "Kanye" and "Ye" feel like apologies to include with his public apologies for his Anti-Semitic comments. Kanye's energy of uninhibited freedom is not worth defending his flamboyant stances, but his authenticity is refreshing when he calls out a few topics people overlook. He noted the juxtaposition of celebrity worship versus the surface level popularity of the evolution theory. He questioned endless waiting for systemic change. He noted the insignificance of his peers in comparison to his "Grand Canyon" of respect in mainstream culture. Kanye's music is very current compared to other rappers his age giving him multiple logistic advantages. While we would like to say that Kanye has said some inexcusable things in the past that we do not in any way endorse, we are not enabling the erasing of such a talented human.

Nasty C - Free (Deluxe) (R.I. Review)

Nasty C is a rapper from South Africa. While this isn't close to his first release, he is still dedicated to his hustle. Nasty C has a very simple lyricism, but he conveys his ideas clearly and understandably. This album is creative, progressive, and polished. He may have more momentum in Africa, but this album would have commercial appeal in America. Nasty C is refreshingly talented and original, but his universal focus has left some of his music a little bland. Nasty C has a lot of potential, but he may need to deviate from the standard rapper persona a little to really get noticed.

Don Toliver - Octane (R.I. Review)

Don Toliver is a rapper/singer from Texas, US. "Octane" is an album that is very interesting. Don Toliver is a part of Travis Scott's Cactus Jack crew, he's a Rolling Loud veteran, and he is very proudly "a sketchy individual". Despite that, this album is more emotional than "Hurry Up Tomorrow" and "Swag 2". The production is emotional, but his melodies keep up with it. You just can't fake that kind of sincerity. The lyrics are very ordinary hip hop, but while there are no love songs, the vibe is borderline emo. Don't get it twisted, the album is very good, it just clashes with his image. He talks about his questionable background, the lyrics are at best about hookups, the imagery and videos target male audiences exclusively, but he really is very vulnerable on this album, and for some reason, it works.

Asap Rocky - Don't Be Dumb (R.I. Review)

Asap Rocky's infamously long-teased comeback is finally here. Asap Rocky is an authentic person, and unlike most rappers, his persona is branded on the scale of a mainstream artist. His name weighs as much as his music if not tremendously more so this release is in the shadow of his acting, clothing, modeling, and relationship with Rihanna. That doesn't mean it's bad, it's just a little scattered. He plays around with punk, club, and a few other genres in a way that seems a little too playful and experimental; rather than confident and intentional. The quality of the rap is consistently good. There's a surprise collaboration with Tyler, The Creator at the end that feels very satisfying and high-energy. His target audience seems to be relatively young skaters, rather than hip hop heads, or yuppies, but it successfully captures the angsty style of 2026 adolescent music. One painfully disappointing missed opportunity would be a feature from... Rihanna!

Justin Bieber - Swag 2 (R.I. Review)

Justin Bieber was a meteoric pop artist and one of the first artists to be discovered from the internet. However, with Scooter Braun's help, Justin made a persona and discography that was original and impressively optimized to the taste of the entire female gender. Justin has gone through many transformations both internally and externally, but what's been consistent is his social finesse. Swag 2 is a very excellent album if not a little too long. Justin Bieber is a source of pride to his audience and his name is synonymous to pop music. The one problem is for love songs, he doesn't seem the most sincere. Maybe it's just his media presence, but for a 44 track album, the song about eating the fruit in the Garden of Eden raises questions.

Earl Sweatshirt - Live Laugh Love (R.I. Review)

Earl Sweatshirt was one of the pioneers of indie rap culture as the prolific secret weapon of the "Odd Future" music collective. He had humble beginnings and managed to scale up hipster culture organically. However, the transition to adulthood was hard for Odd Future. Live Laugh Love is about that struggle to maintain approval from a world that is highly hypocritical and not always looking out for people that look like Earl. Making music that aligns with the lifestyle of some of his audience while trying to align with the rest of his audience is very clear in the lyrics. It's a lot of apologizing and justifying. Off-beat rap has gone from a joke to a defiant stance, but Earl's talented enough to stay diabolically on topic while mumbling his bars. It feels like the music his audience listens to in spirit, but the conclusion of whether or not he manages to please his particular supporters feels uncertain on this album.

Chance, The Rapper - Star Line (R.I. Review)

Chance, the Rapper is back with a new album. He's a fantastic rapper, but 2025 audiences don't seek intellectualism or authenticity, or at least the gate keepers don't. Chance, the Rapper is smart and puts a lot into his bars, but his brand is deprecated and bland. Why should you listen to him? He doesn't have a strong cross-over audience or strong ethnic fan base. The best thing about this album are the bars' quality themselves, but hip hop audiences are looking for other things right now. Chance, the Rapper needs an angle besides intelligence. The irony is from a technical standpoint, this is one of the best albums of this year.

Metro Boomin - A Futuristic Summa (R.I. Review)

Metro Boomin is a famous record producer known for scoring movies, countless viral collaborations, and immaculate instrumentals. The best thing about Metro Boomin is he has a duality of urban authenticity and futuristic excellence. The production on this album is nearly everything but conventional hip hop in nature. It can be enjoyed as full fledge hip hop, but it works as cultural exposure like it's several other genres. A Futuristic Summa is a fun, light-hearted, introduction to Metro Boomin and his culture.

Tyler, the Creator - Don't Tap The Glass (R.I. Review)

Tyler, the Creator is back with new music in 2025. I always feel bad reviewing his albums too early because there's so much nuance in everything he drops, and I never catch everything the first play-through. The cover of the album features red leather pants (questioning his acceptance), a Maga inspired hat with "glass" written across it (questioning his acceptance), and big hands (which question his culture's perception). Igor was the last Tyler album that tried to be universally sanctioned. "Don't Tap The Glass", "Chromakopia", and "Call Me If You Get Lost" were his attempts to assimilate with a more hip hop friendly audience. That's not a bad move in a world where many audiences are not encouraged and sometimes not even allowed to support other culture's content. The problem is Tyler's appeal is his track record of consistently breaking those barriers. There's a bar where Tyler says, "They say I can't relate to regular people, but I was never regular". It's funny, but it is extremely true.