“Bandana”

The collaboration of producer Madlib’s eccentric, time-transcending beats and Freddie Gibbs’ straight-shooting street rap seems an unlikely pairing. However, their individual poise and technical ability beautifully illustrate the theme of Black freedom in “Bandana.” The duo’s distinct styles are complementary in a way that their debut album, “Piñata,” only started to explore. In tracks like “Crime Pays” and “Cataracts,” Gibbs finds a more deliberate flow that grounds Madlib’s unconventional and increasingly erratic production. The personal development and discovery that the record illustrates in each artist lends itself metaphorically to the motif of Black power and identity. Gibbs examines the evolution of Black history through the basketball star and influential figure Allen Iverson (“Practice”), as well as the lasting devastation of the Transatlantic Slave Trade (“Flat Tummy Tea”).

—Nora Janowski

“Angel’s Pulse” 

Devonté Hynes presents his new project as a throwback to the cassette mixtape age of releasing unpolished, sketchlike tracks as the main product. Even though his music is more openly structured and abstract, this album lacks a thread that keeps the attention of the listener. Unlike on his previous album, “Blood Orange,” in which there is support from other tracks that establish a common vibe, “Angel’s Pulse” seems like a collection of unfinished work. At the same time, his ability to access feelings of nostalgia plays well with his exploration of a wide range of musical influences throughout the mixtape. His signature fusion of R&B and alternative pop still shines through in the resonant refrain and clean electric sitar on the record’s first track, “I Wanna C U.” Hynes’ creativity is undeniable, and each idea he brings is an interesting one. But it is easy to get bored as the listener progresses through the mixtape waiting for a song to be fully developed. 

—Nora Janowski

“CASE STUDY 01”

Daniel Caesar failed to build off of his prior success with his underwhelming second studio album, “CASE STUDY 01.” Despite its strong start with a beautiful duet (“LOVE AGAIN”) and an instant classic in “CYANIDE,” the album reached its apex within the first four songs. The latter part of the album covers random topics, such as his religion (“TOO DEEP TO TURN BACK”), and is riddled with meaningless lyrics (“COMPLEXITIES,” “RESTORE THE FEELING”) that make it hard to understand the meaning of the songs. “CASE STUDY 01” seems uncharacteristic of Caesar, who had initially established himself as a skilled R&B artist with his first two projects, “Freudian” and the “Pilgrim’s Paradise” EP. 

—Dylan DLC Diaz

“ERYS” 

Jaden Smith bounces back from his disappointing last drop, “The Sunset Tapes: A Cool Tape Story,” with his hard-hitting summer release, “ERYS.” This dark and high-energy sequel to his debut album, “SYRE,” “ERYS” features prominent artists such as A$AP Rocky (“Chateau,” “Ghost”) and Tyler, the Creator (“NOIZE”), in a timeless collection of trap anthems. Smith shows off his versatility by exploring punk rock (“Fire Dept”) and love songs (“Summertime in Paris”) and even makes a beat out of hair clippers (“I”). The project’s creativity and production quality work beautifully to create one of the best albums of the year thus far. 

—Dylan DLC Diaz

“Revenge of the Dreamers 3” 

The concept of the Dreamville Record’s newest album, combining the talents of almost 50 rappers and producers in just 18 tracks, sounds as though it could only end in chaos. On some songs, such as “Costa Rica,” this proves true. The song’s flow becomes compressed by the inclusion of seven different featured artists, the power of JID’s lyricism being brought down by a forgettable verse from Smokepurpp. The core members of Dreamville are some of the most exciting talent and potential in hip-hop right now, and tracks like this, unfortunately, don’t give them the attention they deserve. However, the production team on the record has managed to create a satisfying and complex soundscape including everything from old school jazz rap beats (“Sleep Deprived”) to the noise of raucous trap music (“Sunset,” “Wells Fargo”).

—Nora Janowski