Tyler, the Creator, Clipse, Addison and Bieber rule the summer

By Charlie Cruz     9/2/25 8:39pm

Whether it’s comeback arcs, dance floor experiments or messy-but-earnest swings, this summer’s crop of albums gave us plenty to talk about. Some were hits, some were misses and all of them sparked conversation. 

Justin Bieber, “SWAG,” 5/10

Justin Bieber leans into lo-fi R&B with “SWAG,” a partly self-produced album that feels more like a journal than a pop product. The first half features some of Bieber’s best work to date, with strong performances on “DAISIES,” “GO BABY” and “DEVOTION.” The second half, padded with skits and unfinished ideas, loses steam. Still, the album succeeds as a character study. Bieber isn’t reinventing himself — he’s documenting himself. With help from Dijon, Gunna and Lil B, he sounds more focused on honesty than perfection. It won’t be for everyone, but “SWAG” is worth hearing for the parts where it all comes together.

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Addison Rae, “Addison,” 7/10

Addison Rae’s “Addison” is a concise, tightly produced debut that wears its influences proudly. Trip hop, house and early 2000s dance-pop all inform the sound, but the album still feels personal. Rae’s voice leans soft throughout, sometimes to a fault, but it suits the dreamy mood. Tracks like “Aquamarine” and “Fame is a Gun” show real promise. There are clichés and awkward moments, but this is not a cash-grab or a vanity project. Rae clearly did her homework and worked with producers who understood the assignment. It is not groundbreaking, but it is a better debut than anyone expected.

Lil Wayne, “Tha Carter VI,” 3/10

Lil Wayne’s “Tha Carter VI” is long, confused and rarely convincing. There are glimpses of craft on “Bein Myself” and “Rari,” but most of the album plays like a scattered attempt to prove continued relevance. A Bono feature, a Lin-Manuel Miranda beat and a Weezer sample all fall flat. The punchlines feel recycled, the beats are overstuffed or lifeless and the 67-minute runtime drags. There is no narrative thread and little urgency. As a “Carter” entry, it lacks purpose. As a standalone album, it is hard to finish. Whatever spark was left feels buried under guest lists and nostalgia.

Tyler, The Creator, “DON’T TAP THE GLASS,” 8/10

“DON’T TAP THE GLASS” is a tightly packed album of noisy, kinetic dance tracks that never forget their funk roots. Tyler builds the record around groove rather than concept, making space for rattling drums, distorted basslines and talkbox hooks. His verses are cartoonish and cocky, sometimes purposefully flat, but the sequencing is immaculate. “Sucka Free,” “Stop Playing With Me” and “I’ll Take Care of You” stand out, but the album is best heard in full. Even as Tyler pokes fun at his audience’s expectations, he delivers one of his most cohesive and sonically interesting records yet.

Chance the Rapper, “STAR LINE,” 6/10

After a long and very public fall from grace, Chance the Rapper returns with “STAR LINE,” a dense and uneven but clearly personal project. He sounds thoughtful and at times defiant, especially on “Burn Ya Block” and “No More Old Men.” His verses are more subdued than fans might expect, often hiding emotional weight behind layered arrangements. Not every experiment works, but the effort feels sincere. “STAR LINE” is less about chasing hits and more about finding a center. It is not flashy, but it is honest, which may be exactly what he needed.

Clipse, “Let God Sort Em Out,” 8/10

Reunited under Pharrell’s full control, Clipse is back and colder than ever. “Let God Sort Em Out” opens with death, closes with reckoning and in between offers some of the most merciless writing of their careers. Pharrell’s production is slick, sometimes too much so, but the duo is at their best. No Malice sounds unshakable. Pusha T still raps like he’s got a vendetta. Tracks like “So Be It” and “F.I.C.O.” show they’ve aged into their roles without losing their edge. It’s not about proving they can still do it. They know they can. This is about legacy, and the fire is still there.

JID, “God Does Like Ugly,” 7/10

On “God Does Like Ugly,” JID flexes versatility without losing focus. JID comes in hot and stays locked in. “God Does Like Ugly” isn’t the sequel to “The Forever Story” people might’ve hoped for, but it doesn’t need to be. It’s looser, meaner, more sprawling. The production swings from dusty gospel to Miami bass to alt-R&B detours that mostly land. “YouUgly” and “Community” are career highlights; “Of Blue” and “K‑Word” show how much ground he can cover without losing the thread. A few sleepy stretches and awkward sequencing knock it down a peg, but the peaks are dizzying. JID is still one of the best rappers alive. That hasn’t changed.

Whether it’s comeback arcs, dance floor experiments or messy-but-earnest swings, this summer's crop of albums gave us plenty to talk about. Some were hits, some were misses and all of them sparked conversation. 

Justin Bieber, “Swag,” 5/10

Justin Bieber leans into lo-fi R&B with “Swag,” a partly self-produced album that feels more like a journal than a pop product. The first half features some of Bieber’s best work to date, with strong performances on “Daisies,” “Go Baby” and “Devotion.” The second half, padded with skits and unfinished ideas, loses steam. Still, the album succeeds as a character study. Bieber isn’t reinventing himself — he’s documenting himself. With help from Dijon, Gunna and Lil B, he sounds more focused on honesty than perfection. It won’t be for everyone, but “Swag” is worth hearing for the parts where it all comes together.

Addison Rae, “Addison,” 7/10

Addison Rae’s “Addison” is a concise, tightly produced debut that wears its influences proudly. Trip hop, house and early 2000s dance-pop all inform the sound, but the album still feels personal. Rae’s voice leans soft throughout, sometimes to a fault, but it suits the dreamy mood. Tracks like “Aquamarine” and “Fame Is a Gun” show real promise. There are clichés and awkward moments, but this is not a cash-grab or a vanity project. Rae clearly did her homework and worked with producers who understood the assignment. It is not groundbreaking, but it is a better debut than anyone expected.

Lil Wayne, “Tha Carter VI,” 3/10

Lil Wayne’s “Tha Carter VI” is long, confused and rarely convincing. There are glimpses of craft on “Bein Myself” and “Rari,” but most of the album plays like a scattered attempt to prove continued relevance. A Bono feature, a Lin-Manuel Miranda beat and a Weezer interpolation all fall flat. Wayne’s punchlines feel recycled, the beats are overstuffed or lifeless, and the 67-minute runtime drags. There is no narrative thread and little urgency. As a “Carter” entry, it lacks purpose. As a standalone album, it is hard to finish. Whatever spark was left feels buried under guest lists and nostalgia.

Tyler, The Creator, “DON’T TAP THE GLASS,” 8/10

“DON’T TAP THE GLASS” is a tightly packed album of noisy, kinetic dance tracks that never forget their funk roots. Tyler builds the record around groove rather than concept, making space for rattling drums, distorted basslines and talkbox hooks. His verses are cartoonish and cocky, sometimes purposefully flat, but the sequencing is immaculate. “Sucka Free,” “Stop Playing With Me” and “I’ll Take Care of You” stand out, but the album is best heard in full. Even as Tyler pokes fun at his audience’s expectations, he delivers one of his most cohesive and sonically interesting records yet.

Chance the Rapper, “Star Line,” 6/10

After a long and very public fall from grace, Chance the Rapper returns with “Star Line,” a dense and uneven but clearly personal project. He sounds thoughtful and at times defiant, especially on “Burn Ya Block” and “No More Old Men.” His verses are more subdued than fans might expect, often hiding emotional weight behind layered arrangements. Not every experiment works, but the effort feels sincere. “Star Line” is less about chasing hits and more about finding a center. It is not flashy, but it is honest, which may be exactly what he needed.

Clipse, “Let God Sort Em Out,” 8/10

Reunited under Pharrell’s full control, Clipse are back and colder than ever. “Let God Sort Em Out” opens with death, closes with reckoning and in between offers some of the most merciless writing of their careers. Pharrell’s production is slick, sometimes too much so, but the duo is at their best. No Malice sounds unshakable. Pusha T still raps like he’s got a vendetta. Tracks like “So Be It” and “F.I.C.O.” show they’ve aged into their roles without losing their edge. It’s not about proving they can still do it. They know they can. This is about legacy, and the fire is still there.

JID, “God Does Like Ugly,” 7/10

On “God Does Like Ugly,” JID flexes versatility without losing focus. JID comes in hot and stays locked in. “God Does Like Ugly” isn’t the sequel to “The Forever Story” people might’ve hoped for, but it doesn’t need to be. It’s looser, meaner, more sprawling. The production swings from dusty gospel to Miami bass to alt-R&B detours that mostly land. “YouUgly” and “Community” are career highlights; “Of Blue” and “K‑Word” show how much ground he can cover without losing the thread. A few sleepy stretches and awkward sequencing knock it down a peg, but the peaks are dizzying. JID is still one of the best rappers alive. That hasn’t changed.

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