11 11 is an unusual collaboration between techno producer Guy Gerber and Diddy, and somehow, it works more often than not. The album blends deep house beats with dark, moody vibes, while Diddy's gravel-voiced spoken word musings go over some tracks. There is no rapping, and it sounds like a strange mix, but it works more often than not. Some tracks really stand out, like 'I Hear Her Calling Me' and 'My Heart.' Gerber’s production is smooth and hypnotic, giving the album a late-night feel. Puff Daddy adds a bit of mystery and attitude, but he seems like a bit player here. Not every track is memorable, and a few kind of fade into the background, but overall there’s a consistent feel. It’s not a typical dance album and definitely not a straight hip-hop project either. Still, it’s interesting and has a unique mood. It’s not a must-hear, but it’s worth checking out if you want something a little different. Best Tracks: Angels, Floating Messiah, I Hear Her Calling Me, My Heart

I was never a big Wayne fan, and I think a lot of people who once loved his older work are finally seeing it without the rose-coloured glasses. Technically, he raps well on much of this, switching up his flows — even sounding influenced by Lil Dicky on a couple of verses, like on 'Loki’s Theme'. But as usual, it's the lyrics and overall focus that drag the songs down. He rhymes "nigger" with "nigger" fr bars on bars on both 'Hip Hop' and 'Written History', something he’s done before, and it just comes off as lazy writing that weakens the tracks that are otherwise a couple of the better ones on the album. There are a few samples used, but none really land. From 'Island Holiday' to 'Maria', nothing sticks. The flip of LL’s 'Rock the Bells' on 'Bells' doesn’t hit hard enough to really work. It needed a bit more bite in the drums. He mumbles through 'Flex Up', and while the metaphor-heavy 'If I Played Guitar' might work with a strong R&B or pop vocalist, it doesn't too well with Wayne drowning it in autotune. 'Mula Komin In' is just awful — poor vocals all round. Beats: ★★☆ Rapping/Bars: ★★☆ Hooks: ★★☆ Best Tracks: Welcome to Tha Carter, Hip Hop, Written History

I originally had this project rated lower from when I first heard it a long time ago. Checking out Bleek’s discography after hearing his new 2025 album, I decided to give this one a revisit which is the only Bleek album I had previously heard. While the production here is more polished, leaning a little more pop than his previous work, it’s clear that each album became increasingly radio-friendly. For a hop hip head, I think his last album, 'M.A.D.E.', has a better balance. The album opens strong with the title track. It hits hard and sets the right tone. But then we get to the overrated 'Dear Summer', where I kept waiting for Bleek to drop a verse. It never comes and is just a solo Jay-Z song. Why is it on Bleek’s album? It feels like the inverse of what usually happens. Jay gets the shine instead of lending it. Next, 'Like That' is a pretty standard weak Swizz Beatz joint, forgettable and flat. Then the pop-rap vibe ramps up with 'Infatuated' and the slightly better 'The One' featuring a young Rihanna, which shows some improvement. 'First, Last and Only', with M.O.P., is a major highlight. M.O.P. completely steal the show. It sounds more like one of their tracks though than Bleek’s. That was an issue across his albums where features would be more memorable, largely because Bleek lacks a truly distinctive voice or commanding presence on the mic, but I'll touch on this point again later. Production throughout is a mixed bag but more good than bad. 'Get Low' has nice bounce, but it’s lyrically tedious. Same goes for 'Oh Baby'. However, then 9th Wonder steps in and elevates things. His layered, soulful production on 'Smoke the Pain Away' and 'Alright' gives Bleek a more introspective and mature sound, and both are among the best tracks on the album. 'Hater Free' has decent production too, but the concept and verses don’t bring much to the table, and it lacks the hook needed to save it. Thankfully, the album closes strongly with 'All About Me' and 'Straight Path', both of which bring back the grit and soul. In a way, the album’s structure mirrors Jay-Z’s 'The Blueprint'. There are some average pop moments early on, but a stronger, more introspective, and soulful finish. Now, back to the point I mentioned earlier—while Bleek isn’t the most unique or distinctive rapper, some of the strongest moments on '534', as with his previous albums, come when he’s on his own. Despite the presence of high-profile features, he proves he doesn’t always need them to hold his ground. All in all, this album features some of Bleek’s best work and probably has the most top-tier tracks of any of his releases. That said, it’s a bit more hit-and-miss compared to his previous effort and his latest, 'APT 3D', which are both more consistent overall. Still, it’s definitely better than I originally gave it credit for. Beats: ★★★☆ Rapping/Bars: ★★★☆ Hooks: ★★★ Best Tracks: 534, First Last and Only, Smoke the Pain Away, Alright, All About Me

On Bleek’s third effort, we see a continued expansion in song variety. The Just Blaze-produced 'Hypnotic' stands out with its laid-back, West Coast-inspired vibe that is nothing like anything from Bleek's first two albums. Rell kills the hook for 'Understand Me Still' for Bleek's best heartfelt song up until this point. Once again, we see the 'PYT' influence as we did on his last album with 'I Wanna Love U' (produced by Kanye West) with Donell Jones covering the hook from MJ's classic. The beat on 'War' could be slightly better, but it bangs, as does '1, 2 Y'all' being one of hundreds of songs to sample 'U.F.O.' by ESG. 'R.O.C.' is the only straight skip for me that finishes the album off poorly. Although the album loses some momentum midway, slipping into more generic G-rap territory for a couple of songs, it ultimately delivers stronger consistency and improved replay value compared to Bleek’s earlier work. His lack of a distinctive vocal presence still holds him back, especially when sharing tracks with the original voices of T.I., Jay-Z, Freeway, and M.O.P., but the production and songwriting mark a progression from his first two albums. It’s definitely worth a spin or two. Beats: ★★★☆ Rapping/Bars: ★★★☆ Hooks: ★★★☆ Best Tracks: Roc-a-Fella Get Low Respect It, Hypnotic, Understand Me Still

This is a clear step up from Bleek’s debut. The production improves right from the opening track, and several guest features enhance the project. It feels less generic overall, with more thoughtful songwriting and sharper hooks. Beanie Sigel’s commanding presence across three tracks is a highlight, and Jay-Z features on five cuts, adding some extra weight. That said, many of my favourite moments are Bleek solos, especially the closer, which flips Foreigner’s 'I Want to Know What Love Is' for the hook, and 'I Get High', where Bleek casually, if questionably, blends themes of simultaneously driving and smoking. The only thing I really dislike here is 'Bounce Bitch' that has a beat more like the bad stuff on his debut, than most of what's here. Beats: ★★★ Rapping/Bars: ★★★ Hooks: ★★★☆ Best Tracks: I Get High, We Get Low, Hustlers, All Types of Shit, They'll Never Play Me, In My Life