Since the release of his 2013 debut mixtape, “Unknown Death 2002,” Swedish alternative rapper Yung Lean has held an odd place in the hip-hop world. As a European, he started out as an outsider in the largely-American genre. Many Americans viewed his melodic and occasionally nonsensical rap about drugs and sadness as a joke, not to be taken seriously.

I want to talk about a topic that’s been on my mind for a while: the career trajectory of Kid Cudi. Most people probably know Kid Cudi as a stoner rapper from the late 2000s who fell off after two decent albums. Back in 2009, Kid Cudi was riding high. With the release of the first “Man on the Moon,” Kid Cudi was right up there with the likes of Drake — granted, Drake was on the come-up as well, but he’s still Drake. Under the mentorship of Kanye West, Kid Cudi grew a devoted fan base that latched on the emotional, loner appeal of his music.

Frank Ocean is known as one of the most frustratingly reclusive artists today. After releasing the critically-acclaimed “Channel Orange” in 2012, the Odd Future singer quickly became one of the biggest names in R&B. Fans anticipated a second album after an announcement from Ocean in 2013. However, the album — or rather albums — would not arrive until 2016. Despite the successes of “Endless and Blonde,” fans were annoyed at the four-year gap between releases with no solo work in between.

On March 24, D.C.-based rapper GoldLink released his debut studio album “At What Cost.” The album follows two singles, “Meditation” and the widely popular “Crew.” The 2015 XXL freshman has also released two moderately successful mixtapes, so he has the background to debut as a practiced rapper with his own trademark flow and soulfulness. However, rather than rely on his tested formula in “At What Cost,” GoldLink moves to expand his scope by changing up and adding new elements to his style.

On February 24, celebrated bassist Thundercat released his third studio album, “Drunk.” Thundercat is renowned for not only his solo works but also his collaborations with producer Flying Lotus and rapper Kendrick Lamar. “Drunk” continues Thundercat’s record of success, although it departs slightly from some of his more intense work in the past. In “Drunk,” Thundercat prefers a laidback funky vibe, which he infuses with R&B and rap. What really makes the album unique and interesting, however, is Thundercat’s sense of humor.

Last week, indie-rock band Foxygen released their fourth official album, “Hang.” The album follows their popular 2013 album, “We Are the 21st Century Ambassadors of Peace & Magic,” and their less well-received 2014 album, “…And Star Power.” “Hang” is the title of the last track on their previous album. However, the relationship between the previous album and the most recent release does not seem so literal, in terms of content.

Following his hit singles “Starboy,” “False Alarm,” “Party Monster” and “I Feel It Coming,” Canadian R&B singer, The Weeknd, has released his highly anticipated third studio album, “Starboy.” The album follows the wildly popular success of his last album “Beauty Behind the Madness,” and, like “Beauty,” “Starboy” seems to possess the right recipe for making the top charts. The Weeknd continues to move farther away from the dark, moody R&B of his “Trilogy” mixtapes and further into the realm of pop music. However, “Starboy” is by no means a bland, mainstream pop album.