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Hip Hop
Reviews
26AR ‘Flyest Oota’ Tries New Styles From A Brooklyn Drill King — With Varied Results
Westside Gunn ‘Peace “Fly” God’ Is Built For Seasoned Griselda Fans
Chris Brown ‘Breezy’ Is A Generic, Algorithm-Pleasing Album That Further Makes Him Indistinct
Brent Faiyaz ‘WASTELAND’ Is An Excellent Insular Rumination On The Duality Of Man
CyHi ‘EGOT’ Shakes The Rust Off With A Mostly Pleasant EP
XXXTENTACION ‘Look At Me’ Is Another Soulless Cash Grab From The Late Rapper’s Greedy Estate
Jim Jones & Maino ‘Lobby Boyz’ IS BUILT FOR A STURDY NYC SUMMER – THEN WILL FADE OUT
Logic ‘Vinyl Days’ Is A Respectable Farewell To His Def Jam Era
BabyTron ‘Megatron’ Stakes His Claim As A Leader For Michigan Rap
French Montana & Harry Fraud ‘Montega’ Is Trend-Proof Wave Music From One of Rap’s Best Duos
Pi’erre Bourne & Juicy J ‘Space Age Pimpin’ Sounds Out Of Sync
Lupe Fiasco ‘Drill Music In Zion’ Reflects On The Ills Of The Industry With Impeccable Lyricism
Drake ‘Honestly Nevermind’ Is Diasporic Pop Music For The Streets, Not The Tweets
Duke Deuce ‘Crunkstar’ Cements Him As A New Age King Of Memphis Revivalism
Kevin Gates ‘Khaza’ Trades Intensity For Vulnerability With Mixed Results
Tony Shhnow ‘Reflexions’ Proves He Can’t Be Categorized
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