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Hip Hop Reviews

Ransom’s Infectious Rhymes Sound Right At Home On Harry Fraud-Produced ‘Lavish Misery’

NBA YoungBoy’s Altruism Stalls Ascendency Of ‘Compliments Of Grave Digger Mountain’

That Mexican OT Digs Deep Into His Mixed Bag Of Tricks For Diverse ‘Texas Technician’

Eric Bellinger’s ‘The Rebirth 3’ Cockblocks Toxic R&B In Favor Of Real Love

ScHoolboy Q's 'Blue Lips' Is A Specimen Of Evolution, Both Immediate & Gradual

ScHoolboy Q’s ‘Blue Lips’ Is A Specimen Of Evolution, Both Immediate & Gradual

Kid Cudi’s ‘INSANO (NITRO MEGA)’ One-Ups Its Predecessor With Trademark Introspection

French Montana Rewinds The Clock & Gets Back To Bars On ‘Mac & Cheese 5’

LaRussell & Hit-Boy Keep Landlord At Bay With Slap-Heavy ‘RENT DUE’

Erick The Architect’s ‘I've Never Been Here Before’ Retains Its Serenity Amid Distractions

Erick The Architect’s ‘I’ve Never Been Here Before’ Retains Its Serenity Amid Distractions

Yeat’s Production Packs A Punch On ‘2093’ — Shame He Has Nothing To Say

Jennifer Lopez’s Rekindled Romance Lacks Context On Lackluster ‘This Is Me… Now’

Serpentwithfeet’s Tight ‘GRIP’ On The Bedroom & Club Makes His New LP A Very Sultry Affair

Heems & Lapgan's Distinct Rapport On 'LAFANDAR' Adds New Shades To No-Nonsense Hip Hop

Heems & Lapgan’s Distinct Rapport On ‘LAFANDAR’ Adds New Shades To No-Nonsense Hip Hop

Fivio Foreign Shows Growth On ‘Pain & Love 2’ — But He Has A Long Way To Go

Dizzee Rascal Runs Out Of Road On Pedestrian ‘Don’t Take It Personal’

Kanye West Can’t Shake Legacy Damage As ‘Vultures 1’ Struggles To Move The Needle

Kanye West Can’t Shake Legacy Damage As ‘Vultures 1’ Struggles To Move The Needle

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