Hip Hop Reviews

BROCKHAMPTON’s ‘ROADRUNNER: NEW LIGHT, NEW MACHINE’ Begins Soul-Crushing Death Of Their ‘Boyband’ Aesthetic

Key Glock Picks Up Young Dolph’s Slack On Passive ‘Dum & Dummer 2’

Guapdad 4000 Reduces Scam-Rap Image For Filipino Pride On !llmind-Produced ‘1176’ Album

Review: DDG & OG Parker’s ‘Die 4 Respect’ Is Full Of Bangers But Doesn’t Command The Scene

Review: Kota The Friend & Statik Selektah ‘To Kill A Sunrise’ Puts Up Valiant Fight Against Commercial Rap

Review: Joyce Wrice’s ‘Overgrown,’ Lifted By Freddie Gibbs, Westside Gunn & Lucky Daye, Is A Solid Courtship Of Hip Hop + R&B

Not Even Lil Durk Can Save Only The Family Compilation Album ‘Loyal Bros’

Review: Benny The Butcher & Harry Fraud-Produced ‘Plugs I Met 2’ Mixes Vivid Lyricism With Hypnotic Samples

Review: CHIKA’s ‘Once Upon A Time’ EP Is A Fun Fairy Tale But No Storybook Ending

Review: Drake’s ‘Scary Hours 2’ Is Cruise Control Drizzy – & Still Better Than Some Rapper’s Life’s Work

Review: ‘Judas & The Black Messiah’ OST Benefits From JAY-Z, Nas, Polo G … But Lacks Consistency

Review: Skinnyfromthe9 Has A Story But ‘Love Me Now’ Is Just Another Flossy Rapper On Auto-Tune

Review: Babyface Ray’s ‘Unfuckwitable’ Gives Detroit Streets Bragging Rights

Review: K Camp & Rare Sound’s ‘Rare Family (Reloaded)’ Lacks Unity But Still Features Bops

Review: Eminem’s ‘Music to Be Murdered By: Side B’ Lyrics Coast Through Remarkably Familiar Territory

Review: King Von’s ‘Welcome To O’Block’ Is A Breakout Performance From A Talent We’ll Never See Flourish

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