“During a period of uncomfortable change, Thundercat’s ‘It Is What It Is’ is right on time.”
Conway The Machine’s injuries and paranoia are treated as constants. They’re not his crosses to bear; they’re fueling his fire.
Every Knxwledge project, remix, and loosie has led to this moment.
Jay Electronica’s always got one more trick up his sleeve.
Rap’s newest Martian has returned to Earth in spectacular fashion.
‘The Allegory’ is, for a lack of a better word, woke.
Alchemist’s legacy has been long secured, and ‘The Price of Tea In China’ feels like a level-up for Boldy James.
“If only Eminem cared more about making the best music and not being the best rapper.”
Mac Miller’s sixth studio album, ‘Circles,’ is the moment he comes into himself as a man, as Malcolm.
A quarter of a century later, all heads realize.
‘WWCD’ is pure hip-hop essence, bottled and sold to the eager streamer.
Although Roddy Ricch‘s rap-singing style is of-the-moment, there’s an identity to his sound on ‘Please Excuse Me For Being Antisocial.’
With ‘Some Rap Songs,’ rapper Earl Sweatshirt figured out how to gather an audience on his own terms.
‘Netflix & Deal’ is as indulgent as a bucket of movie theater popcorn with just a little too much butter.
One time for Rihanna's fearlessness.
Kanye is an imperfect person. ‘Jesus Is King’ is an imperfect album. Christianity is an imperfect religion. But they can all inspire us to do better.
For the expanded Wu universe to have existed at all, the noticeable missteps of Tical had to come first.
The actual music on ‘The Juice Vol. II’ is good—great, even. It just feels over-produced.
On 'Sweet Insomnia,' Gallant constructs a body of work tailored entirely around his greatest strength: his voice.
Mos Def understood that hip-hop was a culture built on connectivity.
The brash, Detroit emcee doesn’t sound reinvented, but reborn.