“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.
Young M.A’s long-awaited debut is a tale told two years too late.
JPEGMAFIA remains one of rap’s most confrontational, adventurous artists.
Malone makes the most of his pliable vocal tone, pop-sensibilities, and curatorial ear while downplaying his greatest weakness: himself.
The South Carolina native is cruising down life’s windy highway searching for new experiences.
bLAck pARty’s ‘Endless Summer’ is a celestial mood board, unique to his idiosyncratic sensibilities.
This is grown man rap; not just grown men rapping.
Cuco uses ‘Para Mi’ to show us just how little footing we actually have.
‘The Big Day’ is an album that gives you something to talk about.