The Atlanta rapper’s first two albums invented the sound of the 2020s, but his latest finds his trademark idiosyncrasies blending into the bloated tropes of his peers.

This album is the rap equivalent of a film shot entirely in close ups – one more concerned with its subject’s interior life than dramatic twists and turns, Son Raw writes.

Miguelito reviews Rio Da Yung Og's first album since being free, RIO FREE, which is filled with pensive shit-talking, further cementing him as the standard bearer of Flint rap.

Miguelito dives into the latest project from Atlanta songstress Vayda, leaning into the Matrix and elevating her signature blunt emotional clarity.

Kendrick's latest project GNX marks the return of K. Dot – an impressive showcase of his versatility and love for the LAnd that still fails to acknowledge the truth.

Babyface Ray's latest album The Kid That Did proves that a full-length project isn't the best format for the Detroit emcees music, failing to elaborate on certain emotions, Miguel Otarola writes.

Casually firing off heartbreaking allusions to the inevitable atrocities of street life that he navigated up to age 25, BigXthaPlug's latest proves he's Texas' finest, Casey Taylor writes.

Son Raw deconstructs the new album from The Alchemist & Oh No, which focuses on Hip Hop’s aesthetic of the broken, invoking the genre's long tradition of B-Boy outcasts.

Chris Robinson dives into André 3000's flute-centric album New Blue Sun, which serves as a gateway drug into other obscure yet legendary instrumental albums – unapologetically representing where he's at during this stage of his career.

On the producer's latest project, he expands into singing and crooning, candidly tackling the complicated process of finding one's place in the world over his own cozy production, Chris Daly writes.