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.

Although a little predictable, Future's latest is more evidence of a true Trap pioneer still working indefatigably to perfect the lane he’s created.

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.

Jack Riedy chronicles the existential terrain of Chicago rapper D2x's sophomore album, in which he settles into family life as a husband, father and young breadwinner while working through loss and expressing his faith.

For Donna-Claire's latest column, she examines the caring approach to the posthumous release of the long-awaited collab album from Lil Peep and ILoveMakonnen – it's importance and the resonance of emo rap.

23 years after its release, Will Hagle dives into what makes Deltron 3030's self-titled album so timeless, as it contextualizes the then-present-day by pushing techno-futurism to its wildest outcomes.