The stakes aren’t as high as they ought to be on Nas' and Hit-Boy's third collaboration. 'KD3' proves great art requires some engagement with the wider world.

A little over a year after his tragic passing, Young Dolph is immortalized with his new posthumous project that showcases evidence of stylistic evolution.

The problem with 'It’s Only Me' isn’t that the songs are not good, it’s that the combined product does not add up to standalone greatness bigger than its individual parts, Will Hagle writes.

On the eve of Freddie Gibbs' latest record 'Soul Sold Separately' releasing, Will Hagle ranks the rapper's past projects and revisits the eras that made him one of the game's most consistent talents.

Shrapknel has fully clicked as a duo, with the group’s chemistry gelling into a brand-new animal, Son Raw writes.

On the legendary producer's latest, he returns to the fundamentals with a sense of urgency to nourish hip-hop's beating heart.

Avalanche Kaito's new project is punk in every sense of the word, a sound that transgresses and deconstructs, but also has the virtue of advancing traditional West African music, Leonel writes.

On Gunn's latest, a result of a 48-hour recording marathon, he farms out the creative work to a corps of b-list genre artists in an effort to reach a “museum rap" pinnacle.

Nancy Mounir's elegiac and ghostly dialogue with century-old nahda music makes her something of The Caretaker of Egypt.

The new album from Nashville's Namir Blade is a reflection of his interests; an imperfect, yet ambitious listen