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.

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.

The multi-hyphenate artist's latest album, Fine Tune is a handful of solo tracks fleshed out by a who’s who of today’s nu jazz elite, Chris Daly writes.