“Everybody Goes Crazy Twice…” Gives Another Glimpse of Foul Mouth’s Life Improving His Lyricism in the Process (Album Review)

“Barbershop” Has Eric Barber Bringing a Number of Guests on Board to Properly Introduce Himself (Album Review)

Westside Gunn Curates His Cohesive Mass Appeal Records Debut “Heelmatic” (Mixtape Review)

“The Dealer Wins” Prod. by Conductor Williams is a Sample-Heavy Improvement Over Bruiser Wolf’s Previous Album “Push & Paint” (Album Review)

The Passionate Sequel to Joker Starr’s Boot Records Debu “Sidenote” Tones Down the Number of Guests Compared to Last Time (Album Review)

Pin Plugged’s New “Music” Collection Is a Must Have for Hip-Hop Heads

Luca Brasi 753’s Dark Yet Jazzy Production on “Grinch’n II: All Men Bear Arms” Vindicates Why SHVMIRE Put It Out on Halloween (EP Review)

Statik Selektah’s 11th Album “Expensive Taste” Details the Realities That Come With Success & Ambition (Album Review)

“Black Samson 2: The Saga Continues” Has Mathematics Recruiting Less Wu Members Than “The Bastard Swordsman” (Album Review)

Young Chris’ “Catch a Vibe” Sequel “Or a Bullet” is a Decent Companion With Moderate Production (EP Review)

KRS-ONE shuts down the Novo

Blaze Ya Dead Homie Releases a New Physical Exclusive Extended Play “Last Rites” on His Recent Tour (EP Review)

“We Outside” Prod. by Mike & Keys Ranks Amongst Smoke DZA’s Most Conscious Material (EP Review)