“Elysian” Makes Ambiguous Use of This Final Batch of Beats From the Late Kevlaar 7 That His Brother Bronze Nazareth Has (Album Review)

When It’s “All Said & Done”, the Hieroglyphics Will Be Hailed Amongst Hip Hop’s Greatest Collectives (Album Review)

“Machines” Prod. by C-Lance Retains the Darkness of Novatore’s Sound (Album Review)

Fuego Base Rightfully Declares He’s “Still the Biggest” in His City (Album Review)

“D.O.T.O.M. (Death Of The Old Me)” Prod. by P.A. Dre Presents a New Version of Queen Herawin [Album Review]

George Clinton Narrates “Generation P”, Jay Worthy’s Love Letter to P-Funk (Mixtape Review)

Newark’s 24HRS OF PEACE Is Turning Hip-Hop, Community and Healing Into One Powerful Weekend

“Dillagence II” Prod. by the Late, Great J Dilla Was the Breath of Fresh Air Busta Rhymes Needed Following “Blockbusta” (Album Review)

M.M.M.F.D. & Smallz One are “Devil’s Trident” (Album Review)

Mike Shabb Continues the “Sewaside” Saga With It’s 4th Installment Honoring The Bomb Squad Sound (Album Review)

Datkid Reunites With Illinformed 5 Years After “Wakmo” to Premiere Visuals for “Smoked Out”

Leccentric Brings the Energy on “Bad Bitch”

Ransom Breaks Down “The Price of Clarity” (Album Review)