Blizzard & Big Shaady Create 1 Unified Sound for Bizarre to Advise “Don’t Cross the Street” (Album Review)

“It Takes a Village” is Che Noir’s Honest Reflection of Motherhood (Album Review)

MC Eiht Reflectively Tells “The Story of My Life” (Album Review)

“Catch a Vibe” With Young Chris’ First Solo Offering in Over a Decade (EP Review)

“The Pivot” Passably Expresses DJ Scratch’s Love for House (Album Review)

“Northern Quarter Confidential” Prod. by Four Limbs is Some of Sleazy F Baby’s Jazziest & Introspective Material (EP Review)

“F.U. S.M.D. 3 (For U, Some Musical Distraction 3)” Finds Mr. Green Getting Serious as a Performer Despite Using AI for 60% of the Production [EP Review]

“West Coast ‘96” Tests Whether or Not KXNG CROOKED’s Still Passionate About Making Music (Album Review)

“Nobody Spared” Returns to Scum’s Roots Aside From Some Introspection (Album Review)

Souls of Mischief’s New EP “Clean Getaway” Isn’t as Great as “All Said & Done”, But It’s Still a Passable Prelude to Their 7th LP (EP Review)

“The Horrible Chronicles” is a Passionate Lyrikal Snuff Productionz Debut for the King of HorribleCore (Album Review)

GZA Delivers a Night of Liquid Swords in Orange County

Solo tha Secret Recruits Some of Long Beach’s Finest for “Secret Affiliates” (Album Review)