Jeru The Damaja Returns to L.A. and Shuts Down the Lodge Room

Mi$tuh G Breaks Down the Price of Elevation From a “Bird’s Eye View” (EP Review)

“The Bronko Tape 2” Continues to Explore the Similarities Between Valid & Bronko Lubich (Mixtape Review)

Sham Blak Creates “Man of My Word” Inspired by His Core Values (EP Review)

“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)