Asun Eastwood & Daniel Son’s 3rd Collab LP “Nom de Guerre” Prod. by Futurewave Reminds Us All That Their Chemistry Hasn’t Declined Since “Bite the Bullet” (Album Review)

Tall Black Guy Celebrates a Decade of “Let’s Take a Trip” at The Regent Theater in Los Angeles

Baby Smoove Brings “The Purple Heart Tour” to The Regent Theater in Los Angeles This November

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)