On his latest, Chris Crack offers a reimagination of steppers music for the modern generation, conveyed through a futuristic recontextualization of Drake.

The problem with 'It’s Only Me' isn’t that the songs are not good, it’s that the combined product does not add up to standalone greatness bigger than its individual parts, Will Hagle writes.

On the eve of Freddie Gibbs' latest record 'Soul Sold Separately' releasing, Will Hagle ranks the rapper's past projects and revisits the eras that made him one of the game's most consistent talents.

Shrapknel has fully clicked as a duo, with the group’s chemistry gelling into a brand-new animal, Son Raw writes.

On the legendary producer's latest, he returns to the fundamentals with a sense of urgency to nourish hip-hop's beating heart.

If it’s become harder to hear hyperpop without all the accompanying baggage of context, That Kid reminds us why this music felt so potent in the first place.

Avalanche Kaito's new project is punk in every sense of the word, a sound that transgresses and deconstructs, but also has the virtue of advancing traditional West African music, Leonel writes.

G Perico's latest EP stands out due its replayability and acts as yet another strong project in a continued hot streak, Will Hagle writes.

The Australian fusionist's epic establishes itself as the delirious summer samba worth sweating over, Will Schube writes.

Nancy Mounir's elegiac and ghostly dialogue with century-old nahda music makes her something of The Caretaker of Egypt.