Reviews
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Reviews "Bully" doesn’t feel like a comeback. It feels like Kanye West is reminding the world he still knows the tricks while avoiding the vulnerability and ambition that once made his music impossible to ignore.
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Aron A. -
Reviews Ten years on, "Graduation" stands as Kanye's first major stylistic shift, as well as his most ill-advised.
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Patrick Lyons -
Reviews Iggy's debut album "The New Classic" is still on its way, but for now our ears are satisfied, and our playlists graced with a tight sextuplet EP.
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Jon Godfrey -
Reviews Ideally, a final statement should leave fans eager for a return, a body of work that commands reflection and conversation. Here, Cole offers a snapshot of craftsmanship at a high point, a reckoning with his own mythos, and a testament to the fact that even the most dependable voices in rap can surprise, falter, and reflect at once.
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Aron A. -
Reviews Baby Keem’s sophomore album peels back layers of personal trauma and family history, while finding cohesion and pop potential across a stylistically varied but emotionally focused project.
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Aron A. -
Reviews "I'm back motherf*cker!"
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Caroline Fisher -
Reviews Out of Benito Antonio Martínez Ocasio's many tours and hometown shows, this performance at El Choli was one of his most well-structured, impressive, and heartfelt to date.
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Gabriel Bras Nevares -
Reviews Young Thug’s “UY Scuti” is messy and uneven yet vulnerable, offering flashes of his pre-incarceration brilliance without reclaiming the superstar stature that once placed him at rap’s upper echelon.
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Aron A. -
Reviews Don’t Be Dumb doesn’t redefine A$AP Rocky, which is what many artists attempt after a decade-long hiatus. Instead, it finds him comfortable within his wheelhouse, reaffirming his ear for production, his eye for talent, and a sense of taste that resists easy categorization.
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Aron A. -
Reviews Almost overnight, Macklemore became a pop star and internet pariah. Now he tries to tear it all down.
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Danny Schwartz -
Reviews Nas’s enduring lyrical skill shines over DJ Premier’s production in a way that serves as a fitting conclusion to the Legend Has It series.
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Aron A. -
Reviews Kevin Gates endured because his audience valued emotional honesty over moral cleanliness, and "Islah" is the clearest proof of that.
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Aron A. -
Reviews "Let God Sort Em Out" is a powerful Clipse comeback blending coke rap, spiritual growth, and grief, showcasing matured lyricism and Pharrell’s visionary production.
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Aron A. -
Reviews "Kiari" finds Offset asserting his personal and artistic identity through standout street bangers and poignant introspection, even as familiar tropes and uneven moments hold the project back.
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Aron A. -
Reviews A night celebrating legacy and legend, Toronto welcomed Vybz Kartel as one of their own, with help from Drake and OVO.
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Aron A. -
Reviews JID loses a bit of his straightforward sharpness on here, but "God Does Like Ugly" balances his ambitions more brashly than ever before.
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Gabriel Bras Nevares -
Reviews With his four-track "Birthday Blizzard ’26," J. Cole brings back a format rap has been missing, and losing the top spot has only fueled his fire.
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Aron A. -
Reviews "WHAT HAPPENED TO THE STREETS?" is a fitting installment in 21 Savage’s catalog, both a reckoning with the world he came from and the one he is carving out for himself.
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Aron A. -
Reviews In "Star Line," Chance The Rapper charts the difficult terrain of love, justice, and selfhood, crafting an album as restless and resolute as he is.
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Aron A. -
Reviews "Infinite" is a proper send-off for Mobb Deep. Eight years after Prodigy’s death, Havoc recreates their familiar universe, honoring posthumous verses while showcasing his own evolution alongside The Alchemist.
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Aron A. -
Reviews Cardi B’s "Am I The Drama?" falters musically with bloat, but her bold persona and public drama keep it compelling.
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Aron A.
