Cali rapper Hopsin has a tight flow and rhymes that don’t mince words. While I like the more hard-hitting tracks on this new LP of his, there just aren’t enough of them to balance out the sickening melodrama that happens on a great deal of this new LP’s songs.
Southern rap titans Three Six Mafia are back under a different name–and with a slight lineup change–but that hasn’t stopped them from pulling together one of the rawest, grimiest mixtapes to drop this year.
The new Sadsic album is one of the heartiest collections of beats that you’ll come across this year, featuring over an hour’s worth of psychedelic, kick-heavy odds ‘n’ ends.
Californian singer and model Sky Ferreira’s full-length debut leaves a lot to be desired outside of the album’s handful of enjoyable pop songs.
Demented and hellish, the new Soupcans EP does not mess around.
The new Moonface record not only features a simple display of Spencer Krug’s vocals against his incredibly refined piano playing, but it’s also the Canadian singer-songwriter’s most personal record yet.
On M.I.A.’s latest record, the UK-based rapper, singer, and producer takes a small step away from the noisy production that made her last record so bombastic, but still manages to deliver a series of smart, infectious, and wild banger-style party tracks.
Daniel Avery assembles a diverse album of well-crafted tech house tracks that’s solid from start to finish.
While Death Grips’ Government Plates might be one of the most aggressive releases to come from the experimental hip hop trio, it’s also one of their most forgettable, repetitious, short-winded, and half-baked.
Art Pop is easily Lady Gaga’s most eccentric and colorfully produced album yet. However, she still doesn’t go far enough to keep her very radio-friendly band of pop interesting for an entire album–especially when it comes to lyrics.