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Neo-soul singer Otis Junior teams with fellow Kentuckian Dr. Dundiff and his hip-hop beats for the silky, groovy "When It's Sweet".
Detroit-based electronic/industrial outfit, Konqistador team with Toronto hip-hopper HanHan for "Visaya", a song that blends darkwave and rap into an incendiary combination.
Jyoti's Mama, You Can Bet! is a revelation -- of time, of rhythm, of sound. It takes the free-ranging jazz sensibilities of Georgia Anne Muldrow's previous outings under the Jyoti moniker and gives them a next-level boost.
A sultry, locomotive shuffle of hip-hop and hot blue funk, Shabazz Palaces' "Bad Bitch Walking" features Ishmael Butler as a susurrating lover whose languid gaze of a woman is slowly supplanted by the erotic ellipses of female motion.
None of Us Are Getting Out of This Life Alive finds Mike Skinner, aka the Streets, staring at his phone and ignoring what made him interesting all along.
As the go-to producer for everyone from Lizzo to Twenty-One Pilots, Ricky Reed is at the top of his game. Discussing his new solo venture, The Room, the hitmaker opens up about his inspirations, collaborators, and hopes for a better future.
Beyond NWA and Public Enemy: rappers have been sounding the alarm about police brutality since the birth of hip-hop.
Whipped Cream's debut is a perfect tonic to all the bottled-up rage and pent-up energy many of us are feeling this year while reminding our bodies of the dancefloors to which we will one day return.
Electro/hip-hop producer, Gromo teams with pop/R&B singer Rhea Raj for a beat-filled, Latin- and Indian-influenced electrosoul stunner, the winning "Slowly".
It's easy to depict the song's all English lyrics and music video tribute to Western pop culture icons as searching for Western validation, but "Dynamite" hints mostly at the type of semiotic disruption that BTS has been notable for.
With the release of Shabazz Palaces' The Don of Diamond Dreams, producer-rapper Ishmael Butler envisions yet another lunar world of sound disturbed by his anxieties and desires.
On Marlowe 2, L'Orange finds an inventive range, interleaving the hip-hop with textures that bring his landscapes into tuneful definition; Solemn Brigham, brings his deft skills as one of hip-hop's brightest poets.
In Jamila Woods' latest single "SULA (Paperback)", Toni Morrison and her 1973 novel of the same name are not static literary phenomena. They are an artist and artwork as galvanizing and alive as Woods herself.
On his latest work,The Sun, rapper Raashan Ahmad brings his irrepressible charisma to this set of Afrobeat-influenced hip-hop.
MaestroAeks' Sapodigo is a collection of blunted hip-hop tunes, sometimes nudging a fulsome boom-bap and other times trading on laid-back, mellow grooves.
Beyoncé's Black Is King's reliance on Afrofuturism recuperates the film from Disney's clutches while reclaiming Black excellence.
The idea that a female rap project is a failure for being one-note -- especially when that note is confident and sexy -- ruins what a project like Flo Milli's Ho, Why Is You Here? has to offer: fun in its purest form.
Fat Tony proves a bright, young artist making waves amongst the new generation of hip-hop upstarts.
Alice Ivy walks a fine line between chillwave cool and Big Beat freakouts, and her 2018 debut record was an electropop wonder. Now, in the middle of a pandemic, she tries to keep the good vibes going with a new record decked out in endless collaborations.
Hood films are a jarring eviction notice for traditional Civil Rights rhetoric and, possibly, leadership -- in other words, "What has the Civil Rights movement done for me lately?"
Beats producer Mux Mool returns with Skulltaste II, ten years after the first and delivers the banging new single "Latest Sulk" as his statement of intent.
On the instrumental version of last year's Flamagra, Flying Lotus makes conspicuous variety feel coherent and ordered.
It was during the period between the Rodney King beating and subsequent court verdict that Ice Cube cut Death Certificate, a chilling glimpse into the anger and frustration South Central Los Angelinos were feeling.
The brilliant London trio Benin City return with the hard-hitting new track "Hostiles" that articulates what it means to be Black in the 21st century.
Run the Jewels have always had a taste for action-movie hyperbole, but as they've powered through their careers, the lines between slapstick and real have almost ceased to exist.
In Bring That Beat Back, critic Nate Patrin argues that hip-hop is essentially a forward-looking evolution of black American music with a deep reverence for its predecessors.
On "Silver Lining", Kev Choice is joined by a collective of Bay Area rappers to reflect on positive efforts in the midst of the COVID-19 pandemic.
Hip-hop makes its debut on the Big List with Public Enemy’s meaty, beaty manifesto, and all the jealous punks can’t stop the dunk. Counterbalance’s Klinger and Mendelsohn give it a listen.
Ocean Bridges is proof that genre crossovers can sound organic, and that the term "crossover" doesn't have to come loaded with gimmicky connotations. Maybe we're headed for a world in which genres are so fluid that the term is dropped altogether from the cultural lexicon.
Following The OOZ and its accolades, King Krule crafts a similarly hazy gem with Man Alive! that digs into his distinct aesthetic rather than forges new ground.
Stezo died in his sleep on 29 April at age 51, leaving behind a legacy begging to be properly commemorated. His 1989 album Crazy Noise has been buried in the annals of hip-hop history, an underappreciated dollar-bin find that serves both as a time capsule for hip-hop's late 1980s golden era and a lesson in keeping it real.
Chicago-based Kill Audrey make hazy, chaotic hip-hop/party music for people who buy tall boys with their rent money. Watch the video for their new single, "Hometeam".
2020 and it's finally time to acknowledge Nicki Minaj's right to G.O.A.T. status, as the best female rapper AND the best rapper of the past ten years — no gender preposition required.