We’ve reached a point in hip-hop where consumers can’t trust what the major labels are selling them, making it harder and harder for buyers to throw down their hard-earned cash for music. With the indie scene moving from 12″ vinyl to the blogs over the last five years, much of the best new music is [cont.]

Ryan Leslie is one of music’s largely still undiscovered super-talents, on par with artists like Pharrell and Kanye West, as each a producer, writer, singer, and emcee. He completely self-produced his last two albums, his self-titled Universal / Motown debut, and it’s follow-up, Transition, both released in 2009. Despite this, Ryan Leslie has yet to [cont.]

The history of Columbus, Ohio’s MHz is perhaps one of the most intriguing stories in underground hip-hop lore. They first stepped on the scene in 1998, via a handful of vinyl only singles on Bobbito’s legendary Fondle ‘Em Records imprint. While these 12-inches hardly made them a household name, they did catch the ears of [cont.]

LA’s Styles Of Beyond have been putting it down since the birth of the independent hip-hop movement, which saw the release of their fan favorite albums, 2000 Fold (1998) and Megadef (2003). The SOB’s caught the ear of Linkin Park’s Mike Shinoda, who invited them to be a part of his Fort Minor offshoot project, [cont.]

It is safe that there are some rappers who understand their lanes, and they stick to them very well. In this particular case, Sean Price has shown that when it comes to supplying aggressive content, he’s in a class of his own. The Boot Camp Click and Heltah Skeltah representative has always had a knack [cont.]

In the midst of Disney buying Lucasfilm, we witness yet another corporate mega-merger; a scenario all to familiar to Public Enemy. A group that started on rap’s pioneering indie label, Def Jam, Chuck and Flav slowly watched one record company be eaten by the next, reaching this point, where they all have more or less [cont.]

Philly’s Meek Mill has had quite a breakthrough year, after signing with Rick Ross’ MMG imprint. Over the years, we’ve seen new rappers struggle to keep up with their father emcees, many times just regulated to being another number on a highly populated label roster. Not so for Meek Mill, whom has branched out on [cont.]

“Here’s a guy at the intersection of the corner of jazz and hip hop.” Karriem Riggins is heralded, albeit quietly, as one of the most talented musicians connected to hip-hop culture. Of the qualities present in artists with this distinction is the ability to traverse genres while fusing influences into their own creations. Riggins embodies [cont.]

RZA’s directorial debut, The Man With The Iron Fists, may have left something to be desired, but filling that void is it’s soundtrack, which once again proves where his true strengths lie. Acting more as the executive producer of the project, RZA’s fingerprint is all over the soundtrack, not only producing four of the album’s [cont.]

Kendrick Lamar has slowly built up a loyal fanbase over the last ten years, most recently raising eyebrows with 2011′s Section.80, his independently released debut album, which reviewed to great critical acclaim. He caught the eye of Dr. Dre just before it’s release, which led him to working on the mythical Detox LP, and subsequently [cont.]

One of The 48 Laws Of Power states: “Too much circulation makes the price go down: the more you are seen and heard from, the more common you appear. If you are already established in a group, temporary withdrawal from it will make you more talked about, even more admired. You must learn when to [cont.]

The story of Macklemore is pretty interesting. Here is a man, based in Seattle, completely removed from the hip-hop scenes of New York, Los Angeles, and down south, who hasn’t released an album in seven years, and then proceeds to open his first week on Billboard with around 60,000 sold, independently no less? We imagine [cont.]

Gary, Indiana’s Freddie Gibbs returns with Baby Face Killa, which doubles as both his new Gangsta Grillz mixtape, and an indie album debut, available on iTunes without the added flair from DJ Drama. After signing with Young Jeezy’s CTE imprint, one might expect Gibbs to release a tape full of trap anthems and freestyles over [cont.]

“Celebrating the win/ Celebrate what it meant, Do remember and celebrate it again” The first lyrics recited by Skyzoo on his sophomore album not only set the tone for A Dream Deferred, but put his whole career to this point in perspective. It’s been three years since the release of his debut album, The Salvation. [cont.]

It’s possible that heads will never listen to an instrumental or turntablist hip-hop record without comparing it to DJ Shadow’s seminal Endtroducing. That album has reigned supreme for sixteen years as one of, if not the best, hip-hop instrumental albums ever. From the diversity of samples to the gritty vibe, even DJ Shadow himself hasn’t [cont.]

It’s been six years since the release of Chino XL’s last solo album, Poison Pen, the third LP from the Mensa certified (yes, really) emcee. Chino’s known for taking at least five year breaks between LP’s, which leaves his fanbase clamoring for his brand of mind-bending punchlines, twisted social commentary, and Chuck Norris-esque feats of [cont.]

After the disappointingly pop and overly slick Lasers, Lupe Fiasco has returned with his fourth album, the somewhat ridiculously titled Food & Liquor II: The Great American Rap Album Pt. 1. Does this mean there will be a Food & Liquor II: Pt. 2? That seems like a fairly ludicrous possibility. More likely, there won’t [cont.]

The cover art of Brother Ali’s Mourning In America, Dreaming In Color is designed to draw a strong reaction. Some might find it entirely disrespectful, as there’s an unwritten law suggesting that the American flag should never be laid on the ground. Some might find it even more disrespectful that Ali, an American Muslim, is [cont.]

It’s been a little over a year since the release of Big Sean’s debut album, Finally Famous, and his presence has certainly been felt. From keeping the charts occupied with a number of singles to lending his vocals to several key features, the G.O.O.D. Music wonder kid has been all over the place. His star [cont.]

With all of the competition in the current rap space, the big dogs of hip-hop are snatching up all of the new talent fast, in order to build Wu-Tang-esque clans, crews, and cliques. It wasn’t quite like this ten or fifteen years ago, as you pretty much had the Wu and the BCC, and then [cont.]