Freezepeach Homepage

• Let the Club Meeting Commence: EPIC by Pink Navel
• Kanye West Plays Super-Coordinator On Donda, His Entertaining Christian Rap Jukebox
• It’s Been A Whole [LIMBO] Year: Aminé’s Limbo Turns One
• 5 Thoughts on Isaiah Rashad’s New Album ‘The House Is Burning’
• Appreciating Twin Shadow’s Dominican-infused Rock: A Journey From His ‘Broken Horses’ EP to His New Self-titled Album
• Review: Kanye acknowledges and embraces his alter ego on ‘ye’
• Review: Questlove’s Summer of Soul (…Or When The Revolution Could Not Be Televised)
• Dusk-lit Drives Across Deserted Highways: Stay Up! by Kwajo
• GoldLink Doesn’t Try To Be Bigger Than His Music
• REVIEW: Tyler, the Creator – IGOR
• Top 5 Rap Verses of 2020
• Sunday Review: Frank Ocean Doesn’t Owe Us Anything
• J. Cole Embraces the New Era of Hip Hop and Goes Back to Rapping for Sport On The Off-Season
• Speakin’ From The Underground: A Tribute To Shock G
• Shrooms, Tunes, and a Haunted Guitar: The Making of Shakey Graves
• Cool Dry Place: Katy Kirby’s Coming of Age Debut Album
• Top 25 Rap and R&B Collaborations of All Time
• Introducing Jay Jordan: The Young Producer Making Lo-fi Beats And Channeling Hip Hop Nostalgia
• Being Part of A Global Hip Hop Collective: An Interview with Cole Hamilton from Youth // Service
• Our Favorite Albums of 2020
• Top 10 Songs of 2020
• How The Late 2000’s Hip Hop Mixtape Movement Became Immortalized
• WizKid Explores New Elements of Afrobeats Music to Inspire His Latest Album ‘Made In Lagos’
• Meditations by Caleb Giles: Growth in the Midst of a Collapsing World
• Sturgill Simpson and The Steep Canyon Rangers Land a Lethal One-Two Bluegrass Punch
• Kendrick Lamar’s ‘The Prayer’ Is a Critique of How Society Values Art
• Introducing JoeJas: The Free-spirited Hip Hop Artist Doing Everything Himself
• Chance the Rapper X Ralph Lauren Virtual Concert
• Mac Miller’s The Divine Feminine
• Presenting… Erykah Badu’s Quarantine Concert Series
• Introductions to the Dinner Party Roster
• The Gradually Increasing Significance of Kids See Ghosts
• REVIEW: Thundercat continues to invent his own brand of groovy and goofy soul
• REVIEW: Childish Gambino’s 3.15.20 is a sprawling example of anti-genre
• Here’s the best of what’s been livestreamed during the pandemic
• Top songs of 2019
• Yasiin Bey’s Negus Exhibit is the Antithesis to Streaming Consumption
• REVIEW: Freddie Gibbs & Madlib – Bandana
• REVIEW: The Black Keys Return Confidently on ‘Let’s Rock’
• REVIEW: Wilco’s ‘Ode to Joy’ Is the Band’s Best Album in Over a Decade
• REVIEW: Danny Brown – uknowhatimsayin¿
• REVIEW: Sturgill Simpson – SOUND & FURY
• REVIEW: Lana Del Rey – Norman Fucking Rockwell!
• REVIEW: Chance the Rapper’s The Big Day is full of ecstasy, but lacks in consistency
• Cardi B and Bernie Sanders Meet to Discuss the Future of America
• ‘Afilando Los Cuchillos’ Is the Soundtrack to Puerto Rico’s Political Victory
• The Artist’s Revolution: The Significance Behind Chance’s ‘The Big Day’ Release
• REVIEW: Tyler, the Creator – IGOR
• Andre 3000’s Verse On ‘Come Home’ Is Best of 2019 so Far
• REVIEW: Justin Townes Earle – Saint of Lost Causes
• Predictions for Chance & Kanye’s Good Ass Job
• REVIEW: Kanye acknowledges and embraces his alter ego on ‘ye’
• Frozen: Das Racist’s mixtapes
• 12 Reasons to Be Excited for the New Kanye West & Kid Cudi album
• Give the drummer some: Introduction to Anderson .Paak
• Childish Gambino’s ‘This is America’ video is great protest art
• REVIEW: In a year dominated by hip hop, Noname’s Telefone emerges as one of the best
• REVIEW: Frank Ocean’s Blonde is a Subdued Search for Reconciliation with his Past
• Spoken word will emerge as hip hop’s newest sub-genre
• Frank’s reality check