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Mar 19th, 2008 - 07:43:02 |
Ground Control
Saul Williams
The Inevitable Rise and Liberation of Niggy Tardust
Fader
Following the lead of Radiohead and Niggy Tardust producer Trent Reznor, poet/rapper Saul Williams has latched onto the idea of releasing his latest album for free via the Internet. Is he as big as the other two artists? No. But Williams is a special cat that will hopefully get some much-deserved publicity from this release. And he should. The Inevitable Rise and Liberation of Niggy Tardust is pure genius.
The true success of Niggy Tardust comes down to there being a perfect mix of Reznor’s techno/metal backbeats and Saul Williams’ inspirational words. Reznor’s beats seem to push Williams to a level that he has never achieved on other records. His ability to take the written word and make it leap off the page then shove it down your throat is illuminating and enlightening.
Opening with the primal stomp/hand clap of “Black History Month,” Niggy Tardust starts out with Williams already being pissed about his status in the rap game, claiming, “I’ve never been shot, but I betcha I’m braver. I’m taking my spot, nigga I ain’t afraid to be … me.” It’s apparent throughout his entire discography that Williams has never been afraid to take chances and be himself. He has never cared about mainstream success and he calls out those who do on this track.
Williams continues on with “Tr(n)igger,” another song that shows flawless Reznor production as he flips the script on Public Enemy’s “Welcome to the Terrordome.” This song is particularly interesting, as Williams plays the role of both Chuck D and Flava Flav. “WTF!” is another track that is fascinating, as Reznor bites a familiar Jack White-ish riff and lets Williams go off on the track. Songs like this show Williams more laid back while maintaining his ability to construct staggering poetry.
I’ve always had a problem with artists including covers on records. Frankly, if you aren’t The Stones doing Chess classics, The Clash, a Detroit garage band or Hendrix covering Dylan, I could really care less. Yet, I think Williams and Reznor have really converted me on the idea, as their cover of U2’s “Sunday Bloody Sunday” is essential listening; taking a song I could have cared less about and easily transformed it into a classic that proves both artists are masters of their craft.
In a year that many have claimed Kanye West has dominated creatively and monetarily, I counter with the idea that Saul Williams has done more in 2007 than the aforementioned has done in his entire life. Williams is inventive, imaginative and believable, and is the future of the modern wordsmith. Someday people will realize that he is the truth and all this other rap is just fake. — Eric Allen
Babyshambles
Shotter’s Nation
Astralwerks
Shotter’s Nation is a shared dirty needle with Pete Doherty, the charismatic, freewheeling yet fragile frontman, whose rap sheet runs circles around his set list. This album has that burnt crack pipe smell and this element of grit is part of what makes it fucking fantastic. On their debut, Down In Albion, Babyshambles owed much to The Clash (Mick Jones did produced it) and this time it’s The Kinks. — TM
Cam’ron
Public Enemy #1
Mixtape
An obnoxious class clown and an animated tastemaker (from fashion to slang), Cam’s charming purple prose and Harlem playboy swagger exhilarate with raps swimming in obscure pop culture references, cartoonish alliterations and hilarious anecdotes and ramblings. A tad too many guest raps and budget beats, but Cam’s charisma and nostalgic sample choices (Journey) make this free double-disc well worth the download. — TM
Grizzly Bear
Friend EP
Warp
Last year’s breakthrough LP, Yellow House, proved an instant classic. Equally true for the tune “Knife,” which shows up twice on this experimental appetizer of covers, instrumentals and alternate takes. “He Hit Me,” is a haunting cover that reeks of Grizzly nuance: detached, yet tight — layers and a lot of ‘em. Band of Horses' cover of “Plans” almost steals the show. Make friends with Friend. — TRW
local
Questions
Karma Tsunami
Self-released
A grizzled gloom, poetic prophecies; a blend of grunge/punk, folk anthems of love and protest with a worldly nod to the power of myths all burning together atop a crow’s nest of a ghost ship captained by Poe. Armageddon-urgency and worldly insight, like a rusty, flame-engulfed locomotive, but soft like a rain of wilted rose petals. — J. Milo
in my ear
Dirty Sweet
Making their way across the country with local garage gods, The Detroit Cobras, this band brings a ton of blues-infused groove to smokey bars far and wide. From what I’ve heard, there’s definitely a classic crunch to their sound, and they seem to throw in a bit-o-southern rock to the mix. Got the blues? Got some booze? Missing the soundtrack to your woe? Check out Dirty Sweet on the 21st at the Magic Stick. Here’s what they’re diggin' in the van:
The Faces
Five Guys Walk Into A Bar...
The Black Dahlia Murder
Nocturnal
Fleetwood Mac
Peter Green’s Fleetwood Mac
Hitsville USA
The Motown Singles Collection 1959-1971
The Sword
Age Of Winters
Ike and Tina Turner
Come Together
Richard Pryor
The Anthology 1968-1992
The Rolling Stones
Sticky Fingers
Harry Nillson
Aerial Ballet
Graham Nash
Songs for Beginners
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