Billy Woods became a performer poet, one of the most independent and smartest minds in hip-hop. He integrates himself with abstract 2010 gems History will exempt me and Hidden place. He also worked with Elucid on the duo Armand Hammer, a well-known album shrine and We buy diabetes test strips. His independent brand Backwoodz Studioz unleashes everything from rap to avant-garde jazz. But continue monsterhe went to see an album full of horror stories. It's a dense poetic, completely masterful tour, and Woods lets his vast imagination loose in the case of dystopians, with real-life monsters more terrifying than anything he could invent. Welcome to his nightmare.
Woods has his last album "2023" map With producer Kenny Segal - a trip about the rapper's world tour, but also a concept album about a black artist running around the world in search of anywhere he could feel it. As he said map It's "Black Cube", with obsessive lyrics about hiding internal code, you have to speak with hidden riddles - "Cover my tracks with blacionic style" - because you never know who is listening or how they're stuck to capture you. In one of the most painful and interesting moments on the album, FBI agents listened in a wiretapping, trying to decipher him, complaining, “I think it’s just rhyme.”
map It's an invitation and a challenge - Woods has built a series of global link puzzles and dared to keep up with him while making it a risk that you can't imagine going. but monster It's more like a confrontation, with a hidden vision. As above mapthese songs are filled with people forced to disguise, in the name of survival. As he said in 1 Corinthians, “You don’t want to know the cost of living/the cost of hiding behind the eyelid.”
The 18 tracks featured the underground producer behavior of the murderer, including many of whom he has worked with in the past - Sigal, Alchemist, Messiah Musik, Save - and El-P, Sadhugold, ants from the atmosphere, steel spire doves and commander Williams. He also has been from longtime collaborator and Backwoodz teammate Elucid as well as New Orleans rapper Cavalier, Distive Jux Alum Despot, Detroit's Bruiser Wolf, Massachusett's Al. Divino and singer-singer-and-commercial Yolanda Watson. Music has the vibe of horror movies, building a dystopian mood through human screams, sobs, phone alerts, how called saxes, and even an old-fashioned dial-up modem.
Woods earned his title and covered a rag doll art, a racist comic that used to be common in British and American culture. When he announced the album, he said, “When I was 9 years old, I wrote a story about the evil golliwog.” “My mother read it and told me it was too spin-off and needed some work. We’re here.”
Woods spins a variety of horror stories with his dazzling game of words, but they are rooted primarily in everyday struggles, racism and conflict. "BLK Christmas" with Bruiser Wolf is a tough story of the family who was expelled the week before Christmas. Neighbors watched the kids cry, but later they came out and helped themselves with the property their family had to leave on the sidewalk, clearing out Christmas gifts for their children. Woods’ rhyme about finding a toy in the heap (“Doll’s head is missing/wild swing horse, frowning in its mouth”), a creepy gift for kids who grew up in a real world nightmare spread from one hungry child to another, as the cycle continues.
He took inspiration from Stephen King’s creepy work, and authors from Ralph Ellison to Frantz Fanon to Fyodor Dostoyevsky. As he recently told Rolling Stone, “I think a lot of horror is social commentary (ON), what people are afraid of.” There are sexual vampires, zombies and voodoo dolls, as well as landlords, police and state violence. "BLK Zmby" moved from slave ships to the oil trade, reaching the capitalist world, "zombies roaming in Ferragamo and Comme de Garcons". In "Born Alone," he details how death feels so intimate, and he makes sure to wear clean socks every day on a haunting piano ring.
"Today, I watched a man die in a hole in my home," he said, and in "All of these worlds are yours," he said, which was a disorientation with DJ Haram and experimental jazz artist Shabaka Hutchings. "I'm caught, history is a little motivation," he declared in "JumpScare." "Struggle, the ropes are tighter and tighter/In my dying bed, I buy/substitute acura acura legend on the block of ashes." One of the most intense moments was the "Lead Paint Test", where he, the elves and the fanatical childhood memories, rather than the sad piano and trumpet. "Every black life is a thriller," the Knight said.
Woods saves the last toughest track – “Dislocated” makes a strong ending and uses its ode to “I won’t find it.” Elucid and Woods describes the art of learning how to completely disappear, including the jazz track at La Trio Human Error Club. Woods sees his vision of being trapped in the street by police violence (“faced on my spine/siding on the sidewalk/knee in the crowd”), and flees to a place where he can’t find him, “In the forest, with charcoal on his face, painted with charcoal on his fingertips.” The image of his life hiding spins: “I face bassist/Miles Davis/I sleep in the basement/Fake pride on paper/I can’t find it.” monster It's a horror, demanded and replayed - keep a close eye on it. But it's an album that offers no comfort - for the woods, monsters are everywhere, and survival means keeping your toes, not exceeding one step.