“All the buffering, reality, jump/I rarely recognize the people I love,” Billy Woods raps “Golgota,” cut to the core of his hallucination writing. The Brooklyn rapper clarifies a pessimistic, intergenerational vision with bad dreams, ghostly memories and strange clarity. Gorillag Marking his first full-length effort without a major collaborator in six years, he is hardly there. Past collaborators, preservations and alchemists like Kenny Segal offer a variety of shades of the same creepy background, while guest wrappers like Elucid, Despot, Bruiser Wolf, and Al.divino have proven to work under the same wavelength. Woods refers to a story about the evil goriwog (named after the record), but I remember writing as a child that his mother said her mother needed some kind of work, but it can be difficult to track who tells who, who tells who, and who tells the story. That’s why you get a challenging, unforgiving 18 track record that’s among the best of all-timers.
1. Jump Scare
Jump Scare can be a cheap trick for horror flicks, but Billy Woods has multiple ways to keep listeners on the edge. He doesn’t need scenes to get dark. He sets it up with familiar, unsettling images – “A crazy dog in the garden, the car won’t start, it’s the bee in your head” – melting into the terror that’s simmering in the daytime: “Vaccinations are tuberculosis, coughs/loops, loop thoughts/loops/Moros villagers in the sun.” So this song ties a rope around your neck, squeals, and its constant sound just draws fear from what’s already in your vision, like a jumpscare.
2. Star87
Woods seems to be rapping now Insideloops through thoughts, not concepts. And, even more strangely, the phone. The ringtones are cut out as loops of the track, coupled with the swirling drones, and punch straight into the story. As a narrator, Woods never stops implying himself by declaring “Rigger Mortis with a Cordless Microphone.”
3. Miserable
The narrator is currently in the seat of the victims of “mortality.” The sax-led production of Kenny Segal calls for people to care about their work mappress the music in an attractive direction more easily than the previous songs. But that character and interpolation – from MF DOOM Beloved – Prevents your heart from floating. They play like hooks and glide in their heads.
4. BLK Christmas [feat. Bruiser Wolf]
Bruiser Wolf brings fresh colours in the poem of the first guest Gorillagtouching on poverty, “This flick is as realistic as you would get/depict it after living,” and then Woods retreates the abstraction and dials the story of a family who is kicked out just before Christmas. He eventually wears some pots and pans and old clothes for the kids, but puts the photos – “They are not that family.” But all of them have a nagging feeling of seeing themselves, more or less.
5. Waterproof Mascara
In some of the album’s most unsettling productions, courtesy of preservation, Woods is inhabited by both a crying mother and a child watching her child cry from the top of the stairs. “The King’s dead and your uncle are not our friends,” he listens to her. “How many times do you have to tell the kids?/That’s us in this room, that’s all.” Needless to say, the atmosphere is choking. In the second section, he invokes and twists the suicide of Sylvia Plath. Most songs Gorillag There is an element of discomfort due to an unfair system. “Waterproof mascara” feels wrong because of how personal it sounds, even if you’re wondering what actually happened. There can’t be any more miserable.
6. Counterclockwise
The alchemist’s serpentine heartbeat and Woods’ surreal flow moves with the same logic, making the sample book book-book’s book talk real.
7. Corinthians [feat. Despot]
Woods will increase the strength with the help of the EL-P production fuss, turning their attention to modern doom with lines such as “$12 billion hovering on the Gaza Strip” and “Their crackers won’t reach Mars.” But before he makes his point, he quickly becomes clear: “How I see it, not the tension of the past.” History is embedded in fear. It makes a tyranny, follows up and brings back to his guest poems in 2022 Echi OPcontemplating the afterlife – the looming questions he tackles by treating it all like a ridiculous joke. “The same old song, I will sing again, the day you are gone, no one should cry for you,” he raps, “Take yours, and I will make it all mine.
8. Pitch fork and Hello
Maybe it’s the production of a truck’s slurred delusion or segal, but this seems to really feed the energy of mapIt seems almost left. But Woods is built towards some of the album’s most resonant lines, quickly linking themes. He repeats, “Where has time gone?” And “The hood of the time machine is still warm and people are making time for what they really want.”
9. All of these worlds belong to you [feat. ELUCID]
The sound design of the horror film replaces the enthusiastic, otherworldly productions of DJ Haram and Shabaka. As the title suggests, the narrator is not just himself, youblurs the line between passive observation and participation in fear. “Today I saw a man die in a hole from the comfort of my home,” Woods begins. “The drone was really low, hurrying, slow and slow / he curled up to himself. The fetus in the uterus, the uterus was Earth.” This is a potential setup, and while it makes it inexplicable, it’s just as exciting.
10. Makira Doras [feat. al.divin]
This is gloomy and dark Gorillag Acoustically, the low-end, low-end excavation methods of St. Abdullah and Eomac dig beneath the surface of the earth. Woods meditates on the concept of self-ampution from Franz Fanon’s book Dark skin, white mask“The amputee says he will accept it, he will escape/not accept the prosthesis/they will give inappropriate limbs as gifts and insist that you can only live in the present.” But the past will come back to bother you. The way “time is by my side,” Armand Hammer’s receptacle of “Flavor Flav” returns to celebrate the end of this song. It’s blurry but beautiful.
11. Doll fullerpin [feat. Yolanda Watson]
Yolanda Watson falls into the chorus of a song, lamenting the “Glasspie little man” falling into the same trap. However, this track makes a dizzy turn in Woods’ second poem. This explains the importance of the album’s honorable doll. You can’t make a head or tail, but it holds you in that grip.
12. Golgota
Messiah Musik promotes this time with a sort of sequel to “Misery,” which reminds me of slippery feelings. “In bed, she’s a dead fish, but it’s more of a comeback than sex,” Woods raps before evoking the ants. In it, he captures the essence of his songwriting. “Sometimes, I barely recognize the people I love,” he raps.
13. Cold sweat
The repeated “We Up On Bad Dreams” from “Misery” becomes “waking up with a cold sweat,” but Woods’ dark humor is more prominent and colorful, animated by the production of Ants. It’s sometimes the same bad dream that keeps you and cracks you.
14. BLKZMBY
An interview clip from Ugandan President Yoweri Museveni frames Woods’ political commentary. The dynamic and clever production of steel doves allows Woods to broaden his perspective in one of the album’s most breathless and uncompromising flows.
15. Don’t make mistakes
A little more realistic and personal, this song is engrossed in nostalgia. “I told some lies in my time, but once on the beat,” he rapped, saying that differently: “I hide everything in the rhymes, so I need to darken it on a dark stage.” Behind the board, his collaborators are well served him.
16. Born on my own
The eerie piano loop provides the perfect backdrop as the rap of Woods’s impending death approaches. It’s introspective and downcast, but not unfair. “While I read the doctor’s face, the doctor reads x-rays/I shake my clean socks every day just in case.”
17. Lead Paint Test [feat. ELUCID and Cavalier]
Elucid, Cavalier, and Woods exchange ghostly memories of their family on the Wistful Willie Green Beat. Elucid and Cavalier are in the form of peaks, while Woods’ poems are enveloped in hierarchy. In the intoxicating refrain that overturns Woods and Kenny Segal’s own “soft landing,” Home is “My Beloved Haunt,” and it brings together the entire album pretty much.
18. dislocation [feat. ELUCID]
scared Gorillag It’ll become creepy. “DiSlocated” is as dreamy as Human Error Club InstrumentAl, and as Discombobulating, you’ll be home in a way that guarantees Elucid’s support. It will disappear completely. “I can’t find it,” they repeat, turning their backs on the audience. Its intangible, but it is something that imprints on itself, like something that is not far away, lurking.
Source: Our Culture – ourculturemag.com
