Spring Break
Saul releases 'free' album
Slam poet Saul Williams' latest release has more of a rhythmic focus, thanks to producer Trent Reznor.
by Daniel Orkin
Arts | 12/4/07
Posted online at 10:59 PM EST on 12/3/07
/ Last updated at 12:48 AM EST on 12/3/07
Saul Williams is a man with his thumb in a lot of pies. Perhaps the most famous slam poet on the scene, the venerable Williams has also served as rapper, singer, writer, actor and on at least a few occasions, preacher. Most recently, he has taken up the cause of Digital Rights Management-free music with the release of The Inevitable Rise and Liberation of Niggy Tardust. Following the now oft-referenced In Rainbows release model, Williams has opted to distribute the new album via his Web site
(niggytardust.com) with optional payment.
Even if you're not familiar with Williams' work, his name might sound familiar for another reason. Come Jan. 19, Williams will perform in Spingold as part of VOCAL 2008, a spoken word concert to raise funds for afterschool programs in Waltham. The event will include an array of other world-class slam poets such as Carlos Andrés Gómez and Buddy Wakefield, but as the date draws near, Williams is sure to cause the most buzz. As event organizer Jason Simon-Bierenbaum '11 put it, Williams is "that poet who people think of when they think of spoken word, always innovating and doing something new, constantly breathing life into the art."
Not unlike the new album, the concert will be free to students with a suggested donation. If the event proves similar to Williams' album, we can all expect an amazing spoken word concert next semester, as Niggy Tardust is a truly innovative, provocative and roundly listenable work of sonic art. The album was produced by Trent Reznor, who seems to become a more respectable elder statesman of music with every project he undertakes.
The appeal of the album comes from the near flawless blend of slam-influenced hip-hop beats and lyrics, combined with Reznor's digitalized rock edge. Williams has described the project as a love child between himself and Reznor. His synthesis of styles provides a unique approach to the world of sample-based music-making. The sampling is heavy yet tasteful and usually has an editorial purpose. The third track, "Tr(n)igger," is largely taken from Public Enemy's "Welcome to the Terrordome," and the fourth track is a cover of U2's "Sunday Bloody Sunday" with some much-needed additions.
(niggytardust.com) with optional payment.
Even if you're not familiar with Williams' work, his name might sound familiar for another reason. Come Jan. 19, Williams will perform in Spingold as part of VOCAL 2008, a spoken word concert to raise funds for afterschool programs in Waltham. The event will include an array of other world-class slam poets such as Carlos Andrés Gómez and Buddy Wakefield, but as the date draws near, Williams is sure to cause the most buzz. As event organizer Jason Simon-Bierenbaum '11 put it, Williams is "that poet who people think of when they think of spoken word, always innovating and doing something new, constantly breathing life into the art."
Not unlike the new album, the concert will be free to students with a suggested donation. If the event proves similar to Williams' album, we can all expect an amazing spoken word concert next semester, as Niggy Tardust is a truly innovative, provocative and roundly listenable work of sonic art. The album was produced by Trent Reznor, who seems to become a more respectable elder statesman of music with every project he undertakes.
The appeal of the album comes from the near flawless blend of slam-influenced hip-hop beats and lyrics, combined with Reznor's digitalized rock edge. Williams has described the project as a love child between himself and Reznor. His synthesis of styles provides a unique approach to the world of sample-based music-making. The sampling is heavy yet tasteful and usually has an editorial purpose. The third track, "Tr(n)igger," is largely taken from Public Enemy's "Welcome to the Terrordome," and the fourth track is a cover of U2's "Sunday Bloody Sunday" with some much-needed additions.
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